Ana knows that she can’t single-handedly combat the sexism and discrimination in the music industry, but does believe that she can do her bit to bring the work of some amazing musicians and singer-songwriters to a new audience.

I asked her a bit more about the project.

How long have you been photographing musicians and gigs?

I’m an indie music journalist and early-career artist and I’ve been attending gigs and festivals as a multimedia reporter for several years. Highlights include seeing Kate Nash, Florence + The Machine, and Amanda Palmer. But I also enjoy giving a bit of press coverage to smaller acts, which is one of the reasons I make a zine.

What’s the fascination with female musicians?

For the last several years I’ve made a conscious effort to buy music by women, whether that’s mainstream artists or buying EPs at local gigs. I know I can’t single-handedly combat the sexism and discrimination in the music industry, but I can do my bit.

Also I just really appreciate the female perspective – like the female gaze in art – I’m interested in what women think and feel. I don’t want to lump us all together, but I think there’s still a level of difference in the experience of being a woman that comes through in the music that’s made – especially when it deals with explicitly feminist or lesbian themes.

Why did you decide to create Girls To The Front – an exhibition of women in music? Was it a deliberate decision or did it evolve organically?

I decided to have the exhibition when I started screenprinting from photos I’d been taking at gigs and realised that some of them were alright! Also I wanted to be able to publicise some of the more indie bands featured like Houdini Said No, The Farting Suffragettes, and Fistymuffs.

What unique situations are there for women in music?

I think we’re responsible for making a scene, from picking up a bass guitar to being interested in an event on social media, it all helps. We just need to spread the word about acts we like (and be vigilant for the creeps trying to keep women down.)

This year they set photographers the task of telling tell visual stories about society’s interactions with the natural world. Winner Tim Laman, from America, was chosen for his image Entwined Lives, which frames a critically endangered Bornean orangutan above the Indonesian rainforest. Nosy Neighbour by Sam Hobson in the UK captures the curious nature of the urban fox, whilst in India leopards can be just as familiar, as the glowing streets of Mumbai slums show in Nayan Khanolkar’s shot The Alley Cat.

Much more a familiar a sight, but rarely seen in such a way, Gideon Knight, 16, from the UK, won the Young Wildlife Photographer of the Year title for his image of a moonlit crow on a sycamore tree in London’s Valentine’s Park, an image with eerie beauty with its sprawling dark branches and silhouette against the full moon. The Moon and the crow is an image that is rightly referred to as a poem by its taker.

I’m always struck by the tenacity and patience that photographers have. Many go to extraordinary lengths to capture their image, including push ups to keep warm in the Antartic, hang gliding with their equipment, or months hiding out. But there’s also those moments of perfect serendipity. Roberto Bueno was looking to capture some rare birds, but when they failed to show, turned his attention to a small hair grass species and was struck by its ethereal beauty, resulting in this beautiful Grass at sunrise.

Once again the exhibition amazes, delights, and educates, bringing its audience closer to the world in which they live. Beautifully.

At Bristol M Shed until 5 March 2017.