London Alternative Photography Collective, September Meeting

On Tuesday 2nd September at 6.30pm, London Alternative Photography Collective will be meeting at Doomed Gallery Dalston.




Venus, Four Colour Photo-etching, Luci Eldridge.

Venus, Four Colour Photo-etching, Luci Eldridge.


Luci is currently studying towards a thesis led PhD at the Royal College of Art, having gained a BA (Hons) in Fine Art from Loughborough University in 2011 and an MA in Printmaking from the Royal College in 2013. Recent exhibitions include; On New Grounds (Bluecoat, Liverpool), Alter//Shift//Control (Bermondsey Project, London), Multiplied (Christies, London) Digital Futures (Design Week at the V&A), Selected Works and Projects from the RCA Graduate Show (Christies, London), PHOTO & PRINT (Charlie Dutton Gallery, London) and New Prints (International Print Centre, New York). In 2011 she was awarded the Leicester Print Workshop Graduate prize, and in 2013 was shortlisted for the Terrance Conran and Augustus Martin awards. Permanent collections include the British Museum and Royal College of Art print archives.


Sapling (Air Ministry), Nicholas Middleton, Glass Plate.

Sapling (Air Ministry), Nicholas Middleton, Glass Plate.

Nicholas Middleton is an artist living and working in London and has exhibited widely as a painter. In his practice most of his paintings are based on photographs, and more recently the photography has assumed a greater importance in its own right. Since 2011,he has been
writing the Photo-Analogue blog as a space to detail experiments, investigations and research into various aspects of film-based photography, both current and historical. He is currently engaged in a project of photographing the city at night with vintage glass plates.

Meet Up


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.



Call For Submissions – London Pinhole Festival, 25-27 April 2014.

Pinhole Photograph of Tower Bridge - Wulfus

Pinhole Photograph of Tower Bridge – Wulfus

London Alternative Photography Collective and Doomed Gallery are collaborating to bring you a brand new 3 day festival celebrating Worldwide Pinhole Photography Day on 27 April 2014.

The London Pinhole Festival would like to invite pinhole photographers to join and participate in this 3 day event, which will include an exhibition, a pinhole camera workshop and talks.

The events will run from Friday 25th April to Sunday 27th April with a full programme to be announced shortly.

On Wednesday 2nd April, our London Alternative Photography Collective meeting at Double Negative Darkroom will be pinhole themed, and we urge you to bring along your own pinhole photographs and DIY cameras.

We would also like to invite international submissions of pinhole photographs and DIY pinhole cameras.
You can submit via email to, which could include up to 5 images and a brief description of your process. Deadline: 14th of April 2014.

If you are selected by our panel of judges for the exhibition you must deliver the selected image by April 21st . Your work must be supplied to us ready to hang and you must cover return shipping.