2026 members’ exhibition

If you're curious about me and the three unique books of my 1970's analogue photography I've published, find me on my website and instagram.

I have been using photography as an artistic practice and as a professional for about 5 years now, after completing a BA degree in Professional Photography at Edinburgh College. During these years, I have always used digital cameras for their cost and practicality but always have a film camera ready for more fun purposes, as a hobby.

Nowadays, (during my last project lockdown nights) I also share images on Instagram for feedback and to connect with other photographers. I edit and post-produce every image myself and always print a copy or two.

Above the confluence of the rivers North and South Esk lies an ancient oak woodland. The convoluted forms of these trees testifies to their long lives and the hardships they have endured.

Photographer and book publisher, currently producing work focused on areas where the urban environment co-exists with nature, and the various ways humans alter and adapt their surroundings. More info here.

Based in The Scottish Borders, Kat’s work focuses, on landscape and the outdoors, often using images and text in collaboration with each other. What starts as a way to understand her own place in the world commonly evolves into a more outward looking examination of themes and ideas. Through a combined process of walking, photographing, and writing, she finds inspiration in the species, the stories and the narratives of the landscape itself as well as our own. The work she makes is an exploration into the places we inhabit both physically and emotionally. Kat is a freelance photographer, teacher, one of three co-directors of AGITATE and an exhibited photographic artist. Along with several exhibitions, she has also been commissioned by organisations such as Lyra Theatre, Push the Boat Out, Connecting Threads and Places for People, Edinburgh.

This image is taken from a larger body of work called The Axe Forgets But The Tree Remembers, which is borne from researching locations of significance from the Scottish Witch Trials. More info here.

Kenneth Gray is an Edinburgh-based photographer and graphic designer. He is interested in liminal spaces (the ‘empty shops’ series), our effect on the environment and location-specific portrait photography. The photograph shown here was taken on a trip to Iceland in 2024. Kenneth’s portrait of renowned artist Victoria Crowe is in the collection of the Scottish National Portrait Gallery, Edinburgh. Kenneth is currently collaborating on ‘Orkney Sequence’, a live music and projected film work which will premiere in Orkney in 2026. More info here.

Zoe is a photographer from Co. Antrim who is interested in the relationship between humans and the environment, as well as the systems of classification that we use to make sense of the world around us. She works on long term photographic projects, drawing on scientific and historic research alongside lived experience to tell a story. Her background research has been informed by photography’s history as a tool of imperialism, something that she works to recognise and subvert within her photographic practice. More info here.

My work is an everyday practice of individuation, healing, liberation, resistance, and devotion. I work primarily with photography, alongside material and object transformation. The works that remain are traces of this ongoing practice. Within this practice I work to exclude psychological and psychiatric pathologisation, the medicalisation of mental experience, religious or secular guilt and sin, colonising structures, and discriminatory or dominating worldviews, while continuing to explore the experience of being human.

I am the work — a work in progress and a lifetime’s work. Alongside my artistic practice, I work internationally as a leadership coach. I am a Chartered Psychologist and a board member of Street Level Photoworks in Glasgow. A later-life graduate of Edinburgh College of Art, I was awarded the Helen A. Rose Bequest Prize for my final-year work. I collaborate with Paris-based actor Margot McLaughlin on Incomplete Picture: I am every child… a long-term project that began as part of my final-year degree submission in 2016. It now exists as a completed work, though, in keeping with the nature of the practice, it is never truly finished. More info here.

Julie Laing is a Glasgow-based artist and writer. She’s interested in making unfamiliar presentations of everyday/everynight phenomena. Her photography solo show, low-sodium, night frequencies, took place at Agitate Gallery, Edinburgh in 2024, and other photography and visual art has been shown at The Scottish Landscape Awards, Street Level Open and The Revelator. Collaborations include her role as facilitator of Round Table crit group supported by Street Level Photoworks, and off-page, a visual poetry development programme. Her debut poetry collection is forthcoming with Art Riot Press. More info here.

Daniel is an Edinburgh based photographer particularly interested in alternative processes. His current work involves immersing film negatives in seawater from the shoot location. As the water evaporates, salt crystals are deposited on the image, creating intricate patterns. By doing this he creates images that utilise the physical characteristics of film to intrinsically link them to their location. More info here.

Alyson Macdonald is an Edinburgh-based photographer who works across genres but specialises in illuminating the small details that often go unnoticed. She draws inspiration from her environment, whether natural or built, and is fascinated by the intersections between the two. Over the past two years she has made many photographs of the delicate structures of leaves, all of which were collected in and around Leith. This image shows two birch leaves with "mines" created by insect larvae that burrowed through the leaves before emerging to the next stage in their lifecycle. More info here.

Led by curiosity, Kit is an award-winning photographic artist working across analogue, cameraless, and digital processes. She values the physical tangibility of photography and draws constant inspiration from the natural world, celebrating the small, often overlooked elements that are vital to ecosystems.

Her interest is at the intersection of art and science. Exploring photography through microscopes has expanded her practice into printmaking, moving image, glass and field recording. Her current research focuses on mosses, seaweeds, soil and the microorganisms within these environments, alongside developing more sustainable photographic methods.

Experimentation is central to her approach. She creates phytograms on microscope film and cyanotypes on discarded slides and explores time and place through site-responsive processes. Cameraless photographs may be made at the seashore or in a pond at night. Teaching and participatory practice are integral to Kit’s work, and collaboration sits at its heart.

More info here.

My practice sits between photography, publishing, and collective work. Rather than treating images as isolated objects. I’m drawn to projects that are quiet, unresolved, or resistant to easy categorisation, particularly work that finds meaning in the the overlooked. Books are central to my thinking: not as commodities, but as spaces for attention and intimacy, I’m especially invested in collaborative processes, working closely with artists to shape how their work is encountered, rather than imposing fixed narratives.

My approach is informed by curiosity and practicality. I value making things that exist in the world, and developing structures that allow photographic work to be experienced over time. For me, photography becomes most powerful when it slows us down and creates space for reflection. More info here.

Miriam Morris is an Irish photographer, writer and artist living in Scotland. She works in both analogue and digital photography as well as mixed media. She is a writer and photographer for Karma Magazine and a member of Visual Arts Scotland. She is co-founder of Hot Butter Press, a quarterly art zine that covers art news, new writing and visual art in Edinburgh. Alongside her art work, Miriam is a PR consultant, promoting arts and culture across Scotland and internationally. More info here.

Christina Webber is a Freelance visual artist based in South Queensferry, primarily working with analogue photography. She is interested in the relationship between pictures and words and memory. Christina believes wholeheartedly in the therapeutic nature of making and is passionate about building meaningful communities on and offline. She is an advocate for transparency in the creative industries and Co-Director of AGITATE, as well as a ‘digital doer’ for a number of clients.

Currently shooting portraits, experimenting with wheat-pasting and collage, and researching an ongoing body of work documenting palms. More info here.

In the peace of the old graveyard surrounding the ruined 18th century church, gravestones are crumbling. Some lean or are fallen but many still stand, adorned with green moss and multicoloured lichens. As a lover of lichens and quiet places, I weave my way between these monuments to the dead, noticing the tapestry of life that clings to their surfaces. The lichens do no damage but thrive by symbiosis, a cooperation between different organisms; here a fungus and an algal and/or cyanobacterial partner live to their mutual benefit. My photography does them no harm and as my fear and anger at a possible loss of sight gives way to a calmer sadness, so my gratitude grows for the joy of lichens. These images remain in my mind, to soothe even if sight fails. Sandy is a retired scientist and counsellor who uses photography to explore her emotional connection to the natural world. More info here.

A’ Mhòine (The Moss) is a large area of blanket peat bog covering most of the Tongue peninsula in Sutherland, on the north coast of Scotland. Today it is part of the ‘Flow Country’, which extends over wide areas of Sutherland and Caithness. The 14 mile road across A’ Mhòine was built about 10yrs after the end of the clearances by crofters needing to find a living after removal to poor agricultural land on the coast; they were employed in this task by the Duke of Sutherland. Moine House, rather a grand name for a humble abode even when it was first built in 1830, was erected as a refuge for travellers. I try to tell stories with photographic images, especially around the influence of past and present human activities on the landscape and the effects of natural forces. I use digital and film-based media, working in monochrome.