The Camerawork Archive contains material relating to the touring exhibitions programme, as well as administrative files relating to the running of the organisation. Records include prints, invoices, cuttings and hire charges.

Also included are a set of papers relating to the 1975 ‘Camera Obscured?’ lecture series, funding proposals, annual reports and proposal letters. There is also documentation of events, including transparencies and negatives of installation and buildings. Typically files include papers relating to fundraising and correspondence, and some photographic material such as prints, negatives and transparencies.

Projects include; ‘Factory Photographs’ by Nick Hedges, ‘Brick Lane’ by Paul Trevor, Martin Parr ‘The Non-Conformists’, ‘Work Stations’ by Anna Fox, commissioned by Camerawork and The Museum of London (1987) and Representing Disability: A day of talks and events (1987).

Records of the Field Lane Foundation. The earliest records date to 1842 in its incarnation as the Sabbath School. These comprise management committee minutes which run as a continuous series to 1984 and reflect the change from Sabbath School to Ragged School in 1850.

Important series include the deeds and papers of Field Lane dating from 1801 to 1961. There are also series relating to each of the major homes and organisations associated with or run by the Field Lane Association including the Home Workers Aid Association and the 5 holiday or retirement homes: Eastwood, Dovers, The Priory, Holly Hill and Singholm. There is also a set of annual reports from 1847-1996 and a series of printing blocks used for many of the Field Lanes' publications.

The archive has a particular focus on Cockpit Gallery Holborn exhibition programme, with some material also relating to touring shows. This material includes posters, prints, invoices and cuttings. There is also some documentation of events, including transparencies and negatives of installation and buildings.

The gallery's shows covered a wide range of social and political issues from educational, activist and artistic perspectives, with a broad educational and community mindset.

It was part of a broader development of photographic practices in the 1970s and 1980s, concerning issues of social emancipation and representation. Some of the exhibitions were co-curated with participants or with other community groups or with school students who were encouraged to take portraits of each other, or self-portraits.

In other exhibitions, the gallery invited established photographers to show their work who were also dealing with issues of representation, such as Armet Francis, Anita Corbin, and Jo Spence.

Notable projects include:
'100 Months of Women’s Liberation with Spare Rib', 1980
'Julie Mimmack: The Cage is Fixed', 1981
'Promises, Promises': An exhibition based on Henry Grant's Photographs, 1984
'Our Way of Rockin',' 1984
'Armet Francis: The Black Triangle', 1985
'Staying on: A photographic exhibition about staying on at school', 1985
'Homeworking: Time for Change', 1985
'On Yer Bikes Boys', 1986
'The Picture of Health?' A touring exhibition by Jessica Evans, Rosy Martin, Maggie Murray, Jo Spence, Yana [?Jana] Stajno, 1986
'Aurat Shakti: Asian Women Living in the Country,' Cockpit Gallery Holborn, 3 - 26 Mar 1986
Jo Spence, Photography Workshop, 'Beyond the Family Album... Public and Private Images', 1987
Rosy Martin and the Women’s Design Service, 'It’s Not All Swings and Roundabouts', 1989.