Harry Watts - 'Studio'

This is my most recent work, I felt it would fit posting the two founders of the magazine 1st, and I would still love you guys to send your work in, as it will go either on this blog or maybe in the magazine. So send the images along with a small description of the work to, info.phmagazine@gmail.com

Following an intense period of time spent as a studio assistant, in London. I observed the repetitive re-use of the objects and equipment integral to the photographic studio. The monochrome space and items presented would be reconstructed on a daily basis to create colorful sets of magical lighting; alterer worlds resulting in sleek images of fantasy and desires, which are so readily and hungrily consumed.

This stark body of work literally strips away the glamorous and illusional. The studio space is potentially, yet invisibly occupied by objects which exist only as a aid to the visual creation, rather than meant to be seen as themselves. Created and coated in grey light absorbing materials these objects stand mono-chromic in a empty person-less studio.

By revealing these devices, out from the darkness, come the stains and marks of the make shift, covered with human alterations and adaptations. The studio space becomes a place for theatricality of recorded life.

Images: (Top to Bottom)
Untitled 8
Untitled 4
Untitled 2

This work has also been published on the current, Issue 9, of SeeSaw magazine, here the series is complete.

Phil Bedford - 'Territories'

A 2nd year photography student, at Brighton University, and co-founder of pH magazine Phils work gained inspiration from Michael Schmidt’s book, Waffenrue (Ceasefire) where he produced images about the Berlin Wall and Iron Curtain. This work is shot in black and white, the absence of colour allows for deeper ambiguity in the close-up images. This style allows the reader to dwell upon the metaphorical signs that may be drawn from the decayed structures and almost alien terrain. I have also found John Gossage’s Vocational Ruins work to be slightly similar and his use of depth of field very inspiring. The abstraction of these images is important as it is only the details of these boundaries that interest me, the fact these details give us reassurance that our personal space is ours. The psychological boundaries such as picking at a couch or etching names into a table allow us the privacy we desire within the public space but also leave traces behind on our primitive territory.

Images: (Top to Bottom)
Sofa, 2007
Table, 2007
Window, 2007

Welcome

This is pH magazine, an exciting new bi-monthly publication featuring student photography. Our aim is to get student work out into the public eye through this small magazine. We are also interested in publishing recent graduate’s work in assistance to them as new photographers. This issue is very small but we hope to expand to include more photography, articles, interviews etc. Our budget is very limited so we would like to know if anyone could help us with the publishing costs or support the magazine in any way, please let us know!

The team is dedicated to publishing the work of photographers and students so that their skills and ideas can be appreciated and promoted in the outside world. pH magazine aims to inform its readers of opportunities available in their professional practice for example the organizations they might contact for assistance, commissions, funding or promotion. Through the articles and features the issues strive at instigating critical and theoretical debate on ideas and concepts in photography.

This Blog will comprise of the images shown in the magazine, plus more that we couldn't fit in. Such as texts, reviews and exhibitions.

So please send us your work, ideas, letters to info.phmagazine@googlemail.com and your work may be in the next issue.