CREATORS CONNECT – ANTHONY WILDE

Hey everyone, KOJ here again with another episode of Creators Connect!

This time, I sat down with one of Liverpool’s most exciting photographers, Anthony Wilde. From snapping his first photo on an iPhone 4 to becoming a key documenter of the city’s creative energy, Anthony’s journey is as inspiring as it is authentic. He’s all about capturing race, class, and subculture while staying deeply rooted in community.

I wanted to learn more about what drives his work, the stories he tells through his lens, and his big plans for the future. Let’s dive into the world of Anthony Wilde!

Can you tell us about the first photograph that sparked your interest in photography?

The first photograph I took that piqued my interest was when I was in America. I couldn’t afford a decent camera, so I bounced around with my iPhone 4 (which sounds ridiculous), but it’s true. I took a photograph when I was in the back of the car of the wind turbines when passing through Joshua Tree; that was it. Something about that photograph made me think differently about what an image can say. Once I returned to the UK, I saved every penny I had to get a Nikon D500… It’s incredible how I got away with using that camera for so long.

How did you develop your photographic style, and were there any influences or mentors who helped shape it?

When it came to trying to formulate a style, I didn’t have anyone to go from because no one in Kirkby did photography. I was a welder. Tradesmen don’t take photographs; that was very much the attitude around me at the time. It hasn’t been until recently that I’ve been fortunate to get to know photographers whose work I admire. Khalik Allah is one of them. He’s someone I’m always asking for advice about, and his work is “simultaneously visceral, hauntingly beautiful, and penetrative.”

What’s your perspective on Liverpool’s creative scene and its evolution in recent years?

I think there has been a progression increasingly; I’m seeing people take what they want and curate it for their audience rather than seeking permission. Self-investment feels like a big part of the Liverpool scene now—artists putting on nights, finding other avenues to generate income to support their art. My respect goes out to those artists because we all know how hard it is to make a living. Although things feel more unpredictable than they ever have been, I don’t know what the future looks like in 10 years, but right now, things are moving in all directions, and I’m trying to make sure I’m somewhat in the mix to capture what’s going on.

Is there a project or moment this year that stands out to you in your photography journey?

This year, I have photographed some incredible artists, but the one that stands out must be Bashy (with respect to HyperFrank). They got me involved in this year’s carnival, and I did what I always do: I got myself in the mix, wormed my way in, and I’m ready for if any opportunities come my way. I always say it: I’m nowhere near the best photographer, but I’m good with people, and sometimes that’s my calling card. All I can do is what I know with the camera and how I can make people feel, and if I’m lucky, I’ll have a few shots I can use.

Your work often explores themes of race, class, and subculture. Why are these themes so important to you?

My photographs have been centred around race, class, and sub-culture because most of my upbringing played a huge part. I understand that it is much harder to earn big money doing what I do, but I can’t help but be fascinated by people and the communities that people live in and the issues and triumphs that push and draw people together.

How do you see your role as a photographer in documenting Liverpool’s ever-changing creative and cultural landscape?

Documenting these scenes at this pace, everything is changing. The landscape of how we listen and absorb music and art is constantly on the move. I’ve always tried to record what’s happening and ensure we have some record from our perspective and not someone trying to twist the stories and sounds coming out of Liverpool.

Are there any dream projects or people you’d love to photograph?

I’ve said for years I want to photograph everyone who’s on the scene now, like an end-of-year book photograph. A real timestamp of everyone—all of us that are out here trying to make it. That’s the photograph I’m going to make happen 100%.

I met Charles Bradley once not long before he passed, and I wish I could have had a moment to photograph him. We spoke for ages about music and family, and to have an unprecedented time with someone like that I’ve never forgotten. Charles Bradley – Why Is It So Hard (Live on KEXP) hits differently.

I don’t have many photographs of my dad, but I would have loved to have photographed him. Some portraits would have been nice to have; I think he would have got what I’m trying to do.

What are three songs that define your current mindset or work?

This is a tough question; I’ll give you the last three songs I listened to:

• I Gotta Find Peace of Mind – Lauryn Hill
• Break Ups 2 Make Ups – Mehtod Man, D’Angelo
• Unfinished Sympathy – Massive Attack

Thanks for reading! Anthony Wilde’s work is a testament to the power of storytelling and community. Keep an eye on his next moves – he’s one to watch. Koj out!

Follow Anthony Wilde on Instagram @awild.prints.

Words by Koj – @bigdaddykoj