Behind the Shot: The process and Inspiration Behind My Final Image.

The final image for my graduate show draws inspiration from Leonardo da Vinci’s iconic painting Lady With An Ermine. Through symbolism and styling, I aimed to produce a portrait that conveyed the subject’s unique individuality while also echoing the rich lighting and visual depth of classic paintings.

the process began with several test shoots to perfect the lighting. My objective was to imitate the dimensionality of classical portraiture rather than adopt a flat photographic style. Once the lighting achieved the desired sense of depth, I worked closely with my subject to style the shoot in a way that felt authentic to her. She is dressed in an Abaya, a robe-like garment traditionally worn by women in many parts of the Muslim world, including Saudi Arabia, where she is from. In order to convey both cultural history and individualism, this choice of clothing was essential.

A significant symbolic element in the image is the fox the subject is holding. The fox, which is considered as her spirit animal, stands for transformation, intuition and guidance. In many cultures, the fox is seen as a link between the physical and spiritual realms, embodying themes of personal growth and deeper wisdom - qualities reflected in my subject’s journey.

Over the course of five different shoots, the image was refined in terms of both technical aspects and narrative clarity. Post-production was minimal, limited to minor touch-ups such as removing stray hairs or smoothing fabric creases. After giving it some thought, I decided to print on matte paper in order to maintain detail and lessen glare in display lighting.

Now that the final image is finished, i’m excited to display it in the graduate show - bringing together historical reference and personal storytelling in one frame.

Preparing for the Graduate show: Print and Presentation.

As the Graduate show approaches, i’ve been putting a lot of thought into haw best to present my work in a way that enhances its impact rather than simply displaying it on a wall. I started by experimenting with various kind of paper for printing because I realised right away that the presentation would be very important in deterring how the audience would perceive the image. I experimented with both a matte watercolour paper and a glossy pearl paper. Although the pearl paper was of excellent quality and was great for details, its reflecting surface caused excessive glare in direct lighting, which took away from the darker tones within my work. The matte watercolour paper, on the other hand, not only resolved this problem nut also added a painterly texture that compliments the images’ visual appeal and layered feeling. A key component of my concept, this texture gave depth by mirroring the visual language of classical paintings. The decision became obvious.

After deciding on the paper, I focussed on framing. To tie into the historical allusions in my work, my original plan was to use antique frames, that resembles those found in galleries that display classical portraits. But I quickly recognised that elaborate frames could detract from the images by competing with them. I decided on a simple black frame after giving it some thought. Its simple style lets the photos shine while maintaining a polished appearance that disappears into the background.

Lastly, I created a precise project statement for the show’s catalogue. My aim was to provide just enough insight into the themes and intentions behind the work to spark curiosity, encouraging viewers to seek out the pieces in the exhibition space and engage with them more deeply.

Finding my style: how University shaped my photographic practice.

During my first year of my photography degree, I was introduced to portraiture as a part of one of my core modules, and I instantly connected with the process. But as I moved into my second year, I found myself stepping away from the studio environment. The lack of regular studio use began to make it feel unfamiliar, even intimidating. I gradually lost confidence, feeling out of practice and unsure of my place within that space.

Entering third year, I knew I wanted to return to something that I genuinely enjoyed for one of my final major projects - so I chose to revisit studio portraiture. I first approached it with a casual attitude, trying out different lighting configurations and playing around with ideas without pressure. This helped rebuild my confidence and remind me of how much I enjoy studio work. Despite being difficult at first, the abilities I had previously acquired started to come back naturally, confirming that studio photography is where my practice truly lies.

A significant part of my development throughout university has been shaped by the feedback I received from tutors. Their approach was subtle yet impactful - they provided direction that prompted self-discovery. Especially during my second and third years, one-on-one tutorials were crucial in assisting me in refocusing when I felt either overwhelmed by ideas or lacked direction.

Above all, this journey has reaffirmed the importance of failure and experimenting in the creative process. I discovered what works, what doesn’t, and how to improve my ideas through trial and error. Creativity stalls without exploration, and growth is restricted without failure. As a photographer, these lessons have become fundamental in shaping both my practice and mindset.

Mastering the Studio: A journey through light and learning.

Studio photography can feel intimidating at first, but with practice and planning, it becomes an incredibly powerful tool. When working in the studio, understanding lighting is essential. Knowing how to use lights to enhance your shoot and realise your creative vision is more important than simply just arranging them.

I carefully consider my lighting arrangement before every photoshoot. If I know the studio will be involved, I map out ideas and plan test shoots. These test shoots are crucial - they allow me to experiment with different setups, try out techniques I hadn’t considered before, and refine my final approach. Thanks to unlimited access to the universities photography studio whilst a student, I make a point of using it as often as I can.

Lighting became a key component of my creative process during my From Canvas to Camera project. I was referencing classical portrait paintings, so recreating their atmosphere meant getting the lighting just right. I experimented with Rembrandt lighting, which created a triangle of light beneath the eye and casts one side of the face in shade. It creates a moody, painterly effect and helped me mirror the emotion and depth go traditional art.

I avoided the studio a lot during my second year at University because I felt overwhelmed by it. However, in my third year, I made it a priority to overcome that fear. I made a commitment to understand how everything operated, and today I feel at ease taking pictures in the studio. I’m glad to have finally mastered something that I have always wanted to do.

History of Portraiture: From Stone to Selfies

For a long time, Portraiture has been a powerful tool for expressing human individuality. Originating thousands of years ago, this art form began as a way to immortalise authority, power, and personality through sculpture, painting, and drawing. One of the earliest known portraits, the Statue of Gudea from around 2144-2124 BC, reflects this focus on commemorating rulers and deities.

By 55-79 AD lifelike painted portraits like those from Ancient Rome emerged, demonstrating a greater ability to capture realism and character. Portraiture continued to have symbolic value during the mediaeval era (985 AD), when religious and royal figures were portrayed in stylised forms to communicate their status.

Individualism and realism gained popularity during the renaissance. Admired for its nuanced emotion and technical skill, Leonardo Da Vinci’s “Mona Lisa” (1503) became one of the most iconic portraits in art history. Self-protraiture gained emotional depth and a unique perspective in the 19th century thanks to painters like Vincent Van Gogh, While the 20th century introduced radical experimentation. Andy Warhol’s Marylyn Monroe series (1962) and Pablo Picasso’s cubist “portrait of Dora Maar” (1937) redefined what a portrait could be, exploring identity through abstraction and pop culture.

Before photography, these were the only ways to preserve likeliness. However, portraiture became increasingly intimate, accessible, and representative of daily life as technology advanced. Photographers like Sophie Trainer blend visual storytelling with modern identity, continuing the legacy of portraiture as a mirror of humanity.

Portraiture has always been more than just representation; it’s a reflection of who we are and how we want to be remembered, as seen in everything from ancient monuments to modern photography.

Website Inspiration: Sophie Traynor

while building my own photography website, I spent some time exploring the work of other creatives, and one that really stood out to me was Sophie Traynor’s. Her website first drew my attention with its striking yet unified colour scheme, which makes the entire experience visually captivating without being overpowering. The website feels polished and professional because of its consistent aesthetic.

What I really admire is how minimalistic the layout is. It’s clear, simple to use, and free of distractions so her work can shine. Each project or series is clearly separated, helping the viewer appreciate the variety in her work while still understanding her style as a whole. Nothing feels cluttered or out of place.

Her ‘About Me’ part is also fantastic; it’s warm, inviting, and approachable. It doesn’t feel overly formal or distant, which really adds to the overall vibe of the site. It feels like you’re getting to know the person behind the camera, not just their work.

Sophie’s website definitely influenced how I approached my own. it provided me with a solid basis, despite the fact that i’m just getting started and hers has obviously been improved overtime. I wanted my site to feel just as seamless and minimal - something that invites people in without being too “in your face”. Another major area of concentration for me was navigation; I wanted people to be able to quickly explore my work without feeling overwhelmed or lost.

Taking inspiration from someone whose style I admire has made the process much less intimidating and a lot more exciting.

The Crossover: Planning, Reflection, and Creativity

Throughout my photography degree, I’ve managed creative projects from the initial idea, all the way to the final image - planning shoots, adapting as things changed, and reflecting on the outcome. I’ve learned that creativity thrives on structure and flexibility working together. Just as important as the idea itself is the ability to step back, honestly assess your work, respond to feedback, and improve it with purpose.

Primary teaching can benefit greatly from these reflective practice and project planning skills. Planning lessons with clear learning outcomes is like planning a shoot - you need a vision, but also the ability to adapt in real-time. Good teaching, like good photography, is rarely perfect the first time. it’s shaped through thoughtful reflection: what worked? What didn’t? How can I make it better next time?

Reflection is also something I would like to encourage in my future pupils. Helping children recognise their own progress, think about what they’ve learned, and build confidence from it is a powerful part of education. Learning to reflect allows children to observe how they have grown over time, just like reviewing a set of photos.

My background in photography has given me a practical, creative approach to both planning and self-evaluation - skills i’m exciting to carry with me into a classroom.

The Crossover: Observation & Attention to detail

I’ve learnt a lot more than just how to operate a camera from studying photography. It’s trained my eye and sharpened my mind - especially when it comes to observation and attention to detail. Through countless hours behind the lens, i’ve learned to reads between the lines of an image: noticing how light falls across the subjects face, the tension in the body language, the story told by a backdrop, or the meaning behind a carefully placed object. These subtle details often carry the most powerful messages.

Now, as I take my next step into primary school teaching, ive come to realise how valuable these same skills will be in the classroom. Little details are important when working with children, much like in photography, where the smallest detail chan change the entire meaning of a photo. A change in tone, a quiet moment, or a distracted gaze can reveal so much about how a child is feeling. By being attentive, i’ll be able to respond more sensitively to their emotional needs and support them more effectively.

Additionally, lesson planning benefits greatly from this attention to detail. It encourages me to design activities that are responsive to the individual needs of my pupils - adapting and adjusting in the moment, just like framing a shot on the go. I intend to apply what I have learnt from photography - that meaningful results often occur from looking closer, thinking more deeply, and being fully present - into every classroom I teach.

The Crossover: Creative Thinking & Visual Storytelling

One of the most valuable skills that I have developed throughout my photography degree is the ability to think creatively and communicate ideas visually. Whether I was creating surreal portraits or experimenting with composition and light to explore identity, I learned how to express complex concepts in imaginative ways. Photography taught me how to tell stories without words - how a single image could capture emotion, perspective, and narrative.

This type of innovative thinking is crucial in a primary school setting. Young children naturally think in imaginative ways, and it’s our job as educators to nurture that. I want to create an environment where creativity is celebrated, whether that’s through drawing, storytelling, role play, or even introducing simple photography activities. it’s not just about making art - it’s about helping children find their voice and build confidence in expressing themselves.

Moreover, visual storytelling is an effecting inclusion strategy. For children with English as an Additional Language (EAL) or those with Special Educational Needs (SEN), visual approaches can break down barriers and help them engage with learning in a way that feels accessible and affirming. My background in photography has helped me see the value of alternative forms of communication - something i’ll carry with me into the classroom everyday.

Nationhood : Memory and Hope

As Bradford commemorates its year as the UK City of Culture, The Nationhood : Memory and Hope photography exhibition offers a compelling exploration of identity, history and belonging.This showcase, which runs from 11th January 2025 to 26 April 2025, presents the work of several photographers to highlight the cultural diversity of the UK.

Nationhood : Memory and Hope brings together a range of photographers, each contributing a distinct visual approach, in contrast to exhibitions that focus on a single artist. The collections addresses issues of race, gender, community, and tradition through surrealist photography, documentary realism, and conceptual compositions.

The Necessity of Seeing, a collection of powerful photographs by globally recognised Ethiopian photographer Aïda Muluneh, is a key highlight. Her art, which is well-known for its striking use of colour and symbolism, invites viewers to consider issues of cultural legacy, migration, and identity.

Additionally, seven up-and-coming photographers from the UK have new or never-before-seen portraits in the exhibition:

• Shaun Connell

• Rob Doherty

• Chad Alexander

• Robin Chadian-Duke

• Grace Springer

• Miriam Ali

• Haneen Hadiy

These artists present fresh perspectives on modern Britain, addressing history, race and identity in powerful ways.

This exhibition demonstrated how impact may be increased through presentational simplicity. By staying away from extravagant displays, viewers are able to concentrate on the imagery’ depth and significance.

📍Exhibition dates : 11th January 2025 - 26th April 2025

📍Location : Impressions Gallery, Bradford, BD1 1SD

David Hockney : Pieced Together

‘David Hockney: Pieced Together’ is an exhibition at the National Science and Media Museum in Bradford that explores the renowned artist’s inventive use of photography and video. It runs from January 15th to May 18th, 2025. David Hockney, who is most known for his colourful paintings, has always embraced technological innovations in his work, expanding our perceptions of and ability to depict the world.

Hockney’s video project “The Four Seasons; Woldgate Woods”, which uses breathtaking multi-perspective imagery to depict the passage of time, is a major feature of the exhibition. Along with a few of his previous photographs, this artwork demonstrates his skill at producing visual ‘collages’ using still and video cameras, providing an artistic interpretation of how humans actually perceive perspective, scale and time in real life.

Visitors can also examine the similarities between his early “joiner” photo collages, which are created by assembling several photographs to create a disjointed, yet unified whole, and his more current digital works. One of these iconic collages, made in the museum itself in 1985, features the building in its former identity as the National Museum of Photography, Film and Television.

Hockney is actively promoting “DRAW!”, a nationwide Project for Bradford 2025 UK City of Culture, which promotes creativity and involvement via visual storytelling, in addition to the exhibition.

Visitors are encouraged to fully immerse themselves in Hockney’s vision through this interactive display, which also offers headphones for a more immersive experience, With a “pay what you feel” admission policy, this is a must-see for both art lovers and inquisitive minds.

Building my website: A journey of trial and error

Before I started building my website, I had to look for a trustworthy and easy-to-use website builder. I looked at many platforms in great detail, and my lecturers have some useful suggestions. Cargo was my first choice, but I soon discovered that it was too intricate and challenging to use. After deciding it wasn’t the appropriate fit, I tried Squarespace. I could see my concept come to life right away, and so far, the process has been simple and straightforward.

I had in mind from the beginning that my website should be simple and uncluttered so that my work would always be the focus. I didn’t want a busy or overly stimulating layout. In order to get ideas, I looked through various photographers’ websites. The one by Sophie Trainer was very noteworthy. The design of her website is straightforward, yet effective with a splash of colour that gives personality without being overpowering.

An “about me” page was a crucial component of my website since it allowed me to tell my experience. Initially, I was unsure of how to come across, but in the end, I chose to be genuine and honest. I acknowledged my love for photography while also admitting that I only intend to use it as a hobby and a side job and not as a full-time career.

Additionally, as portraiture and still life are my favourite genres to photograph and where my creative interest rests, I wanted my website to predominantly feature this work. I can see how much trial and error went into creating my website, growing from my mistakes and refining my ideas along the way.