1. Wendy Ewald is Director of the Literacy Through Photography
project at the Centre for
Documentary Studies at Duke University, Durham, North Carolina.
was a collaboration between Paul Trevor, Chris Steele-Perkins and Nicholas Battye founded
in 1973. Following a first project close to the Half Moon which led to a booklet 'Down Wapping'
they were approached by the Calouste Gulbenkian Foundation to extend their work to inner cities throughout the UK. Over the next 6 years they produced some 30,000 pictures and 100 hours of taped interviews, a selection of which were published as 'Survival Programmes: In Britain's Inner Cities
, Exit Photography Group, The Open University Press, 1982
3. Barbara Hunt is incorrect in her assertion that 'Camerawork
was founded in 1975' (p9). The Half Moon Gallery
started in January 1972 and added its darkroom facilities and café in 1975, Camerawork
magazine started in 1976 and all other activities took on that name in 1981. )
, ed Terry Dennett, Jo Spence, Photography Workshop, London, 1979
5. Photographic Practices
; Towards a Different Image, Stevie Bezencet and Philip Corrigan, Comedia, London 1986 ISBN 0906 890 50 0 As well as the article by Myers on Camerawork
also has a piece on Photography Workshop. Liz Wells took over as editor for the last year of Camerawork
. Despite his statement in the book, Don Slater appears to have been a member of the editorial team rather than the editor for the issues in which he was involved.
. Issue Number 1, February 1979 contained articles 'The Growth of Community Photography' and 'How 'real' is Social Documentary. Later issues have ISSN 0 142 9663.
7. On August 13th 1977, 'the National Front - proud of its racialism - attempted to march from New Cross to Lewisham, an area with many immigrants. Their march was halted in Lewisham High Street which was blocked by anti-racists' (Camerawork
8, page 1). Police had attempted to force a route through this area of south-east London for the march, while ignoring offences against Public Order and Incitement laws by the National Front. Many protesters, marchers and police suffered injuries in a number of street fights and several hundred arrests were made. Camerawork
published some 25 pictures from this event, together with the full text of the address by the leader of the National Front with an analysis of their racist views, articles by Tom Picton on the press coverage including a detailed analysis of all pictures printed, a visual analysis by Derek Boshier of the front page account of a leading daily newspaper and lengthy interviews with 8 freelance photographers covering the event (one of which had to be pulled at the last minute for legal reasons, leaving blank space), discussing why they were taking photographs, what they were trying to show, how they were treated by demonstrators and police, and how their pictures were used.
8. About Looking
John Berger, Writers and Readers Publishing Cooperative Ltd, London 1980,
ISBN 0 906495 25 3, p48-63
9. On Photography
, Susan Sontag, Penguin Books, London 1979 ISBN 0 14 005397 2
10. Studio International
. vol.190 No.9766, 1975, reprinted in 'The End of Art Theory
Burgin, Macmillan, 1986)
11. Untitled Film Stills
, Cindy Sherman, Cape, London 1990 ISBN 0 224 03017 5 (photographs in
this from 1977-80)
12. Cultural Sniper
, Jo Spence in Bodies of Excess, Ten-8 Vol II No 1 Spring 1991 ISSN 01 42
9663 p8-25. See also the description by Rosy Martin of her work with Jo Spence on Photo therapy in the same issue, p34-49.
13. Cultural Sniping
, Jo Spence and Jo Stanley (eds) Routledge, London, 1995
, Issue 32, 1985 p26-28, Ed Liz Wells. Jo Spence wrote 'The Politics of Photography' in issue 1. ISSN 0308 1676
15. One important correction to Evanís article is that Jo Spence did not
refuse to be defined as a photographer, thus in Family Snaps
, ed Jo Spence and Patricia Holland, Virago, 1991 it states 'Jo Spence is a writer and photographer, best known for her innovative contributions to the development of collective and collaborative practices in photography.' She also took part in many and varied activities with other photographers.
16. The Camerawork Essays
Paul Trevor, p2-5, LipService
, ed Peter Marshall, March 1998, London Independent Photography, London. http://www.spelthorne.ac.uk/pm/lip/mar98/mar98.htm