Hardcover208 PagesSize: 250 × 190 mm
20 colour illustrations and 92 B&W illustrations
ISBN: 9781848224094Publication: February 01, 2021

‘Stacey has written a rare and important book which integrates word, image, artistry and activism in the real lives of working people and those who documented their lives and struggles, and although it records events and initiatives nearly half a century ago, its relevance to now-times is total.’ – Chris Searle, Race and Class Journal


'Essential Art Books of 2020' - Elephant magazine


‘Stacey’s research is outstanding… she has marshalled this information into an intriguing account of an exciting, idealistic, and sometimes fractious period.' – Diane Smyth, Photomonitor


'Stacey's book includes copious illustrations of placards, posters, scrapbooks & more...For those interested in the social and intellectual history of the community photography movement, this is a satisfying & illuminating volume.' - Tom Allbeson, Source magazine

'It offers a detailed look at some important yet rather undervalued figures in the history of 20th-century British photography who deserve to be brought back into focus.' - Art Quarterly magazine

Photography of Protest and Community

The Radical Collectives of the 1970s

Noni Stacey


  • Illustrated with many newly discovered photographs, this book tells the story of community photography produced by the radical collectives in the 1970s
  • It examines their politicised magazines and exhibitions, held anywhere from working men’s clubs to laundrettes

During the 1970s, London-based photographers joined together to form collectives which engaged with local and international political protest in cities across the UK. This book is a survey of the radical community photography that these collectives produced.

The photographers derived inspiration from counterculture while finding new ways to produce, publish and exhibit their work. They wanted to do things in their own way, to create their own magazines and exhibition networks, and to take their politicised photographic and textual commentary on the re-imagination of British cities in the post-war period into community centres, laundrettes, Working Men’s Clubs, polytechnics, nurseries – anywhere that would have them. The laminated panel exhibitions were sufficiently robust, when packed into a laundry box, to withstand circulation round the country on British Rail’s Red Star parcel network.

Through archival research, interviews and newly discovered photographic and ephemeral material, this tells the story of the Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, producers of Camerawork magazine, and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project. It reveals how they created a ‘history from below’, positioning themselves outside of established mainstream media, and aiming to make the invisible visible by bringing the disenfranchised and marginalised into the political debate.

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