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      • archiveFour Corners Bishopsgate
      • vimeo_link
      • authorSee sections X to AC
      • author_editorSantiago Castrillon, Denisce DiIanni, Mike Goldwater, Liz Mackie, Jenny Matthews, Tom Picton, Richard Platt, Shirley Read (co-ordinator), Siddhiratna, Bruno Simes
      • author_writerPierre Coutanche, Caro Webb, Nicky Hughes, Bruno Simes, Paul Carter, Paul Trevor, Mike Goldwater
      • author_photographerPaul Trevor, Martin Parr, Tom Learmonth, James Ravilious
      • author_designerLiz Mackie, Richard Platt,
      • author_intervieweeDave McKay, James Ravilious, Terry Crabtree, Helen Bridges, Tom Learmonth,
      • author_organisation
      • tagsoffsite,blackfriarsyouth project,waterloo festival,islington gutter press,centreprise,community publishing,self-publishing,workers al association,street exhibition,trinity arts,the photographic gallery,blackfriars settlement,union place,community photography,alternative press,photo-journalism,documentary,arts council,paul carter,north paddington community darkroom,510 centre,darkrooms,urban aid,shelter,gulbenkian foundation,housing,national empty property campaign,the factory,pensioners,catering workers,commission for racial equality,split image,schools,manchester free school,north west arts,young offenders,mental health,hospitals,beaford photography archive,farming,womens' institutes,reading museum of rural life,printing,squatting,demolition,bonfire press,southwark general strike,paul trevor,exit,bangladeshi communities,national front,british movement,altab ali,skinheads,racism,anti-nazi league,hackney and tower hamlets defence committee,police racism,alternative technologies,photo-kit,dave hoffman,tower hamlets arts project,property developers,coin street,tape-slide,blackfriars photography project,glc,tenants action group,blind people,disability,disabled photographers
      • titleCamerawork Magazine - Issue 13
      • subtitleIssue 13: Photography in the Community
      • dimension17 pages
      • ocr1
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Pierre Coutanche, Caro Webb, Nicky Hughes, Bruno Simes, Paul Carter, Paul Trevor, Mike Goldwater, Martin Parr, Tom Learmonth, James Ravilious, Liz Mackie, Richard Platt, Dave McKay, Terry Crabtree, Helen Bridges
      • credits
      • related
      • location(pg 1) North Yorkshire, UK. Blackfriars, London, UK. North Devon, UK. Islington, London, UK. Birmingham, UK. Southampton, UK. Bethnal Green, London, UK. (pg 3-4) Paddington, London, UK. (pg 4) Manchester, UK. Cheshire, UK. Salford, Manchester, UK. Oldham, UK. (pg 4-5) Beaford, Devon, UK (pg 5-6) Lambeth, London, UK. (p6-7) Tower Hamlets, London, UK. Bethnal Green, London, UK. (pg 8,9,10) Brick Lane, London, UK. Spitalfields, London, UK. Bethnal Green, London, UK. (pg 12-13) Waterloo, London, UK. Lambeth, London, UK. Blackfriars, London, UK.
      • copyright_obtained0
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      • origination_date1979
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      • created2018-06-04 14:58:00
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      • pdf_text* v v . / \ \ • ■ *■ • ■ ** CAMERAWORK An accidental double exposure at a photo-kit session at Ranwell Club Playscheme, Bow. Summer 1978. Photography in the Community NO 13 Half Moon Photography Workshop 50p/$1.50 Community Documentation Photography with Kids Community Publishing Community Relations For some time Martin Parr has documented life in the area of North Yorkshire where he lives, and has held local exhibitions of his photographs. A large number of projects work with children and youth groups. This photo was taken by a member of Blackfriars Youth Project. Blackfriars also teach pensioners and community workers. Centerprise is a community publishing project which grew out of Workers Educational Association writing classes, and which produces books written by local working people. Photographs are used in many of the publications. Trinity Arts have produced an exhibition on the life of a multi-racial community in Birmingham. The exhibi­ tion aims to promote discussion and bring racial groups closer together. Waterloo Festival 1978 Archive James Ravilious works in a village in North Devon. He is helping to strengthen a sense of community by building up an archive of historical and contemporary material through copying villagers’ photos and docu­ menting the area himself. Muslim wedding Frank Ideson, Lord Savile's head game-keeper Environmental Education Offsite is an ILEA project in which Primary schools are encouraged to develop a wide range of skills, including photography, through studies of the local environment. From this, it is hoped that a broadlybased curriculum will emerge, with which children can readily identify. 12 accounts of work in Hackney 1905-45 Exhibitions on the Street Barrington circa 1920 Community Newspapers Islington Gutter Press is a local radical newspaper which uses photos in its presentation of issues not covered by the commercial press. Tom Learmonth is one photographer who has taken photography out of the gallery onto the street. He has documented life on an estate near his home and is showing the work in the local launderette and fly­ posting prints in the area. Photographer in Residence The Photographic Gallery at the University of Southampton initiated a photography project based in two schools in the local community. ‘My Mum’ Simon Smith age 12 Street Class Mansford Street - Unitarian Church Hall Free Press Working in the Community Community photographers continue both a photographic and communal tradi­ tion. Photographers since Lewis Hine and Jacob Riis have shown the things in our society that need to be changed. People have done community work since the great charitable settlements were established in our big cities during the last century. Community photographers, however, want to give more than charity or expose social injustices. They believe that people can use photography to make their own demands and help to make them free. Individual photographers in the community will continue to fight to change a ruthless society by exposing injustices; the bad housing, run down welfare services, poverty, unemployment, the day-to-day desperation of so many peoples’ lives. Groups like Union Place and Blackfriars Settlement also know that it is important, socially and individually, to give people a knowledge of photography. It can be argued that giving someone living in one room with four children access to a camera is only a bitter joke, but we believe that the camera can be used as a revolutionary instrument. It can unite people not only with a shared picture of the world, but bring them together in the very process of taking pictures. Photographs can change a private experience into common awareness. Community photography is frequently praised. The photographs may be questioned, but the process seldom is. Community photography can be shown to be reformist; another panacea for the dispossessed; utilising the patronising social work instincts of the middle classes; sticking plaster on the body politic. State funds can be seen to be corrupting a spontaneous movement, another form of political control, bureaucratic strangulation, stopping any attempt to change the status quo. A new profession - ‘the community photographer’ could take the bite out of radical social critique. Even so, community photographers apply their ‘art’ to social needs. They have a common aim, expressed in many ways, to teach people the skills to express their personal and political realities. It is a battle to take the mystery out of a simple craft; to make a cultural tool available to everybody, not just to an elite. In this issue of Camerawork we outline some of the factors, aims and problems of community photography. We will continue this discussion in future issues. We hope our readers will contribute. We think that community photography can actively involve people in social change. We believe that it can be a vital step in taking control of our own lives. The people who worked on this issue were Santiago Castrillon, Denisce Dilanni, Mike Goldwater, Liz Mackie, Jenny Matthews, Tom Picton, Richard Platt, Shirley Read (co-ordinator), Siddhiratna, Bruno Simes. is designed to provided a forum for the exchange of ideas, views and information on photography and other forms of communication. By exploring the application, scope and content of photo­ graphy, we intend to demystify the process. We see this as part of the struggle to learn, to describe and to share experiences and so contribute to the process by which we grow in capacity and power to control our lives. This issue of CAMERAWORK, March 1979, was produced by the Publishing Project, Half Moon Photography Workshop, 119/121 Roman Road, London E2. 01-980 8798. SUBSCRIBE TO CAMERAWORK: A full subscription to Camerawork includes six issues, posters and invitations for our exhibitions. The cost for this is £6.50 (students £5.00). Subscription to Camerawork alone is £4.50 for six issues. Institutional subscription (which includes posters and invitations) is £12.00 for six issues. Overseas subscriptions cost £1.00 in addition to the above costs. Send to H.M.P.W., 119 Roman Road, London E2 0QN. Tel: 01-980 8798. (ISSN 0308 1676) CAMERAWORK n recent years some new ways of using and producing ‘socially concerned’ photography have developed. Each of these ways reflects the lives, history and culture of working people and the fight for their needs and aspirations. None of these ways are new, most are simply extensions of what documentary. High Street and local press photographers have done for years. Concern to make photography and the arts in general more accessible to working people is not new either. In the Thirties the Federal Arts Project in America and the Workers’ Film and Photo League in Britain tackled the problem. What is significant now is the scale on which community photography is done. This work falls into three overlapping areas ‘alternative’ photojournalism; locally based documentary projects; and photographic activities which involve and serve the needs of local people. All these areas interrelate and have at one time or another been called community photography. I ‘Alternative’ photo-journalism Some photo journalists make a point of working for the alternative press, pressure groups, charities, self-help organisations and political groups in order to relate their skills to their social and political ideals. These photo­ journalists generally have a workstyle which is little different from the more commercial side of photojournalism - they move from place to place on different assignments and can generally spend only a short time with the people they photograph. Community documentary Other photographers try to make better contact between their expertise and ordinary people by photographing a particular group or in a parti­ cular locality. By undertaking extended docu­ mentary projects they build up an intimate knowledge of their subjects. They often live in the locality and work at the project full or pan­ time over several years. Two dilemmas often occur in the course of a community documentary project: the demands for pictures made by local people, and the problem of what to do when the people don’t like the way in which they or the area are portrayed. Subjects can make the same sorts of com­ plaints about photographers as photographers make about picture editors - lack of control. Even if the photographer is very sympathetic to his or her subjects in principle, when it gets down to details a lot of differences can surface. Community photography Community photography picks up these dilemmas because it is more concerned with the needs and preferences of local people. It aims to provide a resource in the form of photographic equipment, darkrooms,and teaching or access to a photographer’s service. Urban working-class neighbourhoods, villages and new towns have been most affected by social and economic changes and it is in such localities that most community photography takes place. Community work is essentially an educa­ tional process, usually started by bringing people together to achieve an immediate aim for example a tenants’ association might form to get essential repairs done. Then through finding out about existing decision-making structures and planning procedures, organising petitions, lobbying and sometimes taking direct action like rent strikes, people come to learn how to make their opinions and needs felt more strongly, even if they don’t actually get real control. However community work can be as patronising a way of helping as the social welfare approach. It can end up dealing mainly with symptoms of social inequality rather than the causes. Ways of working Most of the people doing community photo­ graphy have more or less drifted into it. Indivi­ duals and groups have initiated community photography activities all over the country, with little or no knowledge of each other. Whereas five years ago there were only a few projects, there are now dozens either doing community photography as their main work or using it in their other community activities. Despite different beginnings and relatively little contact between projects, most are developing working methods which are based on a similar set of principles. Community photography is about two kinds of access. It provides access to the work of experienced photographers outside the commercial and art worlds. This is made possible through self-published books and magazines and photographic exhibitions in laundrettes and pubs. It also provides access to expertise and resources so that local people can do photography themselves. Photography for the Community Community photography makes photo­ graphy relevant to local people by making them the main subjects, audience and users of the photographs produced. Through this greater contact with photographic processes people understand, appreciate and become more critical of all the photography they see. In addi­ tion, by providing the means for local people to learn photography themselves, diverse groups are brought together and they discover more, not just about photography but also about the community in which they live. Through making their own images people can break the mono­ poly professional communicators have over the representation of their lives. Resources for learning and doing photography have to be established before such work can happen. Properly maintained equipment must be available to lend to people on low incomes and to those who need it just a few crucial times a year. Resources should be based in places where people feel welcome and comfortable. This sometimes precludes educational estab­ lishments and galleries. Youth clubs, community centres, a house or flat turned over to the purpose are often more acceptable. Normally people need a strong interest in photography as a potential profession or hobby before they can get access to photographic facilities. Many courses require academic qualifications too. In neighbourhood dark­ rooms created by community photography pro­ jects there are no such restrictions. rojects try to avoid the possibility of equipment, technique and aesthetics dominating peoples’ interest. They aim to demystify both the technical and communi­ cations process of photography. Learning is usually done in small groups. The social interaction between people involved in learning to work as a group is often as important as the learning of photographic skills. People are usually free to learn at their own pace and to develop personal interests in a non-competitive atmosphere, but with the needs of the group and the community kept in mind. Very often people’s first pictures have some immediate practical use to a community group as well as being a means for the new photographer to express something personal. People running community photography projects need to have a primary and lasting commitment to their community. Their commit­ ment to their own interest in photography has to run a close second. There is usually an uneasy relationship between these two. Most projects are initiated by middle-class people in working-class communities. It takes several years for the local people to begin to understand and change their expectations of photography and the part it can play in their lives. It also takes time for photographers to adjust their expectations and redirect their imagination in response to local priorities. Workers in a community photography project generally need to learn administration, how to teach and raise funds. It takes time to learn these skills. Also since most community photography projects are so isolated and are constantly responding to local needs rather than following an ideal established model, an enormous amount of mistakes are made. Each project will probably independently work through similar problems because there is little contact between them. Many people involved with community photography work collectively. Groups often aim for a non-hierarchical structure. Workers try to take equal responsibility for managing the project and sometimes have equal pay. In community arts projects especially, workers exchange skills. Community photography requires the photo­ grapher to involve his or her subjects in deci­ sions about what to photograph, how to photo­ graph and how to use photography. It is often easy for the photographer to be the dominant voice because he or she is the most experienced. The ‘expert’s’ job is to build up people’s knowledge and confidence over a period of time, thus equipping them to make these decisions for themselves. t is not possible to understand the role and significance of community photo­ graphy by applying the attitudes and standards of established commercial and artistic photography. The primary aim of community photography is to create awareness and social interaction within a local setting. High technical and artistic quality is not always necessary. The effectiveness of community photography has to P I be measured in terms of the needs and expecta­ tions of the particular community involved. More images are needed which show the importance of the past and present contribution that working people have made to society and of the efforts made by working-class organisations to influence the direction of their fives. Commu­ nity photography has begun to provide these images. Such photographs, generated and collected locally can be distributed through community newspapers, posters, pamphlets and the litera­ ture produced by pressure groups. They often capture the interests of the mass media and this widens their audience considerably. However, there is a lot more to community photography than its products alone can demonstrate. Its value as process is important too. This includes the personal, cultural, social and political growth that is stimulated by the work of producing and using the photographs. For example, when a tenants’ association produces a tape/slide show they also learn about their neighbours, their community, campaign­ ing and self-assertion. People doing community photography do not identify with the established photographic community since they are not striving after commercial work or one-person shows at the Hayward Gallery. Often, once they start running darkrooms, teaching and administrat­ ing they have little time to take photographs themselves. They are not seen to be fully-fledged members of the community work movement either. Many do feel part of the community arts movement, but even here photography tends to be the least understood of the media involved. The media, photographic education estab­ lishments and the photographic community all perpetuate the image of the photographer as a lone creative individual. This sort of condi­ tioning does not make photographers fit comfortably into the community context where team work and collective creativity are needed. Once a community photography project gets under way it raises the expectations of local people and highlights their needs. If it fails there are several long-term repercussions. Newly realised photographic needs can no longer be met. More important, people’s morale is severely damaged. If people have begun to meet their own needs and then resources are cut off, it will be much harder for them to try again. They are already used to being of low priority in employment and housing. The failure of yet another venture reinforces their feelings of powerlessness. taff continuity on a project is important. The longer workers stay the better they know how to run the project and the more familiar they are with the community. However, the work on a community photo­ graphy project is stressful. Demands come from every direction. Learn to type. Get cameras repaired. Reorganise the darkroom booking system. Write a report. Get to a management meeting. Go to a funding meeting. Plan and run a workshop. Take photographs needed urgently for a public meeting. Visit a club for the elderly to see how they might use photography. Show the youth worker how to operate the slide projector. And so on. S Funding Even more important than the continuity of people is the continuity of the positions they hold. Both depend heavily on regular funding at realistic levels. Few aspects of community photography are a commercial proposition so fund-raising is a continuing priority. Few project workers have had much experience of fund-raising. The aims and concepts of community photography are often new to the potential funders. It is rare for all the funds for one project to come from one source. Different funders have very different criteria for their support. Worst of all,grants are rarely given for more than a year so fund-raising is a continuous drain on workers’ time. Community photography cuts across photography, community arts, education and community work. Funds for it have come from bodies associated with all these activities. Projects are faced with the dilemma that they want to fulfill the priorities and values of the community, yet they also have to be accountable to the funding bodies, who can exert pressure on policy and have the ultimate sanction of with­ drawing funds. The other approach to fund-raising is for projects to organise their own events - like sponsored concerts and jumble sales. These are hard work and don’t always bring in much money for the time put in to them. But they are often necessary to fill in funding gaps and they also create publicity. Some projects make a small amount of money through darkroom booking fees. The picture files which are being generated by community photography activities are becoming another source of income. he money problem is the plague of com­ munity photography projects. It creates an atmosphere of uncertainty and in­ security. The lack of a guarantee of continuity makes it difficult to make long-term plans, even though these are essential for achieving the full potential of such projects. In the end projects often survive only because project workers give their time free, either when living on the dole or by living off savings. Most workers have to work full-time for long periods on part-time wages. Those who have it put personal money into the projects and allow free use of their own equipment. T T he future Roy Shaw, Secretary General of the Arts Council of Great Britain, which is the main source of funds for the community arts, acknowledges that this area is under-funded. He is, however, careful to add that its activities should not grow by cutting the budgets of established art forms. Whether and how the balance will be re­ dressed between the arts appealing mainly to a wealthy minority and the development of working-class cultural arts activities will be a major factor in the future of community photo­ graphy and community arts. Future support and interest in community photography depends very much on the ability of projects to educate funders and the public about its practice and value. This is an extre­ mely difficult task. Most projects are so tied up in their local affairs that there is little time left for mounting major educational campaigns. The long-term future of community projects depends on achieving long-term funding. For the most experienced people in community photography to be able to continue to work in the field, many are going to need wages which enable them to support growing families. It is important not to draw' experienced people out of communities into colleges and such institutions to teach others. They would soon get out of touch. An apprenticeship scheme would be a better model to pursue. Community photography projects get caught in an accountability trap with responsibilities to the community, funders, fellow workers and national coordinating bodies. Since members of the community could become the weakest lobby, it is important that they are involved in the management structures of the projects in more than a token way. Few community photo­ graphy project groups as yet have any formal accountability to members of the community. Some argue that they would have to compro­ mise their vision of their intervention too much if they did so. This will be an important debate in the future of community photography. eople involved in community photo­ graphy need to get together, and to work out what theoretical and practical options are open to them. This issue of Camerawork deals with some of the ways of using photography in a local community. However I am wary of heralding this work as a major step forward in the democratisation of photography and society. There are many dilemmas to resolve yet before its real worth can be measured. For despite good inten­ tions, the extension of resources to the least powerful members of the society does not in itself bring about a change in people’s con­ sciousness or control over their fives. This is more determined by the particular uses the photographers and photographs are put to and the ideas which form the context of this work. These resources can be put to fascist as easily as socialist uses. If the photographic activities serve mainly to focus people’s consciousness on particular problems - eg. bad housing or unemployment, then the perspective gained is of only limited use. This is true too if awareness and action revolve totally around local identity, local problems and local needs. The local community cannot be seen as an isolated entity unto itself. It is a part of a wider economic unit and contains in microcosm its ideology and structures. For no matter where anyone fives or works, or what problems or needs they have, the primary issue is one of class. Working-class people through­ out the world have fewer resources, fewer oppor­ tunities and the least power. If community photography activities are really ‘developing the community’ then this issue of class needs to be taken into account when determining priorities. I think that it is crucial that people working in local communities look closely at the ideas about P 3 CAMERAWORK photography and politics produced by the more academic circles of the photographic community, and that they see how these ideas may be applied or developed among the people they are working with. For what is the long-term future of commu­ nity photography activities? Will the State try to subvert the power of community photography by making it fashionable, as a first step towards diffusing its potential? Is community photo­ graphy mainly a context for people to exercise their entrepreneurial spirit and find interesting jobs for themselves? Will community dark­ rooms be essentially entertainment centres where people can avoid confronting the causes of their powerlessness? Is using photography in community action and education blinding oeople to the fact that they are getting a voice but not a vote on decision-making committees? Will the growth of community photography mainly benefit the photographic companies who will be selling equipment and materials to increase their profits with the help of public mny oe ? Paul Carter P a u l Carter set up and ran the Blackfriars photo­ graphy project for five years. H e is now collecting information, with the help o f an Arts Council grant, for a book on the uses o f photography in the local community. This article is a very generalised overview o f the work going on and by no means a definitive statement; he would like feedback o f peoples’ reactions to this issue o f Camerawork to help better define what is going on with photo­ graphy in the community. H e can be contacted at 56 Chesil Street, Winchester. 510 Centre North Paddington Community Darkroom is based at the 510 Centre which is a meeting place and an information and advice centre. The Centre recently lost its Urban A id grant which is a large part of their funding. The grant was stopped by Westminster Council because o f a 'Don’t Vote N a z i’ leaflet put out by the Paddington Campaign Against Racism which is based at the Centre. The Darkroom has two part-time workers who provide a photographic resource in the form o f darkroom equipment and cameras. They also teach photo­ graphy and take pictures for the community. N icky Hughes spoke to Philip Wolmuth. When did the Centre itself actually start? The Centre has been going for about four years as an information and drop-in centre, funded by Urban Aid. It consists of a building and four part-time workers, two of whom work on the information desk, one administrator who does accounts and typing, and one group worker. Then there’s a whole lot of people like me who get grants from other places based here, so in fact there’s a staff of twelve. One person, for example, is funded by Shelter and works on housing with various tenants’ associations. We all have a commitment to the Centre and it actually takes all of us to keep it running. The four part-time people could in no way keep it running by themselves. Display made for Lanhill and Marylands Tenants’ Association There’s a lot of unemployment - a high propor­ tion of immigrants of all kinds who are either unemployed or working in low-paid jobs like catering or cleaning. There is a lousy council that’s done nothing about housing. H ow involved are the local people with the Darkroom? There are a lot of people interested in having photographs for themselves, for their groups or their activity. There’s a lot of demand for me to come along and take pictures but I’m trying to get people to take pictures for themselves. One of the blocks is that we haven’t had enough equipment. With the equipment grant that we got yesterday I want to buy some automatic cameras that you just have to focus and press the button. I think that will change things quite a lot. We should have had them ages ago. Do people come to the darkroom mostly through word o f mouth? Yes. That’s pretty effective because of the large number of groups that meet at the Centre. I’d say that every group that meets here has used the Darkroom in one way or another - tenants, pensioners’ groups, womens’ groups, guitar class. H ow do you function here? Photographs as evidence: fungus and damp in a hall­ way. For Walterton Road Residents’ Association H ow did you get involved? I was living locally and taking photographs for myself and was told that some people here wanted photographs taken. I did them and the demand seemed to grow and grow until it was suggested that I try and set up a proper project at the Centre. With quite a lot of help from Paddington Print Shop I wrote off grant appli­ cations and eventually got one from the Gulbenkian Foundation in 1976 - one part-time salary for a year. I got about £100 from the Centre here and £50 from a local charity and that was about it. I did an appeal on Capital Radio for an enlarger and got one. I built the darkroom and put in a bit of my own equipment. The Darkroom actually began working in November 1976 when we got the Gulbenkian grant. H ow are you funded? We, the Darkroom (we’re funded separately from the Centre) now have one full-time salary from the Arts Council. It started in April 1978. Apart from that we have no regular grants. We just managed to get a one-off equipment grant from the Gulbenkian - £880, which is basically the first equipment money we’ve ever had except for the £100 or so we had at the beginning. We’ve sort of scrounged the rest. We divide the salary between myself and Kathy Trevelyan. I get three days, she gets two. Her main responsibility is to do the classes. I do the rest. I tend to pick up all the loose ends. H ow would you describe the area you’re in? It’s a dump. It’s a large slum with no facilities. The Darkroom’s open and available to anyone who wants to use it. It’s pretty much booked up all through the week. It’s 15p per hour to use plus the cost of materials. All the materials are here. There are also cameras that can be loaned out. We have classes all day Wednesday, small groups. We do very little stuff with kids. It’s almost all adults. The teaching before was very informal and we haven’t been doing classes as such for very long. Now we’ve started to regularise it; on Wednesdays there are either two or three sessions in the day - morning, afternoon, and evening. People do come in to use the darkroom at other times and we give them help when necessary. H ow many people can you take in a class? It’s not a very big darkroom so it’s better if there’s no more than four. It varies from class to class. What’s been good is that, as we’ve developed, rather than only individual users coming along, we’ve had two or three groups of people who’ve started using it regularly there’s a class that comes from the local women’s centre and an adult literacy scheme. There’s always one or two people in a group who are interested in going the whole way and learning all about photography. Do you have a deliberate policy not to work with kids? In a way, yes. I enjoy working with kids but if we wanted to work with kids in a large way it would take up all the resources of the Darkroom. I prefer trying to explore other ways that photography can be used because being based in this Centre there are a lot of community groups that are involved in all sorts of political and local community action and they all need photographs. It’s much easier in a way to work with adults than with kids because we can give them three or four classes and get them on the right road and then they can just come in and book the darkroom without supervision any time they want. I’ve done that a lot and I sometimes find it frustrating. I have a plan to the extent that I have a political view about what goes on in the community and how I see various people in this Centre operating in the community. I see the Darkroom very much linked to what the local groups are doing. I have certain reasons for doing this work which are primarily because I’m really interested in photography. I want to be taking lots of pictures and encouraging other people to do the same. The two things sometimes conflict. Like sometimes, if I were given the chance. I’d be quite happy to take a whole lot of pictures for somebody even though I perhaps should be putting a lot more work into encouraging them to do it; on the other side of that is the time factor. Some weeks I can spend my whole time writing letters, doing administration, phoning people up, that sort of thing, which leaves absolutely no time for photography at all. It’s a compromise. Do you do the administration o f the Darkroom? Yes, my work involves a lot of administration. Every other day I have to write letters to do with grants, accounts, insurance. I have to do the stocking of the Darkroom so I have to keep a check of what’s there. I also have certain responsibilities to the Centre as a whole. We work as a collective. Do you do quite a lot o f service photography? Yes, there’s quite a demand for display boards, leaflets, etc. There are also people coming in who want photographs for newsletters, or posters, or evidence for something. As likely as not, they should be able to find them in the files. If not, I’ll do it for them. Incidentally, the files are not files of prints. They’re files of contact sheets which, unfortunately. I’m the only person who really understands. D o you find yourselves always responding to a need? W hat about exhibitions? When we’ve got the time, we try and do special projects - we did a large permanent travelling exhibition for the National Empty Property Campaign, who are based here. Initially, this was done for a press conference in the House of Commons that was called by the local MP. It’s been going all around the country to various housing action centres. More recently we did another exhibition: I’d been involved in setting up a large Community Arts Centre up the road called ‘the Factory’. They paid me a full-time salary to continue running the Darkroom here on a part-time basis if I did them an exhibition for their opening day, which was May 1st 1978. As they’re a big community leisure centre they wanted me to find out what was going on in the area, what facilities were available, what people did in their spare time. The idea was to involve as many people as possible in taking these pictures and in creating the exhibition. But the vast majority of the pictures were taken by me which was a shame. I became a bit disillusioned about using photo­ graphs to create exhibitions. The exhibition took a lot of time and trouble. When it was up for the opening it was really well received but after a few days I think it just becomes like wall­ paper. I think that there is a specific galleryexhibition viewing public, which isn’t the sort of public which lives round here. I don’t think that people round here are used to looking at pictures in that way or even want to. In a way I think their attitude’s quite healthy and I don’t want to change it. I mean why should they want to look at an exhibition? The things I want to do now are tape-slide shows. I think they reach people in a different way. They can also really involve people in the making of them in a way that with exhibitions it’s more difficult to do. For instance even if I ended up taking all the pictures for a tape-slide 4 CAMERAWORK show, there’s still a lot of creative work in ordering them, editing them, writing the script, which people in tenants associations could easily do. We are working on a tape-slide show about the problems faced by workers, in the main migrants on work permits in the catering industry. The catering industry is an important employer in North Paddington and is renowned for its chronic low pay and appalling working conditions. We got involved in this project mainly through one of the workers at the Centre, a Columbian employed by the Commission for Racial Equality. A lot of his case-work has involved dealing with migrants facing deportation and other difficulties as a result of the work-permit system and the way it operates in the catering industry. A group of Columbian catering workers that he has been dealing with were very interested in learning photography, so we arranged a series of classes with him as translator. As part of their classes they decided to take some pictures of conditions in the kitchens where they worked. We will be using some of these in the tape-slide show. They will also be helping to make the tape. W hatdoyou think are the successes o f the Darkroom? A lot of people are using it and getting a lot of enjoyment out of it. Plus the photographs are actually used for something: they’ve made a lot of difference to all the various pamphlets and leaflets that have been put out from here. It’s also automatic here now that if someone wants to put out a leaflet they come for a photograph. A lot of people have got a lot of pleasure out of making the photographs; other people and they themselves have got a lot of pleasure out of looking at them. knowledge the children have already. Where they know very little we work first of all with pinhole cameras. We have up to twelve children in a group and we provide each of them with a biscuit tin which they make into a pinhole camera. We encourage them to take whatever they feel like and advise them on the length of time to leave the sticky tape off and to make sure it’s put back securely. W e’re there the whole time but the emphasis is that they do it all. They very quickly take to it. We’d probably do that type of work for a day. Then gradually, over the following sessions we would take the children through all the processes. Are there problems working within a school? One of the very real problems we’re facing in schools at the moment is the indefiniteness of the kids turning up. We’ve been invited to schools partly as an attempt to overcome the truancy problem; we’ve definitely been dealing with those children on the periphery of the school. There’s an excitement level attached to those people who arrive from outside the school or playscheme and who offer something interest­ ing and different. It can undermine what’s already going on in the timetable. In our area this is a current debate in the community arts field - the relative value of the communitybased artist as opposed to the mobile community artist. W hat were the problems o f the first project? The problem was that the people who were teaching were relatively unfamiliar with informal teaching situations where you need the sort of expertise that is not necessarily photo­ graphic but more a communication skill than anything else: an ability to put people at their ease. W hat happened to all the people involved in the teaching? The Job Creation money ran out in August 1978 and so did the jobs. Some of the people are doing photography still though none of it’s really what they want to do photographically but there’s no opportunity in Manchester for them to use their skills. Richard decided he wanted to continue the project. The fact that it got going at all again was due to his determination and commitment to the idea. North West Arts agreed to fund the salary of one worker but there was no other money from Do groups always approach you first or do you sometimes approach them? It’s primarily them approaching us. We are being increasingly asked to do exhibitions. We’ve got three to do in a matter of a few months. It’s not something that the original project did before. When we work with groups we’d like to think that we might be heading towards holding an exhibition. At the moment a hospital is asking for an exhibition to put in their waiting room and we will concentrate on the work done by children. We’ll also use it as publicity for what we do. Also the NW Arts are interested in us taking photographs of both our own activities and those of other community arts groups with a view to an exhibition. Do you deal only with ‘straight’ photography? We feel an important part of this scheme is the opportunity to introduce new techniques. We have to learn about these. We’ve got interested but also inside them, towards people coming in and disrupting the routine. H ow do you see your role then? As a non-community based project we are making skills and ideas available to a variety of groups who are not necessarily ‘communities’ in the generally understood sense of a geographical area. We feel it is important that people gain their independence photographically so that we can move onto other groups and different areas. B u t do you find that many groups do gain their independence? This is a problem. We have consistently worked with some groups and yet they’ve come back again to ask us to run a project. But to balance that, the Ordsall High School where we’ve been teaching has a different attitude - the Head­ master there has put aside funds to establish a darkroom and buy cameras and the necessary equipment. Do you do any service photography other than the exhibitions you’ve been asked to provide? Other people who stage exhibitions know that we tend to have photographs illustrating certain viewpoints. We aren’t exactly non-partisan in the comments we make through photographs, e g, anti-Nazi demonstrations. Do you support campaigns or issues such as housing? I think we certainly will in the future. We don’t really do anything like that now though. It’s largely a matter of energy. I feel very motivated to record what’s happening locally and to encourage other people to use photography in that way too. However, our emphasis at present is work with children. S o do you think you are contributing in some part to social change by what you are doing here? W ill it be a natural step for you to establish a base where people could come to you for workshops? How can you assess that? I have no idea. It’s difficult to separate photography from the overall activity of the various groups and campaigns. It’s also difficult to assess exactly how much those groups are contributing to change. It’s not all a matter of photography. I’d very much like that. Our new premises in Oldham offer more opportunity of that in terms of size and facilities available. Whatever scheme we work on now, we want to have something concrete, to achieve a deliberate objective. I must say that I personally did have some mis­ givings when I started. I thought, ‘Will kids really be able to do that?’ I wasn’t convinced until I’d done my first workshop. These kids were spending hours of concentrated activity, they just couldn’t do enough. They were asking all the most pertinent questions. It was a dazzling reinforcement of the idea that anyone can learn photography. Split Image S p lit Image is based in Manchester and works with children in Greater Manchester and Cheshire. They have two full-time workers who run work­ shops to teach children photography, training work­ shops for playworkers and youthworkers and playscheme projects in the school holidays. N icky Hughes spoke to Helen Bridges. Beaford Archive H ow did Split Image begin? Helen White and Richard Raby, who’s still with the project, were working with Manchester Youth and Community Service (MYCS). Helen was particularly interested in setting up a photo­ graphy project. They undertook it as a Job Creation Scheme and got funding from MYCS. They set up the project early in 1977 and it was funded until August 1978. The project had two full-time supervisors - Helen and Richard - and five full-time trainees, all employed under Job Creation. It was a big scheme that had problems attached because of their inexperience in running something like that. W hat were their ideas? Very much community-oriented. They worked with any agencies - clubs, adventure play­ grounds, schools, etc - that were interested in introducing photography to their children. They wanted to introduce the idea that photo­ graphy needn’t be the sole realm of the expert, the professional, but that it could be a very creative medium that inexperienced people could use. H ow did they start work with children? With certain groups they did day projects, e g, Manchester Free School and Ordsall High School in Salford. They not only worked with groups of children aged from five upwards but also ran workshops with groups of playleaders, youth workers, etc who were interested in using photography on their sites. An important part of Split Image’s intention then and now is to initiate the idea and teach the relevant skills to the point where the play­ ground, school, or club would be prepared to spend a bit of money and set up their own darkroom. D id they set up darkrooms on the spot at places they went to? Yes. They would arrive and select a suitable space which was quite often the toilet, and simply convert it. W hat sort o f children’s workshops do you do on site? It depends on the kind of information and Richard Raby from Split Image working with children from Ordsell Free School. them for running costs. He had an enlarger and some cameras left from the Job Creation project. It was then put to NW Arts that another worker was needed to make the scheme viable. They have a very sympathetic community arts panel. The scheme had been a success so it was relatively easy to get another full-time salary approved. in tape-slide shows which are a sort of extension of the straightforward taking of shots. This involves taking sequences and dramatising or producing a story, mixing music and sounds with images. We spent a day producing two slide sequences at Burton Manor in Cheshire where they have the necessary equipment to do this. H ow do you fund your activities now? Why are you particularly interested in tape-slide? It’s a matter of making more applications for grants, e g, we’ve applied to Granada Tele­ vision, the Gulbenkian Trust, Marks and Spencers. We do ask for some payments from user groups, if they can afford it, to cover costs of materials, but usually they’re as hard up as we are. We are also under the umbrella of MYCS so we get all sorts of benefits from that in terms of accommodation and some sort of outlay towards rates. When did you join the project and how did you become involved? I joined in November 1978. I’d done a bit of work for the Manchester Free School so I knew about Split Image. I’m a teacher and I’m very interested in the educational aspects of the project. I like the idea of a constructive creative medium which allows people to develop their own insights and make their own statements as well as teaching them a skill. D id you do any photography before you joined Split Image? Not to any large extent. I’d taken lots of photos but I hadn’t done any processing. There’s been a lot to learn. The idea is that photography should be accessible to anyone. That should apply to me, so Richard gave me a crash threeday course before I started. I think that it’s a viable project to do with a group of children. Using tapes and slides we can entertain whilst producing, say, a record of a day at the adventure centre or a day’s outing, with people talking through it as the narrative. It’s exciting and affords a little bit more of a live concept than a static print. There’s a lot of work that children can get involved with in producing a tape-slide show. Are there other specific projects you’re working on? There are two other projects we’ll be working on from early in 1979: one is with a group of young offenders. We were approached by a social worker who has a group he works with on evenings and weekends. He has concentrated a lot on sporting activities and weekend trips away. He wants us to do a scheme that would give them scope to develop their self-awareness and self-respect while learning something new. They are all under 14 and therefore under the age of criminal responsibility and in difficult family set-ups. The other project is working in a psychiatric hospital with adults. We’re anxious to do this sort of work as there is a great need in hospitals for some sort of creative activity. There is great hardship experienced by people who are cut off from and ignored by society. At the same time there are a lot of obstacles that seem to come from prejudice, not only outside the hospitals, The Beaford Photographic Archive is part o f the Beaford Arts Centre in central North Devon. The Centre was founded eleven years ago by the Darlington Hall Trust with the aim o f revitalising the area. The archive employs onefull-time and one part-time worker who are building up an Archive o f copies o f old photographs and modem documenta­ tion o f the area. N icky Hughes spoke to Jam es Ravilious. H ow did you get involved with the Beaford Centre? The Archive proper started in 1971; a photo­ grapher called Roger Deakins was asked by the Centre to make a record of modern Devon. He worked for a year until the money ran out and the whole thing was more or less dropped. In 1972 I got a job teaching wood-engraving and lino-cutting for evening classes at the Beaford Centre. I asked the director if I could take a few pictures. Did you have a photography background? No, originally I was very anti it. I didn’t like it at all. I was trained as a designer. I was a painter manque, I think they call it - a failed painter. I was teaching drawing but I gradually took a few pictures and really liked it. When I came here it was suggested that I be paid £15 a week to keep the Archive going. In fact I worked full-time on it. I didn’t do anything else. It was so interesting to do. I bought the equipment and that was it. With your own money? Yes. All the cameras and the best darkroom equipment at my house are my own. What kind o f area do you cover? We are in an area which is claimed, and I dispute this, to be a depressed area: poor industry, mostly farming, mosdy relying on holiday­ makers. There’s more money made from tourism than from farming in North Devon. Therefore statistically I suppose you can say it is a depressed area but I have a fierce feeling that if you go around saying this it becomes selffulfilling. It’s an area of small farms. There are lots of young people who are unemployed, so people are tending to go to the towns. CAMERAWORK Dolton circa 1910 Landkey circa 1880 When you started here, did you have an overall plan? N o, I almost never have a plan. Simply by living in a place for a long time, by sheer accumulation of what you see out of the comer of your eye, you build up a total picture. I went to the dentist the other day with my wife and I took pictures of the dentist. Gradually you take the shop­ keepers, the doctor . . . it all adds up. So after five years, which is how long I’ve been here, I have a huge collection. Now that’s the great strength of the Archive. If you wanted an exhibition on thatch or hedging, I could provide you with one tomorrow. O f course when I say I’ll provide you with one tomorrow I’d probably have to take a few fill-in pictures, but it’s all basically there. We’ve got all kinds of exhibitions, on farming, landscapes and also things like ‘Follies and Grottoes of North Devon’. You also copy old photographs, don’tyou? How did this begin? That was how we originally started. It seemed to us that it was very rich here, very untouched. I decided to start from the centre and work outwards, so I started with Dolton, my own village?! went to a farmer’s wife I knew who had 70 or 80 really good pictures. I copied these photographs - some family snaps, lots of Dolton and a few from round about. I asked them if they had friends or relatives who might have more. I’d go to those people and so it went on. And I thought why not make a slide-show of them? People would come. So originally it was slide shows o f old pictures? Yes. Ashreigney was the first village we chose. W'e collected everything we possibly could. It’s done systematically, and all cross-referenced. We chose 70 or 80 slides and tried to make a story - starting with the village itself, the people, the shops, then the jolly events, the carnivals. When it was all ready we were sitting down waiting for perhaps 20 or 30 people to come when suddenly, about five minutes before the show began, the entire village to a man appeared - 112 people. We also had a little exhibition of objects that people had collected in their own homes - clothes, tools, fantastic old things. I didn’t really give a talk. I just showed the village. In the slide show I showed a selection of other photographs from round about, at first, and then when the first slide of Ashreigney came up there was an ‘aaaaaaah’. It was a terribly boring picture but they were absolutely set alight. From then on I was shouting to say what was on the slides. The pictures were probably mostly about the Twenties when the village photographers were there, and they’re very good plate camera contact prints, marvellous quality. In fact at the time I wasn’t thinking of extending the slide-shows. I did that one because I liked the people and they’d been very helpful. Archie Parkhouse. Dolton 1975 James Ravilious palaver, and it can go into the smallest village hall. T hat’s the most important thing. You tailor the exhibition to the village. Most of them are farmers, and farmers are damn busy and they don’t have time to go to the exhibitions, so I must try and take them to the villages. The general idea is lightness and flexibility so a large exhibition of 90-100 photographs can easily go in my small three-wheeler. Are you interested in taking the exhibitions further afield? Well, we’ve so far only done one or two exhibi­ tions outside this area. I’ve had one at Southampton University, one at the Reading Museum of Rural Life and one in Brest, in France, at the Palais des Arts et de la Culture. Also I’m hopeful of an exhibition in London next year. So you’re looking outward quite a lot? I’m being pushed that way, quite rightly, because I think in order to survive and get the grants the Archive has to be a bit famous. What about publications? The only book that I’ve done that is finished and is definitely coming out is called All Around the Year, published by John Murray. It is partly an educational book. It’s a diary of a farm and I’ve taken photographs throughout the year. There are 52 pictures, some drawings by my wife and 12 poems by Ted Hughes. What about posters and postcards? Well the accountant at Dartington Hall put up some money to print four posters. Unfortu­ nately they’re rather too large and it’s difficult to get people to stock them. But the postcards, they sell like hot cakes, locally anyway. We do a set of 12: six old photographs and six new. Do you have any contact with schools? Yes, I’m beginning to. They use the Archive because they are often out looking at buildings and I can show them how things have changed. I’ve started giving talks to schools. I was talking about thatch and cob at a school last week and it went down very well. That particular school has asked me to do three different classes for the next year. Do you provide photographs for schools? I’ve just packed off 105 of my own photographs to the Devon Schools Museum Service, who already have a large selection of both old and What about funding? I ’m always relying on grants that are sporadic. The principal source of income is the South West Arts but I’m on a sliding scale so the grant gets less every year. I get a small grant from the local council and some money from Dartington Hall - little bits here and there, scrabbling for money. One’s future is always uncertain. One feels constantly threatened. It would be nice to think that we could get one solid grant. A lot of photographers working on this sort of project find that they are spending so much time trying to justify themselves, and trying to get money and generally hassling, that they have no time for photography. What about the future? There’s the Barns Project. The Beaford Centre owns three barns, in a row, which we want to turn into a permanent place for the Archive. It’s not being exploited anything like as much as it could be, so the idea is that in the barns we have a darkroom, a place for people to study, a project room, a shop perhaps and a little library And then there would be an exhibition place. W e’d have a good cross-section of what the Archives contains - the early photographs and the modern ones. It could become a tourist attraction - there’s a nice garden for teas, it’d be a pleasant afternoon out - although I think it is important to stress that the Archive is princi­ pally for local people. It’s Devon’s own history for Devonians. Union Place Union Place was started in 1974 by a group of people living and working in central North Lambeth. They believe that consciousness, organisation and action in this deprived area of South London could be assisted by providing people with practical means of communication. The Centre works with local groups producing posters, exhibitions, leaflets, newspapers, badges and so on. They work as a collective of around ten people of whom two to three work with photography. Nicky Hughes spoke to Dave McKay and Terry Crabtree. When and why was Union Place set up? It’s been going over 416 years now. The idea for the place came out of experience inside housing groups on local estates and squatting groups and so on. Virtually the only way you could get a leaflet done in those days was to go to North London. That stifled a lot of local initiative. Initially, the idea was just to produce stuff like local leaflets but it grew quite quickly. Groups were finding out that it wasn’t simply a matter of duplicating leaflets. They were finding out more and more that they were confronting the State in quite a public way. They realised that some­ thing a little more sophisticated than a grotty half-readable sheet was required. So it moved from duplicating to including silkscreen and then we got an offset machine. Over the last 4Vi years, silk screen, offset and photography have been available to groups coming in on the principle of us showing people how to produce their own posters, photographs, exhibitions, leaflets, booklets. During that time, user groups have gone up from forty in the first year to 400 now. How did it get going? Originally it was open only in the evenings and the people who ran it went on working in their own jobs. Money was raised by holding jumble sales and there was a donation of a duplicator. As far as I can work out the people who started Union Place moved in and then asked the GLC if they could stay. The building is on a short lease for a very reasonable rent. How would you describe the area you’re in? One of the poorest areas in North Lambeth. The area has suffered blight from the planners. Houses have been knocked down and during the time that Union Place got going people were being evicted from those houses. A lot of big industry has moved out in response to the Government initiatives of the Sixties so there’s very little work for people. The net result of that is that you have a high population of old people and single parents: a very poor community. People either move out to get work or they’re unemployed. Was photography used at Union Place right from the beginning? Yes, some of the people who started Union Place had been doing photography for some time. Very early on, two streets round here that were squatted were billed for demolition and Union Place produced a number of street exhibitions which were used to support the demands that these squatting groups had. Union Place was working with these groups, not just providing a service but encouraging people to join in. What kind of street exhibition? The first one that I was involved in was around Villa Road. We helped produce an exhibition that was a brief photographic history of the street. It included what the plans for the houses were, how long it had taken the council to decant people, what was happening to the houses in between times plus the kinds of things that were going on in the street - street meetings, squatting houses, houses being wrecked by the council, etc. And was it because of the response that you realised that this was something that could really be developed? Yes, we decided to provide slide-shows and the various Womens’ Institutes organised them, and it’s gone from strength to strength. I’m booked up now for the next year. How do you do exhibitions? We’re doing four in four different villages. One every fortnight - probably present day photo­ graphs. There’ll be four prints to a stand and these stands, wooden T-pieces, stand on trestletables because all village halls have trestletables. This way we can have an exhibition put up for a day and taken down quickly without new photographs. St Giles in the Wood circa 1910 Were these exhibitions geared towards the council? No, towards the general public. For example, we went to the centre of Brixton with the Villa Road exhibition on the big shopping day in the market. The exhibition was fairly crudely pre­ sented and not very sophisticated at that time. We leaned the boards against the railings at one of the busiest junctions - no permission from the police but they didn’t seem to mind. I learned some interesting things about present­ ing photographs. The whole function of a 6 CAMERAWORK projects was looking at Camberwell New Road. We were suggesting to the kids using photo­ graphy in such a way that they could pick up on ideas through it, or on the reality around them that simply hadn’t been articulated. Of course, that works for adults as well as it does for kids. I think that quite often they get a sense of them­ selves that had been missing before, that expresses something concretely outside them­ selves. This type of process is very important. The particular way I think that it is important is working through something in a collective fashion. The whole process of learning in a group how to use photographs might well provide for some people a whole model of collective practice they simply haven’t experienced before. This particularly applies to people who are employed in hierarchical situa­ tions and whose domestic situation is very often an isolated nuclear family. To experience the collective way of organising is much easier than say fighting a battle on your own whether it be which prints to choose or supporting a Compul­ sory Purchase Order. gallery or an exhibition in a gallery has to be seen as a middle-class one, unless it’s some­ where obvious like in a trades hall but even then, the extent to which it is public is quite limited. We found that by putting the exhibition right there where people were we got a very good response. It gave us a chance too to hand out a bit of literature and talk about our particular situation. I’ve often felt that a lot of images broadly produced by the Left become stereotypes unless they’re talked through. Design of our exhibitions has become very important. We have had to draw people from a distance over to look at an exhibition, that’s why we use photographs in odd shapes, in triangles, hexagons, and so on. People will cross the street to look at them. What about funding? During its second year Union Place started to receive a small amount of money, basically for administration and overheads. A small propor­ tion was left over which amounted to three quarters of a salary between five people. Last year it was £9,000 but you can see how that much relates to the financial needs of the place when you realise that the collective has nearly always been between seven and ten people. People have mainly been on Social Security. It’s very much a case of people donating their time. It wras just about sufficient in conjunction with the printing revenue. We’ve always charged people cost price plus a small overhead charge. When Inner City funds became available there was a feeling that we ought to apply. Noone wants to go on working for nothing no matter how politically sound a motivation it is. We applied for all sorts of monies in 1977 but we were turned down on every front. Our first successful application was made at the beginning of 1978. We made an application for the running of Union Place as a whole, for the photography project as a separate project, an outreach worker, and extra money for what we call Community Education Workshops, which teach skills, including photography. We’d identify local groups who we’d get interested in that, e g, women on local estates, shop stewards in the area, and kids. Up to now the State has defined certain areas within its responsibility as deserving of finance, split up rigidly into housing, social services, health, etc. Nowhere is there a category that covers popular communication. Our applica­ tion had such good local support that we were able to lobby. We asked for letters from all our user gro
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      • tagsisrael,lebanon,invasion,seige,1982-83,israeli government,refugees,magnum,palestinians,plo,photo-journalism,lebanese,massacres,refugee camps
      • titleBeirut: Photos from the Israeli invasion of Lebanon 1982/3 - Judah Passow, Chris Steele-Perkins, Yousef Kuttob
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      • pdf_text1 CAMERAWORK GALLERY PROGRAMME 1986 -8? DARSHAN 2 5 . 3 . 8 6 - 19.4.36 ATTENDANCE: 462 + 250 PV = 712 An e x h i b i t i o n by 10 Asian p h o t o g r a p h e r s with work r a n g i n g from India in the 1 9 4 0 ’s to Bradford in th e 1980's. Work by Zarina Bhimji. P r o d e e p t a Das, As h v i n G a t h a . Sunil Gupta, Sunil Janah, Mum t a z Karimjee, Abida Khan, Sa m i n a Khanour, Sa r i t a S h a r m a , Padma Shreshtha. A PAN O R A M I C VIEW 3 0 . 4 . 8 6 - 17.5.86 A T T E N D A N C E : 257 Photog r a p h s by Michael W e s t m o r l a n d u s i n g a Vic t o r i a n pa n o r a m i c cam e r a to p r o d u c e huge C i b a c h r o m e images of s u b jects as d i v e r s e as M alta h a r b o u r and C o r b y Steelworks. Talk g i v e n by M i c h a e l Westmorland. P O S I T I V E AID 2 3 . 5 . 8 6 - 30.5.86 ATTENDANCE: 2 5 0 P V + 4 5 6 = 706 Sir John C a s s Sch o o l of Art End of Year s t u d e n t show. work shown by s t u d e n t s on the w alls and in p rint bins, d o n a t e d for auction. Show opened by Jules H o l l a n d (of p r o g r a m m e th e Tube) and Daniel Day Lewis (the star of Beautiful Laundrette). The £2 , 0 0 0 raised w e r e d o n a t e d and d o u b l e d t h o s e of the p r e vious year. As well as work the TV th e film My to Band Aid A NEW LOOK AT LOVE AN D ROMANCE 4 . 6 . 8 6 - - 2 1 .6.86 ATTENDANCE: 75 PV + 261 = 336 An O p e n S u b m i s s i o n show for women living or w o r k i n g in Tower Hamlets. H a c k n e y or Newham. This was o r g a n i s e d to c o - i n c i d e with the Tower H a m l e t s Women's Arts Festival. Work was s e l ected by a panel with r e p r e s e n t a t i v e s from the TH's Womens Arts Forum and Camerawork. Work by - Rosa Ainley, S a r a h B r o o k e r , Maria Luiza de melo Carvahlo, L y n n e Connolly, Ju d i t h Crow, Karen Douglas, Jean Fraser, N i n a Saunders, Carol Glennie, M a r y s i a L e w a n d o w s k a , Jo King. SAME D I F F E R E N C E 2.7.86-19.7.86 ATTENDANCE: 300 PV + 432 = 732 W o r k by 5 l e s b i a n and 5 gay p h o t o g r p h e r s , plus work from the young gay an d l e s b i a n w o r k s h o p b eing run at Camerawork. P h o t o g r a p h e r s - E m i l y Anderson, K e i t h C a v a n a g h , Rotimi Fani-Kayode, J e a n Fraser, Sunil Gupta, Nigel Maudsley, Branda Prince, S u s a n T r a n g m a r , Val Wil m e r and Bob Workman. CAMERAWORK GALLERY PROGRAMME 1986 - 8? - 2 - Much of the work centres around p o r t r a i t u r e but it also provides a h i storical c o n t e x t to highlight th e very real c e n s o r s h i p battles that are c u r r e n t l y b eing fo u g h t over the r e p r e s e n t a t i o n of lesbians and gay men. Par t i c i p a n t s from the y oung l e s b i a n and g a y w o r k s h o p a r e - Mel Byrne, L y n n e Connolly, Penny HItchings, An d r e w Printer, Alan Roberts, K eith S p y r o u , Lisa We r n e r and Ritu. B R A O D W A T E R FARM P H O T O G R A P H E D INSIDE OUT 6.8.36-23.3.86 ATTENDANCE: 50 PV + 270 = 320 R e s e a r c h e d and produ c e d by Nick W r i g h t {Head of Po l i c e Research Unit, H a r i n g e y Council) members of B roadwater P h o t o g r a p h i c and Camerawork. An e x h i b i t i o n w h i c h e x p lores s o m e of the many ways B r oadwater Farm Estate, in Tottenham, has been r e p r e sented in photographs. It uses press and Tv c o v erage of the O c t o b e r '85 rioting, work by Indepe n d a n t p h o t o g r a p h e r s and v i d e o makers, d o c u m e n t a t i o n of polic i n g tactics, material s u b m i t t e d to the Inquiry and photog r a p h s t aken over a period of t hree years by the residents on the estate. Ta k i n g the de a t h s of C y n t h i a J a r r e t t and PC B l a k e l o c k e as a s t a r t i n g point, the e x h i b i t i o n e x a m i n e s the r e p r e s e n t a t i o n s of rioting, the role of p h o t ographers and the uses of photog r a p h s as evidence. W h i l e m u c h of the m a t e r i a l c o n t r i b u t e s to the c o n s t r u c t i o n of the estate, as a sy m b o l of 'Crisi', the p h o t o g r a p h s from th e on-site ’B r a o d w a t e r P h o t o g r a p h i c ’ group, s i t u a t e the e s t a t e m o r e as a s y m b o l of 'Ordinariness'. To p r o v i d e a b a l a n c e to this o v e r s i m p l i f i e d polarization, Broadwater P h o t o g r a p h i c h a v e been c o m m i s s i o n e d to produce a ser i e s of por t r a i t s and s t a t e m e n t s from r e s i d e n t s in their homes. WISH YOU WERE H E R E 3.9.86-20.9.86 ATTENDANCE: 100 PV + 376 = 476 A g r o u p show w i t h an Open s u b m i s s i o n e l e m e n t and an e m p hasis on new work. Work from Tim Hutton, Greg Daville, G r e g o r y Pavely, Robert Mencia, A l a n E v e r a t t and others. The show i n c l u d e d an ins t a l l a t i o n i n c o r p o r a t i n g a series of p o s t c a r d s sent to C a m e r a w o r k over the pre c e d i n g months. These c a m e from the e x h i b i t o r s in a se r i e s of 6 postcards which r e p r e s e n t e d their e x p e r i e n c e of a p a r t i c u l a r h o l i d a y resort. Other work e x p l o r e s some of the p h o t o g r a p h i c c o n v e n t i o n s used in d o c u m e n t i n g holidays, from t h e p e r s o n a l visual d i a r y elements used by G r e g D a v i l l e to G r e g o r y P a v e l y s c o m p a r i s o n of seaside pos t c a r d s to his o w n p h o t o g r a p h s of the same resorts, c o n c e n t r a t i n g on the co m m o n e l e m e n t - that of Nuclear Power stations. - 3 - CAMERAWORK GALLERY PROGRAMME 1986 - 87 DREAM H OMES 8 . 10.86 - 1 . 11.86 ATTENDANCE: 120 PV + 419 = 539 An e x h i b i t i o n curated by Anna Harding, who is p r e s e n t l y o r g a n i s i n g the T o u r i n g Exhibi t i o n s c i r c u i t for S o u t h e r n Arts. The e x h i b i t i o n will part funded by S o u t h e r n Arts, to tour to a p p r o x i m a t e l y 8 locations in that region. Work by - C hris Cheshire, Chris D o r l e y Brown, Anna Fox, Carol Glennie, Ruth Hathaway, Julia James, Sara Keeping, H elen Underwood and Monocrone. A broad s p e c t r u m of work i n t e r p r e t i n g th e theme, f r o m s h o w homes in B a s i n g s t o k e to the life of c o n f i n e m e n t and i s o l a t i o n of women in p r e - r e v o l u t i o n a r y China. IMAGE A N D S OUND OF L ATIN A M E R I C A IN EUROPE 12.11.86 -25.11.36 ATTENDANCE: 300 PV + 255 = 555 A c o l l a b o r a t i o n w i t h t h e L atin A m e r i c a n C u l tural Centre, with p h o t o g r a p h i c work at C a m e r a w o r k s u p p o r t e d by films and videos s h o w i n g at Four Corners. The work s hown is by L atin A m e r c i a n p h o t o g r a p h e r s li v i n g in B r i t a i n a n d Europe, c h a l l e n g i n g th e s t e r eotypical views. Depicts e x p e r i e n c e s 'at home' and abroad t h r o u g h photo-essays, image-text, lan d s c a p e and p h o t o - d o c u m e n t a r y work. The o p e n i n g had live m usic and t h r o u g h out the s h o w recorded m usic by 7 L atin A m e r i c a n co m p o s e r s wa s splayed. Funding wa s ra i s e d by LACC fron GLA, plus C a m e r a w o r k ' s budget input. ILLUMINATIONS 1 . 1 2 . 8 6 - 2 0 . 1 2 .8 6 VI E W E D F R O M THE O U T S I D E B E T W E E N 4-Spm ATTENDANCE: n o t known Viewed f r o m t h e street, 18 artists used light and projection, u sing the f r o ntage and the interior of the gallery. Each had one e v e n i n g to p r e s e n t t h e i r work to t h e passer-by. Work by - A n d r e a Fisher, Mark Ingham, R o n Haselden, Jessica Shamash, P a t r i c i a Reeves, De b b i e Duffin, Marysia Lewandowska, Tina Keane, Ben Luxmore, Bill Culbert, Iain Robertson, David Bate, S h a r o n Kivland, J ulia Wood, H e l e n Underwood, C hris Cheshire, S usan T r a n g m a r and K i e r a n Lyons. Y OUTH S H O W 14.1.87 - 31.1.87 ATTENDANCE: 256 A c o m b i n a t i o n of w o r k r e s u l t i n g f r o m t h e Summer s c h e m e and w o r k s h o p s held in th e gallery, d u r i n g th e e x h i b i t i o n itself added as it was created. It c o m b i n e d s u n p i c tures on l arge r o l l s of paper, p h otograms and s lide projections. A g e r ange of t h e c h i l d r e n involed was from 7 - 4 CAMERAWORK GALLERY PROGRAMME 1986 - 87 to 17. The g a l l e r y e n v i r o n m e n t was com p l e t l y changed, with projected work s e e n at s i n c r o n i s e d intervals on t h e walls and ceiling, o ften greatly enlarged. One of t h e 4 wo r k s h o p s c a n c e l l e d d u e to the e x t r e m e weatxher conditions. TESTIMONY 11.2.87 -28.2.87 ATTENDANCE: 120 PV + 353 = 473 An e x h i b i t i o n by Maud Suiter, Br e n d a Agard and Ingrid Pollard, first s e e n at t h e Pa v i l l i o n in Leeds. The t h r e e B l a c k w o m e n p h o t o g r a p h e r s w o r k i n g in a v a r i e t y of formats to 'create a Black t r i a n g l e of e x p e r i e n c e s t r e t c h i n g from Eu r o p e to t h e Ameri c a s and back to the con t i n e n t of Africa itself’ Br e n d a A gard r e c o r d s events in re c e n t Black h i s t o r y in Britain, events o f t e n pa s s e d over by th e media. Ingrid P o l l a r d portraits of writers, musicians, actors, d a n c e r s and a r t i s t s a r e also part of B lack history, an e v e r y d a y face of life. M a u d Suiter c r e a t e s collage u s i n g poems and p h o t o g r a p h s and ad d r e s s e s q u e s t i o n s of self. ’A c o n t e m p o r a r y c r i t q u e on the st r u g g l e s for l i b e r a t i o n p r e v i o u s l y engaged in by o u r s e l v e s ’. S OAPS 11.3.87 - 11.4.87 ATTENDANCE: 791 An O p e n s u b m i s s s i o n invited w o r k (to include film, video, i n s t a l l a t i o n and p e r f o r m a n c e as well as photography) on t h e theme of S o a p O p e r a s (so n amed b e c a u s e they w e r e t r a d i t i o n a l l y s p o n s o r e d by s o a p m a n u f a c t u r e r s ) . Details of c o n d i t i o n s of entry were w i d e l y advertised. The s e l e c t i o n panel inclu d e d Shreela G o s h (of East Enders) M andy M erck (Editor of S c r e e n magazine) Mark F i n c h (programmer for th e BFI and a r e g u l a r c o n t r i b u t o r to C a p i t a l Ga y and C i t y Limits) an d B e l i n d a B udge c u r r e n t l y r e s e a r c h i n g t h e c o n t r a d i c t i o n s of the powerful w omen of ’Dynas L y ’ . The c l o s i n g d a t e was e x t e n d e d by o n e w e e k (into ’8 7/88 financial year) .
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      • pdf_textI ' WJ1 CAMERAWORK ANNUAL REPORT 1982/83: CONTENTS Introduction............. Magazine................. Gallery/Exhibitions...... Touring Exhibitions...... Darkrooms................ Financial Report......... (MANAGEMENT STRUCTURE UNDER SEPARATE COVER) INTRODUCTION This is a year in which Camerawork has contracted, and has had to look at the direction it is going in, in terms of policy and production. Camerawork has recently altered its internal structure through the setting up of a management committee with specific responsibility for all areas of Camerawork. - A policy statement and details of the management structure are enclosed under separate cover. There are five full-time and four part-time workers currently employed. This will change in the near future with the appointment of a full-time magazine editor/co-ordinator, and a full-time administrator. There are two part-time workers employed in the darkrooms for a period of three months, after which the post will become full-time again. THE WORKERS: Yve Lomax................... Camerawork magazine worker* Mike Hughes................. Camerawork magazine worker* Kate Polak.................. Darkroom worker Helen Idle.................. Darkroom worker* Mel Aldridge................ Darkroom worker* Shirley Read................ Gallery/Exhibition worker Graham Evans................ Gallery/Exhibition worker Noelle Goldman.............. Touring Show organiser Helen Palmer................ * part-time workers Finance worker CAMERAWORK MAGAZINE Camerawork is a journal of photography. It aims to provide a forum for contemporary photographic practices. This is not only to engage with the diversity of debates, but also to provide outlets for work which would not normally be seen, and to open up issues which are pertinent to photography today. Recently, the Editorial Group has worked to broaden the scope of the magazine by allocating space to a variety of opinions in one specific area, notably Canerawork 24, in which graphic design was prominently featured, and Canerawork 25, where the concept of the photograph as a fragment was discussed in terms of itself and its production and consumption. Camerawork 26 seeks to extend this approach through debates on the effect of new technology on image production. The direction that these three issues have taken is a recognition that photographic practices do not exist in isolation and that a multiplication and crossing over of different genres has been occurring over the past two years. Camerawork has sought to keep pace with and give impetus to the development of these changes and has so far met with an encouraging response from both readers and publications. Screen, The Guardian and City Limits have been amongst those who have taken up, or commented upon, articles appearing in Camerawork. Each issue sells 2500 copies through the Publications Distribution Co-operative, a further 500 internationally to distributors, bookshops, etc, and to 900 subscribers, of whom over 200 live in Europe, the U.S. and Australia. This wide spread, of what is essentially a specialised magazine, enables us to contribute, both nationally and internationally, to debates within photography. 2 CAMERAWORK GALLERY/EXHIBITIONS After extensive delays in building work early in the year, the gallery has been open regularly from September and is showing a steadily rising number of attendances. Shows marked * (see page 4) are touring shows, and are also proving increasingly popular. Since January, extra space has been devised enabling concurrent presentation, freeing an area for local and ongoing darkroom work and small shows. We have, in this way, diversified our audience, as shown by the 'Photos you didn't want' show, which has been consistently popular with a more local audience. 1983 has also seen regular talks and discussions centering on particular exhibitions, serving to make many of the subjects dealt with more accessible. On sale in the gallery is our own magazine Camerawork, other photographic periodicals and information relevant to the exhibition on show. The gallery provides a forum for formal events and an area where people may sit and peruse a large amount of visual material, including the 45 touring shows which are on site and available on request. In the past the gallery has been very poorly equipped, but, with receipt of a grant from the GLC, we will be able to extend our exhibition space, and improve lighting and seating. The recent changes and increased opening hours have been facilitated by the employment of two full-time workers in the gallery. Interest in the gallery is very wide: we are increasingly being used as a resource by picture researchers from various organisations, from Channel 4 to the British Council. 3 4 PHOTOGRAPHER DATES FRCM (1982/83) DATES TO ATTENDANCE FIGURES NUMBER OF WEEKS CAMERAWORK TOURING EXHIBITIONS The financial year 1982/83 has seen the addition of five new touring exhibitions to the Camerawork list. To date there are forty-two exhibitions touring locally, nationally and internationally. By the end of this financial year there will be forty-five exhibitions available for hire. There have been 122 bookings In the year 1982/83 and 24 bookings for the coming year 1983/84. The areas of hire are as follows: 1982/83 1983/84 Local Authority 16 1 Arts Counci1/Regional Arts 12 15 Arts Centres 37 4 Higher Education 20 4 Schools 5 Other 32 Total 122 — - 24 The touring exhibitions are charged at a comprehensive rate depending on their age, contents, number of panels and cost of origination. They are hired out at discretionary rates { C / discount) to organisations which are IPo unable to pay the full cost of hire. The major area of expenditure for the touring exhibitions during 1982/83 has been carriage (£1,000), payments to artists (£727.60), and administration (£320) . The payments to artists have risen during this financial year, due to the bookings on a number of the exhibitions covering the origination costs. 5 Income on the touring exhibitions has risen during the financial year 1982/83, as follows: 1981/82 1982/83 3, 996 4,074 Carriage 693 538 Sales 460 1,099 Other 768 913 Total 5, 917 6, 624 Hire fees The touring exhibitions are being used very interestingly by many organisations, for instance 'Building Sites' in Birmingham used the Camerawork 8 exhibition as a teaching aid in their work with the unemployed. The British Council and the Channel 4 Production Co. are interested in using sections of a number of exhibitions, in particular No Access and Gaining Momentum, for an exhibition on British women, which they will be sending all over the world. The more recent exhibitions have been booked out from the moment that they have been taken down from the gallery: for example, Political Photomontage after Heartfield. which has been extremely popular and is fully booked until the end of the summer 1983. There are plans for the exhibitions to be made more easily available. The Touring Show organiser and the Tower Hamlets Arts Officers have initiated a Touring Exhibitions Scheme in the London Borough of Tower Hamlets during the next financial year. The exhibitions continue to be popular amongst Regional Arts Associations and Arts Centres, with a general upward trend amongst colleges and schools. TOURING SHOWS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. Underdeveloping Bangladesh: Tan Learmonth: 56 panels Who Killed Blair Peach?: Neil Martinson: 28 panels London Blitz: Liz Kessler & Nicky Hughes: 50 panels Bethnal Green.(1949-52): Nigel Henderson: 88 panels Brick Lane 1978: Paul Trevor: 26 panels Bringing it all back home: Group: 100 panels CW8, Lewisham 'What are you taking pictures for?': Group: 16 panels CW14, 'Reporting on Northern Ireland': Group: 16 panels CW23, 'Reporting Back on Northern Ireland': Group: 10 panels Circus Travelling: Lawrence Migdale: 43 panels A Document on Chile: Peter Kennard & Ric Sissons: 30 panels Coming and Going: Barry Lewis: 33 panels Contemporary Portraits: Group: 38 panels El Salvador: Group: 72 panels Eyeopeners: Andrew Bethell: 35 panels Factory Photographs: Nick Hedges: 36 panels Family Self-Portraits: Richard Greenhill: 31 panels Gaining Momentum: Group: 80 panels Growing Old: Mike Abrahams: 30 panels Active Birth/Hot White Light: Anthea Sieveking & Karen Michaelson: 39 panels Japanese Freestyle: Glyn Williams: 23 panels To Build Jerusalem: John Gorman: 52 panels A Kind of Life: Halvard Kjaervik: 47 panels Lost at School: George Pemper: 31 panels I^ass Observation: Humphrey Spender: 61 panels Narita Airport: Yakashi Hamaguchi: 43 panels Native Dancers: Naomi Weissman: 61 panels No Access/lmages on Wheels: Julie Mimack: 43 panels No Nuclear Weapons: Mike Abrahams and Pete Kennard: 64 panels Nonconformists: Martin Parr: 77 panels Life in the Orkneys: Chick Chalmers: 40 panels People Portraits: Ed Barber (CW12): 22 hardboard panels Portugal: Paul Harrison: 30 panels Scotlands Far North: Glyn ASatterly: 48 panels Sheep Industry: Pete Addis and Jim Byme: 32 panels Shuttles, Steam and Soot: Daniel Meadows: 38 panels Spirit of My Country: Jan Seigeda: 30 panels Teds: Chris Steele-Perkins: 88 panels Three Brothers: Karli Gross: 31 panels Using Photography: Caro Webb and Blackfriars Project: 40 panels Visions of the Blind: Pierre Coutouche: 24 panels Political Photomontage after Heartfield: Survey by Sylvia Gohl & David Evans 60 panels 43. Photos You Didn't Want & Photos You Couldn't Have: Anonymous: 40 panels 44. A Photographer in Africa: Malcolm Green: 60 panels 45. Bomb Disposal: Ed Barber: (to be finalised) 7 CAMERAWORK DARKROOMS Camerawork darkrooms act as a resource centre for both skilled photographers and unskilled individuals and groups. The building houses five individual darkrooms (including one for colour printing), a disabled person's darkroom and a large communal darkroom with eight enlarger bays for teaching groups. The darkroom project has been running for 14 months, and has an active membership of over 200 individuals and 25 organisations. The communal dark­ room is used by two local schools and local youth groups. Thursday is women's day, and we run two photography workshops. There is also an informal 'drop-in' session,for teaching members the basics of printing and developing, on Tuesday evenings. As well as teaching photographic skills, a whole series of back-up facilities are provided. There is layout space for producing exhibitions, leaflets and magazines; slide duplication and tape-slide equipment; a laminating machine; and a process camera for graphic work. These services are provided at almost cost price, since commercial rates put these facilities out of most people's reach. A wide range of groups and individuals have used this equipment over the year 1982/83. Our opening hours are as follows: Monday 10.00 am - 9.30 pm Tuesday 10.00 am - 9.30 pm Wednesday 10.00 am - 6.00 pm Thursday 10.00 am - 9.30 pm Saturday 10.00 am - 6.00 pm (women's day) 8 There is an annual membership fee of £10 for waged people and £1 for unwaged. The minimum charge for darkroom hire is £1.50 for waged and £1 for unwaged, plus v.a.t.. The first year of operation has shown that the darkrooms provide a vital resource for local people and people from all over London. To maintain this resource, there is a Darkroom Working Party, which brings together the staff, darkroom users and representatives of other local photographic resource centres to discuss policy and future plans. Groups using the Darkrooms, 1982/83 ■c-K?otmiunity Land Use Community Education Project Camerawork Derry Croydon Warehouse Theatre Contact a Family uHTaneford School ^/Docklands Community Poster Project Hackney Trades Council Support Group Hackney Play Association Hackney City Farms Project Harlow Unemployed Workers Group Housing Advice Centre Ickburgh School for Mentally Handicapped Children Independent Photo Project ^/TSland History Group London Troops Out V^Morpeth Girls' Group Martin Parr Weekend Workshop i/1 Morpeth School National Gypsy Education Council North Paddington Community Darkrooms v-^Outwrite Women's Newspaper Oxford Polytechnic Palestine Solidarity Palestine Women's Group Photographers Gallery South West Arts Springboard Southwark SE1 Community Newspaper Shoreditch Day Centre fob the Mentally Handicapped The Voice Jtoynbee Hall Turkish Solidarity t^-Tower Hamlets Law Centre West London Media Workshop vkMontefiore Centre ✓"Montefiore Trowbridge House 9 CAMERAWORK FINANCIAL REPORT 1982/83 The financial position of the Company has been one of uncertainty throughout the year. This is due to several factors: the delay over the approval of our GLC grant application; a six month period without a finance worker; and considerable overspending on our building programme. Despite these problems, and despite a third year of standstill grant from A.C.G.B., the financial position is still fairly healthy. The darkrooms1 activity has increased approximately four-fold,- and the exhibitions have also made a small increase in activity: the decrease in the magazine's activity reflects the decrease in worker-hours that have been available to it during nine months of this year. Unfortunately, the audit for 1981/82 is still incomplete, so the opening figures for the year are still unavailable. A new initiative has. -been to bring in the financial expertise of Roger Barcant from the Community Accounting Service. His help has already been invaluable and we are now planning to rationalise and streamline the financial systems for the next financial year. While funding from the GLC is likely, our financial position should remain healthy, but if this funding ceases, without a similar input from another source ( and alternatives are being investigated ), our financial position will be very serious and considerable cutbacks in our level of work will have to be made. 10
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      • pdf_text/ The Half Moon Photography Workshop is now operating as darkroom s e x h ib itio n 's p a c e e x h ib it io n h ir e magazine 121 R o m a n R o a d B e th n a l Green L o n d o n E2 OQN N aw u ia o h o n a nu m b ar 01-980 6256 V A T N o . 33331 S 3 1 1 R a g ltla ra d C h a r ily N o. 2SSSSS REPORT TO THE ADVISORY GROUP ON PHOTOGRAPHY HAY 1983 CONTENTS Report on the .Educational work of Camerawork 1982/3 and 1983/4 Camerawork Magazine Support for Photographers Gallery Prograrre 1983/4 Camerawork Darkrooms See attached: Income and Expenditure Account 1982/3 Budget 1983/4 REPORT ON THE EDUCATIONAL WORK OF CAMERAWORK IN 1982/3 and 1983/4 Education has always been of theutmost importance to Camerawork. It has consistently informed all areas of our work, it is therefore no easy job to separate out the purely educational (from the purely aesthetic ?). this said the following report endeavours to highlight the specifically educational aspects of our work. The work of the two years will be de&t with together but divided into formal and informal in approach. Formal work - Practical courses based in the darkrooms include Sylvia Stevens' course and two women's courses in 1982/3. in 1983/4 the women's courses continue as well as two others entitled 'MakingPhoto Essays' and 'Portrait and Studio Photography1. From September theresrwill also be two CSE level Photography courses for local schools. Talks are arranged for virtually all our exhibitions. They are usually given by thephotographers or researchers who have been intimately involved in creating the exhibition and have provoked .lively discussion about the themes and problems raised by it. Liaison with other instituitions particularly Four Comers, has facilitated multi-media events arising from the exhibition, for example the one day workshop based around 'A Peace of the Action' and the showing of the film 'Illustrious Corpses' with 'Tbe Scilian Mafia' exhibition. Formal centres of both secondary and- tertiary education are reached by both the magazine and the touring shows. Approximately 40% of the magazine subcribers are insti tuitions and 15% are students. As the Annual 2 Report shows 2C% of the touring show venues were formal education centres and this percentage is likely to increase in 1983/4. We are heavily used for student placements and have recently had. or still have with us students fran West Midlands College, Leicester Polytechnic and Paddington CFE. B ffomal work - This area Is far more difficult to break down Into easy labels but the following broad categories give seme Idea of the scope of our work. The gallery is always Invigilated and the person on duty is always available to discuss and explain the exhibition, the gallery, the whole organisation. (This availability combined with the exhibition comments book gives us a very immediate public accountability). The work of new photographers is seen monthly. Help and advice Is dispensed at length, from the practical to the esoteric. Advice and information over the telephone is another important, if invisible, area of our work. How do you mount an exhibition ? know of a photographer .ith pictures of Upper Volta ? More seriously Camerawork has initiated and ii: used by Do you seminars on Photography and Youth many informal education centres , such as the East London Whole School Project and the Intermediate Education Centre. The darkreoms are used by groups from Morpeth School, Morpeth and Bow North'Youth Greups and at present is negotiating to be a registered voluntary youth club. Tuesday evenings in the darkrooms are also an informal teaching session fpr complete beginners. The exhibitions are all educational in intent. The thematic topics delt with reach directly into the everyday lives of ordinary people and the accompany^ ing text is designed to make the shows accessible to a broad audience. Ihe exhibitions are concerned with illu minating the .vorld we live in, the way •we see the world and the way the media-^represents it. The shows are designed to tour to non-gallery venues. The laminated panels can be hung anywhere - community centres such as the Kobi Nstyrul in Brick ■ -m , , : ~ .j ? 3 Lane, fairs and parks. We have made a concerted effort process to demystify the of exhibiting work and. have been amply ,r«caid by increasing interest from non-gallery venues. The entire rationale of the touring shows is to increase the accessibility of thearts and overcome financial and geographical barriers. .Our new scheme , developed in conjunction with the Tower Hamlets Arts office is particularly worthy of mention. Tt*-- audiences are many; thegeographical corrmunities of Tower Hamlets and Greater London, the photographic community, the socialist ccrrmunity. Efforts have been made to broaden this audience, to consolidate the gains made and to expand the scope of each person's involvement in the organisation. Women, youth and those with physical disabilities are audiences badly served by most of the arts but the groups to whom we have paid particular attention. Our work with these groups has been outlined above but the other initiatives; include a women-only day in the darkroom and a darkroom equipped for wheel­ chair users. Contact with the local community is beingestablished and a gallery audience attracted through popular shows such as 'Photos You Didn't Want'(which starred the butcher from over the road). Camerawork's profile in the borough at TEEF and in the new local scheme is one of increasing activity and participation. This brief outline summarises the practical steps taken to increase the accessibility and availability of Camerawork's work. They are the prerequist for a 'general valuing of the arts and the wish to participate in them'. Other points which we do not have the space to discuss include our marketting and publicity which is to be fully reviewed in the coming year and the financialbasis of the work - a free gallery and minimal costs shows and darkroom users for touring undoubtedly encourage a wider audience. CAMERAWORK MAGAZINE From May Camerawork magazine will be operating with an expanded Editorial Board in conjunction with the new advisory group. Schedule for forthcoming issues: No's 27 and 28: Special Issue on El Salvador. Editor: Shirley Read. Publication date : June 1983. No 29. Publication date: September 1983. No 30. Publication date: December 1983. No 31. Publication date. March 1984. This follows from Camerawork's decision to publish the magazine on a quarterly basis. * Issue 26 (current) is due out in the next two weeks. This issue has been slightly delayed by the printers owing to illness. *******»***#****■*##****#**#***#********#*##******#**###*****#*#*#** Over the next three issues of the magazine (29,30,31) the editorial board aims to expand readership, to continue to deal with the 'politics of representation' and to fully ground the magazine in the practices of the organisation as a whole (this will involve directly drawing material from work in the gallery and the darkrooms). These aims require attending to three main areas, as follows: D istrlb u tlon / M a rk etirig At present distribution is poor. Our readership could expand considerably with improved distribution. This is a problem which is not unique to Camerawork; it is a problem which faces many of the - 5 - arts magazines in England. At present we; are discussing the alternatives to our present distribution arrangements which are Eull Time and Moore and Harness. We also have had discussions with the Arts Council regardthe problems of promotion, distribution and sales. Expansion of readership Over the next three issues we aim to expand the readership of the magazine. This requires addressing the question of accessibility a question which is not only linked to in-proving distribution and premotion but also to that of mode of address of the articles and images published in the magazine. We aim in particular to expand Camerawork's readership in terms of students and those who are less familiar with photographic practice and debate. In this respect we feel that Camerawork has a crucial role to play - not only to be educational and informative but also to be stimulating both visually and conceptually. We aim to generate new work and debate; to support work which would otherwise not be seen, to innovate phptographic work and to pa/ equal attention to both visual and written work. The politics of photographic representation As photographic images permeate all aspects of our lives, It is crucial for the magazine to retain a critical edge rather than being a 'window on the world'. In this respect we aim to continue theorectical discussion arising frem questioning representation but in so doing to attend to specific photographic practices and work. SUPPORT FOR PHOTOGRAPHERS Camerawork is an organisation which was created by and for photgraphers; these principles are embedded in practice throughout the organisation in a number of ways: The darkrooms The darkrooms provide a well-equiped and cheap facility for photographers at all thedifferent levels of experience. The darkroom workers give technical and aethetic advice, photographic and allied skills ( for instance, process camerawork, dry-mounting laminating). They advise photographers how to work on projects with a view to putting together exhibitions. Both darkroom and gallery workers give advice and practical help to photographers on putting together their own exhibitions. The magazine Camerawork magazine both shows and aims to generate new work. The gallery 1. It is our policy to encourage and show a high proportion of work by photographers in the early stages of their careers. This support is often an essential part in helping the photographer through the first difficult years. 2. It is our policy to involve the photographers) in the entire process of creating their exhibition. S/he takes part in discussion about their work, the editing process, research and writing of text, design, poster, paste-up, laminating, hanging and publicity. This is usually an educative process for the photographer and supportive in that it helps them develop their practice. 3. While planning the exhibitions we look at further outlets and uses for the photographer(s) work, for instance, other publications, postcards and so on. Touring Our policy is to tour exhibitions to a variety of venues because we want photographers to be seen in as widely as possible ( from art galleries to comnunity centres). This ensures that the photographers work becomes known outside the narrow bounds of the photographic world and often results in useful contacts and offers of work. Information and picture research Camerawork acts as information and picture research centre. The staff supply advice and recorrmend photographers.• The exhibitions act as a picture library while they are here as well as while they are on tour. Looking at work We make time every month to spend with photographers dicussing their work; on the first Wednesday of the month and at other times. We see thi session as being primarily of service to photographers;- we criticize work, give advice and suggestions for how their work can be used and put them in touch with other organisations or Individuals. Financial support We feel strongly that we are unable to give photographers sufficient financi'al support:-'' ...... We pay well below NUJ rates for reproduction of photographs in the magazine and for print production in the gallery. We are rarely able to cormiission work. We feel that .the creation of new work should be the cornerstone of our support for photographers but we are rarely able to raise the seperate funding necessary to do this. - 9 - GALLERY PROGRAMME FINANCIAL YEAR 1983-4 26/4- 28/5/83 The Sicilian Mafia Photographs from the Sicilian Documentaticn Centre with text by Helena Atlee-& John McLaughlin. 1/6 - 25/6 DEMONSTRATE:demonstrates;demonstrating; demonstration. by Nigel Dickinson. Images of demon­ strations highlighting conflict of protests with symbols of consumerism. (case study of local demonstration; Colin Roach protests or, conflict in text and image by Gustavo Espinosa. 6/7 - 6/8 Survival Programmes By the EXIT photography group;Nicholas Battye, Chris Steele Perkins, Paul Trevor. Photodocumentary on Bri tains inner cities 9/8 - 3/9 Summer Closing including reflooring work. + *{Girls Project show Camerawork S u m e r Show & window display.) 13/9 - 15/10 Palestine exhibition, by Judah Passow Network and others in conjunction with Palestine solidarity campaign. 19/10 - 19/11 Photomontage 2. Selected photcmonteurs continuing in this popular form, concent­ rating on contemporary British work. 28/11 - 22/12 3/1/84 - 14/1/84 Nobodies Back Yard. Issues on Central and Latin America to coincide with national festival ori Central America featuring new work on the Camerawork El Salvador project and work by Mike Goldwater. 24/1/84 - 25/2/84 Unconfirmed * (Docklands poster show; Self Image with 4 Comers; or Socialist Practices.) 6/3/84 - 7/4/84 Unconfirmed * (Girls Project Show) * Projected but as yet unconfirmed or in formative stages. Exhibitions under, discussion and in planningstages: Colin Roach sipport committee and photographers projects on demands for police accountability. "Girls project show arising out of sponsored work from local girls groups. CamerawcrkSurmer Show featuring selections of years work frcm darkrooms, gallery, magazine. - 10 - GALLERY PROGRAMME CONT; Exhibitions under discussion cont; Docklands show featuring ongoing work from the Docklands Ckxmunlty Poster project. Self Image project with 4 Comers'Films, group and workshop projects. Socialist Practices drawing together workof contemporary groups and projects aiming toward new directions in socialist representation. Representations/Tourism. Project using the tourist snapshot as the basis for investigating re-presentation of other people and places. 1984 A group project by socialist photojournalists, an extension of the Survival programmes brief. Hypothermia, campaign to promote understanding and solutions to this regular trgedy, with WARMTH and other cooperative energy saving groups. A history of Advertising to the present day. Project initiated with 1983 college placements. Open Submission schemes Other new work Regular exhibitions from darkroom users and courses. CAMERAWORK DARKROOMS During the coming year education and group work will be prioritised in the darkrooms. At present the darkrooms are used two evenings a week by local youth groups. While working here Morpeth Girls’ Group and North Girls' Group produced a calendar for 1983. The two have just completed a small exhibition of photographs a trip to Trafalgar Bow groups they took on Square. Morpeth Secondary School uses the communal teaching space once a week, and we have regular visits by young people from Daneford School Kingsley Hall, Trowbridge House, and Toynbee Hall. Women's courses are in great demand. The two that have been running over the last ten weeks are just coming to an end. The next seriesboth a beginners' session and a more advanced session- already has a full compliment. We hope to be able to maintain this level of tuition throughout the year. On the 10th of May we will be starting a ten week course called 'Making Photo-Essays' to be taught by Malcolm Green. We hope tofollow this with a course to be taught by Bleddyn Butcher on portrait and studio photography. We aim to offer other courses during the year, and to respond to the demand as it arises. The Newham Inter-mediate Treatment group will be using' the darkrooms over the next ten weeks- to print up the photographs for their photography project. In preparation for this the darkroom workers have been instructing the Newham I.T. workers in the basics of photography and darkroom skills as well as discussing with them possible .ideas for. the project. . . From September the Central Foundation School and Morpeth School will be using the darkrooms forthree sessions a week over the next two academic years as part of a CSE course in photography. - 12 - Groups will be encouraged to work on coherent projects with an exhibit being the end point where possible. We feel this provides a useful discipline for people to work within . The same goes for our ever increasing number of individual darkroom users. We now have an active membership of over 275 individuals and 25 organisations. Our first exhibition by an individual darkroom user is being worked on at present. In addition to this work we also provide a nurtoer of services, including slide-duplicating, mounting, and laminating, to groups and individuals to help them in the presentation of their work. We provide these services at cost price since commercial rates price these facilities out of' most people's reach. We have included a list of the groups who have used our various services over the last year. v . - 13 - Grains that have used our various services during 1982/3 financial year : Acton Community Arts Project Centreprise • Conrnunity Land Use CTO Cormunity Education Project Camerawork Derry Contact a Family Croydon Warehouse Theatre Daneford School Docklands Conrnunity Poster Rroject Eritrean Campaign Ecology Campaign in Bristol Four Co m e r s Cinema Hackney Trades Council Support Group Hackney Play Association Hackney City Farms Project Harlow Unemployed Workers Group Housing Advice Centre Ickburgh School fonMentslly Handicapped Children Independent Photo Project Island History Group London Troops Out London Bicycling Campaign Martin Parr Weekend Workshop Montefiore Centre Morpeth Girls Group Morpeth School National Gypsy Education Council North Paddington Corrmuntty Darkrooms Outwrite Women's Newspaper Oxford Polytectinic Palestine Solidarity Paddington Printshop Palestine Women's Group Poster Film Collective Photographers Caller/ Right to Work March ExhibitionSouth West Arts Solon Housing Association Springboard Southwark SE1 Conrnunity Newspaper -14- Groups continued.. Shoreditch Day Centre For The Mentally Handicapped The Voice Turkish Solidarity Toynbee Hall Community Centre Trowbridge House Tov/er Hamlets Law Centre Tower Hamlets Trades Council West J -ondon Media Workshop
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      • authorThe British Journal of Photography, Dr Dennis Chapman, Mr HV Morris, AJ Coles, John Ward, NW Nesbet, JGF Moll, RN Kendall, Leonard Gaunt
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      • titleGeneral Press - Half Moon Photography Workshop/Camerawork
      • subtitleLetters page, replies to Andrew Wiard on the issue of registration as professional photographers
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      • titleLost at School - George Plemper
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      • tagstouring exhibition,peace camps,greenham common,molesworth,glc peace year,nuclear missiles,anti-nuclear,direct action
      • titleBomb Disposal - Ed Barber
      • subtitleTouring show form for Sir John Cass School of Art
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
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      • relatedEd Barber http://www.edwardbarber.net/ Press Release 0001703 Booking Form 0001705 Booking Form 0001706
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      • authorSee sections X to AC
      • author_editorDavid Evans, Sylvia Gohl
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      • author_photographerChrister Themptander, Rolf Staeck, John Heartfield, Peter Dunn, Loraine Leeson
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      • tagscollage,docklands community poster project,big money is moving in,socialist photomontage,hitler,soviet,communist,1920s,political satire
      • titleCamerawork Magazine - Special Issue
      • subtitleSpecial Issue: Political Photomontage After Heartfield
      • dimension4 pages + 1 inner poster
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, David Evans, Sylvia Gohl, Christer Themptander, Rolf Staeck, John Heartfield, Peter Dunn, Loraine Leeson
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      • pdf_textDocklands Community Poster Project Peter Dunn and Loraine Leeson 1982 BIG MONEY BIG MONEY IS MOVIN Massive luxury riverside development — public housing cut to nil Large enterprises moving in (bringing their own workforce) get incentives while small local firms are squeezed out — few new jobs will be created. Docklands Community Poster Project Peter Dunn and Loraine Leeson 1982 Actual size 18’ 12’From a series sited on bill-boards in London’Docklands x . s Reproduced in conjunction with CAMERAWORK
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      • tagsisrael,lebanon,invasion,seige,1982-83,israeli government,refugees,magnum,palestinians,plo,photo-journalism,lebanese,massacres,refugee camps
      • titleBeirut: Photos from the Israeli invasion of Lebanon 1982/3 - Judah Passow, Chris Steele-Perkins, Yousef Kuttob
      • subtitleArticle on page 8 of The News Line September 17 1983 by John Spencer with photograph by Chris Steele-Perkins of grieving women holding framed portrait of young male relative killed in the refugee camp massacre under the headline, 'Sabra & Shatila - One Year Since The Beirut Massacre' (Right page)
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      • titleLondon Blitz: War Photographs: September 1940-May 1941.
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      • titleStriking Poses - David Hevey
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, David Hevey
      • creditsGraeae Theatre Company, London Boroughs Grants Commitee, Sir John Cass's Foundation, Greater London Authority, Arts Council
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      • pdf_textCamerawork STRI KI NG POSES STRIKING POSES: A photographic touring exhibition by the photographer. David Hevey and the Graeae Theatre Company's Theatre-inEducation group, working with children from two segregated/ special needs schools in London. Photographer David Hevey STRIKING POSES is concerned with visually challenging the negative and oppressive stereotypical images of" disabled people so prevalent in practically all forms of media and representation. Currently, disabled people are not seen on Brookside, Tomorrow's World or Top of the Pops. We are never portrayed anywhere as anything other than slaves to our medical conditions and as objects of charity and pity, or as super-crips climbing Mount Everest on our noses! Charities advertising is the main form by which disabled people are seen and this form brands us by our medical conditions. Graeae Theatre Company, the only UK theatre company made up entirely by disabled performers, workers and management and David Hevey, a disabled person and professional photographer, have, in Striking Poses, set out to break through the negativity of so much (non-disabled) representation of disabled people. Using an interweaving of various forms including at the core drama and Polaroid photography, studio backdrops and lights within a classroom context, b/w ieeding into colour, costuming and role-play, the theatrical and the fantastic, they have produced a challenging photographic exhibition to help redress the destructive stereotyping of disabled youngsters. A G R A EA ETH EA TR E COM PANY TO URING EXHIBITION EXHIBITION FOR HIRE 29 laminated panels (26' x 19') + full colour poster blanks. Hire fee £50 per week + VAT. For further information contact / t / t / M / i ? ' / . ^ P / 3 / I / ? a 081 980 6256 . F un d ed by LONDON BOROUGHS GRANTS C O M M ITTEE G a lle ry & D arkroom C am eraw ork L im ite d 121 Roman Road, Bethnal Green, London E2 OQN. Telephone 081-980 6256. Registered at this address: Company No. 1205192. VAT No. 333 3153 91. Charity No. 269589. SIR JOHN-CASS'S FOUNDATION
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      • titleA Panoramic View - Michael Westmoreland
      • subtitleAn article from Eyepiece on the Westmoreland's panoramas, written by John Morrison
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      • locationCorby Steelworks, Swithland Woods, Harringworth Viaduct (UK), Hong Kong Harbour Front (China)
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      • pdf_text/ \PANORAMIC VIEW Michael Westmoreland has an expansive approach to photography, typified by the wierd and wonderful equipment he uses to capture the wide open spaces. . . N the face o f it there w ouldn’t seem to be much com m on ground shared by M ichael W estm oreland, panoram ic photographer extraordinaire, and Stephen D alton, w hose high-speed flash pictures we featured last month. In photographic term s they are, after all, poles apart. M ichael is intent on including the m axim um visual inform ation in each o f his panoram as, while Stephen delves into the m acro world when capturing tiny insects in flight. But w hat they do have in comm on is a w illingness to O acknow ledge problem s - both technical and visual - and then to m eet those problem s head on. T hey both knew w hat they w anted to achieve when they started out; on discovering th at the necessary equipm ent w as not com m ercially available, they set out to build their own. E ven in the hi-tech eighties there are still opportunities for pioneers to m ake their mark. It can ’t be said, how ever, that panoram ic photography is anything new; its origins stretch back to the middle o f the last century. L andscapes were tailor- m ade as subjects for the early photographers: the slow speed of lenses and em ulsions were less of a draw back than for m ost other types o f photography. N o r did the photographers flinch at lugging enorm ous view cam eras and prim itive darkroom s up hill and down dale to capture their ‘scenics’. B ut those wide open spaces w eren’t quite as w ide once fixed onto paper or plates, since few lenses had an angle o f view greater than 40 degrees. P anoram ic pictures had to be assem bled by pasting together a num ber o f overlapping views never a very satisfactory com prom ise. T he first purpose-built cam era for true panoram ic photography w as dream ed up in 1844, by one BELOW: Picadilly Circus as y o u ’ve never seen it before - a fu ll 360 degree view courtesy o f Michael's clockwork camera. BOTTOM: I t ’ not easy to fin d a vantage point that will give as s uncluttered a panorama as this view from the Hong Kong Hilton. Goy\ V i c / P rfA /H U W * * , u*\fyuL l f fA . Cd \ g \J / Pf l A /v a H m , PtjViqtnqUi Via^j 11J ^nrikucjf t*\ov*/r0&j EYEPIECE F rie d ric h v o n M a rte n s . It w a s it w a s a s t r o k e o f l u c k t h a t a a b l e t o t a k e in a 1 5 0 d e g r e e s u ita b le c a m e r a fin a lly tu r n e d u p s w e e p , d u e t o its r o t a t i n g le n s , j u s t a fe w m ile s fr o m h is h o m e . w h ic h w a s c r a n k e d ro u n d w ith a h a n d le . T h e le n s s w iv e lle d T h e r e w e r e b a s i c a l l y tw o k in d : o f c a m e r a in r e g u l a r u s e w h e n a r o u n d a fix e d a x is , s o th e p la te p a n o r a m i c p h o t o g r a p h y w a s in v o g u e . T h e ty p e w ith th e o n w h ic h th e im a g e w a s fo rm e d h a d to b e c u rv e d . T h e p ic tu re w a s re c o r d e d c o n tin u o u s ly s w i n g i n g l e n s a n d c u r v e d f i lm p la n e , w h ile b e in g p e rf e c tly th r o u g h a n a r r o w v e r tic a l s lit a s th e le n s w a s tu r n e d , g iv in g a o n w h a t w e n o w c a l l ’f e a t u r e s ’. s e r v ic e a b le , w a s g e n e ra lly s h o rt r e v e r s e d i m a g e o f t h e s c e n e 5 in T h e c a m e ra th a t M ic h a e l fo u n d h i g h a n d f u l l y 1 7 Vi in in l e n g t h . w a s o n e o f th e e x te n s iv e ‘f a m ily ’ M i c h a e l ’s i n t e r e s t i n p a n o r a m i c p h o to g r a p h y d e v e lo p e d th ro u g h o f p a n o ra m ic c a m e ra s m a d e b y t h e C i r k u t c o m p a n y in t h e e a r l y h is u s e o f la r g e f o r m a t c a m e r a s . F r o m 6 x 6 c m h e m o v e d u p to 5 x 4 in a n d 1 0 x 8 in . S in c e th e a m o u n t o f v is u a l in f o rm a tio n r e c o r d e d o n f i l m is in p r o p o r t i o n to th e fo r m a t u s e d , h e r e a c h e d 1 5 x l 2 i n w ith a g ig a n tic v ie w c a m e r a b e fo r e h e lo o k e d to w id e n h is h o r iz o n s w ith a p a n o r a m ic m o d e l. T h e g o ld e n a g e o f p a n o r a m ic p h o t o g r a p h y w a s in t h e V i c t o r i a n a n d E d w a r d ia n e r a , s o fe w im p r o v e m e n ts h a v e b e e n m a d e to p a n o r a m ic c a m e r a s s in c e th e n : a s o b e r in g th o u g h t to c o n s id e r n e x t tim e y o u p ic k u p y o u r m u ltim o d e S L R . T h e re are m odem p a n o r a m ic c a m e r a s b e in g m a d e , b u t n o n e c a n o ffe r th e p h o to g r a p h ic o p tio n s o f th e b e tte r p r e - w a r m o d e l s . A n d t h a t ’s p r e first- w a r ! '? H W h e n M ic h a e l s t a r te d lo o k in g a ro u n d fo r a s u ita b le p a n o r a m ic c a m e ra h e fo u n d th e y w e re as r a r e a s h e n s ’ te e th . T h e o n ly p e o p le s till u s in g th e m r e g u la r ly 'w e r e t h o s e p h o t o g r a p h e r s o f y e a r s o f th is c e n tu r y : a s o lid b o x o f tr ic k s b u ilt to la s t fo r e v e r a n d w i t h a ll t h e p o r t a b i l i t y o f a b l a c k s m i t h ’s a n v i l . It w a s m a d e w i t h f u n c t i o n in m i n d : c o n v e n i e n c e o b v i o u s l y c a m e w e ll d o w n t h e l i s t o f p r i o r i t i e s in t h e d e s i g n e r ’s b r i e f . Y o u h a v e t o a d m ire b o th th e fa u ltle s s c r a f t s m a n s h i p o f it s m a n u f a c t u r e , a n d th e u n fla g g in g e n th u s ia s m fo r p h o to g r a p h y o f th e m e n w h o f irs t to u r e d th e b e a u ty s p o ts o f th e w o r ld w ith s u c h m a h o g a n y m o n s te rs . P h o to g r a p h e rs w e re a h a r d y b r e e d in t h o s e d a y s . T h e C i r k u t c a m e r a o p e r a t e s in a n i n g e n i o u s m a n n e r . I t is m o u n te d o n a la r g e w o o d e n tr ip o d , w h ic h h a s a m e ta l ‘t u r n t a b l e ’ o n t h e t o p . T h i s a l l o w s t h e w h o l e c a m e r a t o r o t a t e in a fu l l 3 6 0 d e g r e e c i r c l e , p r o p e l l e d b y a c lo c k w o rk m e c h a n is m . T h is s a m e m o t o r d r i v e s th e film o v e r th e ( f l a t ) film p l a n e a t th e b a c k o f th e c a m e r a . T h e im a g e is f o r m e d o n fi lm t h r o u g h a v e r t i c a l s l i t : t h e f i lm m o v e s p a s t t h i s s l i t a s t h e s c h o o ls a n d o t h e r la r g e g r o u p s o f c a m e r a tu r n s , s o th a t v is u a l p e o p l e . H a n d s u p a ll t h o s e o f y o u w h o ra n fro m o n e e n d o f th e ABOVE: Michael with Win Cirkut camera and 14ft tripod reputedly made fo r photographing the 1937 coronation. i n f o r m a t i o n is b e i n g ‘w i p e d ’ a l o n g th e film a t a r e g u la te d s p e e d . s c h o o l g ro u p to th e o th e r fa s te r th a n th e c a m e r a c o u ld p a n . a n d th u s a p p e a r e d tw ic e o n th e re s u ltin g p h o to g ra p h ! S u c h s p e c ia lis t e q u ip m e n t a ls o h a s a n a n tiq u e v a lu e n o w ; th o s e p a n o r a m ic c a m e r a s w h ic h T h i s r a t e o f t r a v e l is e f f e c t i v e l y t h e c a m e r a ’s s h u t t e r s p e e d , s i n c e th e le n g th o f tim e it ta k e s f o r a n y g i v e n p i e c e o f f i lm t o p a s s t h e s l i t c a n b e v a r ie d b e tw e e n l / 2 s e c a n d l / 1 2 s e c . T h e le n s h a s a c o n tr o ll a b le ir is , fo r a lte r in g RIGHT: Old catalogue illustration o f the Cirkut panoramic camera. o c c a s io n a lly tu r n u p a t a u c tio n a re g e n e ra lly s n a p p e d u p b y a p e r t u r e s in t h e n o r m a l w a y . w e a lth y c o lle c to r s r a th e r th a n w o rk in g p h o to g r a p h e r s . M o d e m f e a t u r e s w h ic h m a k e life a g o o d d e a l e a s i e r : it t a k e s p r o b l e m s a s s o c i a t e d w ith film p a n o r a m ic c a m e r a s h a v e th e ir in te r c h a n g e a b le le n s e s , a n d w ith m o s t d i f f i c u l t a s p e c t is t h e a c t u a l ta k in g o f a p h o to g r a p h , fro m o w n p a r tic u la r s tro n g p o in ts , b u t M ic h a e l h a d h is h e a r t s e t o n th e v e r s a tility o f a n e a r ly m o d e l. P r e p a r e d a s h e w a s to tr a v e l th e le n g th o f th e c o u n tr y to fin d o n e , T h e C ir k u t c a m e r a h a s tw o t h e l e n s m o u n t e d o n b e l l o w s it p h o to g e n ic a n d p a n o r a m ic v is ta . D e s p it e a ll th e te c h n ic a l a n d p ro c e s s in g , M ic h a e l fin d s th e h a s a w id e ra n g e o f c a m e r a fin d in g a h ig h s p o t o v e r lo o k in g a n m o v e m e n t. T h e s e f a c to r s h e lp in te r e s tin g la n d s c a p e th r o u g h to M ic h a e l to g e t th e b e s t o u t o f th e s e ttin g th e c a m e r a o n its c ir c u la r v e ry fe w lo c a tio n s w h ic h o ffe r a p e ra m b u la tio n s . BELOW: A small section o f a 50ft frieze Michael assembled some years ago, showing an entire street (now demolished) in his home town. I t’s not a panoramic shot, but an elaborate montage. Camera January 1985 45 I i LI iCUL ' I m M ic h a e l ta k e s c o m p le te 3 6 0 fe w s im p ly b e c a u se re q u ir e v ie w p o in ts a s th e to p h a s sp e n d to g e ttin g to s h o ts d e g re e g o o d le s s h e m a y fin d h e ’s f o u n d p o s itio n a h e g e n e ra lly b e A W h e n le v e l, in o r d e r to s u n lit h o riz o n c o rre c tly . u p your c a m e ra a th e s k in n y s tr ip s k y . T h is c a m e ra co m es a s s e m b ly e x te n s iv e w h ic h in to c a m e ra c an in re c o rd a n g ro u n d : w id e o w n . its a s u ita b le H a v in g w a s lo c a tio n g o t h is M ic h a e l h a d to c a m e ra i t s e l f is a s th e d a y s p e c ia l o r d e r s a n d s to c k a n d S in c e a a c o u p le p o n d e r h o w o f m o m e n ts y o u ’d * c o p e f u lly w ith p h o to g ra p h y b e c o m e fa d o th e r d e c a d e e ig h tie s - fo r th a t I w o n ’t d w e l l i n d e ta il c ra m m e d w ith fro m flo o r to c o m b in a tio n it w a s m a d e , f ilm th e a tr e a n d h a s c e ilin g a c h a m b e r. a d v a n c e d a g re a t u se d p la te s . w h ite f ilm to T h e lo n g o f o p e ra tin g m e d ie v a l to r tu r e p rin tin g w o rk s A su rg e ry b y tr u n d le d to p a p e r u p a c c o m m o d a te to e ig h t f e e t in o n ly re st a n d th u s in its e lf o p e ra te s ; w h o le th e p o rtio n s w a llp a p e r - c u ttin g h a s b e e n g iv e n tr im m e r to le n g th s o f film : T h e a p ro b le m s m a c h in e le a s e v ita l i f th e o f lif e A n c a m e ra a s s o c ia te d p h o to g r a p h y th e re . b e st w a y to b e tw e e n p r in ts w ill d o in fo rm a tio n sa y , a ed g e 2 7 0 c a n b e o f th e th ro u g h a th e le n s. m o s t o f th e b y , le n s is p ic tu r e s n a rro w o f th e p ic tu re th e a re s lit, c e n tr a l p o r tio n p in - s h a r p , w ith o n ly a re a fa u lts o c c a s io n a l v e rtic a l b a n d s e ith e r b y in I ju s tic e . re c o rd e d e x p o se d f ilm s tu n n in g ; tr u n c a te d sw eep . T h e th e is w id th a m o u n t o f v isu a l d e g re e d e fin itio n S o th e o rig in a l a re th e m in c re d ib le p r o b le m s is o f c a u se d s p o o lin g d a r k n e s s , o r w in d c a m e ra w ith d o n ’t e n d v ie w th e s e v ib r a te th e m a k in g o n e a b s o rb in g o n ly a s ro lls o f film lo n g su rv e y o n ly h a p p y i t ’s a a s th o s e h is o u t th e re tra n n y to o g a th e r e d g la d th a t sh a m e th a t in te r e s t w ill la s t in w h e re a b o u ts d u rin g o f l i f e ’s e n th u s ia s ts , so h is s lig h tly p ro b a b ly M ic h a e l is a n y o n e ex p o su re . p a n o ra m ic T h e v e rsio n s a o f M i c h a e l ’s p i c t u r e s o u r n e c e s s a r ily Y o u ’v e to c u t a c c u ra te d u rin g h o p e in b u sin e ss , ex p o su re . p ic tu re s n e w tr ic k y p ro n o u n c e d . T h e th e b e d a rk ro o m . A n o ld so c a n flo o r o n o f h is is a ra tio T h e r e ’s M ic h a e l u s e s w a ll o f h is o n e m a jo r c a te r fo r e n la rg e r w h ic h a lo n g th e a n d a p p r e c ia te d . s lig h t f u z z in e s s . T h is u n d e rg o n e a t an q u a lity Playboy- t y p e a le n g th b e in g M ic h a e l to fu lly u tilis in g tim e s . w a y th e im m a te r ia l s in c e p e rfe c tly . w h e e ls , w h ic h a is o f tr a v e l, s p e c ia l re q u ir e m e n ts . a g ig a n tic as A g r e a t d e a l o f o th e r e q u ip m e n t h a s b e C ib a c h ro m e it s o u n d s , th e is n o t t o j a m c o n ta c t p rin te r, fo r e x a m p le , h a s h a s th in g ra ils . a n d p a p e r o v e r e c h o e s th e c a m e ra as sin c e e x p o su re e n la rg e d a rk ro o m , e q u ip m e n t, r e s e m b le s a d ju s ta b le B a rrin g tra v e llin g , m o to r, o n M ic h a e l’s p r o c e s s in g H is o f th e d e ta il c a n is r h e o s ta t c o n tr o ls e n l a r g e r ’s r a t e u n d o u b ta b ly m a g a z in e le n g th o n is c e n tr e fo ld , r e p r o d u c tio n a fo g g in g o f th e A sp e e d u n lik e ly to lig h t s o u rc e th e h is th e o f th e im a g e th e th e a o f p rin tin g d e v ic e w h e e fs. m a te r ia l p re v e n ts T h e o f m o t o r is e n la r g e r is p a p e r. w h ic h o n a tta c h e d p ic tu re s e x h ib itio n , w h e n e n la rg e r h e a d th e o f th e 9 V S in e ig h t f e e t lo n g ! to p h o to g ra p h ic a d e v e lo p in g tra n s p a re n c y p a n o ra m ic p ro c e d u re . a s a a re a sh e e t T h e c o lo u r - h e a d th e o n , th e w h ic h a re e c c e n tr ic lo a d in g o n to O n c e th e g iv in g y o u ’r e c a s s e tte th e lo n g m o to r b y o v e r th e w h ic h p r o d u c in g in p u lle d o n is s iz e s . N e x t tim e w id e in o f film b iz a r r e c o a t th e ir o w n & ju s t n o t in te re s te d o f c o rd . c o n c e n tra te s s ty m ie d ; m a n u fa c tu re rs o n th e d e a l s in c e p h o to g r a p h e r s B la c k th is s e r v ic e a b le h is is th e ‘s k ir t’ o f b la c k p rin t y o u r o w n m a tte r - a d a p t it to m e th o d s . W h ile fe e d c a n o r a n y a g o - m o d e m o n fo r a c a m e ra - y e a rs to o f h is f ilm is u n lik e l y in p h o to g r a p h . a b o u t te n te c h n o lo g y y o u u p a n d a ta b le . ‘t r o l l e y ’ i s s w itc h e d th e p ro c e s s in g a g a in o th e r d iffic u ltie s sn a p p e d to T h e RIGHT: A section from the picture above, showing ju st what quality is possible. p a p e r is a e n la r g e r m o u n te d T h is M ic h a e l p ro b le m s n o v el w ay . h in g e d ABOVE: A 180 degree view o f a cycling event. h a n d y m a n p rin tin g b e n e a th s m a ll e le c tr ic y o u a v a rie ty o f le n s e s : im p o r ta n t w h e n W h e n an a a n d p rin tin g a t fo rm a t y o u tra n s p a re n c y lig h t s o u r c e g o o d fo r a n o th e r M ic h a e l w ill b e 3 5 m m ra tio . sc o re s f e e t lo n g m o n e y T h e la n d s c a p e ta k e f ilm , T h e r e ’s a p p e tite h is d e lig h tfu lly o f g la s s d e e p -fre e z e c a m e ra y e a r o r tw o . to C ir k u t c a m e r a p a n o r a m ic h is b o th w ith fin d in g in s o lv e d a w o r k in g o f film a s m u c h s a n d w ic h e d is th a t p ro b a b ly b e C ib a c h r o m e o f w a s 2 0 0 n e w s v o r a c io u s sh a p e s fo r a c c e p ta b le b a tc h T h a t ’s t h e la s t b a tc h . s p ir a l, ta k e T h e c o n s id e r th e le n g th s b a d m o v e m e n ts sk y to a o f C irk u t its a n d fa c ility p lu s in u n le s s sh o w b a n d a llo w s v e ry g o n e w o u ld is w h e r e t h e b e llo w s s e ttin g o f la n d d is p ro p o rtio n a te ly T h e p a n o ra m ic h ig h re s u ltin g p ic tu r e s a v e ry w id e . e n o u g h th e Im a g in e o n v ie w p o in t le v e l w ith th e in to p a n o r a m ic A g fa c h ro m e -ty p e 9 V iin th e a w h ic h y o u ’r e e x tr e m e s a p h o to g ra p h e r, h a s to r e q u ir e m e n ts ’. M ic h a e l h a s p e rfe c tly re c o rd f ilm a n d m a jo r f a c to r is th a t th e se t u p to I t ’s a n n ew s. as o f r o ll f ilm ; th e n , a v a ila b le w a it fo r e v e n ly c a m e ra le n g th . W h e n th e s e h av e so a c o n ta c t a t A g fa , ‘s u r p lu s th e m u st b e a lte r e d a e ria l s u r v e y a ll o v e r . c a m e ra th e H e M ic h a e l d is c o v e r e d b e A m e r ic a . ea sy . o n c e w e a th e r c o n d itio n s - c le a r a n d in a n d s p e c ia l T h a t w a s n ’t th r o u g h im a g in e d . to K o d a k b y B u t c o l o u r f ilm ? ta k e -le n g th s c a m e ra h a s fo r p a n o ra m ic p h o to g ra p h y : to v ie w ra in in g . g o o d H e a c c e ss p o in ts : h e ’d th e n a p p r o p r ia te g a in th e e x c itin g th a n W o r s e , it c o u ld s te e p le ! d e a l o f tim e to p o te n tia l v a n ta g e th e r e a v a ila b le o rd e r fro m im p r a c tic a l c h u rc h a b e e n s c h o o ls as p e rm is s io n a s h o ts su ch o f a w ith c o v e ra g e , o f a d w in d lin g d e e p -fre e z e . th e c a c h e o f a e r ia l f ilm , th e n to If k n o w s p a ss o n w e ’d b e th e n ew s. J o h n M o rris o n
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      • tagscolonialism,racism,culture,difference,immigration,customs,traditions
      • titleOur Space In Britain - Various
      • subtitleCurriculum vitae and synopsis of the project
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      • pdf_textI Mariagrazia Pecoraro. i>om in Genoa, No t h e m Italy, in 1"959» of Sicilian family. Came to England in 1979 and studied art at Sir John Cass School of Art 1 Design and at Goldsmiths' College. "Silence can be a plan rigorously executed the blueprint to a life It is a presence it has a history a form. Do not cofuse it with any kind of absence." ( ^.drienne Rich, extract from Cartographies of Silence in The Dream of a Common language. ) The ' mainsteam''art I was confronted with at c o l l e g e r s one that ignored what constructed it politically, culturally,and subjectively. Outside things don't seem much different. Outside I am still an 'outsider' •••but I am learning to thrive in this condition. Although my work is a direct consequence of my experience in this society and this culture, I have never felt at ease with the traditional western definitions of artist that I see as male-identified, possibly middle-class, definitely eurocentric ,ana strongly advised to elevate himself from earthly concerns. In such a position my capabilities are put under constant pressure o that the type of work I feel I want to take up is of a kind of resistanc for my own survival. The process of un/learning certain deeply damaging notions, i.e. racism, classism, sexism , and homophobia, is not an easy task but one I am committed to. what I annealing with in this context, is not only foreign-ness, femininityf sexuality kna colour but it isalso the choices that I will and will not make. ^ 13 What 1 consciously chose and what I picked up a* a deeper, unconscious level and t^e 'difiereces' in which people are pesitiohed within western £ society and more specifically art practice. In my work I explore the relationships between private and public,personal and political, expressed in both images and words, content and representation, often by using 'found' images and texts and. personal snapshots. My intention is always to explore expose the links between 'fine Art' and 'the real world out there*. I also think about the power and effect that advertising has on art photography and viceversa, espacially around £ C representations of 'othrness'; the ways both 'Fine Art' and commrcial, popular images feinforce and recreate gender and cultural stereotypes. Language as well comes to my mind everytime I set out do work perhaps because English is still a 'new' idiom for me; how do I express what I feel, How do I talk or write about this, what do other people see and say about my work, who are my audiences, can I ignore everything else that exists around and surrounds the images and texts presented here? As an Immigrant I am always asked and reminded to remember my foreign-ness and cultural identity and at the same time to wipe away it away in order to fit in and not to threaten the Britihh way of life. When I started producing art I thought I could create a world of my own. I now know I can use the imaginary/imagery as a direct confrontation and subversion of the negative elements I encounter within society, quite often using the same tools as the 'enemy', to arrive aijfaew definitions and a great­ er understanding of the meaning of 'Difference'. Starting from my own experience as an Immigrant and a Lesbian I am frying to develop a visual language tha reflects my existence in this society. " le immagini attraverso cui siamo state esuortate sono aspetti che ci appartengono a che sono stati distort!. Riprenderci i nosiri simboli e ridiscuterli vuol dire cominciare ad incrinare lo spazio monolitico, monoteistico e mistificante che e' la presunta social!ta e comunicabilita' della cultura maschilista." Mariagrazia Pecoraro August - September 1987
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  • Collection(empty)
  • Organisation(empty)
  • Theme(empty)
  • User(empty)
  • ArchiveItemsTheme(empty)
  • Medium(empty)
• Loaded Helpers(array)
  • 0Cache
  • 1AppTable
  • 2Form
  • 3Asset
  • 4AdminPreview
  • 5CookieCompliance
  • 6Frontpage
  • 7FrontpageSitemap
  • 8Html
  • 9Js
  • 10Pager
  • 11Text
  • 12Time
  • 13Number
  • 14Avatar
  • 15Antispam
  • 16Menu
  • 17SimpleGraph
  • 18Paginator
  • 19DebugTimer
  • 20Toolbar
  • 21AppJqueryEngine
  • 22HtmlToolbar

App Constants

CakePHP Constants

PHP Environment

Included Files

Include Paths

• 0/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Plugin/App/Vendor/htmlpurifier
• 1/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/pear/numbers_words
• 3/opt/plesk/php/7.4/share/pear
• 4-> /var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/Cake/

Included Files

• core(array)
  • Behavior(array)
    • 0CORE/Model/Behavior/ContainableBehavior.php
  • Cache(array)
    • 0CORE/Cache/Cache.php
    • 1CORE/Cache/Engine/FileEngine.php
    • 2CORE/Cache/CacheEngine.php
  • Component(array)
    • 0CORE/Controller/Component/SessionComponent.php
    • 1CORE/Controller/Component/RequestHandlerComponent.php
    • 2CORE/Controller/Component/CookieComponent.php
    • 3CORE/Controller/Component/AuthComponent.php
    • 4CORE/Controller/Component/PaginatorComponent.php
  • Config(array)
    • 0CORE/Config/config.php
  • Configure(array)
    • 0CORE/Configure/ConfigReaderInterface.php
    • 1CORE/Configure/PhpReader.php
  • Controller(array)
    • 0CORE/Controller/Controller.php
    • 1CORE/Controller/ComponentCollection.php
    • 2CORE/Controller/Component.php
  • Datasource(array)
    • 0CORE/Model/Datasource/CakeSession.php
    • 1CORE/Model/Datasource/DboSource.php
    • 2CORE/Model/Datasource/DataSource.php
  • Error(array)
    • 0CORE/Error/exceptions.php
    • 1CORE/Error/ErrorHandler.php
  • I18n(array)
    • 0CORE/I18n/I18n.php
    • 1CORE/I18n/L10n.php
  • Log(array)
    • 0CORE/Log/CakeLog.php
    • 1CORE/Log/LogEngineCollection.php
    • 2CORE/Log/Engine/FileLog.php
    • 3CORE/Log/Engine/BaseLog.php
    • 4CORE/Log/CakeLogInterface.php
  • Model(array)
    • 0CORE/Model/Model.php
    • 1CORE/Model/BehaviorCollection.php
    • 2CORE/Model/ModelBehavior.php
    • 3CORE/Model/ConnectionManager.php
  • Network(array)
    • 0CORE/Network/CakeRequest.php
    • 1CORE/Network/CakeResponse.php
  • Other(array)
    • 0CORE/bootstrap.php
    • 1CORE/basics.php
    • 2CORE/Core/App.php
    • 3CORE/Core/Configure.php
    • 4CORE/Core/CakePlugin.php
    • 5CORE/Event/CakeEventListener.php
    • 6CORE/Event/CakeEvent.php
    • 7CORE/Event/CakeEventManager.php
    • 8CORE/Core/CakeObject.php
  • Routing(array)
    • 0CORE/Routing/Dispatcher.php
    • 1CORE/Routing/Filter/AssetDispatcher.php
    • 2CORE/Routing/DispatcherFilter.php
    • 3CORE/Routing/Filter/CacheDispatcher.php
    • 4CORE/Routing/Router.php
    • 5CORE/Routing/Route/CakeRoute.php
  • Utility(array)
    • 0CORE/Utility/Hash.php
    • 1CORE/Utility/Inflector.php
    • 2CORE/Utility/ObjectCollection.php
    • 3CORE/Utility/Debugger.php
    • 4CORE/Utility/CakeText.php
    • 5CORE/Utility/ClassRegistry.php
    • 6CORE/Utility/Set.php
  • View(array)
    • 0CORE/View/HelperCollection.php
• app(array)
  • Config(array)
    • 0APP/Config/core.php
    • 1APP/Config/bootstrap.php
    • 2APP/Config/config.php
    • 3APP/Config/routes.php
    • 4APP/Config/database.php
  • Controller(array)
    • 0APP/Controller/AppController.php
  • Datasource(array)
    • 0APP/Lib/Model/Datasource/Database/Mysql.php
  • Model(array)
    • 0APP/Model/ApplicationModel.php
  • Other(array)
    • 0APP/webroot/index.php
• plugins(array)
  • Admin(array)
    • Config(array)
      • 0Admin/Config/bootstrap.php
      • 1Admin/Config/routes.php
  • App(array)
    • Config(array)
      • 0App/Config/bootstrap.php
      • 1App/Config/routes.php
    • Configure(array)
      • 0App/Lib/Configure/YamlReader.php
    • Model(array)
      • 0App/Model/AppPreference.php
      • 1App/Model/AppModel.php
      • 2App/Model/AppPreferenceExpanded.php
      • 3App/Model/Tag.php
    • Behavior(array)
      • 0App/Model/Behavior/ExpandableBehavior.php
      • 1App/Model/Behavior/SluggableBehavior.php
      • 2App/Model/Behavior/IncrementalBehavior.php
      • 3App/Model/Behavior/AppSerializeBehavior.php
      • 4App/Model/Behavior/PurifyBehavior.php
      • 5App/Model/Behavior/TaggableBehavior.php
    • Component(array)
      • 0App/Controller/Component/AppComponent.php
    • Plugin(array)
      • 0App/Vendor/htmlpurifier/HTMLPurifier.auto.php
      • 1App/Vendor/htmlpurifier/HTMLPurifier/Bootstrap.php
      • 2App/Vendor/htmlpurifier/HTMLPurifier.autoload.php
      • 3App/Vendor/htmlpurifier/HTMLPurifier/Config.php
      • 4App/Vendor/htmlpurifier/HTMLPurifier/ConfigSchema.php
      • 5App/Vendor/htmlpurifier/HTMLPurifier/PropertyList.php
      • 6App/Vendor/htmlpurifier/HTMLPurifier/VarParser/Flexible.php
      • 7App/Vendor/htmlpurifier/HTMLPurifier/VarParser.php
      • 8App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCacheFactory.php
      • 9App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache/Decorator/Cleanup.php
      • 10App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache/Decorator.php
      • 11App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache.php
      • 12App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache/Serializer.php
      • 13App/Vendor/htmlpurifier/HTMLPurifier/HTMLDefinition.php
      • 14App/Vendor/htmlpurifier/HTMLPurifier/Definition.php
      • 15App/Vendor/htmlpurifier/HTMLPurifier/HTMLModuleManager.php
      • 16App/Vendor/htmlpurifier/HTMLPurifier/AttrTypes.php
      • 17App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Enum.php
      • 18App/Vendor/htmlpurifier/HTMLPurifier/AttrDef.php
      • 19App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Bool.php
      • 20App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Text.php
      • 21App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/ID.php
      • 22App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Length.php
      • 23App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Pixels.php
      • 24App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/MultiLength.php
      • 25App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Nmtokens.php
      • 26App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/URI.php
      • 27App/Vendor/htmlpurifier/HTMLPurifier/URIParser.php
      • 28App/Vendor/htmlpurifier/HTMLPurifier/PercentEncoder.php
      • 29App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Lang.php
      • 30App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Color.php
      • 31App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Clone.php
      • 32App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/FrameTarget.php
      • 33App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Class.php
      • 34App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Integer.php
      • 35App/Vendor/htmlpurifier/HTMLPurifier/DoctypeRegistry.php
      • 36App/Vendor/htmlpurifier/HTMLPurifier/Doctype.php
      • 37App/Vendor/htmlpurifier/HTMLPurifier.php
      • 38App/Vendor/htmlpurifier/HTMLPurifier/Strategy/Core.php
      • 39App/Vendor/htmlpurifier/HTMLPurifier/Strategy/Composite.php
      • 40App/Vendor/htmlpurifier/HTMLPurifier/Strategy.php
      • 41App/Vendor/htmlpurifier/HTMLPurifier/Strategy/RemoveForeignElements.php
      • 42App/Vendor/htmlpurifier/HTMLPurifier/Strategy/MakeWellFormed.php
      • 43App/Vendor/htmlpurifier/HTMLPurifier/Strategy/FixNesting.php
      • 44App/Vendor/htmlpurifier/HTMLPurifier/Strategy/ValidateAttributes.php
      • 45App/Vendor/htmlpurifier/HTMLPurifier/Lexer.php
      • 46App/Vendor/htmlpurifier/HTMLPurifier/Lexer/DOMLex.php
      • 47App/Vendor/htmlpurifier/HTMLPurifier/EntityParser.php
      • 48App/Vendor/htmlpurifier/HTMLPurifier/TokenFactory.php
      • 49App/Vendor/htmlpurifier/HTMLPurifier/Token/Start.php
      • 50App/Vendor/htmlpurifier/HTMLPurifier/Token/Tag.php
      • 51App/Vendor/htmlpurifier/HTMLPurifier/Token.php
      • 52App/Vendor/htmlpurifier/HTMLPurifier/Token/End.php
      • 53App/Vendor/htmlpurifier/HTMLPurifier/Token/Empty.php
      • 54App/Vendor/htmlpurifier/HTMLPurifier/Token/Text.php
      • 55App/Vendor/htmlpurifier/HTMLPurifier/Token/Comment.php
      • 56App/Vendor/htmlpurifier/HTMLPurifier/Context.php
      • 57App/Vendor/htmlpurifier/HTMLPurifier/Generator.php
      • 58App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/CommonAttributes.php
      • 59App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule.php
      • 60App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Text.php
      • 61App/Vendor/htmlpurifier/HTMLPurifier/ElementDef.php
      • 62App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Hypertext.php
      • 63App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/LinkTypes.php
      • 64App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/List.php
      • 65App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/List.php
      • 66App/Vendor/htmlpurifier/HTMLPurifier/ChildDef.php
      • 67App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Presentation.php
      • 68App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Edit.php
      • 69App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Bdo.php
      • 70App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/BdoDir.php
      • 71App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform.php
      • 72App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tables.php
      • 73App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Table.php
      • 74App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Image.php
      • 75App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/ImgRequired.php
      • 76App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/StyleAttribute.php
      • 77App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/CSS.php
      • 78App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Scripting.php
      • 79App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/ScriptRequired.php
      • 80App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Object.php
      • 81App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Forms.php
      • 82App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Input.php
      • 83App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Textarea.php
      • 84App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Name.php
      • 85App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/NameSync.php
      • 86App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/XMLCommonAttributes.php
      • 87App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Ruby.php
      • 88App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Iframe.php
      • 89App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/Strict.php
      • 90App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/XHTMLAndHTML4.php
      • 91App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy.php
      • 92App/Vendor/htmlpurifier/HTMLPurifier/TagTransform/Font.php
      • 93App/Vendor/htmlpurifier/HTMLPurifier/TagTransform.php
      • 94App/Vendor/htmlpurifier/HTMLPurifier/TagTransform/Simple.php
      • 95App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/EnumToCSS.php
      • 96App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/BgColor.php
      • 97App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Border.php
      • 98App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Length.php
      • 99App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/ImgSpace.php
      • 100App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/BoolToCSS.php
      • 101App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/XHTML.php
      • 102App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Lang.php
      • 103App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/Proprietary.php
      • 104App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Background.php
      • 105App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/Name.php
      • 106App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Name.php
      • 107App/Vendor/htmlpurifier/HTMLPurifier/ContentSets.php
      • 108App/Vendor/htmlpurifier/HTMLPurifier/AttrCollections.php
      • 109App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Optional.php
      • 110App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Required.php
      • 111App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Empty.php
      • 112App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/StrictBlockquote.php
      • 113App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Chameleon.php
      • 114App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Custom.php
      • 115App/Vendor/htmlpurifier/HTMLPurifier/IDAccumulator.php
      • 116App/Vendor/htmlpurifier/HTMLPurifier/Encoder.php
      • 117App/Vendor/htmlpurifier/HTMLPurifier/AttrValidator.php
  • Asset(array)
    • Config(array)
      • 0Asset/Config/bootstrap.php
      • 1Asset/Config/routes.php
  • AssetAdmin(array)
    • Config(array)
      • 0AssetAdmin/Config/bootstrap.php
      • 1AssetAdmin/Config/routes.php
  • Blog(array)
    • Config(array)
      • 0Blog/Config/bootstrap.php
      • 1Blog/Config/routes.php
    • Plugin(array)
      • 0Blog/Lib/Routing/Route/BlogPostRouteView.php
      • 1Blog/Lib/Routing/Route/BlogPostRouteIndex.php
  • BlogAdmin(array)
    • Config(array)
      • 0BlogAdmin/Config/bootstrap.php
      • 1BlogAdmin/Config/routes.php
  • DebugKit(array)
    • Component(array)
      • 0DebugKit/Controller/Component/ToolbarComponent.php
    • Plugin(array)
      • 0DebugKit/Lib/DebugMemory.php
      • 1DebugKit/Lib/Panel/HistoryPanel.php
      • 2DebugKit/Lib/DebugPanel.php
      • 3DebugKit/Lib/Panel/SessionPanel.php
      • 4DebugKit/Lib/Panel/RequestPanel.php
      • 5DebugKit/Lib/Panel/SqlLogPanel.php
      • 6DebugKit/Lib/Panel/TimerPanel.php
      • 7DebugKit/Lib/Panel/LogPanel.php
      • 8DebugKit/Lib/Log/Engine/DebugKitLog.php
      • 9DebugKit/Lib/Panel/VariablesPanel.php
      • 10DebugKit/Lib/Panel/EnvironmentPanel.php
      • 11DebugKit/Lib/Panel/IncludePanel.php
      • 12DebugKit/Lib/DebugTimer.php
  • Frontpage(array)
    • Config(array)
      • 0Frontpage/Config/bootstrap.php
      • 1Frontpage/Config/routes.php
    • Plugin(array)
      • 0Frontpage/Lib/Routing/Route/FrontpagePageRoute.php
    • Component(array)
      • 0Frontpage/Controller/Component/FrontpageComponent.php
      • 1Frontpage/Controller/Component/AntispamComponent.php
    • Model(array)
      • 0Frontpage/Model/FrontpagePage.php
      • 1Frontpage/Model/FrontpageAppModel.php
      • 2Frontpage/Model/FrontpageRewrite.php
  • FrontpageAdmin(array)
    • Config(array)
      • 0FrontpageAdmin/Config/bootstrap.php
      • 1FrontpageAdmin/Config/routes.php
  • Opauth(array)
    • Config(array)
      • 0Opauth/Config/bootstrap.php
      • 1Opauth/Config/routes.php
  • Project(array)
    • Config(array)
      • 0Project/Config/routes.php
    • Controller(array)
      • 0Project/Controller/ArchiveItemsController.php
      • 1Project/Controller/ProjectAppController.php
    • Model(array)
      • 0Project/Model/ArchiveItem.php
      • 1Project/Model/ProjectAppModel.php
      • 2Project/Model/Collection.php
      • 3Project/Model/Organisation.php
      • 4Project/Model/Theme.php
      • 5Project/Model/ArchiveItemsTheme.php
      • 6Project/Model/Medium.php
    • Behavior(array)
      • 0Project/Model/Behavior/HabtmCounterCacheBehavior.php
  • ProjectAdmin(array)
    • Config(array)
      • 0ProjectAdmin/Config/bootstrap.php
      • 1ProjectAdmin/Config/routes.php
  • Search(array)
    • Component(array)
      • 0Search/Controller/Component/FilterComponent.php
  • Sentry(array)
    • Plugin(array)
      • 0Sentry/Lib/SentryErrorHandler.php
  • Story(array)
    • Config(array)
      • 0Story/Config/bootstrap.php
      • 1Story/Config/routes.php
    • Plugin(array)
      • 0Story/Lib/Routing/Route/StoryPostRouteView.php
      • 1Story/Lib/Routing/Route/StoryPostRouteIndex.php
  • StoryAdmin(array)
    • Config(array)
      • 0StoryAdmin/Config/bootstrap.php
      • 1StoryAdmin/Config/routes.php
  • User(array)
    • Behavior(array)
      • 0User/Model/Behavior/LoggingBehavior.php
  • UserAdmin(array)
    • Config(array)
      • 0UserAdmin/Config/bootstrap.php
      • 1UserAdmin/Config/routes.php