LUPE MAGAZINE - Middlesex University

LUPE MAGAZINE 

MIDDLESEX UNIVERSITY 

PHOTOGRAPHY SHOWREEL 

CLASS OF 2013 

LUPE MAGAZINE / 2013 / page 1

EDITORS 

Welcome to Lupe Magazine, 

a showcase of student 

photographers’ work at 

Middlesex University. 

This has been selected, edited 

and published by students with 

the support and assistance 

of Middlesex University 

Photography tutors. 

As students on the BA 

Photography course and 

surrounded by many talented 

photographers, we felt it was 

necessary to create a platform 

to showcase the best work 

from the still relatively young 

BA Photography and MA 

Photography programmes. 

Students so far have frequently 

been shortlisted for and won 

competitions such as the Taylor 

Wessing Photographic Portrait 

Prize, the Association of 

Photographers Student Awards 

and the D&AD Student Awards, 

as well as many others. 

We believe that, given the 

knowledgeable and experienced 

tutors, the outstanding facilities 

and dedicated students, much 

has been achieved in a short 

time and we hope to continue 

in this way. 

We hope you enjoy viewing 

the work as much as we have 

enjoyed making it. 

Welcome to Lupe. 

2 

4 

10 

16 

78 

EDITORIAL 

Written by 

Will Lakin 

FEATURED 

Rob Pickard 

FEATURED 

CY Frankel 

THE WALK THROUGH 

See the work of 

Middlesex photography 

class of 2013. 

INDEX & 

EDITORS 

© All rights reserved. 

79 

THANKS TO 

No part of this publication may be 

produced or reproduced in whole or part 

without permission from the publishers. 

The wievs expressed in this magazine 

are those of the respective contributors 

and are not neccessarily shared by the 

magazine or its staff. 

LUPE MAGAZINE / 2013 / page 2 LUPE MAGAZINE / 2013 / page 3

LUPE MAGAZINE / 2013 / page 4 LUPE MAGAZINE / 2013 / page 5 

Rob Pickard 

Excalibur Estate

Excalibur Estate 

Rob Pickard / Excalibur Estate 

To see more: www.robpickard.com 

In March 1943, Winston Churchill addressed 

the nation, declaring that 500,000 

“temporary” houses would be erected 

in order to house returning soldiers and 

those made homeless from the bombing 

in London during WWII. These emergency 

or prefabricated homes were designed to 

promptly address the crisis and intended to 

last 15 years. 

Nearly 70 years on, many 

of the remaining residents 

of Excalibur Estate are now 

fighting a losing battle to remain 

in their homes. 

... at 93 both him and his 

“ prefab have defied 

their life expectancy 

In 2010, plans to regenerate the estate were 

granted to a housing association after a vote 

amongst residents turned out a 2 percent 

majority in favour. The majority of the 

Excalibur residents are tenants and rent their 

prefabs from the council, with many of the 

longer serving residents owning their home. 

This series of images tells the story of those 

residents that voted against demolition, many 

of whom own their prefab and now have little 

choice but to make way for the development. 

This unique landscape in South East London 

has been under the threat of demolition since 

the early 1970s. Today, the sword has very 

much returned to the stone at Excalibur 

Estate. Boarded up prefabs, fly-tipping, 

graffiti and vandalism have turned this once 

picturesque community of buildings into a 

bomb site itself. 

Meanwhile, the council seemingly ignore 

the degradation of the estate in order to 

encourage a more prompt evacuation. Just 

three residents stand in the way of the 

council’s plans to begin the first phase of a 

three-phase redevelopment programme. 

The regeneration of the estate will replace 

181 prefabs containing surrounding garden 

with 371 new dwellings that will include 

bungalows and flats. 

Ken who lives in a phase 1 prefab, cares for 

his 97 year old mother Lillian and also has a 

disability himself. The private driveway and 

single floor of their house makes it ideal for 

their circumstances. In March this year, the 

council sent Ken a possession order 

“ 

threatening court action if they fail 

to accept the alternative housing 

solutions that they have been offered, 

none of which in Ken’s opinion have 

been suitable. Eddie moved into his prefab in 

1946 after returning home from the war. At 

93, both him and his prefab have defied their 

life expectancy. 

Prefabricated houses are quick and cheap to 

construct and continue to provide shelter to 

communities across the globe. In Japan, they 

are still being occupied by those affected by 

the Tsunami, whilst in India they are being 

constructed in order to effectively deal with 

problems of overcrowding and poverty in 

deprived areas. In the UK, they have been 

systematically pulled down over the last 

two decades in order to fall in line with the 

government’s Decent Home Standard. 

Although they were viewed as a temporary 

solution when they were constructed, the 

residents who are depicted in this series of 

images do not agree with the disposable 

status that their homes have been assigned. 

Throughout this project, I have collected 

photographs and archival material in order 

to preserve some of the history of the 

estate, the houses and the people that make 

the tragedy of this impending loss critically 

human. The demolition of Excalibur Estate 

will confine this part of our history to merely 

document and archive, a task which I have 

felt it necessary to contribute to. 



LUPE MAGAZINE / 2013 / page 10 LUPE MAGAZINE / 2013 / page 11 

CY FRANKEL 

MY BRENT CROSS

MY BRENT CROSS 

CY FRANKEL / MY BRENT CROSS 

To see more: www.cyfrankel.com 

For the past 4 years I’d been living down 

the road from Brent Cross tube station 

but I still found the area confusing and 

not very user-friendly for pedestrians or 

motorists. For that reason I’d avoid driving 

to the shopping centre without a satnav 

and I wouldn’t walk there too 

often either – in the daytime 

because I’d get lost, and at 

night for fear of something 

terrible happening in one of 

the underpasses! 

In a way the project is quite personal 

– it was my rediscovery of an area that I 

should really have known, but didn’t. What 

gave the project added impetus is the 

fact that the Brent Cross area is due to 

undergo significant regeneration over the 

next twenty years, starting in 2014. 

In that respect there was a sense of being 

involved in documenting something for 

posterity, before it’s gone forever. 

“ 

IT WAS MY 

REDISCOVERY OF AN AREA 

THAT I SHOULD REALLY 

HAVE KNOWN 

Cross, but in more general terms I felt it 

became a comment on the fate of the city 

when it has been left to stagnate; 

a look at urban life and consumer culture 

and the lifestyle they promise but don’t 

always deliver. 

“ 

In retrospect I think that the 

decision to include portraiture 

gave the project a more 

personal, or might I say 

‘human’ feel - the project was 

no longer simply about the 

landscape but also about the people within 

it and their symbiotic relationship - how 

the landscape affects people and how 

they affect the landscape. 

The image of the three boys in 

Clitterhouse playing fields was not one 

that I had pre-visualised; it was more a 

grabbed shot, coming as I was heading 

home at the end of a long day’s shoot. 

Through the process of exploring and 

photographing the area, 

I got the sense that Brent Cross really 

does need a facelift. It hasn’t moved on 

much since the 1970’s, when the shopping 

centre - the UK’s first - was opened. 

Much of the topography of the landscape 

is dictated by consumerism, but the glitz 

and glamour of shopping culture is getting 

harder to find. 

The monolithic shopping centre looms 

heavy like an unfulfilled promise; 

the jumble of flyovers and crumbling 

subways is hostile rather than welcoming. 

The project is ostensibly about Brent 

The image of the ‘Tesco girl’ however, was 

a little more pre-planned. Having set up 

the camera facing the underpass, 

I waited for someone to come through and 

then agree to have their portrait taken. 

There were a number of ‘no’s’ from other 

passersby but then she walked down 

and agreed to stand under the entrance, 

notwithstanding the heavy shopping bags 

she was carrying. 

I was so glad to finally get the picture that 

I forgot to ask her name, and although I 

gave her my email address, she’s yet to 

get in contact for the print I promised. 

If you’re reading this and you think you 

recognise her, please do let her know! 



WillIAM LakiN 

To see more: www.williamlakin.com 

These images are from a project I have been 

working on over winter. The project is a portrait 

of an old seaside town called Great Yarmouth 

located on the east coast of England. 

I am photographing the people and the 

landscape in an effort to convey the surreal 

atmosphere of the towns’ changing scenery; 

on one hand the area is clinging onto its long 

established holiday resort roots, with some 

attractions soldiering on even through the 

winter months, and on the other the town is 

searching for a new identity, with new housing 

developments underway, new supermarkets 

and plans for a brand new seafront 

amusement complex on the horizon. 



Aleksandra Wojcik 

To see more: www.aleksandrawojcik.com 

‘Lucid Dreams of Battersea’ is an ongoing 

project based on my visits to Battersea Park. 

My aim is not only to photograph the location 

but also to share my experience and fantasies 

about the place. For me, and I believe for many 

people the park is a place to relax or think your 

own thoughts, to forget about the everyday 

reality. The place awakes my imagination and 

longings, it is like a daydream... 

For a long time I was visiting Battersea 

regularly and at some point I developed a 

strong relationship with the place which made 

me feel ready to make a project based on this 

area. I wanted to experiment and develop my 

own methods that would allow me not only to 

capture images but also apply things into them 

that would remind me of my experiences of 

being in the park on particular days. I wanted 

to work on my project not only as a landscape 

photographer who takes pictures outside 

but also as an artist who can develop and 

construct their work in the studio or home 

space. The photographs taken on instant film, 

as unique and fragile objects are subjected to a 

process of damaging (chemical and physical) 

their surface and after that are scanned on 

the flatbed which translates them into the 

numbers and codes that can be reproduced and 

shared in the cyber world. 

In Lucid Dreams of Battersea, I try to introduce 

different dimensions into my photographs and 

use different methods in order to achieve 

the final print. 


Anna Emilia BECKER 

Anna Emilia Becker is a young photographer in 

her final year at Middlesex University. 

During the past years she has developed 

a great interest in fine art and landscape 

photography. 

I visited Russia last summer after having not 

been there for over ten years. I was born in 

Siberia and although my family left when I was 

three, the interest and fascination for this land 

has never left me. 

The photographs were taken throughout my 

short visit at different places in Russia and are 

an intuitive response to what I found there. 

To see more: annaemiliaphotography.tumblr.com 


Erika MELYTE 

As an image maker you are capturing the world 

and people surrounding you, it is a unique and 

very personal interpretation through your 

vision and every time you are sharing your 

visions, you are sharing a little part of you. 

These portraits were taken for my project 

in which I am exploring stillness and the 

passage of time with the help of analogue and 

elementary photography. The project consists 

of portraits, landscape, still life and nudes. 

To see more: www.erikamelyte.tumblr.com 


Charlotte BalL 

This image is from a recent trip to India. 

I was there shooting a campaign for Thare 

Machi Education, a small charity from my 

hometown. Thare Machi create educational 

DVDs in local languages to educate people on 

basic health and they will soon be opening an 

Indian branch in Delhi. 

When I made this image I was photographing a 

family who had watched one of the lessons on 

the importance of using a bed net some time 

ago. As a result, this man and his family all had 

bed nets to protect them from diseases spread 

by mosquitoes and other insects. 

The image was taken when visiting the 

Panchantala slums in Kolkata which lie on and 

around the railway tracks. This was one of 

the most challenging and yet most rewarding 

environments that I have worked in and I would 

love to shoot another campaign for a non-profit 

organisation. The charities campaign will be 

launched in April in the House of Lords, along 

with my first solo exhibition of photographs. 


Charlotte MAY 

Charlotte May is a fashion photographer. She 

pulls theatrical elements and themes, 

to produce visually striking work. Charlotte is 

inspired by imagery, past and present, and aims 

to intertwine past, current and future fashion 

in her work. ‘My work is an exploration of ideas 

and thoughts which I want to realise and share.’ 

To see more: charlottemay.co.uk 


Simon Bendix Borregaard 

The aesthetics in the image is my main concern, 

always. Normally when I work I visualise 

the finished image in stages throughout the 

process. However In this particular series of 

experimental double exposures I challenged 

myself to lose control of the composition and 

the motif by shooting a roll of 35mm film 

twice, once with my subject in a studio setting 

and once again with the pattern overlay from 

bushes and trees. 

I believe in the personalisation of creative work, 

conveying it with emotional language. I find that 

you will only express your motives if you are 

being honest with yourself and have a proper 

self realisation about what you do. 

To see more: facebook.com/enkoptephoto 


Ingvild Ullestad 

I am fascinated by pictures that use motion to 

communicate different feelings and moods. 

By motion I mean still pictures that manage 

to create a movement and energy through 

different techniques. Therefore I try to capture 

this energy in my own pictures. 

To do so, I use long shutter speed, which can 

make something natural look surreal and 

distorted. 

This combination of the natural body and the 

long shutter speed makes the naked body look 

dreamlike and almost mythical. 

It also creates an opportunity for the viewers 

to use their imagination to interpret the picture 

in their own way. 



Emma Barrow 

My interest in photography is fashion and 

portraiture. I love seeing my concepts and 

ideas come to life and being able to express 

these ideas in photographic form. My style of 

photography is simple; 

I like to use natural light on location and minimal 

light in the studio in order to get that natural 

look and feel to the photograph. 


Gabriel 

Vassie-Monade 

When creating images I try to find scenes 

that go against the normal atmosphere in 

which they are set.This photograph was 

taken in South London very late one night 

and is part of a larger project to capture 

the peaceful side of one of the busiest 

cities of the world. 

To see more: www.gabrielmonade.com 


Ieva Austinskaite 

This was a project based on the great Mark 

Rothko’s work. He was always a big influence 

for me. The way he combined colours is 

something magical. I think, that if I hadn’t 

studied painting technique my perception in 

photography would have been very different. 

It is one of the main art forms, that’s why it’s 

so usefull to look for references in it. 

Since I started doing this project I’m always 

looking for little signs of Rothko painting style 

in the streets of London. Things I find often 

fascinates me. 

Opposite is a portrait of the lithuanian dancer 

Ula Liagaite from Leeds. This was a project on 

people that somehow dedicate their lives to 

various forms of art. I was always surrounded 

by it, perhaps that’s the main reason why 

it reflects in my work. Getting to know a 

person and then finding a right angle to show 

their personality is something that is really 

fascinating for me. 


I came across Wanstead Flats about two 

years ago while riding the 58 bus on my 

way to meet a friend in Walthamstow. It 

was pretty much a panoramic film scene 

whose story I didn’t know but whose set 

and protagonists gave a strong sense of 

space and many leads to follow. 

So it happened that I went back and have 

been photographing or just taking long 

walks either at six o’clock in the morning, 

mid day weekend afternoons or really late 

in the evening, on rainy, sunny or snowy 

days for about one year now, just with the 

intention of exploring the place. 

The images from Wanstead Flats, as they 

are right now are free of a story line and if 

I think of it better that is the feeling I have 

while strolling around those fields. 

Ionut Puscasu 


For more than two decades following the 

fall of the Iron Curtain, Romania has gone 

through a shifting process from the old 

structures to the democratic and capitalist 

paradigm of the west. Its transitional 

economy, a slow but steady process, 

is being reflected in people’s lives as well 

as in the country’s landscape. Along with 

local or foreign investors the exchange of 

services, goods or people is taking place as 

years pass by. 

Transit series is an ongoing project, 

started in the summer of 2012 and bound 

to be finished in 2013, about the small city 

of Fetesti situated between Bucharest and 

country’s biggest port Constanta. As an 

important railway junction, 

once a highly developed agricultural 

area with a solid infrastructure and a 

continuously changing present, the city 

is a small scale image of Romania’s 

economical and political landscape. 


I’ve been producing a body of work on a 

community project with the Brunswick 

residents, photographing them in their 

personal spaces. 

I am doing this for two reasons. 

First I have been living at the Brunswick for 

about seventeen years and so my personal 

connection to this project is very deep rooted. 

Second, I hope my work can be seen as an 

anthropological study of people living at the 

Brunswick today. 

I thought it would be interesting to see how 

people make use of the same living space. 

Jack Lee 



Justina Česnauskytė 

Girls, champagne, tassels and heels - just 

a few words that describe burlesque. This 

performance enchanted me from the first time 

I saw it and it took me a long time to discover 

what is hidden the other side of the red 

curtains. Different girls, different styles but the 

same goal: wolf-whistles. 


Kiran Mensah 

My project is based on family members who 

look similar, mother and child, brother and 

sister, cousins, so on and so on. 

This image is of my mum. 

To see more: kiphotography.tumblr.com 


Marie Wolf 

These photographs were taken in Tibet 

during the winter months, which means that 

the nomads who usually move through the 

country had come into the city to escape the 

harsh cold. It was a great experience traveling 

through this region and to not only be able to 

see the city Lhasa but also the beautiful and 

unique countryside. 

As a photographer, I love to travel across the 

world and capture the variety of cultures and 

landscapes. In my images I want to portray 

the beauty of nature and the abundance of life 

on this planet. 


Nichol Evans 

My intrest in photography lies in landscapes 

and portraiture, I like to push myself to get to 

know my subjects when photographing people 

and it is something which I now really like doing, 

whereas in the past I was always very reserved 

about approaching someone and asking if I 

would be allowed to take their photograph. 

Landscapes are also something I enjoy 

a lot because you can take as much time as 

you want over it and consider the approach 

and photograph you are going to take for as 

long as you like. 

This is a man called Peter Harmann who picks 

up scrap metals and historical objects to sell to 

earn a little bit of money. 

These people call themselves Mudlarks and 

this photograph of Peter has led me on to a 

project about him and his life and also a project 

photographing portraits of the Mudlarks when 

they are on the shore. 

For the photographs in black and white on 

the following pages, the aim was to capture 

people without them noticing. It was inspired 

by the work of Walker Evans and my aim was 

to demonstrate the fleeting moment when you 

walk past something in the streets of London 

and how neither party knows each other, nor 

pays attention to each other or even notices 

someone was even there. However, each 

person has a part to play within society. 



Martin ForsteR 

I am a photographer, not an artist. 

I take pictures because I love it and it has 

been the only thing my heart’s been beating 

for since I was seven years old. I specialise 

in documentary photography because it is 

important to tell stories. 

What scares me the most, are things that I am 

interested in the most. 

I want to discover my personal limits trough 

my work as a photographer. 


Michelle Amosu 

Leaside Rowing Club, 2012 is a photograph 

from a series based around vacant landscapes 

in my home boroughs of Waltham Forest 

and Hackney in the hours proceeding dusk 

and twilight. I hope to build a new personal 

impression of the area by capturing urban 

spaces which may be familiar or unfamiliar 

to me. Spaces of interest may consist of an 

isolated light source, a piece of architecture, 

or maybe a surface or shape that I would like 

to keep and translate on film. While working 

on the project I have developed a fascination 

in the application of time in exposure in lowlight 

situations, as it dramatically effects the 

illumination and animation of a scene. 

Ezekiel, 2010 is a photograph from the series 

of work titled E17. This photograph was taken in 

my home town of Walthamstow on my parents 

road. This project dealt with photographing 

members of my family and people who grew 

up with me in my hometown. I tried to do this 

honestly, in-keeping with formal principles of 

portraiture. My intention was to produce an 

individual portrait of each member rather than 

the domestic group family portrait to show 

that there is a visual and tangible significance 

to each person in the family. The setting in 

which I chose in Walthamstow was indicative of 

the individual. I see evidence of this particularly 

in Ezekiel, were he is photographed at 16 (right 

after his teenage growth spurt) standing next 

to our 6ft garden brick wall that we used to try 

to scale over and sit on top of as kids. 


Maryna Vrublevska 

I have always considered myself as a portrait 

photographer. However, after entering the MA 

Photography programme, I was determined to 

explore another essential area of photographic 

approach – documentary photography. 

I am currently working on a project based in 

the Carpathian Mountains, Ukraine. The aim of 

the project is to investigate the field 

of craftsmanship in my homeland and its 

emerging problems of development, and 

communicate the subject matter to the 

audience through images. 

I can definitely say that one of the main 

reasons for doing this project was the 

multicultural society I faced in London. 


Miglė Enciūtė 

The people that I love the most. 

My project is about my Mother and the people 

closest to her. Nudity among nearest and 

dearest family members reveals closeness, 

intimacy, trust and kinship of souls. 

Migle’s Mother: “My biggest surprise was that 

it was so easy posing this time, even though it 

involved getting naked. Previously when Migle 

was not a student of Photography and she tried 

to take pictures of me, I would receive a great 

deal of criticism instructions and expressed 

dissatisfaction of failing to pose, relax and 

simply look good in the images. 

What I believe has changed in these photo 

sessions, is my daughter’s attitude towards 

her subjects. She is much more tolerant, open 

minded and at the same time sure of what she 

wants to see through the lens of her camera.” 


Simon Martin 

I used to love going on Holidays at Haven and 

Butlins when I was a child, it was like a whole 

other world yet it was only five hours drive 

from home. The whole family would come, 

playing table tennis with my grandad was 

brilliant, I still remember it to this day. 

I wanted to revisit the British holiday now as an 

adult with my camera. 

The work you see is the beginning of an ongoing 

project on the things I rediscover. 

To see more: www.simon-martin.org 



Phil Healey 

I’m interested in communication and 

miscommunication, accidental consequences and 

conundrums, in suggesting questions and creating 

images that make the audience think and imagine 

their own internal narrative to explain the bizarre. 

How can this arrow point to a small gap in some 

carefully positioned rock, was it a misunderstanding 

on the plan, it is part of strategic future planning for 

a car park extension or are we missing something 

really significant? 


Tereza červeňová 

Through photography I try to create the lasting 

moments of engagement and understanding. 

I want to capture the atmosphere of stillness, 

harmony and intangibility, which are so present 

in memories. To preserve memories, you only 

need your heart and your senses, and through 

those I also want to take my photographs. 



FEATURED 

4 

Rob Pickard 

10 

CY Frankel 

16 

Will Lakin 

20 

Aleksandra Wojcik 

22 

Anna Emilia Becker 

24 

Erika Melyte 

26 

Charlotte Ball 

28 

Charlotte May 

30 

Simon Bendix Boerregard 

32 

Ingvild Ullestad 

36 

Emma Barrow 

38 

Gabriel Vassie-Monade 

40 

Ieva Austinskaite 

42 

Ionut Puscasu 

46 

Jack Lee 

INDEX 

50 

Justina Česnauskytė 

52 

Kiran Mensah 

54 

Marie Wolf 

56 

Nichol Evans 

60 

Martin Forster 

62 

Michelle Amosu 

64 

Maryna Vrublevska 

66 

Migle Enciute 

69 

Simon Martin 

72 

Phil Healey 

74 

Tereza Cervenova 

Rob Pickard 

07881 229297 

pickard.rob@gmail.com 

www.robpickard.com 

CY Frankel 

07833 469408 

info@cyfrankel.com 

www.cyfrankel.com 

LEAD DESIGNER 

Marianne Johnsen 

07583 418021 

marianne.hilstan.johnsen 

@hotmail.no 

www.mariannejohnsen.co.uk 

AssistanT Designer 

Tomas Loostrom 

07583 419169 

tomas.loostrom 

@hotmail.com 

www.tomasloostrom. 

wordpress.com 

EDITOR 

William Lakin 

07815 958956 

williamlakin1@gmail.com 

www.williamlakin.com 

ASSISTANT EDITOR 

Simon Bendix Borregaard 

07712182200 

enkopte@gmail.com 

www.enkoptephoto.com 

With thanks to... 

Michael Bradley, 

Phil Healey and 

David Simmonds for their 

support throughout the 

production of Lupe, without 

whom the publication would 

not have been possible. 

And to all BA and MA 

photography students 

whose work inspired the 

making of Lupe. 




CLASS OF 2013 


LUPE 




CLASS OF 2013 

© 

All rights reserved. 

No part of this publication may be 

produced or reproduced in whole or part 

without permission from the publishers. 

The views expressed in this magazine 

are those of the respective contributors 

and are not neccessarily shared by the 

magazine or its staff. 

LUPE MAGAZINE / 2013 / page 80

LUPE MAGAZINE - Middlesex University

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