Chris Steele-Perkins


Christopher Horace Steele-Perkins was a British photographer and member of Magnum Photos, best known for his depictions of Africa, Afghanistan, England, Northern Ireland, and Japan.
WWW chrissteeleperkins.com

Life and career

Steele-Perkins was born in Rangoon, Burma, on 28 July 1947, to a British father and a Burmese mother; but his father left his mother and took the boy to England at the age of two. He grew up in Burnham-on-Sea. He went to Christ's Hospital and for one year studied chemistry at the University of York before leaving for a stay in Canada. Returning to Britain, he joined the [Newcastle University|University of Newcastle upon Tyne|Newcastle upon Tyne], where he served as photographer and picture editor for a student magazine. After graduating in psychology in 1970 he started to work as a freelance photographer, specializing in the theatre, while he also lectured in psychology.
By 1971, Steele-Perkins had moved to London and become a full-time photographer, with particular interest in urban issues, including poverty. He went to Bangladesh in 1973 to take photographs for relief organizations; some of this work was exhibited in 1974 at the Camerawork Gallery. In 1973–74, he taught photography at the Stanhope Institute and the North East London Polytechnic.
In 1975, Steele-Perkins joined the Exit Photography Group with the photographers Nicholas Battye and Paul Trevor, and there continued his examination of urban problems: Exit's earlier booklet Down Wapping had led to a commission by the Calouste Gulbenkian Foundation to increase the scale of their work, and in six years they produced 30,000 photographs as well as many hours of taped interviews. This led to the 1982 book, Survival Programmes. Steele-Perkins' work included depiction from 1975 to 1977 of street festivals, and prints from London Street Festivals were bought by the British Council and exhibited with Homer Sykes' Once a Year and Patrick Ward's Wish You Were Here; Steele-Perkins' depiction of Notting Hill has been described as being in the vein of Tony Ray-Jones.
Steele-Perkins became an associate of the French agency Viva in 1976, and three years after this, he published his first book, The Teds, an examination of teddy boys that is now considered a classic of documentary and even fashion photography. He curated photographs for the Arts Council collection, and co-edited a collection of these, About 70 Photographs.
In 1977, he made a brief detour into "conceptual" photography, working with the photographer Mark Edwards to collect images from the ends of rolls of 35mm film taken by themselves and others. Forty were exhibited in "Film Ends".
Work documenting poverty in Britain took Steele-Perkins to Belfast, which he found to be poorer than Glasgow, London, Middlesbrough, or Newcastle, as well as experiencing "a low-intensity war".
Of his experiences in Northern Ireland, he was quoted as saying: "I intended to cover the situation from the standpoint of the underdog, the downtrodden: I was not neutral and was not interested in capturing it so... I began to see that my work in Northern Ireland had always been a celebration of the resilience and unyielding way that the Catholic community resisted."
He stayed in the Catholic Lower Falls area, first squatting and then living in the flat of a man he met in Belfast. His photographs of Northern Ireland appeared in a 1981 book written by Wieland Giebel. Thirty years later, he returned to the area to find that its residents had new problems and fears; the later photographs appear within Magnum Ireland. Both the earlier and the later photographs are collected in The Troubles.
Steele-Perkins photographed wars and disasters in the Third World, leaving Viva in 1979 to join Magnum Photos as a nominee, and becoming an associate member in 1981 and a full member in 1983. He continued to work in Britain, taking photographs published as The Pleasure Principle, an examination of life in Britain but also a reflection of himself. With Peter Marlow, he successfully pushed for the opening of a London office for Magnum; the proposal was approved in 1986.
Steele-Perkins made four trips to Afghanistan in the 1990s, sometimes staying with the Taliban, the majority of whom "were just ordinary guys" who treated him courteously. Together with James Nachtwey and others, he was also fired on, prompting him to reconsider his priorities: in addition to the danger of the front line:
... you never get good pictures out of it. I've yet to see a decent front-line war picture. All the strong stuff is a bit further back, where the emotions are.

A book of his black and white images, Afghanistan, was published first in French, and later in English and in Japanese. The review in the Spectator read in part:
The book and the travelling exhibition of photographs were also reviewed favorably in the Guardian, Observer, Library Journal, and London Evening Standard.
Steele-Perkins served as the President of Magnum from 1995 to 1998. One of the annual meetings over which he presided was that of 1996, to which Russell Miller was given unprecedented access as an outsider and which Miller has described in some detail.
With his second wife the presenter and writer Miyako Yamada, whom he married in 1999, Steele-Perkins had spent much time in Japan, publishing two books of photographs: Fuji, a collection of views and glimpses of the mountain inspired by Hokusai's Thirty-six Views of Mount Fuji; and Tokyo Love Hello, scenes of life in the city. Between these two books he also published a personal visual diary of the year 2001, Echoes.
Work in South Korea included a contribution to a Hayward Gallery touring exhibition of photographs of contemporary slavery, "Documenting Disposable People", in which Steele-Perkins interviewed and made black-and-white photographs of Korean "comfort women". "Their eyes were really important to me: I wanted them to look at you, and for you to look at them", he wrote. "They're not going to be around that much longer, and it was important to give this show a history." The photographs were published within Documenting Disposable People: Contemporary Global Slavery.
Steele-Perkins returned to England for a project by the Side Gallery on Durham's closed coalfields ; after this work ended, he stayed on to work on a depiction of life in the north-east of England, published as Northern Exposures.
In 2008, Steele-Perkins won an Arts Council England grant for "Carers: The Hidden Face of Britain", a project to interview those caring for their relatives at home, and to photograph the relationships. Some of this work has appeared in The Guardian, and also in his book England, My England, a compilation of four decades of his photography that combines photographs taken for publication with much more personal work: he does not see himself as having a separate personality when at home. "By turns gritty and evocative," wrote a reviewer in The Guardian, "it is a book one imagines that Orwell would have liked very much."
His archive will be held with the Bodleian Libraries.
Steele-Perkins had two sons, Cedric, born 16 November 1990, and Cameron, born 18 June 1992. With his marriage to Miyako Yamada, he had a stepson, Daisuke and a granddaughter, Momoe. He died in Japan on 8 September 2025, at the age of 78.

Publications

Photobooks by Steele-Perkins

The Teds. London: Travelling Light/Exit, 1979;. With text by Richard Smith.
  • * New edition. Stockport: Dewi Lewis, 2003;.
  • *Revised larger format edition. Stockport: Dewi Lewis, 2018; The Pleasure Principle. Manchester: Cornerhouse Books, 1989; Afghanistan. London: Westzone Publishing, 2000;
  • * Afghanistan. Paris: Marval, 2000;
  • * Afuganisutan: Shashinshū / Afghanistan. Tokyo: Shōbunsha, 2001; Fuji: Images of Contemporary Japan. New York: Umbrage; London: Turnaround, 2002; Echoes. London: Trolley, 2003; Tokyo Love Hello. Paris: Editions Intervalles, 2006; Photographs taken in Tokyo, 1997–2006. With an introduction by Donald Richie, texts and captions in French and English.Northern Exposures: Rural Life in the North East. Newcastle upon Tyne: Northumbria University Press, 2007;. Black and white photographs taken from 2002 and after.England, My England: A Photographer's Portrait. Newcastle upon Tyne: Northumbria Press, 2009;. Photographs 1969–2009, combining the documentary and the personal.
  • * England, My England: A Magnum Photographer's Portrait. Carmarthen: McNidder & Grace, 2023;. Reworked, paperback edition, with an introduction by David Elliott.Fading Light: Portraits of Centenarians. Alnwick: McNidder & Grace, 2012;.A Place in the Country. Stockport: Dewi Lewis, 2014; The New Londoners. Stockport: Dewi Lewis, 2019; The Troubles. : Bluecoat Press, 2021. With an essay by Paul McCorry;

Zines by Steele-Perkins

  • Wolverhampton 1978. Southport: Café Royal Books, 2019. With an introduction by Francis Hodgson. Edition of 500.
  • Brixton 1973–1975. Southport: Café Royal Books, 2019. With an introduction by Francis Hodgson. Edition of 250.

CD-ROMs

  • Za Wākusu / The Works. Tokyo: Media Towns, 1999. 180 photographs by Steele-Perkins, from 1980 to 1994, of Chad, Ethiopia, Kenya, Namibia, Somalia, South Africa, Sudan, Tanzania, Uganda, Zaire and Zimbabwe.

Archives

Films

  • Video Diaries: Dying for Publicity. 1993, 70 minutes. Steele-Perkins reflects on his reporting of and role in scenes of suffering.

Exhibitions

Solo

  • "The Face of Bengal". Camerawork Gallery, 1974.
  • "The Teds". Camerawork Gallery, 1979.
  • "Beirut". Camerawork Gallery, 1983.
  • "Famine in Africa". Barbican Art Gallery, 1985.
  • "Lebanon". Magnum Gallery, 1985.
  • "South Africa". Fnac, 1986.
  • "The Pleasure Principle". Fnac, 1990.
  • Photographs of Britain. Aperture Foundation, May 1991.
  • "Africa, Work in Progress". Visa pour l'image, 1992.
  • "Nomansland". Photo Gallery International, August-September 1999.
  • "Afghanistan". Visa pour l'image, 1999.
  • "Notes from Afghanistan". Side Gallery, September-October 2000. Ffotogallery, August - September 2000.
  • "Fuji". Midlands Arts Centre, January-March 2002.
  • "Photographs of Mt Fuji". Aberystwyth Arts Centre, May-June 2002.
  • "Fuji". Impressions Gallery, August-September 2002.
  • "Fuji". Granship, May-June 2002.
  • "The Teds". Gallery 292, March 2003.
  • "The Teds: From the Originals to the Plastics". Stephen Daiter Gallery, January-February 2004.
  • "Echoes". Leica Gallery Tokyo, August-September 2005.
  • "Hinterland". Side Gallery, April-May 2006.
  • "Haswell Plough to Harajuku". Host Gallery, June-July 2007.
  • "Northern Exposures". Northumbria University Gallery, 2007.
  • "Fuji". Porta Praetoria, as part of the Mountain Photo Festival, August-September 2008.
  • "England My England". Kings Place Gallery, June-July 2010.
  • "For Love of the Game". Third Floor Gallery, June-July 2010. Photographs of football in Japan, England, and Ghana.
  • "Northern Exposures". Galleries Inc at Central Square North, January-February 2011.
  • "The Pleasure Principle". Open Eye Gallery, November-December 2011.
  • "Centenarians". University Gallery, Northumbria University, October-November 2012.

Group or shared

As co-curator

Collections

Awards