Let’s start with some of your most notable pieces of work: the way you composed your early photographs of the synagogue was masterful, reflecting an intuitive eye some simply don’t have!
Were you to retake the photographs in the same spots in hindsight, would you have composed them any differently?
Nudrat Afza: Thank you so much for your kind words.
All the photographs at the Orthodox synagogue, which no longer exists, were taken either by hand held camera or using a monopod. I was using two borrowed cameras – Canon AE 1 with wide angle lens and a Conon EOS 5 at speed of 1/30 sec and f/4 or f/5.6.
The caretakers, a husband and wife arrived by taxi on Tuesdays precisely at 11 am and left exactly at 12 noon. The photographs were taken during this hour over a few weeks.
Yes, of course, I wish I had a little more time, and possibly used a tripod or medium format 120 roll film camera, complete with studio lighting. But this would have been a more contrived situation and on the borderline of being fine art, and would have produced different results. So I was happy with the composition and fortunate that the subject was static, which was tremendously helpful for focus, and there was just enough available light.
How important do you feel is photography in the preservation of micro-histories?
Nudrat: Photography is vital in the preservation of micro-histories, as it records in detail any chosen subject in the social and historical context of a particular point in time. This can be invaluable for future researchers, or others simply interested in the subject.
Digital [photography] is widely accessible. What does film mean to you?
Nudrat: There is something unique and nostalgic about using negative film. I am from an era when that is all there was. The whole process from the start, loading the film to finish the stage of viewing the contact sheet is classic. It’s definitely a time consuming and costly process. But it involves sharper observation skills, being focused, patience, anticipation, suspense, nervousness, excitement, and to me is a completely thrilling process. It’s like a book or a film!
Kehillah photographs were taken with black and white negative film with vintage cameras. This was not by design. I didn’t have a digital camera.
How did it feel to have Kehillah exhibited at Salts Mill and Cartwright Hall, such significant homes of art and history, especially to locals of and around Bradford?
Nudrat: It was absolutely fantastic for Kehillah to be premiered at historic Salts Mill, Saltaire in 2019 as part of Saltaire Festival and then Cartwright Hall Art Gallery, Bradford in 2020. The photographs have been exhibited at six venues in the North and has received further proposals.
Kehillah attracted media attention at national level, which attracted visitors from the whole of Britain, as well as at local level from photography, community, interfaith and women’s groups.
Both of these venues are in the heart of Bradford near the two synagogues. And I’ve lived in Bradford since 1965 very close to these places that I have deep affection for.
What have been the most fascinating reactions to your work in your opinion, particularly of those around you, and those who do or don’t have any photographic adeptness?
Nudrat: The response has been phenomenal from the very start, which has been constant and evolving in so many way and levels. This has happened via emails, hand written cards and letters, feedback from visitors to the exhibitions and launch events.
I’ve had invitations to speak about the project nationally. ‘The Value Crisis’ conference in April 2026 in Settle was inspired by Kehillah exhibition, which highlights cooperation between Muslims and Jews in Bradford.
I am honoured that libraries of University of Harvard, Princeton, Johns Hopkins, Michigan State Rice, an art library in Munich and five other prestigious libraries hold Kehillah book.
Simon Beaufoy, Oscar winning British screen writer wrote a statement to accompany the exhibition. He wrote:
“Everyone with a phone can take a photograph. But not everyone is a photographer. In the colourful noise of a billion images, a few people stand out. Nudrat Afza is one of them. Like all best art, the images reflect the artist: watchful eye, politely enquiring, melancholic with a hint of smile. So unobtrusive is the photographer’s eye, that it’s easy to miss what is being explored: there is always warmth and empathy, but there is often a very distant sound of thunder.“
What is your favourite part of the process of photographing with film? Is it the moment of capture itself, the development, or witnessing the final product?
Nudrat: As a social documentary photographer – to capture something special or a ‘decisive moment’ is enthralling!
During your shoot at the synagogue, was there a shot you wished you’d taken but didn’t?
Nudrat: There were so many missed opportunities!
The Rabbi did not give me permission to take photographs during services. I was extremely careful and sensitive not to cause any offence. In hindsight though, I wish requested permission again or took a lot more risks! For example, there was a Bar Mitzvah service, which is unlikely to happen again for a very very long time. It was amazing! Full of absolutely stunning images that I didn’t document.
Do you believe a real moment captured by chance can be detected from an image that was directed ahead of time?
Nudrat: It’s a combination of many factors – at times a little prophetic. One can feel in the air that something is going happen, then there is always unexpected or extraordinary moment that needs a quick response.
What is it about the subjects of your photos in Kehillah that you love the most?
Nudrat: I felt very privileged that I was allowed and able to witness and capture something so profoundly and deeply personal to the people involved.
You’ve dedicated the book to your sister Sairah and her daughter. What has Sairah’s role been in helping you realise yourself?
Nudrat: My sister Sairah is a lone parent for Ariana and has cancer. Just as the book was about to be sent for printing, I came across a photographic book that Sairah had given me as a gift over two decades ago. She had written an inscription to me on the fly leaf:
“I saw this book and thought of who would appreciate it the most. I hope you enjoy this book as much as I did. And it gives you the drive and confidence (as you have the ability) to publish your work own work. It is never too late to be what you might have been.” (If you are intrigued which book it is, Muhammad Ali The Birth of a Legend, Maiami, 1961 – 1964 by Flip & Matt Schudel.)
Kehillah is about community and family. My own daughter played a vital role in its development. We were often together when I took photographs. She viewed the contact sheets and was a strong motivator as I sought funding to produce the book.
Khadijah was born with a life-threating liver condition, complex health needs and learning difficulties. I was her carer until she died in 2024, aged 35 years.
Her kind and constant support and perceptive comments shaped this work.
Two Kehillah posters titled ‘two hats’ and ‘cup of tea & a blanket’ are still available at Salts Mill, Saltaire. Kehillah is available for purchase here. This interview is lightly edited for clarity.