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, 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.