An historical walk through queer london

The LGBTQ+ community has been prosecuted for a great number of years. Taking a look at Britain's queer history it is noticeable how far the community has come in terms of raising their voice and tackling discrimination. We should celebrate our hardships as opposed to let them consume us.

The landmarks depicted in this project have been inextricably attached with negative occurrences which marked LGBTQ+ people's narratives forevermore. However, it is important to remember the people that fought for our rights and were attacked across history, they are the reason we are here today and we should strive to perpetuate their legacy.

We cannot let fear rule our lives.
Love will always be love.


Houses of Parliament

Section 28, 1988
Margaret Thatcher introduced Section 28 to the Legislation, which banned any "promotion" of homosexuality in schools in Britain. A plaque was later stuck to the House of Lords by an activist groud called "Sexual Avengers" which read the following: "Queer heritage: Protesting against Section 28 that discriminated against homosexuality, lesbians abseiled into the House of Lords, 2 February 1988."
This clause was repealed on 21 June 2000 in Scotland and only on 18 November 2003 in the rest of the UK.


Admiral Duncan Pub

London Bombings, 1999
Admiral Duncan Pub was the last of three bombings called the "London nail bombings" during April 1999. The "self-confessed racist and homophobe" left a gym bag containing a bomb inside the Admiral Duncan Pub on the evening of April 30. Three died, including four months pregnant Andrea Dykes, Nick Moore, and John Light, who were at the pub to celebrate the pregnancy.
The alt-right neo-nazi was given six life sentences, and will serve a minimum of 50 years in prison.



Protests against the LGBTQ+ catholic community, 1999
After the bombing at the Admiral Duncan Pub, many wanted to pay their respects but found it difficult as, according to Artefact Magazine, they "had to relocate three times (...). Protests were made by more conservative churchgoers, who did not agree with the existence of the [LGBTQ+] group" and "became very disruptive, they wrote letters to Rome making all signs of accusations against us. We even had the get the police involved, it was very difficult."


Trafalgar Square

Ian Baynham, September 2009
On 25 September 2009, Ian Baynham, a 62-year-old openly gay man, was attacked outside South Africa House, in Trafalgar Square. Joel Alexander, Ruby Thomas and Rachel Burke, who were teenagers at the time, screamed homophobic slurs, stamped on and kicked Mr Baynham until he fell unconscious on the ground. Mr Baynham died 18 days after the attack from brain damage caused by the fall.
Alexander and Thomas were convicted of manslaughter, however, despite being found guilty of affray at an earlier trial, Rachel Burke was cleared of manslaughter.


Jubilee Line

Will Mayrick, October 2017
On 21 October 2017, Will Mayrick, a 21-year-old photography student, was on a Jubilee line train on his way to a “fancy dress” event at the O2 when he was attacked by two teenagers. Mayrick was made to apologise for being gay by the two minors who held him in a headlock and threatened to stab him. Additionally, when Mayrick’s 25-year-old friend tried to help him, she was punched and pushed to the ground.
The attackers were handed 12-month referral orders to a youth offender programme, and made to pay £20 for victim surcharge and £150 compensation.


UK Supreme Court

“Gay cake” case, 2018
In 2014, Gareth Lee requested a cake from Ashers Bakery Belfast. The intended design featured Sesame Street characters and the message “Support Gay Marriage.” After initially accepting the request, the bakery contacted Mr Lee to say they would not make the cake.
On October 10 2018, after almost four and a half years of legal battle, the UK Supreme Court ruled that “there was no political discrimination as well as no discrimination based on Mr Lee’s sexual orientation.”


Beatriz Vasques, 21

Matilde Pronto Flores, 21

Written and produced for Interactive Journalism
at London South Bank University

18 best of 2018

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18 best of 2018

2018 was a hell of a year

it was the year i upgraded my gear, my website and editing process
the year i learned to seek for inspiration, not competition
and lastly, the year i (finally) became proud and confident in my work, my ‘brand’, and proud to call myself a photographer

here’s to 2019 and what’s yet to come ✨


Keaton Henson with Britten Sinfonia: The science behind music and emotions

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After three years of crafting, Six Lethargies was finally delivered to us in shape of a multi-sensory show.

The fact that Keaton Henson battles with anxiety isn’t exactly a secret at this point. With only 32 live performances in his entire music career, Six Lethargies finally gave him the power to share his story without having to perform. The six-part composition explored themes of mental illness, empathy and human connection. The story was handed to Britten Sinfonia, which would later be told to us on a multi-sensory show at Barbican Centre on the 20th July.
Selected members of the public had their emotional levels controlled by biometrics, and the results were translated into what, at some point, turned out to be a lighting show.

People were making their way to their seats and it was obvious that there was still some confusion. Every once in a while you could overhear a “You think they will play some of his older music?”, clearly showing some members of the audience had no idea what they were about to witness. Unfortunately for some, the Orchestra walked into the stage and, out of 37 musicians, none was Keaton Henson.

According to Keaton, the first piece, Initium, was “an ode to something different” meant to have “space to breathe,” and the public reacted accordingly. There was only one strong light hovering the Maestro, and, if we disregard the cellist that knocked over her music stand, there were no abrupt changes. 
The concert definitely reached its peak with Trauma/In Chaos and the Unease Concerto. The fast compasses, low and high notes, staccatos and strong vibratos, left Barbican Centre in flashing lights. The two most intense pieces transmitted a feeling of uneasiness, followed by two strong red lights pointing directly at the audience. The auditorium looked like a scene taken out of a psychological thriller. 
Thomas Gould, the first violinist, was playing so aggressively that the couple sitting next to me whispered: “I think he is about to break that violin."

Contrasting to the previous representation of trauma and anxiety, On Sorrow portrayed a sense of hopelessness. This “requiem for depression” filled the stage with a pale blue light, which only grew stronger on every note transitioning to Breathing Out. This final part of the composition started to display signs of hope, and the public definitely felt that as the lights got warmer and stronger, ending the act in a full circle, with only one light hovering the maestro.

Disregarding the random clap here and there from a clueless member of the audience (who assumed a part had come to an end every time the musicians stopped playing), the public was silent and very respectful, letting the symphonies take control over their bodies and mind.

At the end of the show, Keaton himself went on stage to thank everyone. The tears in his eyes proved how emotionally invested he had been throughout the night. His question “If I write how it feels to me, will it make you feel the same?” had been answered.
Emotions can indeed be transcribed to music and, most importantly, shared with others.

Saal Digital UK - Photo book | Review

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Saal Digital UK - Photo book | Review

As many of you surely know, a few months ago Saal Digital was looking for photographers to test their products and printing services. The company would give out a voucher in exchange for a review of a product of your choice. This would be my second time using Saal's services, so I chose the 15x21 photo book.

Saal Digital is a professional photo lab specialised in high-quality photo products, including photo books, photo prints, calendars, etc, so, as expected, the photobook I ordered had the high-quality printing and binding , and the images were sharp and true to their colours (which, if you've ever tried to print photos before, you know is something extremely hard to achieve).

Saal's services are something I would definitely recommend, whether you need a photo book, a poster or simply a new business card!

Saal Digital Portugal - Álbum digital | Review

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No passado dia 9 Janeiro encomendei um álbum digital através da Saal, uma empresa de impressões fotográficas alemã já conhecida por muitos pelos seus anúncios nas redes sociais. O objetivo dos anúncios seria encontrar fotógrafos para testar os seus produtos: álbuns digitais, calendários, quadros e entre muitos outros. Após ler o feedback da Cláudia decidi arriscar e testar por mim mesma.

Encomendei o álbum quadrado 19x19 composto por 26 páginas em papel fotográfico mate e capa brilhante. Um género de coffee table book, pequeno, mas ideal para um portfólio físico facilmente transportável.

O processo de criação do álbum é simples e bastante rápido graças ao software que não só é prático, mas bastante eficaz. Existem já layouts pré-definidos que ajudam quem não é designer friendly.

Quanto à impressão, os pretos nas imagens são ligeiramente escuros, no entanto, não é nada alarmante e que não seja compensado pelas cores brilhantes no resto da fotografia.

Com preços acessíveis a partir de 19,95€ e um prazo de entrega entre três a cinco dias, os álbuns da Saal são, sem sombra de dúvida, o novo melhor amigo de qualquer fotógrafo.