For almost two decades the MA Photography course has been a discursive platform for established and emerging image makers to develop new critical practices, to test and challenge their working methodologies, and to participate in debates and practices in photography’s expanding field of operations. MA Photography students come from all walks of life, geographical contexts and age groups. Alongside formally trained photographers and photo-based artists, cohorts have included practitioners and scholars from a range of related disciplines—from sculptors, performers, architects, cinematographers and art curators, to sociologists, computer engineers, advertising professionals, political economists and human geographers; residing near and far—from Northumberland and Scotland, to Hungary, North America, China, Pakistan and Thailand. This diversity, cultural polyglotism and dynamic constitute the strength of the course, as much as the shared passion for photography as art, visual language and social practice brings together the different voices to build a community of practice that exists within and outside the walls of the Northern Centre of Photography. It was this collective ethos and belief in the social contract of photography that inspired and strengthened this year’s graduating cohort, who, in the midst of the coronavirus pandemic, worked unabated to bring to the public eye current issues pertinent to the Anthropocene and human relationships with nature, to challenge preconceptions of gender, race and national identity, to offer a glimpse of hope for the future. Sunderland Creatives opens up this dialogue further, to audiences beyond physical and local borders, proposing a “commonwealth” of ideas.