The April Issue
Where Are The Disabled Photographers?
The Skinny
Laura Baliman | April 2025
“The Disabled photographers are here, and as Louise says, they ‘just need a platform and investment.’
More institutions - both educational and artistic -need to put this kind of work into exposing and uplifting the myriad of Disabled photographers and artists in Scotland.”
In April 2025, The Skinny featured Where Are The Disabled Photographers? event series, written by Disabled writer Laura Baliman.
Intervewing McLachlan on her ongoing work to create spaces for photographers with lived experience of disability to share their work, perspectives, and experiences navigating education.
The series demonstrates that disabled photographers are abundant in Scotland and beyond, but often invisible due to systemic barriers in arts education and the wider art world. McLachlan reflects:
"Even though I work in the arts, I don't know many disabled artists."
Participants shared insights into the challenges they face. Photographer Natasha Williamson spoke openly about bullying experienced at school and college, both from students and teachers. Chris Belous highlighted how lack of clear communication and bureaucratic barriers prevent access for disabled artists.
The article draws attention to stark inequalities faced by disabled artists, citing research from the University of Glasgow:
"Disabled artists earn 70% less than non-disabled artists."
McLachlan’s work directly addresses these inequities. Through Stills School, an alternative photography school for 16-25 year olds, disabled photographers gain access to a fully supported environment: free to attend, with equipment provided, one-to-one tutoring, and individual access requirements prioritised. As one speaker, Ink Asher Kemp, shares:
"What I experienced here at Stills School was brilliant, but that doesn’t mean it should be rare... Accessibility is not a separate process... but just the process of learning itself."
Other participants shared inspiring approaches to working within barriers: Eleanor Betham developed her cyanotype practice photographing plants in her garden while managing chronic illness, while JINGYI and Sasha Saben Callaghan explored photomontage digitally in limited studio spaces. Socially engaged practices were also highlighted, with Natasha Williamson focusing on “portraying people the way they want to be seen.”
McLachlan’s dual role as artist and arts worker shines throughout:
"I really know what it's like to be on the other side of the glass when nobody will open the door, but I also know the impact it makes when that one person opens the door."
Her own work, including Mōtae (shown at Stills and MIMA), exemplifies the care and attention she brings to disability representation, with photographic grids depicting bodies in motion that convey softness, calm, and a gentle rhythm. This ethos informs her teaching, ensuring participants feel safe and supported.
The event series has fostered vital networks and visibility for disabled photographers, emphasizing that they “just need a platform and investment.” More institutions, both educational and artistic, are called upon to uplift and expose the rich talent that already exists.
The series continues to expand, with the next iteration scheduled for Peckham 24, an annual contemporary photography festival, in May 2025.
Read the full article in The Skinny here.
With great thanks to Laura Baliman and the Skinny Team.
