Jack Hynes, Camera Assistant for Ammonite Films, explains how big a camera you’d need to film the smallest of insects.
Selections from our photography collection illustrate the public spectacle (and some behind-the-scenes details) of the 1948 Olympics.
On 4 August 1914 the largest global conflict the world had witnessed began. We look at the role photography played in representing the ‘War to End All Wars’.
From x-rays to pagodas—Scottish photography isn’t (exclusively) tartan or covered in heather.
Surely Scottish photography would be photographs by Scots, of Scots, in Scotland, wouldn’t it? But of course nothing is ever straightforward, so why should Scottish photography be any different?
Musician Jono Podmore writes on scoring early British science films for a world premiere at Bradford International Film Festival.
What happens when film festivals show old, ‘undiscovered’ films? Film Programme Manager Tom Vincent writes on press coverage for our recent Yoshitaro Nomura retrospective.
Martin Parr and Susie Parr discuss controversy, their careers, social media’s impact on photography and Tony Ray-Jones’s influence.
Iain Baird looks back at the launch of BBC2 50 years ago, and explains how Play School accidentally became the first successfully broadcast show on the new channel.
After suitably dutiful deliberations, our juries have delivered the verdicts on the 2 competitive sections at Bradford International Film Festival 2014.
Head of the museum at the time of the very first BIFF, Amanda Nevill recounts the early years of the festival and what role it plays in the industry today.
Talbot’s ‘picture book’ is a manifesto for photography, a polemic, an advertisement, a bid for posterity, a chronicle of the past and a vision of the future.