Paul Bevan
– Course Leader MA Fashion Photography at London College of Fashion
Paul Bevan is a
lecturer, artist, photographer and writer. He has over 20 years experience in
education and his work has been exhibited around the world. He is currently
writing a book, On Fashion Photography, and undertaking a PhD at UAL.
Having
studied BA and MA Fine Art, Paul has maintained a particular interest in
photography and time based media (including performance), within fashion and
fine art contexts and publications. He has exhibited and presented his work
internationally, collaborated on exhibitions and other creative and industrial
initiatives and projects, and contributed to thinking in his field.
He is the
Course Director for MA Fashion Photography and the Academic Coordinator for
Enterprise and Industry within the Graduate School.
Mike Crawford - Master Printer and Owner of Lighthouse
Darkroom
Mike Crawford is a
photographer and specialist photographic printer based in London. He has run
Lighthouse Darkroom since 1995 and has printed for many leading photographers,
working on numerous exhibitions and publications. While committed to
traditional black and white printing, he has additionally embraced digital in
the last decade, which in turn has expanded his creative possibilities for
photographic printing.
Throughout,
he has maintained his own photographic practice, working predominantly in urban
and social landscape. While working commercially in both
analogue and digital, the majority of his personal work is photographed on film
and printed in the darkroom, though digital printing now offers the potential
for different methods of presentation and exhibition.
He is the author of four technical photographic
books published by Rotovision and has written over 50 articles for various
photographic magazines including the British Journal of Photography and Black
and White Photography.
Recent clients include the National Portrait Gallery,
Photographer's Gallery, Paris Photo and Les Recontres d'Arles Festival.
Anthony
Ellis – Freelance Photographer and Educator
Graduated from the BA Photography at the Cambridge
School of Art, Anglia Ruskin University with a First Class degree and has since
then established a successful photographic career in editorial and commercial
photography and runs his own photography courses in nature photography.
Nick
Galvin - Image Database Consultant and Information Management Specialist
Freelance image database consultant and information
management specialist with a focus on digital image archiving and image
research.
Specialties: Expert in photography and image database
systems, specialist in information taxonomies and thesauri, image licencing and
legal frameworks for media archive management.
Nick brings a wealth of professional practice
experience, having worked as the Archive Manager at Magnum Photos and having
worked as a consultant with clients such as Save the Children, Autograph ABP
and Thompson Reuters, while also working with photographers on exhibition projects.
Helen
James – Freelance Photo Historian and Professional Practice Consultant
Following a BA in Photography (Nottingham Trent
University) and MA in Photography: History & Culture (London College of
Communication) she has worked for several UK photography organisations and
institutions as an education manager most notably: the National Portrait
Gallery, Photoworks (Brighton), Association of Photographers and Open Eye
Gallery (Liverpool). She has
combined additional activities with employment since 2001 and been freelance
(research, writing and lecturing on contemporary photographic practice and the
history of photographic culture) since 2006.
Maria Mann
- Director International Relations for European Pressphoto Agency
Maria Mann is Director International Relations for
European Pressphoto Agency, Frankfurt, concentrating on forging relationships
with professionals in photojournalism, education, curating exhibits and
conducting workshops.
She joined EPA in 2007. Previously, she was director
of global current events at Corbis, Paris, director of photography for Agence
France-Presse for the Americas and international photo editor-in-chief in
Paris.
She has lectured in universities in Europe and the Americas and mentors young photojournalists.
Maria has judged photojournalism contests including World Press, Unicef, Belarus Photos of the Year, Bayeux War Correspondents, POY, World Press Masterclass portfolios and CHIPP/China. She was the founding chair of the Best of Photojournalism Contest .
She is the recipient of the National Press Photographers’ Joseph Costa Award for ‘leadership and continuing service to photojournalists and photojournalism.’
She has lectured in universities in Europe and the Americas and mentors young photojournalists.
Maria has judged photojournalism contests including World Press, Unicef, Belarus Photos of the Year, Bayeux War Correspondents, POY, World Press Masterclass portfolios and CHIPP/China. She was the founding chair of the Best of Photojournalism Contest .
She is the recipient of the National Press Photographers’ Joseph Costa Award for ‘leadership and continuing service to photojournalists and photojournalism.’
Hannah
Starkey – Photographic Artist
Using actors within carefully considered settings,
Hannah Starkey’s photographs reconstruct scenes from everyday life with the
concentrated stylisation of film. Starkey’s images picture women engaged in
regular routines such as loitering in the street, sitting in cafes, or
passively shopping. Starkey captures these generic ‘in between’ moments of
daily life with a sense of relational detachment. Her still images operate as
discomforting ‘pauses’; where the banality of existence is freeze-framed in
crisis point, creating reflective instances of inner contemplation, isolation,
and conflicting emotion.
Through the staging of her scenes, Starkey’s images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey’s images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors.
Through the staging of her scenes, Starkey’s images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey’s images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors.
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