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<channel>
	<title>Liz Lock</title>
	<link>https://lizlock.com</link>
	<description>Liz Lock</description>
	<pubDate>Mon, 07 Sep 2026 10:24:33 +0000</pubDate>
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		<title>YS-Main</title>
				
		<link>https://lizlock.com/YS-Main</link>

		<pubDate>Wed, 02 Sep 2026 13:22:28 +0000</pubDate>

		<dc:creator>Liz Lock</dc:creator>

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Young Shoots Social Club was a year-long photography project developed by Liz Lock with young people aged 14–17 in Salford. Participants were invited via Salford Youth Services, local schools and social media. Around 50 young people participated in workshops, nature walks, and day trips.Beginning with walks, conversations and camera-based exercises, the group used photography as a way of looking at nature, one another and themselves.



	




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Over the course of the project, photography became only one part of a wider collaborative process. Participants wrote, interviewed one another, made portraits, produced zines and books, designed objects and selected work for exhibition. Rather than working towards a single predetermined outcome, the project developed through the interests and personalities of the group.
Bella, Blackleach Country Park, Salford

















A short film about the project by Jules Lister





	

Alongside the participants’ own photographs, Liz made a series of portraits shaped by the conversations and relationships that developed through the project. 


Olivia and Alicia, Peel Park, Salford


	





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A BOOK OF YOUR OWN


Participants developed their photographs into finished book covers, thinking about how an image changes when it becomes part of a designed object. They were asked to photograph horizontally so that a single image could wrap across the front, spine and back of the book.


Each participant paired their photograph with an autobiographical title drawn from their own experiences. Through sketching, arranging and repositioning the words by hand, they explored the relationship between image and text and made decisions about how their book should look and feel.


The workshop shifted the emphasis from simply taking photographs to considering what those photographs could become: edited, sequenced, combined with language and transformed into a personal object with its own identity.



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	HIDE &#38;amp; SEEK Zine


Participants were given a photography assignment inspired by hide and seek, using the outdoor environment as both setting and material. Working together, they photographed one another hiding, searching and moving through the landscape, experimenting with staged situations as well as unexpected moments.


The exercise encouraged them to think about composition, narrative and the relationship between people and place, while keeping the process playful and collaborative.


The resulting photographs were then edited into a shared zine, introducing the group to sequencing and collective authorship: how separate images, made by different people, can be brought together to form a single visual story.
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LOOKING CLOSELY

Participants also made photographs independently throughout the project, particularly during visits to RHS Garden Bridgewater and time spent outdoors. Moving through gardens, paths and open spaces with cameras gave them the freedom to follow their own interests and notice details that might otherwise have been overlooked.


The resulting images range from portraits and landscapes to plants, weather, colour and small observations of the everyday. Together they show the participants beginning to develop individual visual instincts: choosing what to photograph, where to stand, what to leave out, and what felt worth paying attention to.


These photographs became an important part of the wider project, showing how photography could be used not only to complete an assignment, but as a personal way of exploring and responding to the world around them.





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		<title>YS-Banner-1</title>
				
		<link>https://lizlock.com/YS-Banner-1</link>

		<pubDate>Mon, 07 Sep 2026 10:24:33 +0000</pubDate>

		<dc:creator>Liz Lock</dc:creator>

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		<title>YS-Main copy</title>
				
		<link>https://lizlock.com/YS-Main-copy</link>

		<pubDate>Mon, 07 Sep 2026 09:33:10 +0000</pubDate>

		<dc:creator>Liz Lock</dc:creator>

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A year-long photography project led by Liz Lock and made with young people aged 14–17 across Salford





Around 50 young people took part through Salford Youth Service, local schools and community networks.


Through workshops, walks and day trips, photography became a reason to go somewhere, notice something, spend time together and make things.


Young people photographed the natural world, themselves and one another. They made portraits, interviewed each other, designed book covers, produced zines and helped decide how their work would be shown.


At the centre of the project was the simple idea that photography can change the way we look at the world, at one another and at ourselves.
	




	






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Why photography?






Photography has a particular ability to bring people together.

Walking with cameras can make conversation easier. Looking at photographs together gives people something to talk about. Photographing someone creates a different kind of exchange.

A camera also gives you a reason to pay attention. To stop somewhere. To move closer. To wait. To notice a person, a place or a detail that might otherwise have been passed by.

Young Shoots grew from this way of thinking about photography: not simply as a technical skill, but as something social. 
A reason to look, talk, make things and spend time together.







	



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A visit to RHS Garden Bridgewater, Spring 2026












	







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LOOKING OUTUsing photography to see the world differently











The project began with a simple invitation to go outside with a camera and see what catches your attention.


Participants photographed gardens, landscapes, people, weather, colour, animals, plants and small details that interested them. Visits to RHS Garden Bridgewater, local parks and other green spaces gave them time to wander, follow their curiosity and decide for themselves what was worth photographing.


Some pictures were deliberate, others came from chance encounters or things noticed along the way.


Photography became a reason to stop and look at things that might otherwise have been passed by.


Choosing what to photograph, where to stand, when to press the shutter and what to leave outside the frame also meant making decisions. Over time, participants began to develop their own visual interests and their own ways of looking.














	









	







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LOOKING AT ONE ANOTHER


Photography as a way of playing, collaborating and connecting


Over time, photography in the groups became increasingly social. Participants photographed one another, interviewed each other, experimented with portraiture and took part in assignments designed to encourage collaboration.

One exercise was inspired by the game of hide and seek. Using the outdoor environment as both setting and material, the group photographed one another hiding, searching and moving through the landscape. Some images were carefully staged, while others came from unexpected moments.

The exercise created reasons to talk, perform, joke, direct and respond to one another. 
The photographs were later edited into a shared zine.&#38;nbsp;







	






	







	
	

SEEING &#38;amp; BEING SEEN






Different ways of making a portrait




As the project progressed, photography became increasingly connected to questions of identity. Sometimes that meant making photographs of yourself. Sometimes it meant choosing an image that said something about you.
And sometimes it meant allowing somebody else to make your portrait.


	




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SEEING YOURSELF
In a bookmaking workshop, participants selected photographs they had taken and paired them with autobiographical titles drawn from their own experiences. They experimented with image, language and layout, deciding how each finished cover should look and feel.


A landscape, portrait or apparently ordinary detail could take on another meaning once paired with a title. The exercise suggested a different kind of self-portrait, one in which you do not necessarily have to appear in the photograph at all.









	






	




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	BEING SEEN


Portraiture as an exchange between photographer and sitter




Alongside the young people’s own work, Liz made a series of portraits of participants she came to know during the project. These portraits developed through the time spent together in workshops, conversations, walks and shared experiences.


For Liz, portrait-making is not simply about recording what someone looks like but is an encounter between two people. The photographer looks closely, but the sitter is also taking part by deciding how to stand, how to look, how much to reveal, and how they want to be seen. It is an exchange that requires time, attention and trust.






A carefully made portrait asks us to spend time looking at a person rather than glance past them.

This exchange between looking and being looked at became one of the central ideas of Young Shoots.









	






	












A film about the project by Jules Lister









	






	






	









	


	

MORE THAN A PHOTOGRAPHY WORKSHOP

A flexible creative process shaped by the group




The project changed in response to the personalities, interests and energy of the young people taking part.


Photography remained at its centre, but it led naturally into conversation, interviewing, writing, bookmaking, zine-making, design and editing. 
Some sessions were quiet and observational. Others were energetic, funny or collaborative.


Sometimes the most interesting photographs came from an assignment. At other times they came from somebody wandering away from the activity and noticing something for themselves. 

Rather than asking every participant to arrive at the same result, the project created different ways of taking part by making photographs, appearing in them, choosing images, writing, designing, editing or simply looking closely at what others had made.


What emerged over the year was not one single outcome but a body of photographs, portraits, books, zines and publications. 
Together, they record both what people made and something of what happened while they were making it.















	






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WHAT WE MADE

Photography, publishing and exhibition





Over the course of the project, around 50 young people took part in photography sessions, walks, workshops and visits across Salford.

Together they made more than 5,000 photographs.

The project also produced:



portraits of participants by Liz Lock
collaborative zines
autobiographical book covers
participant-led selections of photographs
work prepared for public exhibition

Young people worked with cameras across parks, youth centres, schools and RHS Garden Bridgewater, moving between photographing the world around them and photographing one another. The work was then brought back into the group to be looked at, talked about, edited and turned into other things.

What began with taking photographs gradually became a much larger process of looking, choosing, making and sharing.








PROJECT PARTNERS &#38;amp; CREDITS



Young Shoots Social Club developed from a socially engaged photography residency commissioned by the University of Salford Art Collection in partnership with RHS Garden Bridgewater, Open Eye Gallery, Salford Youth Service and Salford Museum &#38;amp; Art Gallery.

The original commission focused on photography, nature, new places, self-expression and creating opportunities for young people’s work and voices to reach a public audience. 
The idea of the Young Shoots Social Club originated in Liz’s proposal for the residency as a welcoming, sociable space in which photography could connect people, places and ideas.

Special thanks to Rob Fulton and all of the youth workers at Salford Youth Services, Lindsay Taylor and Steph Fletcher at Salford Art Collection, Sarah Fisher at Open Eye, and Dan Atherton at RHS Garden Bridgewater.






	







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Liz is a Canadian-born photographer and book artist based in Manchester. For twenty-years, she has worked on creative projects and commissions often resulting in exhibitions, publications, and workshops.She moved to the UK in 1999 and after moving to Manchester in 2004, used her skills to document the lives and landscapes of ordinary people in the city and around the North West of England.This resulted in published books and exhibition projects for Victoria Baths (One Hundred Years, One Hundred Faces), Ordsall Hall (A Curious Old House), the Liverpool Biennial, as well as longer term documentary commissions on the Hattersley housing estate, Oldham, Ashton-under-Lyne, Stoke-on-Trent, and others.Following these projects, Liz was regularly commissioned by the Telegraph Magazine and Flux Magazine for portraiture and editorial assignments.Liz loves working with portraiture and sees it as a chance to spend a unique moment with someone and create something memorable together. In the last ten years, her love of photography and creating hand-made objects developed naturally into a passion for bookmaking. This has resulted in her delivering creative workshops for many organisations and schools including Tameside Council, Oldham Council, 

Manchester Action on Street Health, OT Creative, and Lime Arts.
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Exhibition and Book Publication




	
	





What does rubbish say about a place? Can it be a portrait of a community? Is it a mistake to look for beauty in litter? And what does the accumulation of litter say about those we entrust to clear it? During March and April 2022, we sought answers to these questions with a series of Rubbish Life Drawing classes at OT Creative Space in Old Trafford. As residents, we wanted to find a way to talk about rubbish without resorting to the usual complaints or rants. Instead, we wanted to use art as a tool for reflection and for bringing people together. Participants were invited to bring their own garbage found on the way to the classes, and we provided a series of drawing exercises to help find a way to represent their litter.



One positive about doing Rubbish Life Drawing classes is the resulting drawings and paintings can literally be rubbish. It doesn’t matter how skillful you are or how well you can handle paint or a pencil. What matters is simply taking the time to make marks on paper, discuss whatever’s on your mind with strangers and friends, and enjoy the process of making and reflecting.



This Rubbish Book filled with rubbish drawings and paintings doesn’t mean Old Trafford is a rubbish place. On the contrary, we love it here but it seems  others don’t quite feel the same way. We hope that in these pages, the skills and talents of those who live here gives you a different perspective on the place and makes you think twice about littering.
View the Rubbish Book here.
Commissioned by OT Creative Space




	

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