Afrapix members photographed their own projects and also conducted workshops in black communities that focused on photography and literacy through artwork.
Kylie Thomas suggests that the history of social documentary photography in the Afrapix period is probably more complex and heterogenous than often suggested, especially when analysing the work of women photographers such as Gille De Vlieg[1] and Gisèle Wulfsohn.
[4] Paul Weinberg, one of the co-founders of Afrapix, said that Afrapix aimed to be "an agency and a picture library and to stimulate documentary photography" (see 'Art and the End of Apartheid', Peffer, 2009, p. 254) and also set this in the context of the day: photography can't be divorced from the political, social issues that surround us daily.
As photographers we are inextricably caught up in those processes-we are not objective instruments but play a part in the way we choose to make our statements.
[5]Joseph Alfers, Peter Auf de Hyder, Omar Badsha, Steve Hilton Barber, Gille de Vlieg, Graham Goddard, Dave Hartman, Lesley Lawson, Chris Ledochowski, John Liebenberg, Herbert Mabuza, Humphrey Phakade "Pax" Magwaza, Kentridge Matabatha, Rafique Mayet, Mxolise Mayo, Vuyi Lesley Mbalo, Peter McKenzie, Roger Meintjies, Eric Miller, Santu Mofokeng, Deseni Moodliar, Cedric Nunn, Billy Paddock, Biddy Partridge, Myron Peters, Jeeva Rajgopaul, Wendy Schwegmann, Cecil Sols, Guy Tillim, Zubeida Vallie, Paul Weinberg, Gisèle Wulfsohn, Anna Zieminski The photographers put themselves at risk each time they worked, given that authority figures might beat or even shoot them.