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.
As he recalls his visit in 2010, actor John Hurt reflects on Bradford’s cinematic heritage and the British voice in the film industry.
A visitor to the exhibition spotted herself in a Tony Ray-Jones photo. What will happen when Martin Parr’s Calder Valley work comes back to Yorkshire?
Image manipulation has been around longer than you might think—the compositing and shading techniques employed here were the precursors of Photoshop.
Iain Baird reveals the technology behind our latest television collection acquisition, and explains why the Scophony television scanner is not to be scoffed at.
Ahead of the world premiere of Hell’s Hinges on 3 April, Neil Brand tells us about performing with the Dodge Brothers, and his love for the sound of cinema.
While our politicians, papers and commentators fall on either side of the food bank debate, we look back at poverty and charitable welfare in the 1930s.
The Pararchive project’s research in our archives revealed images illuminating the history of Stoke-on-Trent, its factories and workers over four decades.
Ahead of his appearance on BBC Four tonight demonstrating ‘The Soldier’s Kodak’, Colin Harding reveals more about this 100-year-old compact camera.
The 2014 BIFF identity has been met with heaps of enthusiasm, so we asked David Doran to write a few words about his experience working on the project.
As the unsettling images of the Ukraine crisis make their way to our TV screens, Brian Liddy is reminded of the first systematically photographed conflict.