London Alternative Photography Collective’s 1st Birthday!

The London Alternative Photography Collective has now been running for one whole year!

If you don’t know what the London Alternative Photography Collective is… we run talks every First Tuesday at Doomed Gallery, Dalston – a lens based gallery on Ridley Road.
We’ve recently moved from The Double Negative Darkroom in Hackney – a brilliant darkroom for alternative processes but unfortunately we had to move due to our growing following!

Over the past twelve months, we’ve had photo-historians such as Gavin Maitland, fine printers such as Mike Crawford, Toby Deveson and Peter Moseley,  experimental alchemists such as Constanza Martinez and Sarah Evan Jones and even artists working between the boundaries of digital and analogue such as Adam Brown and David Blackmore. The film maker David Leister gave us a screening of his unique photogram-inspired 16mm films and we even hosted an exhibition at The Double Negative Darkroom called Light Play featuring artists Sam White, Douglas Nicolson, Scarlett Pimlott-Brown and Crazy G Linc, the camera meddler!

In April 2014, the London Alternative Photography Collective collaborated with Doomed Gallery and The Double Negative Darkroom to create London Pinhole Festival, a weekend long event dedicated solely to the wonder of pinhole photography. There was a curated exhibition, a party, a large format portait tent on Ridley Road Market where passers-by could be photographed, a coffee tin pinhole camera workshop and a flashmob of simultaneous pinhole exposures. It has truly been an amazing year of community building, of innovation and blatant, bare-faced nerdiness! Consequently we have decided to celebrate this with a birthday party and exhibition of the past speakers from our very first year.

The confirmed exhibiting artists are…


The exhibition opens at 7pm on Thursday 24th of July 2014  with a performance from Adam Brown, demonstrating how a vinyl record can be translated visually. There will also be birthday cake!

If you can’t make the private view, the exhibition will continue daily from 25-27 July 2014 12pm – 6pm.

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London Alternative Photography Collective, August 2014 Meeting.

On Tuesday 5th August at 6.30pm, London Alternative Photography Collective will be meeting at Doomed Gallery Dalston. (Doors; 6.30pm, Talks; 7.00pm)

Talks By:

Rosie Emerson

Rosie Emerson, 2014

Rosie Emerson, 2014

Rosie Emerson, Sirens, 2014

Rosie Emerson, Sirens, 2014

Rosie Emerson was born in Dorset in 1981. Since graduating in Fine Art from Kingston University In 2004. Rosie’s figures draw reference from archetype’s old and new, from Artemis to the modern day super model. Unrestrained in her technique she uses costume, intricate props, dramatic lighting, and playful collage to elevate her subjects to otherworldly, goddess like status. Staged without context or background, her subjects are objectified, adorned and manipulated, becoming an allegory of Emerson’s own fantasy.

‘My painting style is quite visceral and loose, by combining it with collage and photography it allows me to balance energy and precision, and create something, which despite hours of planning will still surprise me in its results.’

Her screen prints using natural materials, such as ash, sawdust and charcoal shift the focus of printmaking from precision and replication to creating unique, hand-finished prints with subtle texture.

In 2012, Will Ramsey; founder of The Affordable Art Fair deemed her work; ‘Beautiful, highly original and certainly collectable’ The Sunday Times Style Magazine.
Rosie has exhibited widely in the UK, as well, Europe, LA, Singapore, Hong Kong and Dallas. Rosie has also worked with Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Jewelry designer Annoushka Ducas. Her unique collage style as led to her work being featured in the likes of Vogue, Harpers Bazaar, Another Magazine, The Financial Times Magazine, and The Sunday Times Style Magazine.

Rosie currently lives and works in East London.

South East Analogue

South East Analogue is a collective made up of three photography students about to enter their third and final year of studies at London College of Communication. All three shoot exclusively on film, sharing interests in analogue methods of processing.
Their work is concerned with ideas about personal landscape and home, which they consider as South East London.

Tom Addison’s most recent body of work was shot on 35/120mm from the end of March to the beginning of June 2014 and serves as a documentary of his life for that particular period of time.
Mark Damian’s work is concerned with the idea of his personal landscape. We live and work within our personal landscape, surrounded by objects, ideas, beliefs and values that help shape our personal identities.

Harriet MacFarlane is interested in the idea of home.
The work she has been making as part of South East Analogue explores the idea of London as her new home, after moving from the south of England to the city. Her photographs of her close personal landscape (the house she resides in) alongside photographs of vast empty spaces in London aim to articulate her feelings towards living in London – She says “It’s easy to be lonely but you can never truly be alone”.

Cyanotype Workshop with PG Dip Students at London College of Communication


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Last week, Melanie King Director of the London Alternative Photography Collective and Constanza Isaza Director of Lux Darkroom  ran a cyanotype printing workshop with PG Dip Students at London College of Communication. Here are some pictures from the workshop!

London Alternative Photography Collective, July 2014 Meeting

On Tuesday 1st July at 6.30pm, London Alternative Photography Collective will be meeting at Doomed Gallery Dalston.


Observation 123, 1997/2013, Sophy Rickett.

Observation 123, 1997/2013, Sophy Rickett.

Sophy Rickett is a visual artist working with photography, video installation and text. Often working at night, much of her recent work has explored moments where the encounter between people and nature evokes a profound sense of loss. Her latest project, Objects in the Field, currently on show at Baltic 39 in Newcastle, the Museum of the History of Science, Oxford and the Fitzwilliam, Cambridge, explores ideas around obsolescence and appropriation through the legacy of some astrophysical research conducted in the 1980s.

Her work has been exhibited widely; solo exhibitions include Kettle’s Yard, Cambridge; Chateau de Lichtenberg, Alsace; Arnolfini, Bristol; De La Warr Pavilion, Bexhill; Ffotogallery Cardiff. Her work is included in the public collections of the Pompidou in Paris, the Musee des Beaux Art, Nantes, the FRAC, Alsace, the Federal Reserve in Washington and the Government Art Collection in London to name a few.


Peter Moseley, Photogravure

Peter Moseley, Photogravure

Peter has a particular interest in the photographic process of the late nineteenth and early twentieth century, he works from a studio in Kingston-upon-Thames specialising in intaglio printed photogravures.
Following retirement from a career in educational management, his long interest in photography was extended by a MA in Printmaking & Professional Practice (Brighton). He is currently undertaking a PhD project at the Centre for Fine Print Research at the University of the West of England in Bristol, investigating aspects of the image surface texturality and tonality of early photomechanical printing processes.
Peter has had prints selected for exhibition at the Royal West of England Academy and the Royal Society of Painter-Printmakers and two solo shows of portraiture – ‘Take Five’ (2005) and ‘Volte Face’ (2010). Last year he exhibited a selection of prints at Impact 8, Dundee and a show of his photogravures is scheduled to be shown at Silverprint this October.

Peter will show a small selection of gravures from his series “time of my life” . He writes that he is not, in general, enamoured of machine produced full-colour photographic prints finding their clinical surfaces, particularly as presented behind glass, too plastic, too clean. They can seem to reflect rather than absorb and respond to the gaze. Their materiality rarely forms part of any artistic conversation. The ‘product’, of itself, appears disinterested; contributing reportage not engagement.
The ‘time of my life’ series explores aspects of the textural and tonal characteristics of the gravure printmaking process. Print surface and texture are central to this project, complementing the choice of mainly mature and older subjects. Their skin, their faces and their bodies offering a generosity of texture and interpretation and providing opportunity for the exploration of affectively nuanced printmaking.
Peter says that he seeks to avoid objectified representation and that he aims to incorporate and foreground the agency and self-awareness of his sitters, acknowledging their participation in the construction of their portraits and the presentation of their bodies. By avoiding cues of socioeconomic placement, he offers space for the emergence of the viewers’ engagement, unconstrained by badges of identity, class, status or authority. His sitters are presented anonymously, without prop, social cue or smile. Their intimacy of exposure independently and individually asserts their physicality, persona and participation – the antithesis of snapped spontaneity. His prints, he says, aim to offer the presence of subjects who, with dignity, offer intimate and voyeuristic access to their embodied selves.’
Peter’s research
Peter is researching aspects of the texture and materiality of nineteenth century printing processes and would appreciate the help of LAPC members at the meeting. He would like to circulate for inspection a number of test images and invite people to contribute words, terms and phrases that are descriptive of their texture, appearance and materiality. Peter is working on the collection/recording of the lexicon or vocabularies that people use when describing or responding to the physicality rather than the content of photographic prints, particularly alt-process prints, and would appreciate your help. He thinks this would take about ten minutes of your time.



June 2014 Meeting


River Soča, Slovenia 08/13, Toby Deveson.

River Soča, Slovenia 08/13, Toby Deveson.

Nocturne, Mike Crawford, 2014, Lith

Nocturne, Mike Crawford, 2014, Lith


On Tuesday 3rd June 2014 at 6.30pm, London Alternative Photography Collective will be meeting at Doomed Gallery Dalston



Mike Crawford will present a talk on his series, Nocturnes, which explores the city in twilight. Much of the work is abstract and multilayered, using reflections and shadows to suggest stories within a story. Other images are purposely diffused, unwanted detail subdued to leave shape and form.

Shot in a variety of locations on 35mm, the work is unified by the lith process. Printed on discontinued and outdated paper, the contrast and colour of the photographs are intensified and the texture and grain enhanced. Mike’s talk will consider the influences behind the work, his use of lith printing for this particular series as well as a historical review on the process.

‘The longer I linger over the prints, the more intrigued I am by them. I almost feel as though I’m looking at stills from a strange and mysterious film – a kind of Edward Hopper existence in the night-time city where life is caught in the reflection of a rain-spattered window or through a shady doorway. It’s enticing and strange and not without it’s moments of darkness.’
Elizabeth Roberts, Black and White Magazine

Mike Crawford is a photographer and specialist photographic printer based in London. He has printed for many leading photographers, working on numerous exhibitions and publications. In addition, he has held several exhibitions of his own photography, primarily working in urban landscape and portraiture. Mike is an Ilford Photo Master Printer and has taught at several Universities and Institutes and is the author of four technical photographic books and numerous articles for various photographic magazines.


Toby has been taking black and white photographs since 1989, always using an old Nikkormat and the same 24mm lens he ‘borrowed’ from his father over twenty years ago.
Whether he is photographing landscapes or people, Toby approaches his work in the same way, moving through his environment surprisingly quickly. Always watching and absorbing, constantly experimenting with framing and composition.
Toby has exhibited extensively, most recently at The Strand Gallery in central London in May & June 2012. 
Toby is currently exhibiting “West of the Sun” at Silverprint.

London Alternative Photography Collective, May Meeting

On Tuesday 6th May at 6.30pm, London Alternative Photography Collective will be meeting at Doomed Gallery Dalston, 65 – 67 Ridley Road, E8 2NP.



Mark Ingham, 120 Days of Staggering and Stammering

Mark Ingham, 120 Days of Staggering and Stammering

Ingham makes site-specific art installations that in practice and theory explore ideas of autobiographical memory and its relationships with photographic images. ‘120 Days and Nights of Staggering and Stammering’ is an installation made up of multiple SLR cameras modified to create photographic projectors. The projected photographic images are an exploration into experiences of remembering and forgetting. Mark has completed an AHRC funded practice-led PhD at Goldsmiths College, University of London in 2005. Mark studied BA Sculpture at Chelsea School of Art and Design and then went to the Slade School of Fine Art for his postgraduate studies. Mark was then awarded the Henry Moore Foundation Fellowship at Camberwell School of Arts and Crafts. Mark is currently Contextual and Theoretical Studies Coordinator in the Spatial Communication/CTS programme at LCC.


Anthony Carr, Fall Back, Spring Forward, Camera 11, 2013

Anthony Carr, Fall Back, Spring Forward, Camera 11, 2013

Anthony Carr
Fall Back, Spring Forward, Camera 11 2013
23cm x 31cm (print size)

Fall Back, Spring Forward is a recent test project undertaken at the gardens of Burghley House, Lincolnshire, studying the moon’s path as it crosses the nocturnal sky using experimental makeshift time-lapse cameras. This particular pinhole photograph represents 1175 hours of exposure over a 4 1/2 month period. The moon is seen rising from the east and reflected in the estate’s large lake.

Read Anthony’s London Pinhole Festival interview here.

Anthony Carr is an artist and photographer whose current practice is predominantly focused on lo-fi photographic processes. He creates images using various methods of primitive production, from the assembling of homemade pinhole cameras to the constructing of room-sized camera obscuras. 

Often demanding extremely long exposure times, the pinhole photographs can have a typical exposure lasting anywhere from a few weeks to several months. He is fascinated by the marks and subtleties that manifest over time, with only the trace of human activity seen for instance in the routine shifting of furniture or the repeated laying of a table. 

Carr’s documentary approach is heavily influenced by our surveillance culture and he has always been fascinated by the elevated viewpoint of CCTV cameras and the quality of images they produce. From their distinct position surveillance cameras are able to silently and constantly observe. This continuous watching without blinking relates directly to his own work and while everything is recorded, virtually nothing but a hint of this is seen in the work. Months mirror moments. 

Carr’s recent projects have captured interiors, exteriors and landscapes from grandiose English houses in Great Windsor Park (24,7,17) and Burghley estate (A Burghley Season) to the forgotten landscape of Milton Keynes’ city centre park (The Forgotten Quarter: An Obscured Camera Production) and the nocturnal cityscape of Derby (A Month of Nights, Derby). Anthony Carr lives and works in London.


The London Alternative Photography Collective aims to provide a forum for anyone interested in alternative photography ideas and processes.

Accessibility and experimentation is at the heart of LAPC. We provide monthly artist talks, opportunities to exhibit works and will organise special events such as: photo walks, demonstrations and workshops.

We encourage everyone from amateur, emerging and established photographers to get involved! If you would like to learn a particular process, please do get in touch, as we are in touch with many specialists who may be able to help you.

On April 25-27th April 2014, London Alternative Photography Collective,Doomed Gallery Dalston and Double Negative Darkroom are collaborating to bring you London Pinhole Festival.


Doomed Gallery support emerging and established artists who exploit photography within their practice. Doomed regularly work with; Space is AcePROWL HOUSEThe Photocopy club and many more.

If you would like to curate an exhibition at Doomed, please contact:,