Nick Hedges
Street Scene, Leeds, 1970s

40 x 27cm Epson Archival print (semi-gloss), signed

This photograph is of an elderly lady at the end of her street, and two boys playing tag. It was part of a survey made for Shelter of housing in the inner cities between 1968-1972.
www.nickhedgesphotography.co.uk 

Vembri Waluyas (Indonesia)
The Change of Papua Face, 2016

38.1 x 25.4cm
Honai, Central Highland, Papuan tribes’ traditional house. The roof was originally made from pampas grass. The modernisation, brought along with the operation of mining companies here, has reduced the Papuan forest. It is now hard to find the grass, therefore the Honai use tarpaulin for the roof. It is a kind of compensation taken from Corporate Social Responsibility. This photograph is part of my long-term project of Papuan tragedy. timurjalan.wordpress.com

Dima Zharov & Liza Zhakova (Russia) The Wilderness, Assorino Village, Kostroma Region, Russia, July 2016

38.1 x 25.4cm
Dima Zharov & Liza Zhakova are documentary photographers from St. Petersburg, Russia. This image is from our collaborative series, ‘Desert’ – a project about people who remain the last inhabitants of the Russian deserted villages. The inhabitants left them because of poor roads, lack of schools and hospitals, as well as electricity. Those who stayed refer to this area as Desert. zhakovazharov.ru

Stephanie Foden (Canada) Stranger Things, 2016

38.1 x 25.4cm
The present work, with its intimate portrayals of a five-month road trip aboard a crumbling motorhome, is the realization of an age–‐old dream — to roam about remote bits of Canada equipped with scarce resources and a borderline naïve sense of wonder. www.stephaniefoden.com

Simon Clay (UK) Hitching a Ride with Evel Knievel, 1998

38.1 x 25.96cm
Simon Clay and journalist Richard Fleury were invited to spend a week with Evel Knievel, in the late 90s, as part of their American Road Idols series of feature articles. In the photograph, Evel is swearing aggressively during a tirade about Monica Lewinsky, of whom he wasn’t a big fan. www.simonclay.com 

Carolina Sandretto (USA) Marilena from the series Vivir Con, 2016

30.48 x 30.48cm
Marilena lives in a Solar in Havana, Cuba. In her small and old apartment, she lives with her parents, her husband, and her 10-year-old daughter. Like her, many Cubans strive in their everyday life. ‘Vivir Con’ is a series of portrait of Cubans and their home. www.carolinasandretto.com

Abraham (UK) A Path for One, 2016

25.4 x 38.1cm
My name is Abe, I’m a 17-year-old photography student studying at Newcastle Under Lyme College. This image was created to help show the journey of a college student and the way everyone else seems irrelevant when you are pursuing the future that you want.

Amanda Jackson (UK) Adam and Sian, Volunteers, 2015

38.1 x 31.06cm
The photograph, ‘Adam and Sian, Volunteers’ is part of the series ‘To Build A Home: A study of the people of Lammas Tir Y Gafel Eco Village and the surrounding community’, which focuses on the North Pembrokeshire settlement near Glandwr.
www.amandajaxn.co.uk

Tanya Houghton (UK) Natalie, A Migrant’s Tale, Plate 7, 2016

38.1 x 26.39cm
Tanya Houghton b.1985 is a British photographer. The image Natalie is taken from her recent body of work ‘A Migrant’s Tale’. Working with migrant’s, Houghton explores our connections to home through the language of food, proposing that we are all migrant’s continuously travelling to and from a cognitive home we carry within.
www.tanyahoughton.com

Justas (UK) Candy Shop, 2016

38.1 x 25.4cm
Our class went on a residential trip to Yorkshire to take photographs for our project ‘Cultural Landscapes’. When I saw the man with his dog, randomly standing next to this old candy shop, I had an opportunity to capture the moment before they walked away.

Leila Collins (UK) Silk, 2015

38.1 x 25.27cm
This shot was taken at Hackney Carnival in London, in September 2015. It was shot on 35mm film, on an Olympus XA2. I was drawn to the pastel colour palette, as well as the contrast between the woman’s grave expression and the grandeur and extravagance of her attire. digitallionldn.blogspot.co.uk 

John Myers
Nicola and Donny Osmond, 1973

20.32 x 25.78cm silver bromide print, pencil signed and dated 2015

John Myers’ portraits, boring photographs, televisions, houses and sub stations collectively known as Middle England were taken in the small town of Stourbridge between 1972 and 1979.  www.johnmyersphotographs.com 

Aleksandra Nowysz (Poland) Tufo, 2016

38.1 x 25.4cm
Tuff is a type of white rock made of volcanic ash ejected from a vent during a volcanic eruption. Sassi is a habitat excavated in tuff rock. Furthermore, it is an example of vernacular architecture – made without architects. Here the city is an extension of the natural landscape. This is a productive landscape and an inhabited one. www.instagram.com/aleksandranowysz

Wojciech Ryzinski (Ireland) Hurling, 2013

38.1 x 25.31cm
In a conversation with my Irish friends, I have, at once, compared Hurling to a religion. I was then told that this is something way more serious. This project’s goal is to show behind the scenes of Hurling. www.ryzinski.com 

Nicola Onions (UK) Ephemeral VI, 2014

38.1 x 25.5cm
‘Ephemeral VI’ is taken from Onion’s project ‘Ephemeral’, an exploration of the artist’s grandparents memories and Alzheimer’s disease. The ice encasing the images changes through time, as it melts. This visualises how the disease distorts and effects memories and shows how transient life is.
cargocollective.com/nicolaonions

Paul Biddle (UK) The Figure Flinger, 2016

38.1 x 31.75cm
My latest series is about Cabinets of Curiosity and Rooms of Wonder. It’s about Man as avid collector and pillager of the Natural World to the detriment of that world, as symbolised by the Dodo. paulbiddle.com 

Paul Schatzberger (UK) Central Park, 2005

38.1 x 27.24cm
Originally struck by the Lowryesque figures in Central Park, New York, skating round incongruously bright traffic cones, the skyscrapers disappearing into atmospheric low cloud, I find that this photograph now takes on new meaning with the Trump signs on the perimeter. 6x7cm colour negative, Mamiya 7 with 65mm lens, 2005.
www.paulschatzberger.com

Yangkun Shi (UK) Hometown, 2016

38.1 x 32.66cm
This image is selected from the Solastalgia project, which is about a young Chinese generation exploring memories and seeking identities, in the context of tremendous change in China. By taking photos in order to describe the social reality, from my perspective, the project not only questions the impact of the industrialisation, but also reflects my uncertainties under a particular environment. www.shiyangkun.com 

David Waldron (UK) School Visit 2, 2000

38.1 x 30.48cm
As a photographer and educator, opportunities to photograph in schools presents itself from time to time. An educational trip to Goa, working on compare and contrast exercises with photographic students, led us to observe class groups in social and working situations. School visit 2 shows the pupils being enthusiastically led outside, for a short break from class – just like they do in college at home.

Suzanne Plunkett (UK) Semi-detached, 2016

38.1 x 23.9cm
l’ve long been fascinated by British semi-detached houses that clearly began as symmetrical halves but have, over the years, morphed into two very different and distinctive sides with little in common beyond being joined at the hip. Both sides tell their own stories about their occupants and the surrounding neighbourhood. www.suzanneplunkett.com 

Verena Andrea Prenner (Austria) Europe Now, 2013

30.48 x 30.48cm
EUROPE NOW is an artistic reflection on the current situation in Europe. www.verenaprenner.com 

Nicholas Priest (UK) Untitled, 2009

38.1 x 25.33cm
This photograph taken from my ongoing series ‘Stadt Farbe’ (city colour), which depicts real life Birmingham. As I moved here to study, I found myself seeing the real Birmingham. Living in Perry Barr, Ladywood, other suburban areas; I saw what Birmingham was really about: abandoned, uncontrolled, decaying, untidy and misused, yet beautiful and full of colour. www.nicholaspriest.com 

Liz Hingley
Narwal Fatima, Ayeman Ferdos and their great-grandfather Khadam Hussain

From the series ‘Home Made in Smethwick’ commissioned and produced by Multistory. 30 x 20cm

Liz Hingley is a British photographer and anthropologist. This image is taken from ‘Home Made in Smethwick’ an intimate photographic series, produced in a book, of the people and the food cooked in Smethwick in the Black Country, one of the most culturally diverse towns in the UK. www.lizhingley.com

Annie Risemberg (USA) Untitled 2, 2016

38.1 x 25.4cm
I took this photo while I was in Bamako, Mali, to document the Tabaski (Eid al-adha) and Independence Day holidays. I found this group of children sitting in the garden commemorating Mali’s 50th anniversary of independence from France. www.annierisemberg.com

Luke (UK) Separated, 2016

38.1 x 25.4cm
I have been a photographer for around two and a half years and I am happy to photograph almost anything if asked to. I currently study photography at Matthew Boulton College.

John Fallon (UK) James Bridge Copper Works, Walsall, 2016

38.1 x 30.02cm
This image is from a larger project entitled ’1974’, which views the industrial and commercial landscape of the region as left over and abandoned relics.
‘1974’ is the year when the West Midlands county was formed at a significant time in British history in terms of politics, industry and culture. www.johnfallon.org

Anna Magérusz (Hungary) Night Owls, 2012

38.1 x 25.4cm
This picture was taken in 2012, in a traditional old bar called Piaf, in Budapest. I photographed people and situations from the night life. You have to ring the bell to get in the bar. Inside the place, it feels like you are travelling backwards in time. annamagerusz.tumblr.com 

Mattia Vacca (Italy) S’ Ardia, 2016

30.48 x 30.48cm
In Barbagia, a mountainous area in central-eastern Sardinia, locals still live respecting ancient traditions. Every year, the bravest horse riders of the Italian island, participate in the wild and unrestrained race ‘S’Ardia’. They run for celebrating a warrior saint never approved by the Vatican Church. Not for money or glory. www.mattiavacca.it 

Dániel Halász (Hungary/USA) Untitled, GYDA, Uganda, 2015

25.4 x 38.1cm
Daniel Halasz (1981, Hungary) is a photographer and videographer who has travelled extensively around the world and is the recipient of numerous grand prizes, such as the Google Saatchi Photography Prize and the Epson Art Photo Award. He was nominated as one of the best young artists in Europe in 2011 and is a top artist of PLATTFORM 10 at the Fotomuseum Winterthur in Switzerland.
www.danielhalasz.com

Tom Illsley (UK) Aircraft Taking Off Over Hatchford Brook, 2016

38.1 x 30.48cm
There’s No Herons Today. Birmingham Airport receives thousands of international passengers daily. These visitors travel from the four corners of the globe, flying over the surrounding area without intricately seeing the beauty of the landscape below. This series of images highlights the landscape and its history to these travellers that frequent the sky above. www.tomillsley.com 

John Hodgett (UK) National Memorial Arboretum, 2016

38.1 x 25.7cm reserve
I never leave my home without a camera, and although I rarely seek out subjects to photograph, I do stumble across situations that I want to preserve and share.

Jolita Mo (UK) One Day in Summer, 2014

38.1 x 25.25cm
Jolita Mo is a London-based designer and photographer who works mainly with film. ‘One Day in Summer’ was shot at Coney Island, New York on colour slide film. The film was cross-processed to create surreal, over-saturated colours, playing the notion of nostalgia and timelessness. www.jolitamo.com 

Laura-May (UK) Fishbowl, 2017

38.1 x 25.4cm
This image is part of a project on surreal landscapes. I experimented by photographing different objects inside lightbulbs in various landscapes.