Seacoal

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Graham Smith, Bennetts Corner (Giro Corner), South Bank, Middlesbrough, 1982 Photograph: Graham Smith Our collection Artists Artworks Art by theme Explore Videos Podcasts Short articles In depth Art Terms Tate Research Student resources Make art Create like an artist Kids art activities Tate Draw game It took him a long time to get in with the Seacolers. They had no idea who he was and he faced violence the first time he tried to photograph them," he told ITV Tyne Tees. An exhibition of photographs taken by a photographer best-known for capturing the lives of working-class people in the North East is opening in the region. Then comes three major series, including Killip’s Seacoal project. It was made between 1982 and 1984 in Lynemouth, Northumberland, where coal thrown out to sea from the nearby mine would sometimes wash up again on the shore. People would then often gather it for fuel or selling on. Though Killip photographed the area “intensely”, there remained some distance, Grant explains, but he ended up getting a caravan and living on the beach with the seacoal workers. They became close friends, and Grant says that he was still in touch with them at the end of his life.

Chris Killip: Retrospective for influential British - BBC

More wounding still was a scurrilous report that appeared in a popular north-eastern newspaper under the heading Boozers and Losers, misrepresenting the work as voyeuristic and patronising. An accompanying editorial described the photographers as “a couple of smart alecs from Middlesbrough and Newcastle” – Killip was actually from the Isle of Man – and culminated with the suggestion: “Someone should hang THEM on the walls.”He said: "When Chris was talking about these photos as his photographs, he said they weren't just his, but belong to the people that are in them. They belong to them.

A Conversation with Photographer Chris Killip Caught in the Act: A Conversation with Photographer Chris Killip

I’m a content producer in the Interpretive Content Department of the J. Paul Getty Museum. Before coming to the Getty, I was a longtime producer and reporter for the BBC World Service. In Flagrante means ‘caught in the act,’ and that’s what my pictures are. You can see me in the shadow, but I’m trying to undermine your confidence in what you’re seeing, to remind people that photographs are a construction, a fabrication. They were made by somebody. They are not to be trusted. It’s as simple as that.” —Chris KillipLater, I wanted to get away from this very formal thing and changed my photography, and so I used a plate camera where you had a cape. I had a thumb press, so I’d be looking at you, but you never knew when I was going to take the picture. The Retention Period depends on the type of the saved data. Each client can choose how long Google Analytics retains data before automatically deleting it.