Make a picture entirely for yourself.
— Jim Naughten

Jim adds…
“Imagine its going to hang in a gallery and you are the only person who will ever see it. No peers, friends, family, or anyone else will see it. I often use this process to visualise a project or story, free of any outside influence or judgement. You may just find your voice.”

Jim Naughten  |  Member’s submissions for #16

Take a portrait without showing the face.
— Tom Broadbent

Tom adds…
“Quite often details about a person: distinguishing marks, things they own and where they live say more about a person’s character than a traditional portrait image. In my work I like to explore themes of identity and belonging, and in certain cases what is hidden from the viewer can be just as important as what is revealed. Look beyond the surface.”

Tom Broadbent  |  Member’s submissions for #15

Photograph something you consider insignificant.
— Riitta Ikonen & Karoline Hjorth

Riitta Ikonen & Karoline Hjorth  
Member’s submissions for #14

Take a photograph of a place that is less than one mile from your home.
— Fabrice Fouillet

Fabrice adds…
“We can often have the feeling that interesting things to be shot can only be found somewhere else, far away from home. So maybe it could be something you see everyday without considering that it could be interesting.”

Fabrice Fouillet  |  Member’s submissions for #13

Photograph a fake.
— Andreas Gefeller

Andreas Gefeller  |  Member’s submissions for #12

The answer is in the background.
— Remi Chapeaublanc

Remi Chapeaublanc  |  Member’s submissions for #11

Imagine you’re a time traveler from a hundred years in the future. Make a picture that shows how you perceive this place.
— Carolyn Drake

Carolyn Drake  |  Member’s submissions for #10

Take a blue photo.
— Evzen Sobek

Evzen Sobek  |  Member’s submissions for #9

What is happening when you are asleep?
— Bieke Depoorter

Bieke Depoorter  |  Member’s submissions for #8

Remove the separation between yourself and your subject.
— Graeme Williams

Graeme adds…
“Following the end of apartheid in 1994, I realized that I was no longer motivated by objective journalistic or documentary concepts. Rather, I wanted to find ways of expressing a feeling through a body of work. This involved letting go of the narrative and the idea of separation between myself and the subject.”

Graeme Williams  |  Member’s submissions for #7