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 Kimberly Hoang, Picture Editor, British Red Cross and Selector for the MA/MFA phase of Graduate Photography Online 2026.
Kimberly Hoang
Picture Editor, British Red Cross
Tell us about your day-to-day routine as Picture Editor for The British Red Cross and maybe talk a bit about the role of photography in what the organisation does, particularly in contemporary day-to-day output?
Every day in my role as Picture Editor at the British Red Cross is different, yet at its core, it’s about connecting with the human stories that drive our work. My role revolves around commissioning, sourcing, and selecting images, not just for their visual strength, but for their ability to convey the care, complexity, and reality of the people and communities we work with. Sometimes that means exploring archives, other times it’s collaborating closely with photographers or planning shoots that bring specific stories to life in thoughtful and considered ways. The projects I work on span the breadth of human experience. Some days are shaped by urgent global emergencies—conflict, climate crises, disasters—where decisions need to be made quickly. Other projects are long-form, reflective, and measured, designed to highlight the impact of our work both internationally and within the UK. Some stories demand immediacy; others demand patience. And often, the challenge is finding the right balance between the two.
Commissioning, for me, is never simply about capturing a striking image. It’s about finding people who understand the sensitivity of the context, who can approach a story with empathy and awareness. Long before a camera appears, there’s thought and care put into every briefing, every discussion about access, every consideration for the comfort and dignity of those being photographed. It’s about creating an environment where trust can grow, and where the resulting work reflects honesty rather than spectacle. Ethical storytelling is the compass that guides everything I do. We work with people in vulnerable situations, and with that comes responsibility. Images must never feel exploitative or reductive. Through careful commissioning and considered framing, there’s a chance to slow down, to reflect, to build trust, and to capture work that feels real, humane, and truthful. The way an image is composed carries meaning; it shapes perception, challenges assumptions, and can offer a narrative that is nuanced rather than simplified.
Photography is central to how the Red Cross communicates. Often, it’s the first point of engagement, particularly online, and it must communicate quickly, but also responsibly. My role is about more than strong visuals; it’s about honoring the complexity, resilience, and dignity of the people whose stories we are privileged to tell, and about creating work that resonates with thoughtfulness and care.
Historically The British Red Cross has had a long standing relationship with photography in terms of its commitment to documenting humanitarian action. In what ways do you think that relationship has evolved over the years?
I think the relationship between photography and storytelling at the Red Cross has evolved a lot over time. Historically, much of our imagery was focused on documenting humanitarian crises—capturing moments of need or disaster in ways that were often formal, conventional, and straightforward. That approach played an important role in raising awareness and supporting fundraising, but it was inevitably limited in how it represented the people and communities at the centre of our work.
Over the years, the focus has broadened. Photography is no longer just about documenting events, it’s about framing stories differently, showing resilience, agency, and the complexity of communities, rather than reducing them to a single image of suffering. That shift means commissioning photographers who might not be the obvious 'traditional' choice, but who bring fresh perspectives, experimental approaches, or lived experience that resonates with the people and places we work with.
Technology and the way people engage with images has also changed the relationship. Images now circulate instantly, online and across multiple platforms, which demands they connect quickly, but also responsibly. This has pushed us to think harder about narrative, representation, and ethics: how to create images that are socially aware, respectful, and meaningful, rather than simply “newsworthy.” In short, photography at the Red Cross has moved from being primarily documentary to being intentional, creative, and socially engaged. It’s become a tool not just for showing what happens, but for shaping understanding, challenging perceptions, and highlighting the humanity and dignity of the people whose stories we are privileged to tell.
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?
Photography has been a constant presence in my life since I was about 14, when I had the chance to do some work experience at a photographic agency—I think it was Axiom—around 35 years ago. I still remember walking into that space for the first time; it felt like stepping into a completely different way of seeing the world.
I come from a refugee background, my family arrived in 1980, we were called the ‘Vietnamese boat people’ so photography wasn’t something my parents really had access to or understood as a career. But in a quiet way, that background made me more aware of the weight that stories can carry. One photograph, in particular, stayed with me: Falling Soldier from the Spanish Civil War. I found myself drawn not only to the image, but to the questions surrounding it—was it staged, or was it real? That uncertainty didn’t weaken its power; if anything, it deepened it. I became fascinated by how a single frame could contain so much tension, so much ambiguity, and still resonate so strongly. It was the first time I understood that photography wasn’t just about what is shown, but about what is felt, questioned, and remembered.
After university, I came across an opportunity to intern at Magnum Photos in New York. I sent a letter, not really expecting a response. When they offered me a three-month internship, it felt almost unreal. Those three months became three years that would quietly shape the way I see the world. I often spent my lunch breaks in the back, sitting with stacks of contact sheets from photographers like Henri Cartier-Bresson, James Nachtwey, Susan Meiselas, and Alex Webb. There was something incredibly intimate about that process, like being allowed into someone else’s way of thinking, their way of seeing. You could trace hesitation, instinct, repetition, and clarity across each frame. Cartier-Bresson, in particular, left a lasting impression: the idea of the ‘decisive moment’, captured sometimes in just two or three frames, spoke of patience, precision, and trust in one’s own eye.
Those years at Magnum shaped me in ways I’m still discovering. What began as an internship became a role as Distribution Manager, and that experience formed the foundation of my career. When I returned to the UK, drawn back by a sense of home, I moved into publishing, where I learned to think about images differently—through commissioning, collaboration, and the shaping of narratives. I spent thirteen years at The Guardian, before moving into the humanitarian sector, where I reconnected with my photojournalism roots. That journey has brought me back, in many ways, to where it all began. Photography, for me, has never been just about images. It’s about attention, about responsibility, about the quiet act of witnessing. It’s about understanding that every frame holds a choice, of how to see, how to represent, and how to honor the people and stories within it. And it’s that understanding that continues to guide me, shaping not just the work I do, but the way I move through the world.
In your line of work, how do you decide on what makes an interesting photograph or photographic project?
I think it’s quite subjective, but at the same time there are certain things you start to recognise instinctively. For me, it’s about whether an image works holistically, whether everything within the frame comes together to communicate something meaningful without needing too much explanation. An interesting photograph is often one that can stand on its own. If it can convey a sense of need, support, or human connection without relying heavily on accompanying text, then it’s doing something powerful. It means the viewer can engage with it immediately and emotionally, rather than needing to be told what to think. I’m also drawn to images that feel honest and considered, where there’s a sense of thought behind how it’s been made, rather than something that feels overly staged or predictable. Sometimes it’s the quieter, more subtle moments that are actually the most impactful, because they invite the viewer to look a bit longer and reflect. So while it is subjective, I think it comes down to whether the image communicates clearly, respectfully, and with depth, and whether it contributes to a wider story in a way that feels authentic rather than obvious.
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?
For me, authenticity is always the starting point. When I’m looking at someone’s work or reading their statement, I’m really just trying to understand what drives them, what they’re curious about, what they care about, and why they’ve chosen to make the work in that particular way. It doesn’t have to be overly polished or academic, it just needs to feel genuine. You can usually tell quite quickly when something is coming from a real place. In terms of finding photographers, I definitely look beyond my existing roster. I spend a lot of time on social platforms, just seeing what people are making and how they’re sharing their work. Having an online presence is really important now, it’s often the first way someone comes across your work. But it’s less about trying to fit into what’s popular, and more about showing your work in a way that feels consistent and true to you.
For graduates showing their work outside of university, I’d say take a bit of time to really sit with it. Editing is so important, being selective and shaping a body of work that feels cohesive makes a huge difference. It’s tempting to include everything, but often the quieter, more focused selection is what stays with people. And with the supporting material, I think simplicity really helps. A statement should just give a sense of your thinking and your intention, it doesn’t need to over-explain or try to say everything. It’s more like an entry point into the work. Overall, it’s about presenting something that feels thoughtful, honest, and considered, and trusting that the right people will connect with it.
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?
I think In NGO commissioning, having a mix of skills can be really valuable. We know how challenging it is to try and do everything at once on the ground, if you’re splitting your focus between stills and video, for example, something will usually give. Ideally, we want to avoid that and allow people to concentrate on their own discipline. However, the reality, especially in emergency situations, is that you don’t always have that option. For example there might only be one space available on a UN flight into a remote area, and in that case, that one person needs to come back with a range of content: stills, b-roll, and audio. So it definitely helps if a photographer is comfortable stepping into those different roles, whether that’s capturing footage, conducting interviews, writing, or working with a translator. Those added skills can make a real difference in those more constrained situations. That said, where we do have the capacity, we always try to build a team around the work. Having a photographer focused on stills, a filmmaker on video, and someone dedicated to gathering stories allows each part to be done properly, and ultimately leads to stronger, more thoughtful results.
I think there’s been a really noticeable shift in how NGOs communicate over time. Where they might have once relied more on traditional media to tell their stories, there’s now a move towards speaking directly to audiences, meeting people where they already are, which is often on social platforms. Because of that, the role of photography has expanded quite a bit. It’s no longer just about producing images for reports or campaigns, but about creating content that can live and resonate in these more immediate, fast-moving spaces. A lot of engagement now happens through social channels, so there’s a real emphasis on making work that feels not only visually strong, but also engaging and responsive to those formats. For photographers, that means thinking more broadly about how they shoot. It’s not just one kind of image anymore, alongside the work created for print or traditional outputs, there’s an awareness that the same story might need to exist in multiple forms. That could be a still image, but also a sequence, a short clip, or something designed specifically for platforms like Instagram. I think what’s interesting is that this shift isn’t just technical, it’s also creative. It encourages a more fluid way of working, where photography becomes part of a wider, more dynamic form of storytelling. And ultimately, it’s about finding ways to connect with people more directly and more meaningfully, while still holding onto the integrity of the story being told.
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?
I think one of the biggest challenges for photography graduates right now is that they’re stepping into a world where images are everywhere. With smartphones and social media, people are constantly taking and sharing photos, which makes the space feel quite crowded. So it’s not just about being technically strong anymore, it’s about finding a personal voice that genuinely stands out. And I think that often comes from being really close to your work—understanding what you’re drawn to and why, because that’s what gives it authenticity. At the same time, technology is evolving really quickly, especially with AI. It’s changing how images are made and understood, and that raises important questions around truth and authenticity. Within organisations like the Red Cross, there’s a clear stance on that, there are guidelines in place to ensure that content remains truthful and doesn’t mislead. I think that context pushes graduates to think more carefully about what makes their work meaningful, what they’re saying, how they’re saying it, and the human perspective behind it.
There’s also the challenge of sustainability. A lot of opportunities early on are freelance or not particularly well paid, so it can take time to build something stable. Because of that, many graduates end up developing a broader skill set, working across video, editing, or social, to stay flexible and open up more opportunities. And then there’s the expectation to constantly promote yourself. Having an online presence is almost essential now, but it can be demanding, and sometimes takes energy away from the creative process itself. Overall, it’s not an easy path, but it’s not without opportunity either. There are more ways than ever to share your work and connect with people, whether that’s through platforms, events like Photomeet, portfolio reviews, or photographic festivals. It’s really about staying adaptable and patient, and being willing to carve out your own direction rather than feeling like you have to follow a fixed or traditional route.
What advice would you have for someone interested in working in your particular field?
For me, it really comes down to creativity, a genuine passion for storytelling, and a desire to make a difference. If that’s what’s driving you, it tends to carry you through the more challenging parts of the industry. I’d say it’s important to stay close to what you care about and let that guide the work you make. The strongest projects usually come from a place of curiosity and personal investment, rather than trying to fit into what you think the industry wants. At the same time, be open, open to learning, to collaborating, and to evolving your practice. This field is constantly changing, so being adaptable and willing to explore different ways of telling stories really helps. It’s also really valuable to build connections early on. Networking can feel a bit daunting, but even small steps, reaching out to people, connecting on LinkedIn, attending events, or taking on internships, can open doors and give you insight into how the industry works. A lot of opportunities come through those relationships. And don’t underestimate the value of persistence. Things don’t always happen quickly, but if you keep making work, keep refining your voice, and stay connected to that original motivation, to tell meaningful stories and make a difference, it does start to build into something over time.
Images (from top to bottom):
Alimi's journey, shaped by support from the Nigerian Red Cross (NRCS), reflects how humanitarian aid can spark lasting change. In 2023 and 2024, Alimi received financial support from NRCS, which has transformed her small business. She encouraged her daughter Cynthia to volunteer with Red Cross, which has been a journey of personal growth and entrepreneurship. (Photographer: Taiwo Aina / British Red Cross)
Suleyman (a tailor) faced severe disruptions to his livelihood due to recurring floods in Agboyi Three, which damaged his workspace and limited customer access. Despite environmental challenges, the community maintains strong solidarity, sharing resources, warning each other of dangers, and supporting one another during hard times. The Red Cross provided timely cash assistance and essential items like boots, blankets, and water purifiers, which significantly helped both men sustain their businesses and support their families. (Photographer: Taiwo Aina / British Red Cross)
Flooding is a recurring and severe issue in Agboyi, affecting mobility, education, and commerce. Flooding disrupts schooling for children in the community, sometimes keeping them home for several weeks. Water levels rise to knee or even waist height, damaging homes and disrupting lives. The community adapts by using boats for school transport and elevating the storage of belongings. Lack of electricity during floods compounds the hardship, making torchlight and generators essential. Disaster Management, Drone, Agboyi, Lagos, Nigeria 2025. (Photographer: Taiwo Aina / British Red Cross)
Maker and Martha, Stockport, Manchester. Martha, her children and siblings were reunited after 13 years thanks to support from the Red Cross International Family Tracing and Family Reunion services. Now Martha's son Maker is part of Manchester United's Youth Academy. Martha fled South Sudan because of war in 2013 and spent three years in a refugee camp in Kenya. (Photographer: Tori Ferenc / British Red Cross)