98 results
Plemper describes why he took to photographing his pupils as a young teacher.
Plemper explains his disillusion with teaching and his turn to photography as a series pursuit. H...
Plemper expands upon his approach to photographing his pupils at Riverside School, and considers ...
Plemper elaborates on the optimism of the 1970s. He considers the philosophy of the Half Moon Pho...
Kennard describes his HMPW laminated exhibition A Document on Chile
Kennard describes the power of Camerawork as a collective organisation that was able to operate n...
Kennard describes how his photomontage work was accepted within Camerawork / HMPW, despite this s...
Kennard describes the article that he produced for Camerawork magazine entitled State of the Nati...
Kennard describes his friendship with Ed Barber and how the idea of laminating the HMPW exhibitio...
Steele-Perkins remembers the 1980s as a time when it was much easier to make money working as a p...
Steele-Perkins describes how he became involved in the project Survival Programmes with Paul Trev...
Wilmer talks about the two events in her life which influenced her to start using photography.
Wilmer describes one of her jobs in the darkroom at National Gallery and then moving on to Tropic...
Wilmer talks about her travels to USA and how feminism and racial discrimination were part of her...
Wilmer discusses how she got her first major exhibition at the V&A in 1972.
Wilmer describes the success of her first major exhibition at the V&A, her work for the Times as ...
Wilmer talks about the beginning of Format with Maggie Murray, a women’s picture agency
Wilmer discusses her involvement with Camerawork’s seminars, unpublished work for Camerawork Maga...
Wilmer reflects on Half Moon’s Women Photography exhibits and theory vs “going along” with repres...
Slater reflects on his desire to work with Camerawork as a combination of his academic interests ...
