Each year as part of Graduate Photography Online we ask a number of professionals from the world of photography to review all the BA work submitted and choose their favourites. We hope this makes an interesting introduction to the project as a whole.
Anne Adesolabomi Nwakalor
Founding Editor, No! Wahala Magazine
The Source Graduate Photography competition has been graced with an impressive array of submissions, showcasing the exceptional talent and creativity of this year's graduates. Each project stands out for its high standard and quality, reflecting a deep personal touch and unique artistic vision. The diversity of topics explored by the photographers adds a rich layer of intrigue and engagement to the collection. From poignant personal narratives to thought-provoking social commentaries, the projects demonstrate a remarkable breadth of subject matter. The sophisticated use of various photography techniques highlights the skills and knowledge acquired through their university education, underscoring the educational excellence and dedication of the participants. I am delighted to be a part of this years selecting panel as it has given me an opportunity to view these captivating and skillfully crafted works that truly embody the spirit of innovation and expression in contemporary photography.
Selector's Comment: Chrysalis by Edie Nightingall is a beautiful illustration of the power that inanimate objects can have in a persons life. Through Edie’s images, you can get a sense of her desire to hold onto the memories of her childhood alongside the recognition of her need to move on and evolve into adulthood. A nostalgic presence is evident throughout each image and each carefully composed scene gives the illusion of time slowing down right before the viewers eyes.
Selector's Comment: I really enjoyed ‘Third Space’ by Amber Mylius-Kingbecause it’s an unapologetic declaration of the space that ethnically diverse women occupy- or should occupy in society. Amber’s decision to shoot in black and white strips the images of any possble disractions and allows the viewer to focus on the individuals infront of the lens and their choreographed poses. The use of double exposure clearly reflects the hybridity that the photographer aimed to convey alongside reminding us of the multifaceted nature that people of colour posses. It is an audacious reminder to not put people of colour into boxes.
Selector's Comment: Baseline by Anne-Marie Robst highlights an important but often neglected topic. The use of flash photography gives the project an investigative journalistic feel and, in turn, gives the illusion that we, as viewers, are bearing witness to something that many would prefer to stay hidden. Anne-Marie’s decision to pixelate the participant’s faces speaks to the invisibility of support workers despite their crucial role in society.
Selector's Comment: I really enjoyed the editorial aesthetic of David Maguire’s project, ‘Embrace.’ The theme of self-acceptance comes through subtly in the Photographer’s choice to capture their models in self-affirming poses that highlight either their hands, neck, or jewelry. David’s decision to have the models avoid the camera’s gaze definitely adds an element of tension and alludes to there being more to what meets the eye.
Selector's Comment: I found Roots by Rahaf Aburideh to be a powerful tribute to her Palestinian heritage. The self-portraits in traditional Palestinian wear juxtaposed against various rustic locations signify the displacement that many Palestinians are experiencing right now. I was drawn into the Photographer’s gaze in each image, as her stare is inviting yet challenging and forces the viewers to truly see her as opposed to just passively gazing.
Selector's Comment: Susan Quin’s project is a stark reminder of the ongoing housing crisis. I found the photographer’s use of composition impressive and enjoyed the sneak peek into the participant’s houses as a result of deliberate camera angles. Susan gives enough details for us to get a rough idea of the participants and their living situation without revealing too much, leaving the rest up to the viewer to decide.
Selection by Jilke Golbach ▸
Curator, Writer & Researcher
Selection by Darren Campion ▸
Assistant Curator, Photo Museum Ireland
Bath Spa University
BA (Hons) Photography
University of Bedfordshire
BA (Hons) Photography
University of Bolton
BA (Hons) Photography
Boomsatsuma
BA (Hons) Documentary Photography and Print
University of Brighton
BA (Hons) Photography
Cardiff Metropolitan University
BA (Hons) Photography
University of Chester
BA (Hons) Photography
Crawford College of Art and Design
BA (Hons) Fine Art
University of Cumbria
BA (Hons) Photography
University of Derby
BA (Hons) Photography
Griffith College Dublin
BA Photographic Media
TU Dublin
BA (Hons) Photography
Edinburgh College of Art
BA (Hons) Photography
Edinburgh Napier University
BA (Hons) Photography
Falmouth University
BA (Hons) Photography
University for the Creative Arts Farnham
BA (Hons) Photography
Glasgow School of Art
BA (Hons) Fine Art Photography
City of Glasgow College
BA (Hons) Photography
Hereford College Of Arts
BA (Hons) Photography
University of Hertfordshire
BA (Hons) Photography
Leeds Art University
BA (Hons) Photography
Limerick School of Art and Design
BA (Hons) Photography and Moving Image
London Metropolitan University
BA (Hons) Photography
London South Bank University
BA (Hons) Photography
Morley College London
BA (Hons) Photography (Top-Up Part-Time)
National College of Art and Design
Certificate in Photography and Digital Imaging
The Northern School of Art
BA (Hons) Photography
Open College of the Arts
BA (Hons) Photography
Pearse College of Further Education
QQI Level 6 Photography
University of Portsmouth
BA (Hons) Photography
Sheffield Hallam University
BA (Hons) Photography
Solent University
BA (Hons) Photography
University of Suffolk
BA (Hons) Photography
Teesside University
BA (Hons) Photography