A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
Iconic documentary photographer Robert Capa said: “you don’t have to pose your camera. The pictures are there, and you just take them. The truth is the best pictures, the best propaganda.” These words were spoken in 1937, during the height of the Spanish Civil War. It was a conflict that Capa rigorously captured, and from which he created one of the most controversial pictures in history. The Falling Solider, taken at the beginning of the war, showed the moment a bullet hit a loyalist fighter. He sums up the attitude of early-20th century artists, that photography is a vital way to bear witness to world events. As the period progressed, attentions began to be turned to the everyday, the lives that make up a nation. Artists began to see the camera as a tool for social change, using it to shed light on injustice, inequality and the side-lined aspects of society. Tish Murtha dedicated her career to producing images of her local community. Born in the Northeast of England and growing up in Elswick, Newcastle, Murtha focused her lens on her friends and family. She often concerned herself with the documentation of marginalised communities from the inside. The culmination of her life’s work is a compassionate portrait of working-class people in the 1970s and 1980s. Now, British Culture Archive is keeping this legacy alive by inviting photographers to submit images of their own neighbourhoods and the characters that define it as part of their Documenting Your Community project. We spoke to founder, Paul Wright, about the legacy of Tish Murtha and why documentary photography continues to be important.
A: Tell us a bit about British Culture Archive and the organisation’s vision for British photography?
PW: I’ve had an obsession with documentary photography from an early age, it drew me in, and I recognised the power of storytelling through images. When I set up BCA in 2017, I wanted to showcase photography that spoke to me. I often visited galleries and exhibition spaces and I didn’t get, or couldn’t resonate with, a lot of the work displayed. I wanted to showcase the often overlooked aspects of British culture and society that I recognised from my own experiences growing up in working-class Manchester.
BCA has published and exhibited work globally from renowned artists, and more importantly, it has unearthed and given a major platform to photography that has been unseen or overlooked. Next year, we will be moving into publishing with a series of books and zines, alongside exhibitions throughout the UK.
A: Documenting Your Community invites photographers of all levels to be inspired by Tish Murtha’s work and capture life in their communities. Could you tell us how this annual project started?
PW: We launched the project in 2023 to coincide with the launch of the Tish Murtha film. Initially, it was going to be a one-off project showcasing photographs of communities and everyday life in modern Britain. However, the reaction was really positive, and we had so many incredible submissions from all over the UK that we decided to make it an annual open call. We accept entries in October and November and showcases work on our website and social media channels, culminating in an exhibition and book.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
A: What is it about Tish Murtha’s work that is particularly inspiring for contemporary photographers?
PW: Tish was passionate about photography and used it to highlight social injustice. Tish wasn’t an outsider; she was part of the community and she cared about the people, which is evident in her work. I personally don’t think anyone can document communities, especially working-class areas, if you cannot resonate or empathise with them in some way.
A: Why is continuing the tradition of documentary photography within working-class or marginalised areas of the country so important?
PW: It’s people’s lives and history, as well as social injustice, and that will always need to be documented. It’s also important to highlight the resilience and positive stories that come out of these communities that are often overlooked in favor of news and preconceptions defined by negativity.
A: What role do you think photography plays in preserving the changes in British culture and society?
PW: Photography, especially documentary photography, is a real-life account of society that can influence change, politically or otherwise. Tish Murtha’s work was used in parliament by her local MP to highlight the harsh realities of life for those who had left school with little hope of work opportunities.
A: Murtha was known for her empathetic and compassionate approach to image-making. Where do you see the role of ethics and collaboration in documentary and street photography?
PW: I think it’s important to be connected to or empathise with the people and communities you are documenting and treat people respectfully. The terms poverty safari and poverty tourism crop up for a reason. I personally feel uncomfortable when I see photographs of working-class communities being sold for thousands of pounds. One of the fundamentals of BCA is that we will always keep our print sales as accessible as possible, as well as our online collections. We believe that photography is for everybody.
A: Murtha was working in a time of significant social change and mass deindustrialisation caused by mass unemployment. Now, we’re living through a cost-of-living crisis that sees many living on the poverty line. What are the differences you’ve noticed between the images created by artists today and the communities documented by Tish Murtha in the 1970s and 1980s?
PW: Not much has changed, really. If anything, things have gotten worse, especially over the last decade. Governments come and go and can often wreak havoc on those on the margins of society. In photography, I believe the subject is now generally highlighted with a more collaborative approach. This helps control narratives and adds important context, especially when publishing online.
A: Do you have a particular favourite image from Murtha? What about from the project?
PW: Having worked with Ella (Murtha) and the Tish Murtha Archive for so long, I feel a real connection to Tish’s work. I am still taken aback by how striking and powerful the images are. It’s hard to narrow it down a favourite image to one; if I had to choose one right now, I’d say the photo of Richard and Louise; it is a very moving and tender moment between two siblings.
A: What do you hope to see from people submitting their work to the project this year?
PW: I want to see what they see in their day-to-day lives, a window into their community. It’s great to see local friendly faces, shopkeepers or characters that make these places what they are.
A: What would you like visitors take away from viewing the exhibition?
PW: That there is something special in community spirit, regardless of our socio-economic backgrounds. That life is fleeting and we should look out for, and encourage one another whenever we can.
