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Rowan Douglas –  Born in Bristol and raised in Wales, Rowan co-founded Shrink after three years’ training in Repertory with Fourth Monkey Theatre Company in London. She discovered a love for clown and physical theatre over this time – a passion that has continued into her work with Shrink. Rowan has an interest in immersive theatre which, frankly, borders on the obsessive, and is always seeking new ways to involve an audience in a piece. Alongside her work as Producer on Northfields, she continues to pursue her acting career – most recently in ‘The Frogs’ by another Monkey Alumni Company, Attila Theatre. FOLLOW @RowanBeggs

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Leanne May Bennett – Fondly known as ‘Lamb’, this co-founder is from the Midlands and trained in Repertory theatre, playing roles such as Piggy in ‘Lord of the Flies’ directed by Hamish Macdougall (Complicite) and Eve in Milton’s ‘Paradise Lost’ directed by Ailin Conant (Theatre Témoin). Alongside her work with Shrink Theatre, Lamb continues her practice as an actress with regular Meisner classes taught by Seb Blanc. And increasingly committed to creating/producing her own work, Lamb also helped run a successful crowdfunder for ‘No Epilogue’, a short film currently in post-production which she starred in with plans for a release in Spring 2017. FOLLOW @Lamb_Bennett

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Mollie Lambert –  Mollie grew up in East London and began acting at a very young age. After graduating from Fourth Monkey Theatre Company’s Two Year Repertory Programme, she went on to train with The Actors Class, which concluded at the Tristen Bates Theatre in March 2016. Her credits include Giovanni in ‘The White Devil’ directed by Annie Ryan (Sam Wanamaker Playhouse), Addie in ‘Dixi’ for CBBC, Camelia in ‘Russian Dolls’ directed by Hamish Macdougall (The Kings Head Theatre), Daire in ‘Elemental’ directed by Rikki Beadle-Blair (The Bush Theatre), and Olivia in ‘Nothing’s Going To Change My World’ directed by Philip James McGoldrick. FOLLOW @thebitter_sheep


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  5. July 10, 2017 at 6:14 am

    Tom, I immediately thought of an American Indian funeral rite when I saw your photograph; the kind where the body of the deceased is left to the elements.You have certainly opened a debate about what is “real” photography and what is not. Montage and photoshop are not my personal favorites; especially if it is not immediately obvious that the image has been manipulated. Your example here is certainly very well done and I understand and respect your stance: such work is somehow closer to writing in my mind than to photography and there is nothing wrong with that; you have something to say and you have chosen your medium.Personally, I’m with Lance in that I want to capture the fleeting, human condition, moments that will never happen again. E.g as much as I respect the landscape photographer I just can’t pursue the genre with any enthusiasm as I always feel that someone else could stand next to me and take the same photograph, or come to the same location next week and produce something similar to my efforts. Nevertheless the issue of manipulation is still relevant to documentary photographers: perhaps even more so.Joe has mentioned a few times that he personally sees some of the documentary photographs that have been shown here as too over-processed. When reading his comments I am reminded of the work of W Eugene Smith, a Master of the photographic essay and traditional B&W darkroom technique. When looking at Mustafah’s website yesterday I was struck by the similarity of one of his photographs “Patagonia Cowboys, photo number six” to Gene Smith’s photograph “Japan, Minamata Bay Fishermen. 1971″ (see it on the Magnum website). Anyone who has seen his Minamata photograph “Tomoko In The Bath” (now, I believe, withdrawn from print at the request of Tomoko’s family) has witnessed the raw power of a Master photographer and printer at work. Through the darkroom techniques of burning, dodging and bleaching with ferricyanide he was able to impart to the viewer the visual and emotional response that he wanted them to see and feel.We regard such work as examples of printing at the highest level but tend to consider similar digital work as “manipulation”. I’m not saying that this is what Joe stated: he was more concerned that the techniques presented were not, perhaps, of a sufficient quality as to be believable (I hope I’m not putting words into your mouth, Joe).Today’s photographer has at his disposal a vast array of digital techniques. This brings both freedom of expression and responsibility; particularly to the documentary photographer.The whole issue of how an essay should be presented is very complex. The photographer must show the truth of a situation but must be free to use techniques that he or she feels are appropriate and which aid the objective of informing the viewer. How much technique is too much technique? Only the photographer can decide; but I do believe that he / she should find their own “voice” – their own visual signature. Take your time and make sure that it is you and not just today’s fashion.Best wishes Tom,Mike R.Joe, I’d be interested to read your feelings with regard to Jonas Bendiksen’s exhibition “The Places We Live” which consists of re-creations of a number of slum dwellings complete with inhabitants (see it a Magnum). For me, it’s still straight photojournalism / documentary photography. He’s pushing the boundaries in terms of presentation but I’d be happy to see such work at Burn. I suppose it all comes down to intention.Mike.

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