Recently, we had the chance to attend the postgraduate photography show at the London College of Communication (LCC), where we had the pleasure of seeing the work of many talented creatives. Among some inspiring projects, the work of three photographers stood out to us, not just for their technical skills, but also for their depth and originality in their visual storytelling.
Their work touches upon themes of connection, time, and memory, with each artist approaching their projects with a distinct voice. In this three-part feature, we sit down with our 2025 RAW Talent Award winners, Maggie Meijun, Zhenghan Huang, and Angus Stewart, to learn about the stories behind their projects, creative processes, and inspirations.
Maggie Meijun on emotional honesty and her Real Isn’t II project
Maggie is a London-based artist who, through photography, explores emotional realism, connection, and alienation, in a world that she finds ‘fast, fragile, and often a little unreal’. She mainly works with medium-format and plays with natural light, as she slowly builds her visual language rooted in color, emotion, and movement.
Her project Real Isn’t II was shaped by a period of transition, as she was approaching graduation and facing visa restrictions, which made her become more aware of time passing by. ‘That feeling of life running out of time suddenly made me focus more’, she says. ‘I started noticing simple things like the wind, the leaves, strangers’ faces, the way light hit buildings.’ The work is cinematic but intimate, sometimes resembling video games, blurring the line between reality and simulation. Real Isn’t II reflects her interest in how we perform ourselves and interact with others. ‘We’re all a bit performative in our own way’, she points out, ‘and I want to explore that through my work’.
Whether she was capturing a person getting out of the water after a swim, or someone in front of their car, Maggie’s work manages to hold stillness in movement, almost resembling film stills from a memory you don’t remember. Her work invites us to slow down, look around, and be still in our presence.
Zhenghan Huang on light, childhood memories, and The Waves Return
Zhenghan Huang is a London-based photographer whose work blends documentary storytelling with fashion elements. At the heart of her work lies the reconstruction of her own memories. Her images are soft and layered with emotion: she often works with still life, portraiture, moving images and even music, as she strives towards ‘capturing the subtle, peaceful, and occasionally melancholic moments of everyday life.’
In her project The Waves Return, Han explores stories and memories. One image that particularly stood out is the one of her aunt holding two sea urchins. ‘That afternoon, I was on an island, reflecting on what object could instantly bring me back to memories of my childhood by the sea’. As she was having lunch with her aunt, she noticed a tank full of sea urchins in the restaurant. The area is popular for sea urchins, she explains, ‘almost every restaurant sells them.’ To capture their presence in her seaside memories, she asked the restaurant owner to lend her a couple of urchins for the shoot. Puzzled, he agreed hesitantly. The image that followed was soft and warm, as the sun caught the water droplets.
The way Han approaches working is less about planning and more about intuition. She doesn’t chase location and moments. However, she values the process instead. ‘It’s not about where you go, but who you go with,´ she says. ‘I think photography is the same — it’s not about the location, but the connection, emotion, and experience.’
STUDIO: Angus Stewart’s study of artists at work
Angus’ project titled STUDIO is a quiet portrayal of the process of artistry and the spaces that shape it. Shot in both color and black and white, Angus captured Suffolk-based artists at the threshold of their studios, while also catching them working inside their spaces. Rooted in community, Angus’ project is driven by the connection with his subjects, as he believes in the collaborative nature of making portraits.
When we asked Angus to point out some of his favorite moments from the project, he mentioned his shoot with sculptor Tobias Ford. As he went to capture Tobias mid-weld, ‘there was noise, darkness, sparks and smoke’, making it hard to speak to him. Despite sparks flying, Angus managed to capture the intimacy of his subject’s focus: ‘it was very different to anything I’d done before’, he says. ‘It looks like a scene from an alien space movie’.
Throughout STUDIO, there’s an observant attentiveness to both space and person. Angus’ images are unassuming, as he’s drawn to the quieter moments and light cutting through darkness. Whether he was capturing a ceramicist or a sculptor, he managed to give us a glimpse into his subject’s creative world.
See more of Maggie’s, Zhenghan’s, and Angus’ work on Instagram.
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