Each year as part of Graduate Photography Online we ask a number of professionals from the world of photography to review all the work submitted and choose their favourites. We chat to Gemma Padley, Writer & Photo Editor and Selector for the BA phase of Graduate Photography Online 2026.
Gemma Padley
Writer & Photo Editor
Tell us about your day-to-day routine as a photography editor and writer and then maybe tell us a bit about some of the major challenges and highlights you've experienced so far working in this arena and what project you're currently working on?
My day always begins with a strong coffee or two. I’ll browse key websites and blogs that feature photography to catch up on headlines and answer emails before closing my email for a bit so I can concentrate on any pitches, articles or other projects I’m working on. I try to make time to research potential story ideas at some point in the day and browse photographer portfolios. If I’m working on a book project, I’ll spend most of the day writing, editing or doing picture research, depending on what stage the project is at, and try to squeeze in boring admin such as sending and chasing invoices. Challenges have always included securing work, chasing invoices, managing workflow, and self-promotion, which all require ongoing attention, but the many highlights include working with brilliant people including inspiring editors and talented photographers from all over the world. Being blown away by excellent and unique work never gets old. I’m currently working on a book with Quarto and an underwater photographer/conservationist due for release in 2027. I’ve just sent the first draft and image list and am awaiting feedback.
How did you make your way into the career you're now in? At what point did photography start to feature significantly in that path?
I studied English and music at university and originally wanted to be a music journalist. I fell into writing about photography and loved it so much I never left. My first job, when I was in my early twenties, was for a weekly photography magazine, and from there I went on to do a master’s in the history of photography. In the last ten years or so my focus has shifted to working on photography books, but I love all kinds of writing about photography. Finding new, exciting ways to combine words and images is an endless source of fascination for me.
How do you decide on what makes an interesting photograph or photographic project?
This is a difficult question and one I’ve grappled with for many years! It’s something that is tricky to put into words but involves work that remains in my mind/draws me back after an initial look and invites further discussion. Visually, I want to be blown away, and to be challenged intellectually. I am drawn to work that has heart – that resonates on an emotional level – and is above all, authentic.
As regards the photographer's statement, what are the most important things for you to know about the work? When it comes to showing their work outside of University, do you have any tips on how graduates should prepare their work and the supporting material that accompanies it?
I think there is a misconception that project statements must be full of complex language or academic-speak to be taken seriously, when in truth, the simpler and more to the point the writing is, the better. It’s always obvious when a photographer hasn’t fully thought through an idea/s and is dancing around it in the statement, so it’s crucial to spend time carefully thinking through what your work is about so that when you come to write about it you know exactly what you want to say. I always want to know what made the photographer want to produce the work in the first place (their motivation), a glimpse into how they made the work (the how) and what they hope to convey (what the work is about). In terms of presentation, it depends greatly on where, how and to who the photographer is showing their work, but a strong edit and a clearly written, engaging piece of writing about the project are musts, regardless of the intended audience.
In your view, aside from specifically technical skills, what are the kind of qualities that completing a degree course in photography should endow an individual with?
For me, a degree course should equip photographers with the skills to be able to talk fluently about their work and the courage/confidence to run with their ideas. Being able to rigorously critique one’s own work is a useful skill, one that can be practised/honed, and the ability to know when an idea isn’t working or when an image no longer belongs in a portfolio – it’s crucial to be able to refine/revise/re-edit your work as you make new work.
What are the particular challenges you see facing graduates from photography degree courses as they make their way into the world at this particular point in time?
Aside from the obvious (and not new) challenges of how to get their name and work out there, hurdles involve finding ways to cut through the noise and present work in a clear, consistent, engaging, and well-thought through way, and ultimately keeping in the race. Talent and skill at this level are a given, but stickability is key.
What advice would you have for someone interested in working in your particular field?
Only do this (work as a writer/editor in photography) if there is nothing else you would rather do. It is not an easy way to make a living and requires dedication, resilience and determination above all else. On its best day, it can be incredibly rewarding, however. Being personable is important/able to get on with people, as well as being a good communicator and constantly able to come up with ideas. Having your own voice/writing style is important, but also the ability to adapt depending on the nature of the work you’re doing. It’s also important to be a good listener and to develop the ability to process complicated ideas/concepts and then write about them in engaging, easy to understand language.
Cover image: 'The Women Who Changed Photography' by Gemma Padley, Laurence King Publishing, August 2024. This book tells the stories of 50 remarkable women photographers from all over the world and across history whose diligent efforts have had a profound effect on photography.