Video Stories is a new initiative from RPS Women in Photography, inviting members to share their photography through moving image, sound, and storytelling. This growing collection brings together short films and slideshows that showcase individual photographic practices or tell personal and documentary-style stories using stills, video, voice, and music. Together, these works reflect the diversity, creativity, and lived experiences of women photographers, offering fresh and intimate ways to engage with image-making beyond the still frame..
We invite you to watch, listen, and take your time. These are stories told through images, shaped by lived experience, and shared with generosity.
✨ Thank you for supporting and celebrating women in photography.
Natasha Bennett
This video is part of an ongoing project exploring women’s relationships with their bodies. Three films have been made so far, with a fourth planned. The works combine still images and audio interviews with women of different ages, each facing distinct challenges.
Midlife presents an honest, unrehearsed voice speaking about lived experience. It invites reflection — whether you recognise yourself, or see the experiences of a sister,
Maria Falconer FRPS
When people think of dance, they often imagine something poetic — arabesques and pirouettes, grace and elegance.
But this notion could not be further from the stark form of resistance presented by the Ukrainian dance community, where dancers prepare volunteer soldiers for combat and the military, in turn, teach dancers how to fight.
Rosalind Lowry
A story of the women who worked the land, with sepia portraits of women attached to trees the same age as they were when they began working the land or emigrating to another land. Each child, girl, or woman is honoured with a corresponding tree.
Installed temporarily in forests in County Antrim and Alaska, this work speaks of survival, memory, and ancestral honouring.
Lisa Jayne Cramer
My mother just turned 92 and has recently been diagnosed with Vascular Dementia. Moments of wonder are precious as she comes in and out of lucidity. The veil is silently reigning down upon us with great feeling of love and sorrow.
From my ongoing project, BEAUTIFUL AGE what we never see even though we are looking, I have included analogue stills with video to tell a story; this story of my mother's days residing with me. I am my mother's daughter, I am my mother's carer. Childless not by choice, I have finally been chosen.
This is a story where Love restores all reason.
Beatrice Updegraff
The inspiration for this project began long before I considered myself a photojournalist. In 2017 on a visit to a medical professional I was told to ‘cheer up’. At the time I was already taking antidepressants and suffering from anxiety, depressive episodes and suicidal ideation. Within the next few months, I was diagnosed with Bipolar II disorder. ‘Cheering up’ was not an option.
In the following years, I reflected on these words and began discussing my experience. I found other women with similar stories of being dismissed when seeking help for both mental and physical health. In my research I discovered shocking statistics backing up my anecdotal evidence; gender bias is deeply ingrained in the medical profession with often tragic consequences.
In my research, one word came up repeatedly: ‘hysteria’. Derived from the Greek word for ‘wandering womb’, this stereotyping and subjugation dates back thousands of years.
From records from physicians in the 11th Century, to images taken in asylums by photographer Albert Londe; from the extermination of 500,000 women during the European witch trials, to notebooks from Bethlem Royal Hospital, this troubling rhetoric has peppered history and created a turbulent and dangerous present-day reality. A History Of Hysteria examines the troubling trajectory of gender bias and its often devastating consequences for women today.
Ruth Hanson ARPS
Between the Walls and the Trees is a film about freedom. Made between the castle walls of my hometown and the trees and houses beside it, the work reflects on reclaimed feelings of safety and freedom following relentless traumatic experiences. Walls, bars, trees, birds, and the pounding sound of a heartbeat become symbols of both trauma and recovery.
I include my own shadow as a self-portrait, layering and exploring personal storytelling through photography as a vital part of my recovery process.
The film was shot on a Lomokino camera using 35mm film, which I hand-developed, scanned, and animated. Later, reflecting on the work, I wrote the words “stay, it is over, you are safe here” and “the birds know how to be.”
Sarah Skinner
This is a short video I put together as a way to show a series of photographs taken along a route I know well — the scenic (but quite long) walk home from town. It was a dull day and I wasn’t planning to make images, but I was caught by the ugly-beauty of a corn husk lying there, bleached and dried, long after harvest.
At first it seemed to be the only cob left, but then I noticed others — similar yet different — each striking in form. At home, I carefully sequenced the images and used a silvertone filter to reduce the surrounding greenery and emphasise the structure of the husks.
I was also thinking of Dorothea Lange and the dust-bowl era of photography. For me, the video evokes thoughts of ageing, death, beauty, and the natural cycle — and how beauty can be found even on the most mundane walks.
Jane Robb
I travelled to Ghana, Senegal and the Gambia in August 2025 and I was inspired by a prompt to take videos of small moments of reflection - of which I had many while travelling. The piece tells a story of the journey of travel and memories, many of which are layered in time and recollection, where we may see parts of our lives through other parts of a journey. Together, they hopefully also add to a bigger story that can tell of more than just my own memories of travel.
Jennie Meadows
This work explores a photographic process through both practice and context, combining a step-by-step guide with a brief look at its historical use by other artists.
The first film, Twitten, is a two-minute observational piece of Boundary Passage, an alleyway between Brighton and Hove, created using time-lapse and hyper-lapse techniques. The final film was edited from 400 stills, selected from around 4,000 images taken over three weeks and assembled in Adobe Premiere Pro.
The second film, Psychoffee, was made using the same process. Inspired by Alfred Hitchcock and Duane Michals, it uses photographic stills and metaphor to explore themes of anxiety and states of mind many people experience.
👉 Read the full blog here:
https://jenniemeadowshncccr.wordpress.com/category/blog-task-4/
Sinead Le Blond
Through a blend of stills, video, and voice, Sinead shares a deeply personal and creative story — a beautiful reminder of how photography and film can express not just what we see, but who we are.
Sue Wright
In 2018, I organised and led a photography journey to Iceland with an extraordinary group of people from Blesma – The Limbless Veterans.
For one unforgettable week, eight Blesma members set out to photograph Iceland’s dramatic landscapes — from vast open spaces to moments of quiet stillness. This was a group defined not by limitation, but by determination: two wheelchair users, two registered blind, three amputees, and a war widow — all pushing personal and creative boundaries together.
This experience was about far more than learning photography. It was about confidence, independence, resilience, and the shared joy of making images in challenging environments. It was about adapting, supporting one another, and proving that creativity and adventure are for everyone.
This is more than mindful photography —
it’s about getting out there and doing it.
