Photography is one of the most universal forms of language — a powerful tool for storytelling, self-expression, and communicating emotion. As Martin Parr puts it: “Photography is a rare privilege and the most direct form of communication.” This October, the second edition of the Bristol Photo Festival (BPF) will take over the city, putting this medium centre stage.
The first edition in 2021 attracted over 200,000 visitors across 18 exhibitions. BPF was founded to create a city-wide programme across Bristol’s institutions, independents and community spaces. Festival director Alejandro Acín, also head of IC Visual Lab (ICVL), says: “We’re always interested in themes that relate to the city — we approach both local photographers and international voices that can respond to the city itself.”
The 2024 edition features major exhibitions throughout Bristol. Local community projects run alongside global photography names to offer a rich mix of perspectives. “The very core of BPF is using visual storytelling to spark conversations around relevant social and political themes,” says Alejandro. These include topics like the cost-of-living crisis, exile, and colonialism — but also softer themes, such as Japanese artist Rinko Kawauchi’s poetic photos capturing beauty in everyday life.
BPF’s strength lies in its long-term, place-based engagement. “We were never interested in parachuting international photographers in and then disappearing,” says Alejandro. “We’re locally grounded. Our projects often run over 7 to 12 months and engage meaningfully with communities.” This year includes a community archive project with Avonmouth port workers and a Prison Mobile Library project in three Southwest locations.
Theme: The World a Wave
The festival’s theme this year is The World a Wave — based on the idea that the world is in constant flux, connecting people, and stirring emotion. “Each photographer addresses these shifts through their creative practice,” says board member and artist Wendy Leocque. “It’s about movement — a stream of stories, dreams and ideas — constantly revisited and seen through new eyes.”
Wendy explains that each exhibition is thoughtfully curated to reflect this central theme. “The space where the work is exhibited matters — it has to benefit the body of work, and things like photo size and placement are just as important as the image itself.”
Key Partners and Venues
The festival relies on major cultural institutions. Founding partners include the Royal Photographic Society (RPS) and the Martin Parr Foundation (MPF).
RPS director Lucinda Stewart explains the move to Bristol: “We relocated to Bath in 1980, then to Paintworks in Bristol in 2019. The creative networks and student communities here made it a great fit.” For Lucinda, photography is about more than art — it’s a force for awareness, connection and joy. “It helps us raise awareness of social and environmental issues, document conflict, and showcase the beauty of the natural world.”
This year, RPS House will host major exhibitions. Lucinda is also excited about Andrew Jackson’s exploration of the Caribbean diaspora and M Shed’s Dreamlines: Picturing Bristol High Streets, a show focused on local communities.
At the MPF, Isaac Blease, head of collections, highlights Bristol’s legacy in photography. “We’re continuing a strong tradition — including past initiatives like Photographers Above the Rainbow, a 1970s–80s gallery run by Jem Southam and others.”
Martin Parr himself has lived in Bristol for 30+ years. His goal with MPF is to keep showing new perspectives. “One of the roles of documentary photography is to show social conditions — it overlaps with anthropology. We love giving emerging photographers their first shows, ideally with a book, too.”
Photography with Purpose
BPF continues to use photography to address real-world issues. Wendy points to works like The Magic Money Tree by Kirsty Mackay, which documents the cost-of-living crisis, and Unshowable Photographs by Ariella Aïsha Azoulay, which uses archival images to explore the forced displacement of Palestinians between 1947 and 1950.
Images don’t just raise issues — they foster understanding. “We need to explore perspectives beyond our own,” Wendy says. “When photographers really care, the results get under your skin. They show the full spectrum of the human condition.”
BPF aims to give voice to hidden, diverse stories told by those with lived experience. Wendy sums it up: “What does it mean to move and be moved by others?”
