Staff on the course

Jarrod Thompson

Technician Demonstrator – Commercial Photography

BFA Fine Art Photography, Master of Arts World Heritage Management, PGCert Practice in Education, FHEA


Jarrod has worked at the Arts University Bournemouth for five years supporting Photography students in all areas, with a specialism in alternative historic photography processes, such as salt printing, albumen printing, Van Dyke browns, cyanotype, gum bichromate and wet plate collodion. An expat from the United States, Jarrod studied fine art photography for his bachelors degree in New York, then worked as an award-winning photojournalist before moving to the UK to study an MA in Heritage Management. Jarrod’s passion is education and the history of photography. He completed his PGCert last year and gained Fellowship of the HEA.

Professional memberships

  • FHEA (2018)

Research Specialism

Jarrod links his love of the history of photography with his passion for teaching and is developing experiential learning strategies in order for students to marry the theory, practice and history of photography together.

A keen practitioner, Jarrod captures sites of historical interest using large and medium-format cameras and employing printing methods by old masters, such as the photogenic drawing or salt print, invented by Sir William Fox Talbot in 1834; gum bichromate developed by Mungo Ponton in 1839; the cyanotype, created by Sir John Herschel in 1842 and albumen printing invented by Louis Désiré Blanquart-Evrard in 1847. The aim is to demonstrate the craft through each process, from negative to print.

His work reflects a time that is lost, void of the modern day, leaving only the memory of a distant past. In the age of the endless archive of the digital world these images are tangible artefacts that preserve our past. The buildings left amongst the cities have been overlooked in their time, but are preserved by local communities in a desperate attempt to save the past so we can reflect on it in the future. As a photographer, he argues that the heritage of the craft is equal to the matter of the subject. The nostalgia of the subjects he photographs decay over time, as does the knowledge and heritage of the process, because antiques of today are the craft of yesterday.

Jarrod argues that the digital print or image is less tangible, valuable, sentimental and more disposable than a bespoke image created from raw chemicals. In addition, the use of small prints creates an intimacy between the subject’s subtleties and the viewer. The relationship between camera, subject, process and print drives his curiosity to create an image that could be mistaken for a distant past. 




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