PRISMA Issue 29

Issue 29

CULTURE - SPORTS - TRAVEL - NATURE

28 June 2026

PRISMA

PHOTOGRAPHY MAGAZINE

Editorial Article Chasing Landscapes Through New Zealand's South Island by: Amanda MacEachen

Front Cover: “The Art of Noticing” by: Ryan Saito Read on p. 27

INSIDE FEATURES Discovering Antarctica

Light in the Dark

Chelsea F.C.

Six Nations 2026

Thames Rowing

Journey in Events

Fencing Nationals

Cliffs and Woods

London WSL

Resistance to Forgetting

Art of Noticing

Tame Impala

PRISMA ISSUE OVERVIEW

Issue 29 - 28 June 2026

INSIDE THIS ISSUE OF PRISMA Editor-In-Chief: Louise Anderbjörk & Tristan Sharman

EXCLUSIVE: Changing Landscapes Through New Zealand’s South Island By: Amanda MacEachen

New Zealand’s South Island is packed full of remarkable views, including mountain ranges, glacial lakes and incredible sunrises. Amanda MacEachen shares how the mountains of New Zealand made her adore landscape photography, whilst on an unforgettable adventure.

Photo: Ophélie Bleunven

Discovering Antarctica . . . . . . . . p.7 Being a guide, alongside working as a photographer and videographer, Ophélie Bleunven recounts her dream trip of meeting and documenting penguins in Antarctica.

Photo: Stuart Williamson

Women’s Six Nations . . . . . . p.13 From local women’s football to a record-breaking international at Murrayfield, Stuart Jason Williamson recounts the persistence that turned a long-held ambition into reality.

Photo: Sachin Maharaj

Editorial Article Read the full article starting on Page 3

Photo: Sade Borishade

Light in the Dark . . . . . . . . . . . . . p.9 Astrophotographer Sachin Maharaj provides tips and tricks for capturing one of the greatest natural wonders of all time, the night sky, and shares his passion for this unique art form.

Photo: Louise Anderbjörk

Photographing Chelsea F.C. . . . . p.11 Sports photographer Sade Borishade documented her first pitch-side experience at a Chelsea Women’s match, and continues to champion greater representation in sports.

Photo: Denise Clarke Collins

Rowing on the Thames . . . . . . . . p.15 As more than 300 crews race through central London, Louise Anderbjörk explores how framing, timing, and location help shape the story of rowing on the Thames.

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Journey in Sports and Events . . . p.17 From an old film camera to football stadiums and concert stages, Denise Collins reflects on a photographic journey shaped by persistence, passion, and self-belief.

PRISMA ISSUE OVERVIEW

Photo: Hugo Wu

BUCS Fencing Nationals . . . . . . p.19 After a season of firsts, Hugo Wu from the University of St Andrews Fencing Club recounts the dramatic final that secured its very special place in club history.

Photo: Devon MacMillan

Resistance to Forgetting . . . . . . p.25 Devon MacMillan returns to his native South Africa with a camera in hand, capturing the beauty of wildlife as a way to preserve time, as resistance against forgetting.

Issue 29 - 28 June 2026

Photo: Becky Cawthorne

Photo: Louise Anderbjörk

Between Cliffs and Woods . . . . . p.21 By slowing down and paying close attention, Becky Cawthorne discovers the wildlife, landscapes, and fragile connections that shape Yorkshire’s natural world.

Tottenham vs City Lionesses . . . p.23 At Hotspur’s penultimate home match, Louise Anderbjörk explores how weather conditions, timing, and perspective shape both the imagemaking process and the final story.

Photo: Amanda MacEachen

Photo: Ryan Saito

The Art of Noticing . . . . . . . . . . . p.27 In a city like Tokyo, where everything urges everyone to move faster and forget their surroundings, choosing to slow down through the lens is an act of deliberate intention.

Tame Impala Review . . . . . . . . . p.29 Music photographer Amanda MacEachen headed along to Tame Impala's highly anticipated show in Glasgow on behalf of PRISMA to photograph and review the event.

Issue Overview

The Editorial Team

1 Inside this Issue 3 Editorial Article 7 Photo Stories 31 Contact Page

Editor-in-Chief . . . . . . . . . . . . . Louise Anderbjörk Editor-in-Chief ........................Tristan Sharman Content Manager.........................Kailee Parsons Editorial Editor ..............................Maggie Zhu Researcher ................................Daniel Olivares Media Manager .................. Amanda MacEachen

@prismaphotomag

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PRISMA EDITORIAL ARTICLE

Issue 29 - 28 June 2026

NEW ZEALAND’S LANDSCAPES Editorial Editor: Maggie Zhu

AMANDA MacEACHEN As a photographer from Scotland, I have always been immensely grateful for the incredible scenery that surrounds us. From the snow capped mountains and dramatic coastlines to the rolling glens, Scotland is a landscape photographer's dream. It is fair to say that I have always loved photographing the mountains, as much as I enjoy simply being around them. Because of that, New Zealand had always sat firmly at the top of my travel bucket list and earlier this year, I finally made the decision to venture out there. In January, I boarded a plane and headed to New Zealand on a working holiday visa, spending several months exploring one of the most visually spectacular countries on Earth. While both islands offer incredible scenery, it was the South Island that completely stole my heart and reignited my passion for landscape photography. My journey began in Auckland on the North Island. From the moment I arrived, I was struck by how picturesque the city was. The Sky Tower dominates the skyline and gives Auckland a unique character, standing proudly above the surrounding skyscrapers. Beyond the city itself, the nearby islands offered some incredible opportunities for exploration and photography. Rangitoto Island, a dormant volcano accessible by a short ferry ride, quickly became one of my favourite spots. The hike to the summit rewarded visitors with panoramic views across Auckland, making it a fantastic location to photograph. The west coast surrounding Auckland was equally as impressive.

Piha Beach and Muriwai Beach showcased dramatic black sand coastlines unlike anything I had experienced before.

Muriwai, in particular, stood out thanks to its impressive gannet colony perched high on the cliffs. Watching hundreds of birds soar through the air while waves crashed below made for a remarkable scene. The ========

Photo: Amanda MacEachen

Photo: Amanda MacEachen

some of my favourite places in the city. However, as much surrounding caves and coastal rock formations provided endless photographic opportunities. It quickly became noticeable how much I would be taking photos outside here, as opposed to my usual photography gigs which are live music performances. After spending time around Auckland, I embarked on a solo road trip through the North Island, visiting destinations including Raglan, Taupō, Tauranga, Napier, Masterton and eventually Wellington.

Raglan was a charming surf town with a relaxed atmosphere, quirky independent shops and excellent cafes, it was one of my favourite places in the North Island.

Despite arriving during heavy rain, the beaches were still packed with surfers taking advantage of the conditions.

Taupō was undoubtedly my highlight of the North Island.

Lake Taupō itself is breathtaking, with some of the clearest water I have ever seen. The sunsets over the lake produced colours that felt almost unreal, all I could do was sit back and take it all in (as well as take some photographs). Nearby Huka Falls provided another unforgettable stop, with powerful turquoise water rushing through a narrow gorge.

Throughout the North Island, I found myself constantly reaching for my camera. It had been a while since I had focused heavily on landscape photography, but New Zealand had very quickly rekindled that love. Everywhere I looked seemed worthy of a photograph. Eventually, I made my way south to Wellington, New Zealand's capital city.

Locations such as Oriental Bay, Island Bay, Days Bay and Mount Victoria all provide spectacular views and became

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PRISMA EDITORIAL ARTICLE

Issue 29 - 28 June 2026

Photo: Amanda MacEachen

as I enjoyed Wellington, I knew the adventure I had been waiting for was still ahead. Crossing over to the South Island felt like entering an entirely different world. From the second we stepped off the ferry at Picton, the scale of the landscapes immediately became apparent. As we made our way down the west coast, towering mountain ranges, glacial lakes, vast valleys and dramatic coastlines stretched endlessly in every direction. As someone who grew up admiring Scotland's scenery, I was amazed by just how immense everything felt. Every road seemed to lead towards another incredible viewpoint, and every turn around a corner revealed something even more spectacular than the last. This was where landscape photography truly came alive for me. One of the most memorable parts of travelling through the South Island was simply driving. The roads themselves often felt like destinations, I found myself pulling over constantly to take photographs. There were moments when I even stopped to film sections of road because the scenery looked so cinematic that it felt impossible to ignore. The journey through the Southern Alps towards Aoraki/Mount Cook National Park was particularly unforgettable. The landscape surrounding Mount Cook is unlike anywhere else I have ever visited. It felt like every direction offered another postcard worthy composition. However, of all the locations I visited across New Zealand, one experience stands above the rest. Roy's Peak had been on my list long before I arrived in New Zealand. Its iconic viewpoint overlooking Lake Wānaka has become famous among photographers, and after seeing countless images online, I was eager to experience it for myself. What those photographs do not fully convey, however, is the effort required to reach the summit. Our day began at 3am,

after a quick breakfast and final equipment check, we started the hike at 4am under the cover of darkness.

Armed with head torches and carrying far more camera gear than was probably necessary, we slowly made our way up the mountain. The climb was relentless and the trail rose steeply almost the entire way, with very few opportunities to recover. As the hours passed and the altitude increased, every step became more demanding and carrying camera equipment only added to the challenge. As sunrise approached, the reward became clear. Reaching the summit in time for this was one of the most incredible moments of the entire trip. Watching the first light spill across Lake Wānaka and illuminate the surrounding mountains is something I will never forget.

The colours were extraordinary, with shades of orange, pink and gold transforming the landscape before our eyes.

Despite the freezing temperatures and winds, I found myself taking photograph after photograph, desperate to capture every moment of the changing light. Those images quickly became my favourite photographs from the entire trip. Part of that comes from the effort required to create them. Landscape photography often demands patience, planning and perseverance, and Roy's Peak was a perfect example of that. After hours of climbing in darkness, sitting as the sun rose over the mountains felt incredibly rewarding. While landscape photography has never been my primary niche, New Zealand completely changed my perspective. The South Island, in particular, reminded me just how powerful and rewarding it can be to photograph the natural world. Long after returning home, it remains one of the most inspiring places I have ever visited, and a destination that I would love to return to one day to visit and to photograph.

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Photo: Amanda MacEachen

Changing landscapes of the South Island

Photo: Amanda MacEachen

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

DISCOVERING ANTARCTICA Content Manager: Kailee Parsons

OPHÉLIE BLEUNVEN I didn’t have a precise image in mind before leaving for Antarctica. No predefined shot, no checklist. I chose photography above all as a way to open a door to the wild world. I have always wanted to meet the animals that inhabit our planet, to witness life in its rawest forms. My dream was clear: to discover Antarctica and, above all, to meet penguins, whose lives have captivated me since childhood. This journey took place in 2024. I have been working as an expedition and wildlife photographer since 2019, and each project gradually brought me closer to this continent. Of course, I knew I would focus on wildlife. I love portraits, animals in their natural environment, and extreme details, feathers, textures. But I didn't yet realise how profoundly this land would change the way I observe.

My first encounter with penguins happened on Jenny Island. As we approached the shore, I first noticed large shapes stretched out on the beach; southern elephant seals. At the far end, three Adélie penguins. Tiny silhouettes in the vast landscape. At that exact moment, I fell in love with this species. Later that same day, I reached Pourquoi Pas Island. This time, I stepped into the heart of a full Adélie colony. I discovered their organisation, movements, and constant exchanges. I observed nest building, chick growth, feeding routines, and the uninterrupted rhythm of collective life. I was in tears. It was the most beautiful day of my life, the day a lifelong dream finally became reality. Since then, Adélie penguins have held a very special place in my work and in the way I perceive wildlife. What struck me most immediately was the sound. Each species has its own acoustic signature. I actually find that the most impressive sounds come from gentoo penguins. I even think I imitate them quite well.. I spent hours watching them, fascinated by their constant

Photo:

Photo: Ophélie Bleunven

activity and the precision of their movements combined with their legendary clumsiness. In photography, there is always a minimum focusing distance, and with penguins, that is not always easy. They can be very curious.. sometimes so much that I had to step back. But this proximity is only possible if their space is strictly respected. Penguins follow real “highways”, paths created by repeated movements between sea and nests. These lines are graphic when photographed from a distance, but essential to their daily life. Crossing them is unthinkable.

In wildlife photography, the ideal perspective is to shoot at

Photo: Ophélie Bleunven

Photo: Ophélie Bleunven

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

Photo: Ophélie Bleunven

“Biosecurity is strict, boots are constantly cleaned” the same eye level as the animal, but here there is an important constraint to consider: sitting is forbidden.

Biosecurity is strict, boots are constantly cleaned, and with avian influenza now present, rules are even stricter to ensure the safety of both wildlife and humans. The scene I will never forget shows two juvenile Adélie penguins surrounded by three adults, two clearly unhappy with their presence. I captured it in my favourite photograph, a simple image, yet full of tension, where everything is expressed through posture, gaze, and body language.My photographic approach is guided by wonder. In Antarctica, absolutely everything amazed me. I search for moments when nature seems to forget our presence, when animals continue to live, move, and interact as if we were not there.Some situations are harder to witness. Hunting scenes between leopard seals and penguins were intense.

My most difficult photograph shows an Adélie standing still, staring directly into my camera. Its eyes are filled with fear. Both of us knew a predator was just below, ready to strike at the slightest movement. Pressing the shutter was painful. Yet, this is life: the seal must feed, even if it seems to play with its prey. Further north, in the subantarctic islands, the scenery changes completely.

There, I encountered the king penguin, whose elegance

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and colours fully justify its name. I also photographed Magellanic penguins, not in snow, but in the middle of a fierce sandstorm. The wind was so strong that it almost drowned out the colony’s calls, and my equipment struggled against the elements. However, on the bright side, the long, patient presence it took to capture shots in that condition allowed me to develop a more personal body of work. Today, with perspective, I often think of Antarctica, still relatively preserved, yet fragile. My photographic work does not stop with images. It also extends into a desire to share and raise awareness through public talks, highlighting the richness and vulnerability of our planet. When I think of penguins at home, I cannot help but smile. It was my greatest dream. And my new dream is simple: to return.

Photo: Ophélie Bleunven

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

FINDING LIGHT IN THE DARK Content Manager: Kailee Parsons

SACHIN MAHARAJ Astrophotography, at least to me, is one of the most poetic forms of photography. Every civilization that ever existed looked up and had their own meanings and interpretations of the very stars that we see today.It does, however, come with its challenges. Photography is expensive as it is, but when you involve telescopes, star trackers, and astromodified cameras, it gets much more expensive. Finding a suitable location is the biggest challenge of them all, simply because of light pollution. Before the rise of major cities, humans had a front-row view of the universe, but now in most places we need to commute to rural areas to get a decent view of the Milky Way. In the world of astrophotography, there are multiple ways to determine if the skies are suitable, such as the Bortle scale and SQM ratings. There are other factors that affect image quality, such as humidity, but we will not get too much into that.

Where I live, light pollution is high, which does not make the sessions ideal. However, it is still possible to get decent star trails and beautiful wide-angle shots of the stars. To put it simply, the Bortle scale is a measurement from 1 to 9, with 9 being the highest and 1 being the lowest light pollution. I have shot everywhere from 4 all the way to 8.6.

Although getting pictures of the stars at a higher Bortle scale is possible, it isn’t ideal for Milky Way photography even if you have a quick lens. Bortle 5 and lower is typically where you start to see it shine a bit brighter. My typical setup is an f/1.4 13mm lens. If you plan to take astrophotography shots, keep a few things in mind: first, what exactly you want to shoot; second, where it is located (using a star finder app is usually recommended); and third, the light pollution in that area and the direction you are shooting toward. The last point is often forgotten but very important. Even if

Photo:

Photo: Sachin Maharaj

you are in a dark enough area, shooting in the direction of a nearby city or even a bright horizon is going to show up in your picture. Let me tell you why: astrophotography is usually achieved through long exposure shots. For instance, if you have your camera set to a shutter speed of 10 seconds at an aperture of f/1.4, even with a low ISO, the brightness of the horizon can overpower the image and make it look washed out. So, what is the recipe for a good picture? If you are aiming for a landscape shot, make sure there is a good subject, like a tree, rock formation, or a house/building that interests you. When doing this, try to

Photo: Sachin Maharaj

Photo: Sachin Maharaj

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

Photo: Sachin Maharaj

“Its everlasting beauty and radiance will continue to be enjoyed for millennia to come, and I will never grow tired of watching the stunning skies.” avoid any unnatural light in the image as it can cause the image to look washed out. Once you have your location, set up your tripod and ensure your camera is tightly fastened.

Depending on your shooting conditions, your settings may vary. In a high Bortle area, try keeping the ISO as low as possible. Use a suitable shutter speed based on the sensor type you are shooting with, whether it be full-frame or APS-C. You can reference the 300 or 500 rule but I have found that a shutter speed of 10 seconds is the sweet spot if you’re just starting off. For the aperture, assuming you do not have a super-fast lens, keep it as low as possible with the lowest possible focal length so we can maximize the amount of light the sensor receives. Now we need to capture the picture! Some modern cameras allow you to control your camera through your phone. If you do not have this feature, you can either buy an external shutter to mount to your camera or simply set a timer on the shutter.

This is necessary to avoid any external vibrations from distorting the image. Now it’s simply click and wait. When

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your picture is done, you should see a myriad of little stars which can better be seen in post-processing, a major part and the next step of astrophotography. So, what keeps bringing me back to astrophotography? Some might argue that most of the night sky has been seen and recorded multiple times before and they’re right. But to me, that doesn’t make it any less exciting. There is something deeply humbling about standing under the night sky and capturing light from stars that are light-years away, the very same stars that humans have looked at for thousands of years. In those moments, it becomes less about getting the perfect shot and more about appreciating something far greater than ourselves. Its everlasting beauty and radiance will continue to be enjoyed for millennia to come, and I will never grow tired of watching the stunning skies.

Photo: Sachin Maharaj

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

PHOTOGRAPHING CHELSEA F.C. Content Manager: Kailee Parsons

SADE BORISHADE Hi everyone, my name is Sade and I’m a Sports photographer , who happens to be black and female. For a while now, I have been creating content surrounding the lack of representation and diversity in the sport media industry, based on my own experiences of breaking into sports photography. I would say there are loads of young women who would love to do sports photography and I have realised that the pathway is quite blurred for many of us. I am not fully sure why, I just know it should not be that way. Therefore, I am on a mission to change that… one game at a time. My sport photography journey officially started in April 2026. I shot the Chelsea vs Liverpool WSL game and I was amazed by the experience that I had to share it with many other photographers via content, who have no clue how to get pitch side with their cameras. I have built a strong network over the past few years which have helped me to get these places; however, my main purpose is still to highlight the issues in representation. One particular picture of Alyssa Thompson that I took really resonates with me because it’s only her surrounded with empty space. When you are on a specific mission or purpose , it does get lonely but it is important to drown out every other voice that tells you the opposite, and just keep chasing your dreams. These photos are likely to be framed in my house because it is a feeling I never want to forget. I chose Chelsea and Chelsea chose me.

Photo: Sade Borishade

Photo: Sade Borishade

Photo: Sade Borishade

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Chelsea’s Alyssa Thompson on pitch

Photo: Sade Borishade

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

WOMENS SIX NATIONS 2026 Content Manager: Kailee Parsons

STUART WILLIAMSON My name is Stuart Jason Williamson, and I first picked up a camera around seven years ago. Creativity has always been a huge part of my life. When I left school, I originally wanted to become an actor and attended the Scottish Youth Theatre, where I completed a 12-week course. That experience introduced me to both sides of the camera; not only performing in front of it but also directing behind it.

More importantly, it sparked a passion for storytelling. As I became more involved in visual media, I realised photography offered another powerful way to tell stories.

To develop my skills with the camera, I attended South Lanarkshire College to study Photography and Videography. Crucially, the college experience gave me the opportunity to work in a professional studio environment, which is something I had very little experience with beforehand, and it allowed me to connect with other photographers who shared the same passion. Having formal qualifications also provided an additional layer of credibility for future opportunities within the industry.

While studying, I applied for accreditations to cover sporting and music events whenever possible. Eventually, I began photographing matches for Stenhousemuir Women's FC and later Hamilton Academical Women's FC, both on a voluntary basis. Although these roles were unpaid, they were invaluable. They helped me build confidence, improve my technical skills, and develop an understanding of sports photography in a live environment. Like many photographers trying to break into the industry, I faced plenty of rejection along the way.

Applications were declined, emails went unanswered, and opportunities seemed difficult to find. But I kept applying, and suddenly, one day, everything changed. I was absolutely delighted when I received accreditation to

Photo:

Photo: Stuart Williamson

photograph the Women's Six Nations match between Scotland and England at Murrayfield. Opportunities like this don't come around often. I applied as a student photographer and explained my passion for rugby and football, highlighting my experience covering women's football matches. To my surprise and delight, I was accepted. On the day of the match, I arrived early and made my way to collect my media pass. Holding that pass in my hands was a special moment. It felt like recognition for years of hard work, persistence, and determination.

After collecting my pass, I headed to the media room to

Photo: Stuart Williamson

Photo: Stuart Williamson

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

Photo: Stuart Williamson

“Being pitch-side for such a historic game was a privilege I will always be grateful for” pick up my pink match-day media bib and bag tag. I met several photographers and spent some time walking around the stadium, taking in the atmosphere and appreciating the occasion. Before the action began, I grabbed some food and a coffee and met up with my sister and her partner for a quick catch-up before kick-off.

Forty-five minutes before the game, the media were informed which direction play would start. I made my way into position early, wanting plenty of time to prepare and settle in. This also gave me an opportunity to capture prematch training images and get a feel for the environment.

The atmosphere was incredible. More than 30,000 fans filled Murrayfield to support the women's game. It was a record attendance and the first time Scotland Women had played at Murrayfield Stadium. It felt like a historic occasion, not only for Scottish rugby but for women's sport as a whole. As the players emerged onto the pitch, the excitement around the stadium reached another level.

The match-day anthems began, and when Flower of Scotland rang out around Murrayfield, the emotion was unforgettable. Thousands of supporters sang with passion and pride. Even after the music stopped, the crowd continued singing. It was one of those moments that gives

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you goosebumps and reminds you why sport can be so special. Throughout the match, I primarily shot with my Canon R6 Mark II paired with an EF 70-200mm f/2.8 lens.

Unfortunately, the result didn't go Scotland's way, with the Red Roses securing an 84-7 victory. However, the scoreline did little to diminish an unforgettable day. Being pitchside was a privilege I will always be grateful for. If you're interested in sports photography, keep going. Volunteer where you can, build your portfolio, gain experience, and don't be afraid to send emails and apply for opportunities.

Rejection is part of the journey, but so is progress. You never know where your next opportunity might lead. One day, you might find yourself standing pitch-side at Murrayfield, photographing an international sporting event and living a dream that once seemed impossible.

Photo: Stuart Williamson

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

ROWING ON THE THAMES Content Manager: Kailee Parsons

LOUISE ANDERBJÖRK On the 14th of March, the 86th rendition of the annual Women’s Eights Head of the River Race took place between on the River Thames in London. Over 300 crews from across the UK took part, and I was there to capture the racing action along the course. Capturing an entire crew in an eights race is no easy task given the length of the boats, while also trying to shoot as close to eye level as possible without ending up in the water yourself. To manage this, positioning becomes key. The best approach is to find a spot near the loading areas where you can get close to the river while still maintaining a clear, unobstructed view of the race course. From there, it’s worth experimenting with both landscape and portrait orientation, as switching between the two can help solve many of the framing challenges that come with photographing longer boats. Beyond the technical side, one of the most important aspects of photographing outdoor sport is making the event surroundings part of the story. A good example came as two crews battled head-tohead approaching the finish line, and instead of zooming in for a classic action close-up, I zoomed out to freeze the moment that an iconic London double-decker bus crossed overhead just as the rowers passed beneath the bridge, adding a distinctive sense of location to the shot. At the end of the day, Leander Club were crowned champions, rounding off a fantastic event in central London.

Photo: Louise Anderbjörk

Photo: Louise Anderbjörk

Photo: Louise Anderbjörk

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Rowing scenes in central London

Photo: Louise Anderbjörk

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

JOURNEY IN SPORTS AND EVENTS Content Manager: Kailee Parsons

DENISE CLARKE COLLINS My name is Denise Collins and I have such a passion for photography, I have never had that feeling before other than when I use to play football, which was well before WSL came into play. My photography started when someone gave me an old film camera, and I started taking photos, I even sent some into amateur photography magazine, one of my pictures made the page of best images in that issue , that was the beginning, over 25 years ago. I have done different types of photography on and off over the years but could never fully commit to it because of work, but it has always been a part of my life in some way.

I have met some amazing photographers along my journey, seen their work and in the back of my mind always imagined what it would be like to actually take a photo like theirs. I am self-taught, and I have struggled getting to where my photography is today with a form a dyslexia and my anxiety. It's been a hard long road, a lonely one at stages too with my photography, not quite getting it, not understanding this or that, the self-doubt. I have learnt not to compare my photography, and not to rely on social media for a confidence boost, but likes and positive comments are always greatly received. In 2016, I had an exhibition for one month in Husk East London. It was based around people I photographed in the East End, the locals, families, the rich, famous, and the poor. What an experience when I finally one day feel completely satisfied with myself regarding my photography, skills, and experience. I hope I can have another exhibition or be involved in one. Meeting some amazing talented people over the years which has helped my photography and confidence grow, I have had some amazing opportunities, some that we can only dream of. I also set up a studio in the basement at work and have had many friends who posed for

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Photo: Denise Clarke Collins

me and helped me progress in that area. Then, over the years I have covered many events including backstage at the jingle bell ball at the O2, and also premieres from behind the railings to then being on the red carpets. I have covered soccer aid, charity events, BBC 1xtra, and I have photographed some amazing singers on stage such as Amy Winehouse, Ed Sheeran, Skepta, Peter Andre, Cynthia Eviro and Beverley Knight; even basketball at London's copper box arena. The list is endless, but my dream has not stopped there, my dream keeps going. I have always felt I have more to give with my photos. Steven Berkoff

Photo: Denise Clarke Collins

Photo: Denise Clarke Collins

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Issue 29 - 28 June 2026

Photo: Denise Clarke Collins

is such a successful club, and for them to open their doors to me and many others is a huge step for women’s football.

I cannot thank them enough. I have had some amazing moments, meeting so many great people, but I want more.

I would love to grow in music photography. Learning more about my camera has definitely been a big stepping stone for me. I want to learn new skills and grow a little more. I really do believe photography is in me just like football once was. I have had some amazing experiences but I want photography to be an even bigger achievement and I want to show others who have the same struggles that a dream can come true. I hope I am able to continue with my photography and my dream, and maybe a lucky break will come my way someday in the not too distant future.

“I have always felt I have more to give with my photos” has always been my number one to photograph, in no particular setting I just have always thought he is a great actor but also that he has that extra something for a photographer. I have a list of dreams; Yungblud in concert for one with a few others on there. Music and football have been such a big part of my life and I just want more of that.

I love doing photography for the different pride events, giving something back covering these events is so fulfilling. When I had to give up my career in football, I became a head coach and a one-to-one football trainer. I had done no sports photography, and then I fell into photographing football. My brother in-law Paul Tormey gave me an opportunity to photograph his club , Rainham and Barking Phoenix FC who in that season won the treble. I went onto the national league and things got even better. Spurs have been a wonderful welcoming club along with West Ham. Spurs was the first club I worked with and it was the beginning of my photography career in football. They helped me get a photography accreditation so I could capture Spurs at their home games at Brisbane Road and on many occasions at Tottenham Hotspur Stadium at White Hart Lane. Suddenly, that childhood dream of getting to Wembley came back to me, now not as a player but photographer, which happened with Spurs v Manchester United in the women’s FA Cup 2024. Spurs

Photo: Denise Clarke Collins

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

BUCS FENCING NATIONAL FINALS Content Manager: Kailee Parsons

HUGO WU In record breaking fashion, the University of St Andrews fencing club attended their first ever National Finals in club history. After a supreme regular season the team won the Premier North title by placing 1st in the league. The team travelled down to Loughborough to compete against their long time academic rivals - The University of Oxford.

A "Varsity" match if you will, but competed for on the biggest sporting stage of the UK. The match was as thrilling and heated as it gets, as St Andrews did not have any specialist Épée fencers, they trailed by a 12 point deficit following the Épée round. However, the St Andrews team put up a dominating performance in foil to abolish the deficit entirely, leading both teams into a tense and dramatic fence-off in sabre. Both teams traded blows fiercely in the final sabre round, with Oxford edging ahead to a 35–33 lead as the bout entered its decisive final stage a race to 45. Although St Andrews found themselves on the back foot, Singaporean fencer Jerome Gan stepped up to deliver a composed, relentless performance, clawing his team back into the lead at 40–37. Despite Oxford's aggressive final push, German captain Anderson Bull ultimately held his nerve, staying calm and unfazed. After quite literally the best showcase of fencing this. University has ever seen, St Andrews were crowned national champions with a score of 45-42 (135-132). From their first semi-final appearance to being crowned national champions; this little team from Fife stormed into glory, in one perfect try, and a performance that left the Scottish seaside university town proud of it Saints Fencing Team.

Photo: Hugo Wu

Photo: Hugo Wu

Photo: Hugo Wu

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Winning details at BUCS Fencing

Photo: Hugo Wu

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

BETWEEN CLIFFS AND WOODS Content Manager: Kailee Parsons

BECKY CAWTHORNE Photography, for me, is about slowing down and quietly observing moments that might otherwise pass unnoticed.

Living in Yorkshire, wildlife exists in a delicate balance all around. Along the dramatic coastline at Bempton Cliffs, gannets wheel and dive with precision, helping regulate fish populations while carrying nutrients from sea to land.

Further inland, Malham Cove stands as a reminder of ancient glacial forces. Nearby, Gordale Scar cuts through the landscape, its fast- flowing, oxygen-rich waters supporting white-throated dippers, which dive beneath the surface to feed on aquatic insects-an indicator of clean waterways. In summer, the hay meadows around Muker burst into colour. These traditionally managed grasslands are rich in wildflowers, attracting butterflies and bees, a sign of a thriving habitat. Throughout Yorkshire, woodland plays a quieter but vital role. Fungi such as the fly agaric, with its bright red cap and white spots, help transport nutrients through tree roots, while others break down decaying matter. Here, the European robin is a familiar sight. Equally, in places such as Snaizeholme, the red squirrel still persists. Once driven close to disappearance, it is slowly recovering through conservation efforts. Spending time in these landscapes has revealed how closely connected Yorkshire's habitats truly are. From seabird colonies along the coast to ancient woodlands and flower-rich meadows, each environment supports an intricate network of wildlife that depends upon careful balance and ongoing conservation. From cliffs to woodland, Yorkshire holds so much to discover.

Photo: Becky Cawthorne

Photo: Becky Cawthorne

Photo: Becky Cawthorne

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Nature’s unique wonders in Yorkshire

Photo: Becky Cawthorne

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

TOTTENHAM VS CITY LIONESSES Content Manager: Kailee Parsons

LOUISE ANDERBJÖRK With summer approaching, the football season is slowly drawing to a close, and on the 3rd of May I was invited to cover Tottenham Hotspurs Women’s penultimate game in the Barclays Women’s Super League 2026. Playing at their home ground at Brisbane Road in East London, Spurs Women were up against London City Lionesses and eager for revenge following their previous November match, which ended in a 2–4 defeat for Tottenham. This Sunday, the game was scheduled for a 12 noon kick off, so as usual I arrived just over an hour before to have plenty of time to collect my press pass, have a quick coffee in the media room, and get my gear set up pitchside. It is always beneficial to have extra time to get used to the specific stadium conditions before the game starts, but especially in the summer when it can take time to find the right balance in lighting settings. Direct sunlight, shadows from clouds and stands, and strong colours around the pitch can all make things quite tricky. In this regard, it is also helpful to be covering ‘the game’ rather than shooting for a specific team, as that allows you to position yourself on the goal side with the least shadows and stay there for the full match without needing to move. Soon after the game started, Tottenham secured an early advantage with a goal from Signe Gaupset, and shortly after Olivia Holdt followed to place Spurs in a comfortable 2–0 lead going into half time. These goals made for some great action shots, but I had also set myself the challenge of focusing on more candid player profiles to broaden my coverage and make my portfolio more diverse. It is something I would recommend to anyone starting out, as it helps avoid ending up with a set of images that all look too similar. As half time came along, it was also a good chance to chat to the other photographers, talk through the game, share

Photo:

Photo: Louise Anderbjörk

advice, and connect. What stood out to me in particular was how many young female photographers were there compared to many of the men’s games I have worked on. It was great to meet and be inspired by so many talented people, and to even be able to make some new friends in the industry too. As we moved into the second half, the earlier forecast of thunderstorms had completely cleared into a bright blue sky. Not only did this serve as a reminder to always come prepared for all weather conditions, but it also created a new lighting setup compared to the first half. It showed again how important it is to know your

Photo: Louise Anderbjörk

Photo: Louise Anderbjörk

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

Photo: Louise Anderbjörk

“Some of the most powerful images come from simply turning around and capturing the reactions of the crowd” camera and feel confident adjusting your settings quickly as conditions change. Towards the end of the match, London City Lionesses pulled one back through Alanna Kennedy, adding some tension, but when the final whistle blew it wasn’t enough and Tottenham secured a 2–1 win.

The result also meant that Tottenham reached 33 points for the season, their highest total in the Women’s Super League so far, placing them fifth in the table, while London City Lionesses remained seventh. The atmosphere at full time was fantastic, especially as this marked the final home game for several Tottenham players whose contracts are coming to an end this summer, including captain Bethany England. Many fans had brought handmade signs, scarves, and shirts to show their support, which created a strong sense of connection between the players and the crowd. As a photographer, it is important to remember that these moments are just as important as the action on the pitch. Some of the most powerful images come from simply turning around and capturing the reactions of the crowd when a goal is scored, a chance is missed, or a match is won. These moments

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help tell the full story of the game and add something unique to your work. When I got home, it was time to sit down and begin the editing, narrowing over a thousand images down to a small selection for portfolio and social media. Just as finding the right settings on the pitch can be a challenge, editing in these conditions can be equally difficult. The strong sunlight and the green reflection from the pitch can make white balance and colour difficult to manage. Sadly, there is no quick fix, but one thing I have learned is not to fight the conditions too much. Trying to force every image into the same look can lead to over editing and a loss of quality. Instead, leaning into the natural light and colour of the day can often produce more authentic results, and sometimes even lead you towards a style you might not have explored otherwise.

Photo: Louise Anderbjörk

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

RESISTANCE TO FORGETTING Content Manager: Kailee Parsons

DEVON MACMILLAN It is four-thirty in the morning. The sun is assembling itself behind a rugged treeline, a slow burn of gold spreading across the sky like something being remembered rather than begun. There are no commitments here, no competing demands; only the bush in its oldest form, unhurried and indifferent, and somewhere within it, a thousand creatures going quietly about the business of surviving another day. This is Kruger National Park. Just me and my camera. No guide, no itinerary, no guarantee of anything. This is exactly why I return. My family left South Africa when I was very young, exchanging the Southern Hemisphere heat for the somewhat predictable greyness and rather damp certainty of the UK. But there is a manner of leaving that is never truly departure, and ours was that kind. Every year, without exception, we go back, to friends, to family, and importantly to Kruger. South Africa's largest wildlife reserve, roughly the size of Wales, has served as the backdrop to many of my most timeless memories. At some point in those annual pilgrimages, I began using my mum's digital camera, and with time invested in my own. I simply could not imagine the journey without one.

Photography, for me, did not begin as a technical discipline. It began as an act of resistance against forgetting. The quality of light at five in the morning when your vehicle is first through the gate. The way an elephant moves through dense woodland with a silence that feels like a violation of physics. The relief of breaking a fivehour drought with a ten-second leopard sighting. These things cannot be folded into a suitcase, but they can be approached, approximated, held at arm's length in a frame, if one is patient enough, and occasionally fortunate enough. The image I return to most often was not taken in

Photo:

Photo: Devon MacMillan

proximity to any animal. It required no patience in the conventional sense, no hours beside a riverbed, no engine switched off, no waiting. It required only being present at the right moment, with the presence of mind to recognise what was unfolding before me. A single acacia, silhouetted against a sky turned the colour of molten copper, positioned by chance or providence directly in front of the setting sun, the entire disc of it framed within the canopy as though placed there deliberately. The bush stretched away on every side into darkening gold. Nothing moved. I took the photograph and sat for a long time afterwards

Photo: Devon MacMillan

Photo: Devon MacMillan

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

Photo: Devon MacMillan

“The images I value most are almost never the ones I arrived intending to make” without touching the camera, which is, I have come to think, its own kind of answer to the question of why I keep coming back. The second image arrived in stillness rather than drama. A leopard draped across the broad limb of what I have come to call a leopard tree, any tree with a perfectly positioned branch to cradle one, as close to your vehicle as possible. This leopard was found exactly as you want to find them: doing nothing whatsoever. After watching her sleep for some time, she woke, rested her chin on her paws, and surveyed the proceedings below, at times holding my gaze with an unsettling and magnificent patience. It was a gift from the park, a remarkable sighting merely two kilometres from our exit after a week of nothing quite like it. This, I believe, is the argument for the self-drive safari that tends to go unmade. It is slower than the guided game drive, placing the full weight of decision upon the person behind the wheel, when to stop, when to move, when to wait. But it is precisely that weight that makes it so completely absorbing. Passivity is not available to you. You are reading the landscape constantly: scanning the treeline, parsing shadows, gradually learning across many seasons, to truly see the bush rather than simply look at it. A hired car and a park entry permit are

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sufficient to bring you through the gate. Kruger's rest camps offer accommodation across a broad range of budgets, from camping spots to chalets, no specialist operator or private lodge required. Just time, patience, and a willingness to sit beside a dry riverbed for longer than comfort would ordinarily allow. Wildlife photography has taught me that the images I value most are almost never the ones I arrived intending to make. They are the residue of consistency, of showing up, of staying beyond the point at which staying feels necessary, of holding oneself open to whatever the bush, in its own time and on its own terms, chooses to offer. Kruger has been making those offers since I was barely old enough to hold a camera level. I have little doubt it will continue to do so for a long time yet and I look forward to returning to witness it.

Photo: Devon MacMillan

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

THE ART OF NOTICING Content Manager: Kailee Parsons

RYAN SAITO Living in Tokyo means existing inside motion. Trains arrive every few minutes, people flow like rivers through the city, and new buildings seem to rise overnight. In this ever-changing world, where everyone is busy with their activities, truly noticing has become rare, even almost forgotten. As a photographer, I’ve learned that the camera isn’t just a tool for capturing images; It’s a reason to slow down. The slower you observe, the more you can see. What looks ordinary at first begins to unfold into layers of detail.

A convenience store sign glowing at dusk isn’t just light, it reflects softly on wet pavement, creating a quiet mirror of the city, showing another world you’ve never seen before.

Shadows from overhead wires stretch across narrow streets, shifting subtly with the sun’s angle. Tokyo rewards patience. If you pause long enough, you’ll notice how a passing breeze moves flowers outside a local shrine, and how that small movement changes the path of a bee in its flight. You begin to see rhythms within chaos; the timing of footsteps, the pause before a crossing signal, the brief stillness between trains. Photography, at its core, is the art of noticing. It’s not always about chasing dramatic scenes, but about recognizing the beauty hidden in everyday moments. In a place like Tokyo, where everything urges everyone to move faster, choosing to slow down becomes an act of deliberate intention. And in that peaceful stillness, the city reveals itself, not as overwhelming, but as deeply human, textured, beautiful, and alive in ways most people pass by without ever seeing. Stay curious, pay attention, and you may see what others don’t.

Photo: Ryan Saito

Photo: Ryan Saito

Photo: Ryan Saito

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Slow down and notice forgotten moments

Photo: Ryan Saito

PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

TAME IMPALA VIUSAL REVIEW Content Manager: Kailee Parsons

AMANDA MACEACHEN Tame Impala returned to Glasgow for the first time in over a decade on 11th May 2026 at the OVO Hydro, and I had the absolute privilege of attending the event on behalf of PRISMA to document it. This tour was Tame Impala’s ‘DEADBEAT’ tour, named after his brand new album released in late 2025. Photographing events on these scales are always so exhilarating but do come with the added pressure to get everything right on the night. Nothing could have prepared me however for the type of incredible production that I would be photographing at this show, so without further ado, onto the full live review and photos of the gig. Opening the night as support was RIP Magic, a dance punk band from London, their set provided an ideal introduction to what was to come. They gradually built the atmosphere inside the arena as they played as fans continued to stream through the doors. By the time their set came to an end, the Hydro was visibly filling rapidly and anticipation was evident across every section of the venue waiting for Tame Impala. When Tame Impala took to the stage at 9pm, one thing that immediately stood out was the scale of the production for this show. Rather than opting for a traditional arena setup, Kevin Parker and the band performed around a unique circular stage positioned at the front of the venue. Kevin occupied the centre while the rest of the band were positioned on the outskirts in a satisfyingly coordinated manner. Furthermore, the production also included a second stage, named the ‘B stage’ that was another circular platform but this time at the back of the venue with the stage being much smaller. It was a refreshing departure from the standard arena format and it definetly stood out from other Hydro gigs I have attended. From a photography perspective, the stage design provided plenty of exciting photographic

Photo:

Photo: Amanda MacEachen

opportunities. The circular layout naturally created different sightlines throughout the set, and allowed photographers to shoot from different angles that perhaps would not be possible with a regular stage. Now if the stage design was impressive, the lighting production was on another level entirely. Quite simply, it was one of the most remarkable lighting displays I have ever seen at a live show. I have been a Tame Impala fan for a long time and it has been known that his lighting setup and productions are of unparalleled quality, but seeing it in person absolutely blew me away and exceeded expectations. Every

Photo: Amanda MacEachen

Photo: Amanda MacEachen

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PRISMA PHOTO STORIES

Issue 29 - 28 June 2026

Photo: Amanda MacEachen

“The stage design provided many visual opportunities” song seemed to introduce a completely different visual concept, with complex moving rigs, intricate lighting sequences and lasers completely transforming the arena throughout the evening. The production continually evolved, ensuring each track felt visually distinct from the last and therefore photographing this show was both incredibly rewarding yet challenging. Regardless of this, it made the photos taken more exciting and distinctive, and learning on the job is the best way to handle new gig environments like that! Musically, the setlist balanced material across Tame Impala’s entire discography including lots of tracks from the new album, Deadbeat.

The set opened with ‘Apocalypse Dreams’, then flowing into crowd favourites ‘The Moment’ and ‘Borderline’. The setlist moved comfortably from older favourites such as tracks off of ‘Currents’ and ‘The Slow Rush’, and then into the newer material. One of the evenings most memorable moments came when Kevin Parker made his way to the Bstage, the screens showed Kevin’s movement through the backstages of the arena to then eventually make his way through the crowd to reach the second stage. Once there, he performed ‘Ethereal Connection’ and ‘Not My World’.

Away from the scale of the main production, the performance took a much more intimate feel, with Kevin singing while lying on what appeared to be a bedroom set

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built into the stage. This whole section provided a striking visual contrast to the arena sized spectacle surrounding it and gave those songs a unique place within the set. As the night ended, the energy inside the Hydro showed no signs of fading. ‘My Old Ways’, ‘The Less I Know The Better’, and ‘End of Summer’ accompanied by confetti, brought the show to a powerful finish. Tame Impala’s long awaited Glasgow comeback was more than worth the wait. Kevin’s vocals and the band’s musical talent were undeniably impressive, the setup and lighting were visually stunning, and to top it off, the show was supported by an audience that showed up determined to have fun and make the most of the occasion. It was a sheer reminder of why Tame Impala’s live shows continue to be regarded among the very best in modern music.

Photo: Amanda MacEachen

Founded in 2022, PRISMA Photography Magazine is a photography publication based in Scotland.

Whether you are an amateur, professional, or somebody in between, we hope you are inspired to explore new perspectives and sustain your craft.

@prismaphotomag www.prismamagazine.co.uk (c) PRISMA Photography Magazine 2026