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  • imagehttps://www.fourcornersarchive.org/asset/2992/image.jpg
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  • titleCamerawork Magazine - Issue 01
  • typearticle
  • descriptionIssue 1: The Politics of Photography Interview - "Problem in the City" Self Publishing
• descriptionIssue 1: The Politics of Photography Interview - "Problem in the City" Self Publishing
• title_for_layoutCamerawork Magazine - Issue 01
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    • archiveFour Corners Bishopsgate
    • vimeo_link
    • authorSee sections X to AC
    • author_editorTony Bock, Terry Dennett, Roger Eaton, Mike Goldwater, Janet Goldberg, Marilyn Noad, Tom Picton, Joanna Spence, George Solomonides, Paul Trevor
    • author_writerTerry Dennett,Tom Picton, Jo Spence, Paul Trevor
    • author_photographerNick Hedges, Ron McCormick, Larry Herman, Chris Searle, Exit, Helmut Newton, Claire Schwob
    • author_designer
    • author_intervieweeNick Hedges, Ron McCormick, Larry Herman
    • author_organisationShelter, The Sunday Times (Billboard), Pretty Polly (Billboard), Exit
    • tagshousing,alternative practice,commercial photography,social realism,alternative representation,photojournalism,community photography,shelter,helmut newton,fashion,sexual politics,pornography,alternative technology,processing,printing,class,poverty,politics,'problem in the city',ron mccormick,nick hedges,larry herman,collective working,exhibiting,ica,captions,self-publishing,statement of aims
    • titleCamerawork Magazine - Issue 01
    • subtitleIssue 1: The Politics of Photography Interview - "Problem in the City" Self Publishing
    • dimension9 pages
    • ocr1
    • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Terry Dennett,Tom Picton, Joanna Spence, Paul Trevor, Nick Hedges, Ron McCormick, Larry Herman, Chris Searle, Exit, Helmut Newton, Claire Schwob, Shelter, The Sunday Times (Billboard), Pretty Polly (Billboard), Exit
    • credits
    • relatedTony Bock http://spitalfieldslife.com/2013/02/20/tony-bock-photographer/ Tony Bock http://spitalfieldslife.com/2018/03/02/tony-bock-on-the-railways-x/ Tony Bock http://spitalfieldslife.com/2017/03/03/tony-bocks-east-end-portraits/
    • locationBethnal Green, London, UK (pg 3) Nottingham, UK (pg 4,5,6) Clydeside, UK. Merseyside, UK. West Midlands, UK. Tyneside, UK. South Wales, UK. Glasgow, Scotland, UK.
    • copyright_obtained0
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    • uploaded1
    • origination_date1976
    • origination_year1976
    • origination_month0
    • created2018-06-04 14:57:25
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    • modified2018-06-13 08:47:31
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    • pdf_textIn this Issue: The Politics O f Photography Interview - “Problem in the City” Self-publishing No I Half Moon Photography Workshop February 1976 20p Page I THE POLITICS OF PHOTOGRAPHY Jo Spence Every day, photographers produce countless images, most o f which will never be seen by a mass audience. However, those that are seen, in newspapers, magazines and on high street hoardings play an important part in our lives. With their messages - both explicit and hidden they help to shape our concepts o f what is real and what is normal. They give us information about the sort o f sex roles we are expected to play in society, contribute to our image o f ourselves, to our expectations and to our fant asies. Television, cinema and all visual media echo the same ideology. Continually repeated visual images, in time, become part o f our stored experience. Images help us to believe that people are innately aggressive, intelligent, loving or lowly - according to their sex or race, or to the idea being sold to us. All this we tend to call ‘ human nature’. In fact what we see most o f the time could more readily be labelled ‘ stereotyping’ - long understood by cartoonists, illustrators, painters and actors. It is a series o f visual signals and short cuts, established over a period o f time and decodable within any given culture. Often before we can read or write we can learn to decipher whether people shown in images are happy or sad, rich or poor, powerful or weak, by understanding this non-verbal language. alism is seldom set in any meaningful social or political perspective. More often than not it is an unjustifiably voyeuristic and one-sided account o f the stark situation in which many people are forced to live - or a superficial treat ment o f the joys and sorrows o f celebrity life. Photo journalists are employed mostly by magazines and newspapers, and they are tightly controlled by very few companies and publish ing houses. Work is often edited beyond recog nition or used out o f context. Printed in the mass press. or alongside the hi-fi and sherry adverts in the colour supplements, this imagery eventually becomes just another commodity tor us to thumb through in our search lor distraction, or for the ‘ truth’. appeals are financed by government or charities whose terms o f reference seem to force the use o f countless euphemisms or the total exclus ion o f the contradictions o f local and central government policies, or the part played by profiteering in the texts accompanying photo graphs. It is almost as if such appeals were all part, o f some secret ritual in which the ‘ facts’ are pre sented for consideration, but presented in such a way that we remain mystified as to the real causes, or even end up blaming the victims! Some alternatives. Groups like REPORT and the Alternate News Service have now formed in order to service political newspapers, mag Community photographers are encouraging people to photograph each other, friends and family, then their social environment. This provides immediate feedback for discussion, provides aids for story-telling and reading, and makes it possible to look at the world differ ently. People can discover how to relate to themselves and to others more positively when armed with images o f themselves - images which counteract the stereotypes usually seen in the mass media. It is important to look at the context from which these images spring and at the background o f the people who produce them. Current trends in commercial photography Photographic colleges, as part o f their policy in trying to professionalize photography, are still tightening up their entrance qualifications for those wishing to study photography. They do this in liaison with the official bodies represen ting photographers. Once through the initial vetting, students then live and work for several years in the rarefied atmosphere o f colleges in which there are no realistic deadlines or cares about the cost o f materials and equipment, and in which they are in isolation from the feelings and needs o f the majority o f people whom they will use as subject matter. Here they learn to pass more examinations. They are then released in great numbers onto the very competitive job market where the only bodies likely to be interested in their qualificat ions will be industry and government establish ments . The remainder then chase the few"other jobs available, become freelancers, set up their own businesses, or find some entirely different way to earn a living. Commercial photography is a competitive ratrace entirely geared to servicing the needs o f contemporary consumer society. Alongside this, photographic technology advan ces rapidly, with faster acting materials and more expensive time-saving equipment. At the same time though, materials not considered commercially viable by manufacturers are slashed from catalogues and disappear forever. Photographers themselves are caught in the trap o f improving their techniques, whilst at the same time, the content o f their pictures becomes more stereotyped, transiently fashion able, semi-pornographic or obtuse. Sophist icated courses have even been devised to train photographers how better to exploit a situation in order to get people to relate more easily to the intrusive earners, thus becoming more easily turned into objects. Social realism. Concurrent with commercial photography is the race to be more socially realistic in our picture making. More and more we arc assailed with aesthetically cropped pictures o f corpses, gun fights, starving children or the so-called important members o f our society. With rare exception such photo journ Community photography. The most recent break with traditional fields o f photography has been the use o f photography as a TOOL by community activists. Already a well estab lished field in North America, several photo graphers (singly or in groups) have now managed to obtain short-term grants or funds for the setting up o f photographic units within comm unity, neighbourhood or youth projects. Here photography can be explained to and used by laypeople. This is done by starting with simple cameras, or video, and then gradually working through to the more technically advanced equipment, linked to darkroom and printing skills. This puts photography into the hands o f a lot o f people who will eventually be able to dispense with the experts. This move has provoked some reaction from those who have fought for years to gain for photography the status o f a Profession, elevating it via O and A Level exams and degree courses out o f the grasp o f the majority o f people. But o f course such policy is entirely in keeping with our hierarchical class society. The middle class mystifies and refines knowledge; at the same time it manages to rationalize its activity by convincing us that this is all in the interests o f progress and economic growth. Photography as a tool is far removed from such attitudes because it negates elitism. The main objective here is to enable people to achieve some degree o f autonomy in their own lives and to be able to express themselves more easily, thus gaining solidarity with each other. It also helps to some extent to demystify media and to make the relationship much less o f a one-way affair. This is a far cry from the passive and abject individual problems o f those depicted in charity appeals. Basically though, they could be the same people - just totally different approaches. Agitators or objects o f pity - which to choose? Other photographers, interested in the problems o f poverty and oppression, work for charities. There are now over 400 national bodies dealing solely with children; some o f them now employ quite sophisticated techniques to attract our attention and make us feel guilty. Using inter national advertising agencies we are sold the illustrated saga o f the under-privileged and those suffering from the ‘ cycle o f deprivation’ (or could we call it the cycle o f exploitation?). Such appeals are usually graphically presented on glossy paper, tastefully designed, with suitably abject women or children on the covers. Usually such photographs are taken by people o f a different social class from those depicted. These photographers have a difficult task; they are concerned with the plight o f their subject matter, seeing the medium o f photography as the only way in which they can help present a case for consideration. However, the major problem to be overcome is that in depicting people whom they (as outsiders) consider would benefit from the public stare, it is usually more profitable to show only the bleaker side o f people’ lives. However, such s ‘ victims’ can react very violently when faced with pictures o f themselves as potential recipients o f charity handouts. The integrity o f photographers faced with this situation, and who arc trying not to be patronising, hangs by a very fine thread. Eventually when such pictures (heavily edited) are used, they are accompanied by statements which disocciate themselves from politics. Such reports and azines and community presses. They concen trate on industrial and community action, showing solidarity among people, unlike the mass press which often depicts only the struggle o f the individual. Other collectives have formed to record life in the neighbourhoods o f working people, whilst others are recording social cond itions and inequalities. Linked to statistics, or used in juxtaposition with glossy advertising myths or official documents, or alongside interviews with the people depicted, individual or national issues can be highlighted in order to reveal the lack o f understanding o f the planners and decision-makers who shape our destinies. Such work is also used away from galleries, in high streets, public meeting places and in education, as a mirror to show events considered ‘ un-newsworthy’ by the national press. Other photographers, because o f their disill usionment with the highly competitive job market, and because o f a genuine identification with the need for social change, have gravit ated towards alternative magazines and books. These cover a wide variety o f issues ranging from community action, anti-psychiatry and radical social work, to feminism and children’ rights. s Such work has deeper political perspectives but it reaches a more limited audience. Gener ally there is very little financial reward from it. these photographers often having to supplement their income with other types o f work. What long-term results community activists can achieve with photography still remains to be seen. Funds and grants are hard to get (and much competed for) and are always given conditionally. Some photographers have already been threatened with the withdrawal o f their funds because they have supposedly gone too far. Hopefully people in their own neighbourhoods are not already so alienated from themselves and from each other that they will adopt techniques o f dishonesty or exaggeration in their picture making. Those who have their roots in a neighbourhood cannot afford to photograph people as mere ‘ things’. They still have to live with each other after the pictures have been produced. This has o f course been a problem for photo graphers for a long time; however involved they are, they still have to gain the confidence o f their subject matter in order to get their pictures (be they paid models or the unsuspecting general public). Then, having gained their objective.thcy can go back to their clients, potential markets, or private collections, more often than not closing the door on the lives o f those with whom they were tempor arily involved. Common sense might tell us that this is often due to lack o f ttime. Is it as simple as that? Or is it part o f our demarcation o f personal life and professional life? Page 2 Helmut Newton -Review moneyed elite of Europe. He’s preserving his role as untalented actresses preserve theirs. Very unusual. It ’s not quite pornography and yet it ’s very artistic. Very artistic pornography, on the fringe of it. I like the way he cuts people in half and only shows half the person. Fashion photography can be as mouth watering as candy-floss. As ephemeral as a fruit fly, it is allied to a ruthless selling machine. It is repres sive. fetishist, mystifying and obscurantist. It trivialises with glossy efficiency. It is part of a culture industry that absorbs protest and a li enation by making it 'fashionable.' It often has a wit and panache which other, more solemn, photographers could usefully emulate. They are a little bit too far out. Probably this is the only gallery that would put them on. I was here at the opening - you couldn’t move in there. It ’s a very popular show, but I somehow feel they are far too erotic. It ’s a breakaway, but for something lasting, no. You might just as well buy MAYFAIR... Currently, the fantasies of Helmut Newton are appearing at The Photographers' Gallery. 8 Great Newport Street. London. Tom Picton asked people what they thought. 1 half expected to see a picture o f the Fuehrer in the background. It was sort of that time. I thought they were very good. 1 think they were a bit strange actually. They didn’t turn me on. I didn't find them erotic, and I found a rather revolting one of people’s innards that somebody was wiping her eye with. Excellent photographs as photographs; beautifully printed and interesting, but they weren’t quite my type o f photograph. I like it. I really enjoy what they do because it changes into something really literate and glossy. I like it. Very erotic. I ’ve seen most of them before actually. Strange prints, the colour prints were amazing. The pictures I ’d seen before, I ’d seen in PHOTO and VOGUE and things like that. It was just interesting to see very good colour prints of them. I work in advertising. As photos I think they are amazing. We thought it was disgusting. Filthy. Some of them showing their fannies and their tits. Some shows their bums. I think some of them were quite good in a book. Some of them show their winkles...that’s quite good. Are we going to be on telly? I ’ve just come from the pub and I ’m sloshed out of my mind. They were fascinating. I ’ m a painter, and I was just stunned by them. They’re amazing. I didn't like the David Hockney ones at all, I thought they stood out as being very bad, very contrived. The ones that were a bit like Hockney paints were rather nteresting pictures. I thought they were very good, beautiful colour. I can't talk about the content. The colour is the content. I didn’t think they were porno graphic at all. I liked the 1950’s atmosphere. A lot of them were very similar to paintings, like Lichtenstein. Some of them are nostalgic, some of them are much more up to date, but I particulary like those two at the back, like the 1950’s starlet pictures from Cannes, but they were the best of the lot, but less open. I thought they were fabulous. They are very sexy and very provocative, but not porny or nasty or dirty photographs at all. They are beautiful photographs. What a rip-off - Edward Weston did better than that in 1939. You’ve got to have something to stimulate you I suppose. He likes to take photographs in front o f nude girls. He’s rich now and he’s going to get even richer. They seem to belong to a world and I ’ m standing outside them, a world to which I have no entrance as it were. He’s taking photography, not seriously, but using it for his own fantasies and that’s alright because they are unpretentious in certain ways. I think I ’d have to look at it about three or four times, but it would be a long time before I could form an opinion. I don’t think it ’s porno graphic though at all. The Sunday Times lead me to believe it was pornographic...that's what made me come here actually. To see Picasso’s daughter without a dress on I thought would be more pornographic than it was, and it wasn’t at all. Nothing at all. To me they are pretty much meaningless. I can’t really express myself about it very clearly but somehow I am a bit edgy about the fact that the man is basically a fashion photographer and he seems to be going away from what it should be. I think they are very decadent and the backgrounds he uses and the actual colur are very, very sick, and 1 like them because of that. They’re not pretending to be art -- they are one man’s fantasies and we can indulge in them simply because they are in exhibition form. I didn’t think they were too decadent. I felt a little guilty once or twice. I thought it was terrible. I thought it was sexist crap. There is no reason to do what he does except to make sexist images as far as I can see. It's not about photography; it's not about documentation. I don’t see that it is about anything except preserving his role in the We liked them quite a lot. I thought they were erotic for him, but not for me. Alternative Technology Terry Dennett We are often asked if there is any real altern ative to the yellow box company or Ilford or Agfa. The answer is a very big YES. Every year thousands of new ideas and methods arc suggested but only a few o f these find their way into the mass market: the rest arc allowed to lie unused in the pages of the abstract journals. Tlie reason for the use or non-use of an idea or product is often baser! on economic or market ing policy, rather than the technical value of the commodity to the photographer. In England today this increasingly means less choice at a period in history when there is photographically more and more available everywhere else. American visitors quickly discover the truth of this statement. No variable contrast paper, no Codelite enlarger heads (which enable one to deal in 12 contrast grades on one sheet of paper), no Selenium toner etc. This situation exists because of dependence on large corporations for research, manufacture, and for importation. It is an aim of the Half Moon Photography Workshop to end this dependence by providing a frame work in which alternative photo technology, research and development groups can work and publish information. This article is intended to help others with similar ideas to get together. If you have been working on your own. refining techniques or formulae: if you can build your own cameras and equipment, or know the photographic reference books inside out, we would lik e to hear from you NOW. Also those who possess few skills but do have the desire to be self-reliant. A G EN ERA L STRATEGY ALTERNATE PHOTO TECHNOLOGY FOR A T. does not mean making everything oneself. It means becoming self-reliant by acquiring the organisation, knowledge and technology to be capable of making anything when the need arises. We arc primarily photographers (people who make and use photographs). We study the craft aspects in order to gain more intimate understanding of the material potentials of photography (a potential which is diminishing due to the current lack of basic craft training and practice) and in order to develop precision, method and insight. A T. photography does not mean that every individual must become an emulsion chemist or a camera mechanic. It means that individuals with or without the required knowledge organize together in a group in order to make the material they need, research their subject in practice (and quite often add new or creative ideas in the process) and then publish the results for the benefit of others. Additionally it is essential to build up a communications network. With the estab lishment of the HMPW in its own building these aims can be brought to fu ll fruition. Meanwhile we can make a start by sharing infomation and establishing personal links. I f you are interested please contact us. A.T.also means getting together to import or bulk buy existing manufacturers’ products. I f you can't get any basic item, drop us a line (s.a.e. please). A.T. METHODS : ONE RA PID REVERSAL OF T R I X OR HP4 FOR BLACK & WHITE SLIDES In future issues we w ill bring you other original or little known methods. If you have anything to contribute please write. Rapid reversal systems have been known for some time but their use with conventional slow and medium speed emulsions often leads to a result with quite high contrast: which is unsuitable for general pictorial applications. An interesting exception to this is T R I X (or HP4). These films are inherently soft in contrast and possess a long tone scale which is not unduly distorted by the contrast inc rease produced during the reversal process. The following simplified technique has therefore been worked out to provide a quick method of making B & W slides which requires no more time or effort than is needed to process black and white negative film. The method has been designed for use with the commonly available Johnsons Contrast devel oper: other materials such as Ilford FF Contrast can also be used provided an adjustment is made in exposure and developing times. The first developer w ill process two 35mm films without loss of quality, the bleach and clearing baths may be used u n til their action is inconveniently slow. Refer to Jacobson’s ‘ Developing’ published by Focal Press for details of how to mix photographic chemicals and make solutions if you are not familiar with the procedure. This book also gives a good general background on the theory of reversal process. FILM SPEED TEST Reversal film has very little ‘latitude’ : exposure must therefore be correct (to half a stop with T R I X). This is achieved by setting the exposure meter to an E l (exposure index or A.S.A.rating) of 200 and then shooting a test strip from your largest to smallest aperture with the shutter speed remaining at the setting indicated for A.S.A. 200 with an aperture in the middle of the range. Process the strip o f film and note the best exposed frame. Check the exposure with your meter: it may be A.S.A. 200 or 160 or even 320 depending on the transmission of your lens, your exposure meter, and personal preferances for slide density and detail. Whatever it is, set this E.I.(A.S.A.) on your meter and then shoot correctly exposed slides thereafter. Rapidly reversed T R I X produces fine, softly graded slides in diffused daylight conditions. It is also good for copying prints or making inter mediate positive negatives for contact negative processes. The grain is also quite fine - try it and let us know how you get on. Any type of light can be used to re-expose the film. Try about 2/3 minutes with daylight, flourescent or tungsten. If the time is correct the film w ill fully blacken in the redeveloper in two minutes. I don’t like them a bit. 1don’t like that sort of pornography. I find it exploiting, nasty, evil, horrible - and I didn’t like the look of him either. PROCESSING SOLUTIONS First Developer: ....... lOOcc Johnsons Contrast Developer Water 900cc Potassium Thidcyanate 10% solution . . . 50cc Bleach Bath: Potassium Dichromate Water •Sulphuric Acid Cone. Water to make 12gms 750cc ............ 15cc , ,...1000cc •mix only in the above order - never add water to acid. Clearing Bath:^ Sodium Sulphite .........10% solution Re-developer: Any paper developer as per manufacturers instructions or use. Johnsons Contrast lOOcc Water SOOcc Fixer: Any fixer'at normal times for negatives. Try AMFIX'. /ST h-MtU AT 70*F £) 30 «C- Wa s h I () j 3 h/u If) 30 $ Be c a c h WASH I H tH ( ) fl detentk (iee tMcve) (f) 2 m»J (f) U/AStf ( ) 3osec P it 9 fa) k h i / j h a s h CHEM ICAL SUPPLIES The raw chemicals required may be obtained from: Melbourne Photographic, Norgetts Lane.Melbourn.Royston,Herts, or: Ray Colour Ltd., Rayco Works, Blackwater Way.Ash Road, Aldershot .Hants. Page 3 News HALF MOON EVENTS: Ju mble S a le and A u c t i o n w i l l ta k e p l a c e a t t h e H a l f Moon T h e a t r e on Sunday, 22nd F e b r u a r y , fr o m 3 p.m. o n w a rd s . A d m is s io n 50p - b u t t h i s amount w i l l be knock ed o f f y o u r f i r s t p u rc h a s e on p r o d u c t i o n o f e n t r y tic k e t. Thanks t o e v e ry o n e who has d o n ate d p r i n t s , e q u ip m e n t and m a t e r i a l s we now have a good amount o f j u m b l e and a l a r g e s e l e c t i o n o f o r i g i n a l p r i n t s - th o ug h we s t i l l need m ore. I f you w o u ld l i k e t o g i v e a n y t h i n g t o t h e j u m b l e s a l e p le a s e g e t i t t o us by 2 1 s t F e b r u a r y . O r, i f you want t o d o n a t e o r i g i n a l p r i n t s make s u re we have them one week b e f o r e t h e s a l e so t h a t th e y can be e x h i b i t e d a t the g a l l e r y . I f you want a n y t h i n g c o l l e c t e d , r i n g Mike a t th e w o rk s h o p o f f i c e - 01 k88 2535 . P r i n t S a le E x h i b i t i o n : a l l p r i n t s g i v e n f o r p r i n t a u c t i o n w i l l be e x h i b i t e d in t h e g a l l e r y fr o m 13t h 20th F ebruary. Next Show: t h i s i s by C l a i r e Schwob and w i l l c o n s i s t o f w o rk from h e r p r o j e c t on women (see c o v e r p i c t u r e ) . The o p e n in g p a r t y - on t h e same day as t h e Ju mble and P r i n t S a le - w i l l be on 22nd F e b r u a r y a t 2 p.m. S l i d e A r c h i v e : we have begun t h i s a rc h iv e w it h co p ie s o f a l l rece n t e x h ib it io n s a t the G a lle ry . W e want t o expend t h i s w i t h t h e w o rk o f contem porary B r i t i s h pho to g ra p he rs so t h a t we can b u i l d up a comprehen s i v e r e c o r d o f B r i t a i n w h ic h w i l l be a v a i l a b l e f o r loan (s ee s t a t e m e n t o f a im s ). I f you w o u ld l i k e t o s u b m it w o rk f o r i n c l u s i o n p le a s e c o n t a c t t h e •o rk s h o p . SOUTH ISLAND CHILDREN'S WORKSHOP ( P h o to g r a p h y G r o u p ) , a t South I s l a n d L i b r a r y , S o u th I s l a n d P l a c e , London, S.W.9- need v o l u n t e e r s f o r t h e i r s p r i n g and summer programme. W o rk in g w i t h k i d s o f a l l a g e s , i n d o o r s and o u t. We a l s o d e s p e r a t e l y need a g ard en shed t o r e - e r e c t i n d o o r s as a d a rk r o o m . Any o f f e r s t o Genevive D r a p e r - t e l : 01 582 1898. THE MUSEUM OF LONDON, soon t o move i n t o i t s new home a t th e B a r b i c a n , i s a n x io u s t o make t h e museum a c e n t r e f o r s t u d y and i n f o r m a t i o n on contem p o r a r y London (as w e l I as th e C a p ita l's p a s t). They hope t o b u i l d up t h e i r p h o t o g r a p h i c r e f e r e n c e c o l l e c t i o n as a m a jo r s o u rc e o f m a t e r i a l s . P h o t o g r a p h e r s w o r k i n g i n London who f e e l t h e y may be c o v e r i n g s u b j e c t s s u i t a b l e f o r t h e Museum s h o u ld con t a c t them so t h a t t h e y can have t h e i r w o r k vie w e d f o r p o s s i b l e i n c l u s i o n in t h e c o l 1e c t i o n . P r i n t s a r e s u p p l i e d t o t h e museum a t a b a s i c c o s t p r i c e ( i . e . between 50p and £1 ea ch ) and th e n go i n t o t h e i r r e f e r e n c e c o l l e c t i o n and a r e in dexed a c c o rd in g to s u b je c t a n d /o r topo g ra p h ic a l c o lle c t io n . The museum e x p e c t s t o be g r a n t e d p e r m i s s i o n t o use p h o to g r a p h s i n e x h i b i t i o n s , f r e e o f c h a r g e , c o p y r i g h t r e m a in in g w i t h the p h o to g ra p h e r. P ic tu re rese a r c h e r s can th e n have f r e e acc e s s t o t h e i r f i l e s and can make t h e i r own a rr a n g e m e n ts d i r e c t w i t h p h o t o g r a p h e r s f o r use o f p i c t u r e s . I f anybody i s i n t e r e s t e d p le a s e co n ta ct: O l i v e r Green, A s s i s t a n t Keeper Dra w in g s and P a i n t i n g s , c / o K e n s in g t o n P a la c e , London, W.8. t e l : 01 937 9816. VISUAL ARTS AWARDS In 1976 G r e a t e r London A r t s A s s o c i a t i o n w i l l be o f f e r i n g a t o t a l o f £6000 in awards o f £250 and £500 f o r wo rk in th e v i s u a l a r t s . A p p l i c a t i o n s a r e i n v i t e d fr o m : V i s u a l a r t i s t s w o r k i n g i n any medium and l i v i n g i n G r e a t e r London: t o en a b l e t h e a r t i s t t o s e t a s i d e t im e f o r c o n c e n t r a t e d w o rk a n d / o r t o p u rc h a s e m a te ria ls . A r t c r i t i c s and r e s e a r c h e r s in a r t s e r v i c e s l i v i n g in G r e a t e r London: t o e n a b l e a s p e c i f i c p r o j e c t t o be undertaken w h ic h , in t h e i r p re s e n t s i t u a t i o n , is not fe a s ib le . F u r t h e r i n f o r m a t i o n can be o b t a i n e d fr o m Caryn Faure W a lk e r , V i s u a l A r t s O f f i c e r , G r e a t e r London A r t s A s s o c i a t i o n , 25/31 T a v i s t o c k P l a c e , London WCIH 9SF. CHILDREN PHOTOGRAPHED. An i n v i t a t i o n by C h i l d r e n s R i g h t s Workshop and Ikon t o s u b m it p i c t u r e s f o r e x h i bi t i o n . IKON i s a d e s ig n and i l l u s t r a t i o n re s e a r c h s e r v ic e t o p u b lis h e r s w is h in g t o p ro d u c e books w h ic h make e x te n s iv e use o f v is u a l m a t e r ia l. The C h ild r e n s R ig h ts Workshop i s a s m a ll v o lu n t a r y a gency c o n c e rn e d to re a s s e s s th e m a t e r ia l, i n t e l l e c t u a l a n d e m o tio n a l c h o ic e s a v a ila b le t o c h ild r e n i n modern s o c ie t y . C h i l d r e n have been an a b s o r b in g sub j e c t f o r pho to g ra p he rs s in c e th e v e ry b e g i n n i n g s o f p h o to g r a p h y i t s e l f . In a l l p r o b a b i l i t y more p i c t u r e s have been ta k e n o f c h i l d r e n th a n o f any o t h e r group. a p p ro a c h e s o f i n d i v i d u a l p h o t o g r a p h e rs. We w i l l see how p h o to g r a p h y f o s t e r s , r e i n f o r c e s , o r even c r e a t e s c e r t a i n images o f c h i l d r e n and how, i n t u r n , th e r e p e t i t i o n o f t h e s e images becomes a new ' r e a l i t y ' and can even e s t a b l i s h a p p a r e n t norms. The e x h i b i t i o n i s t o t o u r th e r e g i o n s f o r two t o t h r e e y e a r s and w i l l be shown p r e d o m i n a n t l y in p u b l i c p la c e s such as s h o p p in g c e n t r e s , l i b r a r i e s , h o s p i t a l s and r a i l and bus s t a t i o n s . In t h i s way i t i s a n t i c i p a t e d t h a t i t w i l l be happened upon by a mass o f p e o p l e who w ould n o t o r d i n a r i l y v i s i t e x h i b i t io n s . Everyo ne p h o to g r a p h s c h i l d r e n i n a way p e c u l i a r t o th e m s e lv e s . But what do we know o f t h e v a r i e t y o f m o t i v a t i o n s w h ic h b r i n g t h e p h o t o g r a p h e r s and c h i l d r e n t o g e t h e r ? What do we know o f t h e v a r i e t y o f t h e i r i n d i v i d u a l methods o f appro a ch ? What a re t h e i r t h o u g h t s when t a k i n g th e p ic tu re s ? What a r e th e y t r y i n g t o show? How much m a n i p u l a t i o n , i f a n y , do th e y employ? How in v o l v e d do t h e y become w i t h th e c h i l d r e n ? L a s t l y , how i s i t t h a t two p h o t o g r a p h e r s , w o r k i n g in th e same s i t u a t i o n a t t h e same t i m e , w i l l t a k e two d i s t i n c t l y d i f f e r e n t se ts o f p ic tu re s ? A l l o f th e s e q u e s t i o n s have more t o do w i t h p e o p le th a n camera e q u ip m e n t. I t i s v a l u a b l e t o p r e s e n t and d i s c u s s t h e a p p ro a ch e s o f d i f f e r e n t p h o t o gra p h e rs to p h o to g ra p hing c h i l d r e n : t o p r e s e n t them in such a way t h a t p e o p l e can see what happens t o c h i l d ren in p h o t o g r a p h s , and how d i f f e r e n t ap p ro a c h e s can say d i f f e r e n t t h i n g s a b o ut c h i l d h o o d and c h i l d r e n , beyond t h e u s u a l f a c t o r s o f a e s t h e t i c s and te chnique. P h o t o g ra p h y p r e s e n t s t h e v ie w e r w i t h a c e r t a i n image o f c h i l d r e n , by s i n g l i n g o u t aspects o f t h e i r a p pear a n c e , b e h a v i o u r and s o c i a l c o n t e x t , i n w h ic h t h e p h o t o g r a p h e r has a vested i n t e r e s t . By p l a c i n g d i f f e . e n t p h o to g r a p h e r s ' w o rk o f c h i I d r e n a l o n g s i d e th o s e rep r o d u c e d in magaz i n e s , books and p o s t e r s , t h e e x h i b i t i o n w i l l d e m o n s t r a t e t h a t i t is n o t o n l y th o s e p h o to g r a p h s w i t h a s o c i a l commentary o r p o l i t i c a l o r moral p o i n t t h a t have messages. A l l p h o to g r a p h s c o n t a i n s o c i a l messages, e x p l i c i t o r h i d d e n , and a l l p h o to g r a p h s o f c h i l d r e n convey messages a b o u t c h i l d r e n i n s o c i e t y . The e x h i b i t i o n w i l l d e m o n s t r a t e t h a t t h e r e a re s e v e r a l k in d s o f ' r e a l i t y ' . T here is th e r e a l i t y o f t h e s i n g l e image; o f two images in j u x t a p o s i t i o n ; o f a s e r i e s o f images ( w h e th e r i t be a p h o to sequence o r g r o u p o f p i c t u r e s ) and f i n a l l y t h e r e a l i t y t o be fo u nd in v i e w i n g a l o n g s i d e each o t h e r th e work o f v a r io u s p h o to g ra p he rs . Such an o v e r - v i e w w i l l le a d us to w a rd s r e e v a l u a t i n g th e v a r y i n g s t y l e s and Phase 2 o f o u r p r o j e c t , now in p r o g r e s s , i s t o document how c h i l d r e n u n d er 5 a r e c a re d f o r in Hack ney, in o r d e r t o be u s e f u l t o l o c a l and n a t i o n a l campaigns a g a i n s t C u t s , and as p a r t o f th e W o rk in g Women's C h a r t e r Campaign. W th e n aim t o e go on and document what happens t o g i r l s l e a v i n g s c h o o l , and what happens t o women i n Hackney when th e y a re t o o o l d t o w o r k . We s t i l l need more p e o p le t o h e l p us. I f you a r e i n t e r e s t e d p l e a s e c o n t a c t M ic h a e l Ann M u l le n a t 7 A r c h i b a l d Road, London, N-7- t e l : 01 607 k728. The g ro u p meets r e g u l a r l y and a re now t a k i n g p h o to g r a p h s . W aim t o e p ro d u c e b l a c k and w h i t e s t i l l s , p l u s a ta p e and s l i d e show. A s l i d e show of W OMEN AT WORK IN HACKNEY, i n c l u d i n g unequal pay s t a t i s t i c s , i s now a v a i l a b l e f o r h i r e from Ms. Joanna Spence, 152 Upper S t r e e t , London, N . l . - t e l : 01 226 0367- The keen and w e a l t h y V i c t o r i a n s re c o r d e d them w i t h t h e s t i f f f o r m a l i t y imposed, in p a r t , by t h e r u d i m e n t a r y e q u ip m e n t . F ra n k S u t c l i f f e shocked s o c i e t y w i t h h i s 'W a te r R a t s ' (nude boys b a t h i n g in th e sea a t W h itb y ). The p i o n e e r i n g o f Lewis H in e g r a p h i c a l l y i l l u s t r a t e d t h e r e a l w o r l d o f c h i l d la b o u r down t h e c o a l m in e s . In more r e c e n t t im e s we have become accustomed t o e d i t o r i a l and a d v e r t i s i n g f e a t u r e s , based on p h o t o g ra p h s o f c h i l d r e n , in th e mass c i r c u l a t i o n newspapers ana m ag a z in e s . A l o n g s i d e a l l t h i s has been t h a t s e l f p e r p e t u a t i n g s o c i a l d o c u m e n t, and s o u rc e o f e n d le s s d o m e s t ic f u n , th e f a m i l y s n a p s h o t a lb u m , t r a c i n g g e n e r a tio n s o f people. Tod a y, th o u g h t h e r e a r e fe w e r j o u r n a l s b e in g p u b l i s h e d , t h e r e a r e p r o b a b l y more p i c t u r e s b e in g ta k e n o f c h i l d r e n th a n e v e r b e f o r e . W h atever c a t e g o r y is g iv e n to the ph o to g ra p he rs - p r o f e s s i o n a l , am ateur, m oth e r, f a t h e r , s i s t e r , b r o t h e r , g r a n , g ra n d a d , o r f r i e n d , each t a k e s p i c t u r e s fr o m t h e i r own v i e w p o i n t , e x p r e s s i n g in th o s e p i c t u r e s t h e i r own f e e l i n g s and u n d e r s ta n ding s o f c h ild r e n . THE HACKNEY FLASHERS COLLECTIVE (we go a ro u n d e x p o s in g t h i n g s ) i s a g r o u p o f women p h o t o g r a p h e r s , g ra p h ic a r t i s t s , d e s ig n e rs , s t a t i s t i c i a n s e t c . , who have a l r e a d y d o c u m e n t in g w o r k i n g women in Ha ckn ey. The e x h i b i t i o n now needs l a m i n a t i n g and p e r m a n e n t ly m o u n t in g so t h a t i t can t r a v e l . To do t h i s we need a t l e a s t £200. Can anyone h e l p us? S u b m is s io n s f o r t h e e x h i b i t i o n a r e welcome fr o m a n y b o d y , o f any a g e , i n c l u d i n g c h i l d r e n , f a m i l i e s and :0 p l e w o r k i n g in g r o u p s , w h ic h must nave been t a k e n w i t h i n t h e p a s t f i v e y e a rs i n t h e B r i t i s h I s l e s . C e a d lin e f o r s u b m is s i o n o f p h o to g r a p h s i s F r i d a y A p r i l 23rd 1976. The o pen in g d a t e o f t h e e x h i b i t i o n is September 1976 and w i l l be a t th e Shaw T h e a t r e L i b r a r y , London. CHILDREN PHOTOGRAPHED d e t a i l s f o r s u b m is s i o n o f p r i n t s (do n o t send p h o to g r a p h s i n i t i a l l y ) f r o m : CRW/IKON, 190 G osw ell Road, London, E .C .I. t e l : 01 253 8215 o r 01 703 7217. IMAGES OF W OMEN NEWSLETTER. T h is in c l u d e s d e t a i l s o f p e o p le w o r k in g on t h i s s u b j e c t , w h e re a b o u ts o f s l i d e s , p o s te r s , v ie w in g f a c i l i t i e s , access t o e q u ip m e n t . I f you want a copy send I2 p t o A n g e la M a r t i n , Base m en t, k C h a m b e r la in S t r e e t , London, N .W .I. (phone 01 722 0395 o r - d a y no. i s A37 k355 x 118). A d ria n J. B r e g a z z i, T re n t P o ly te c h n ic , u e p a r tm e n t o f P h o t o g r a p h y , is r e s e a r c h i n g i n t o "Th e p l a c e o f R o b e rt F ra n k in th e d e v e lo p m e n t o f t h e p h o t o g r a p h i c d o c u m e n t" . I f anybody has a n y t h i n g t o c o n t r i b u t e pe rh a p s th e y w o u ld g e t in to u c h d i r e c t w i t h him a t T r e n t P o l y t e c h n i c , Dryden S t r e e t , N o t t in g h a m , NGI kBU. No p h o t o g r a p h i c p i c t u r e t h a t e v e r was ta k e n i n heaven o r e a r t h , o r in th e w a t e r s u n d e r n e a t h th e e a r t h , o f a n y t h i n g , o r s c e n e , however d e f e c t i v e when measured by an a r t i s t i c s c a l e , i s d e s t i t u t e o f a s p e c i a l , and what we may c a l l an h i s t o r i c , i n t e r e s t . E v e ry fo rm w h ic h i s t r a c e d by l i g h t is t h e i m p r e s s io n o f one moment, o r one h o u r , o r one age i n t h e g r e a t passage o f t i m e . E l i s a b e t h , Lady E a s t l a k e in ' Q u a r t e r l y Re v ie w ' 1857 P h o t o j o u r n a l i s t s , whose j o b i t i s t o lo o k f o r r i o t s and t r a i n w r e c k s , and o f t e n a r r i v e a t t h e sce ne i n v i b r a t i n g camera s h a k in g w h i r 1e y b i r d s , a r e t u r n in g t o t h e m o to r d r i v e . These p ro s must have a camera th e y can t r u s t t o g i v e them t h e s p l i t second a c t i o n o f a m o to r d r i v e no n a t t e r how h o s t i l e t h e e n v i r o n m e n t . In t h e i r b u s i n e s s , t h e r e i s no excuse f o r a m is sed p i c t u r e . . . .These p h o t o g r a p h e r s t r a v e l l e d a l l o v e r t h e w o r l d on P r e s i d e n t i a l m is s io n s , to in t e r n a t io n a l co n fe re n c e s , w a r s , d i s a s t e r s and s n o r t i n ' e v e n ts ‘ A a v e r t is e m e n c The OTHER Cinema i s t r y i n g t o r a i s e money to w a rd s o p e n in g a new cinema w h ic h w i l l be co n c e rn e d w i t h a ' s o c i a l ' o r ' c r i t i c a l ' a p p ro a c h t o f i l m , as opposed t o ' c o m m e r c i a l ' cinema o r ' a r t ' cin e m a . They a r e p l a n n i n g t o h o ld s e m in a r s and co n f e r e n c e s t o d i s c u s s f i l m s , media and c u l t u r e in g e n e r a l . The B . F . I . has p ro m is e d £ 1 7 ,5 0 0 p r o v i d e d The OTHER Cinema can match i t . They have a l r e a d y fo u n d a p o t e n t i a l b u i l d in g i n C h a r l o t t e S t r e e t , London, W .1. so p le a s e h u r r y and send d o n a t i o n s t o them a t 12/13 L i t t l e Newport S t r e e t London, W.C.2. Or i f you want f u r t h e r i n f o r m a t i o n c o n t a c t Pamela Engel o r N i c k H a r t - W i l l i a m s on 01 73k 8508. SCAN - a new f i l m magazine SCAN w i l l s e r v e as an e x c h a n g e / s h o w c a s e / p l a t f o r m f o r anyone u s in g f i l m who needs c o n t a c t s / f i n a n c e / feedback. By a d i s p l a y o f j o t t i n g s , b l u e p r i n t s , c r e d o s , schem ata, sce n a r i o s , s t o r y b o a r d s and s t i l l s - in e f f e c t th e ' w o r k i n g s ' o f f i l m p r o j e c t s - r e a d e r s w i l l be o f f e r e d a c l e a r s i g h t o f th e m o t iv e s and p r a c t i c e s o f f i l m - m a k e r s and p h o t o g r a p h e r s (we in t e n d t o s u b s c r i b e t o a more co m p re h e n s iv e c o n c e p t o f * f i 1m u s e r ' ) . C opie s o f SCAN a r e a v a i l a b l e from K e i t h Kennedy, 13 K y r l e Road, London, S . W . I I . a t 20p (25p i n c p £ p ) . In te n d in g c o n t r i b u t o r s a r e a d v is e d t o examine SCAN I b e f o r e s u b m i t t i n g m a t e r i a l f o r t h e new i s s u e . SCAN 2 w i l l be d e v o te d t o ' F i l m i n E d u c a t i o n ' F u r t h e r i n f o r m a t i o n from G i n n i e A t k i n s o n , John M i t c h e l l , J i n i R a w lin g s o r Graham Sowter - day 01 801 1235 ex 13 ( a s k f o r SCAN). " L e t ' s Make a F i l m " F e s t i v a l . London Co-op E d u c a t io n D e p a rt m e n t, 129 Seven S i s t e r s Road, London, N.7- a re o r g a n i s i n g a n a t i o n a l young p e o p l e ' s film fe s tiv a l. C lo s in g d a te f o r a p p l i c a t i o n s i s March 1 s t 1976. W rite t o t h e Deputy E d u c a t io n S e c r e t a r y a t above a d d re s s f o r e n t r y fo rm s and d e ta ils . The f i c t i o n i s a l r e a d y t h e r e , th e w r i t e r ' s ta s k is t o in v e n t the re a li ty . J . G. B a l l a r d I t ' s e s s e n t i a l t o u n d e rs ta n d t h a t o u r e x h i b i t i o n i s n o t a b o u t a r c h it e c t u r e . I t ' s n o t n e c e s s a r ily a b o u t town p la n n in g . - LARRY HERMAN I d o n 't see m y s e lf a s a p h o to g ra p h e r as s u c h . I j u s t happen t o use t h i s t o o l . - RON McCORMICK I am n o t s u re any m ore w h e th e r yo u s h o u ld make c o n c lu s iv e s ta te m e n ts . NICK HEDGES Page 4 “Well, its a nice beginning!” Photography is always being reborn. Fresh green shoots break through the gravestones o f the big magazines, avoiding the blunt scythe o f television and shrinking advertising budgets. A new generation o f photographers appear. Most have never worked fo r a magazine or newspaper or taken an advertising photograph. They think o f themselves as documentary photographers or photojournalists, hut their craft deserves a new>name - com munity photo graphy. Unimpressed by editorial authority or deadlines, they like to spend a long rime living with the people they photograph. They reject the fly-in, fly-out coverage o f the photo journalist. The best lack scientific detachment o f the docum entary which preserved the patina o f poverty on large camera or slow film. Community photographers do not steal pictures. Through economy and faith, they are opposed to the aggressive magazine or agency photog rapher hung around with half a dozen cameras. How did it happen? Ron McCormick: Originally the RTPI (Royal Town Planning Institute) just wanted a set of pictures for their annual conference and they’d seen a set on Oldham that’s in a book and asked for them. I think this was about a year before their conference. I thought about it for a month. Decided it would be nice to do some thing new, something fresh, went and put the idea to them and they were keen. I spent a few weeks thinking about it. Talked to Larry and to Nick and we went back to them and said we would like to look at the nature o f the urban environment and how people were living in cities. Nick Hedges: Ron was at a wedding and also at the wedding was the President o f the Royal Town Planning Institute. He got chatting to her and sold the idea of doing it. He very generous ly decided that he couldn't do it by himself and at that time our bigger group o f seven or eight people had folded up and we were looking for something that we could do as a group and he suggested this. That’s really the bare bones of it. Her presidential year ended at this annual conference in Bristol which is where the exhib ition was on first of all. The theme of her presidential year had been ‘Problem in the City’. The other thing that was interesting to me is that they didn't really want to know what we were going to say. No interest at all. until actually it was done. Completely open brief, no suggestions as to what we should photograph. I rather regretted that in some ways, I mean it’s all very well working in a completely open way, you then begin to wonder if they are really interested. What was the altitude o f the Royal Town Plan ning Institute? Ron McCormick: They had a certain amount of faith in me because they’d invited me, they’d seen my pictures. I said I’d like to do something new about the cities, very abstract at that stage, but a completely new exhibition and I’d also like to bring in a couple o f other photographers. I said it would cost them money which it wasn't going to do before. Did you just go to them with the final package, or were they sort o f talking to you all along? Ron McCormick: All along, really, it grew. I mean the second stage was after they accepted that it was going to cost them money which it wasn’t going to before. The three of us sat down then and drafted out a synopsis, there was about six pages or something, a synopsis for the exhibition broken down into headings and areas of concern within the exhibition with some quotes, textual quotes, and we also gave them a portfolio o f photographs, about a dozen photo graphs which we said would be the sort o f pic ture which we saw in the exhibition, the way we could see it developing. So they had quite a big package and we, at the same time, drafted out a budget o f some sort, which in fact turned out to be half the final budget and which they accept ed. That was about fifteen hundred. Half the budget which they had to pay ? Ron McCormick: It was an underestimate. How did you estimate it? Ron McCormick: Just roughly through our own experience. A sort of rough fee for ourselves which we increased later, some sort o f notional estimate of film stock, travelling expenses and mounting expenses. This came to about £1,500. The whole way the project was funded just didn’t allow any of us to work on it full time. It took a lot of our time. Out of a year it sort of In Britain they are financed by grants to 'social ly aware' photographers from business, the Arts Council, Regional Arts Associations, charities and a few courageous professional institutes. Money is available fo r com munity photography, part o f the move to 'thinking small '. ‘Problem in the City’ was produced by Ron McCormick, Nick Hedges and Larry Herman for last year’ annual conference o f the Royal Town s Planning Institute. In 32 targe panels it boldly combines photographs with quotes from books, newspapers, government reports and interviews. The pictures were taken in many cities and locations including Clydeside, the South Coast, Greater London. Merseyside, West Midlands. Tyneside and South Wales. When this important exhibition arrived at the Institute o f Contemporary Arts in London. Tom Picton went to talk to the photographers. He spoke to Ron McCormick and Larry Herman together, followed by Nick Hedges. As he asked them the same questions, ice have combined the answers. ate up about five or six months solid for each of us. For that we got £1.200 between three o f us from the RTPI. £400 for six months' work. Did that include all the mounting? Ron McCormick: No. that was on top. That was a straight fee. The way we budgeted it was a straight fee. plus all expenses on the top o f it. The total cost o f the exhibition was £2,700. That was all in ? Ron McCormick: Of which £1.200 went to us. So who did pay fo r it in the end? Nick Hedges: It was paid for by the Royal Town Planning Institute and by the Arts Council. The Arts Council made a grant to the RTPI for the purposes of a photographic exhibition. Do you know how much they gave? Nick Hedges: Not off hand. I think it was something like seven-five hundred pounds. Letchworth Garden City gave two fifty, so the RTPI had to find about fifteen hundred, I think, or maybe a bit less than that. I don't know. So what did Letchworth Garden City get out o f it all? Nick Hedges: They had a few photographs of Letchworth Garden City in the exhibition. Ron McCormack: There were certain actions which we took right at the beginning which es tablished a freedom for us which was quite im portant. This was very important to actually have that freedom, to make a statement, which they necessarily weren't going to accept and to get them to pay for it, needed a hell o f a lot of organising and good faith. From what y o u ’ve been saying. / gather you had no constraints from the Town Planning Institute? Ron McCormick: Absolutely none at all. Larry Herman: While we were editing and shooting, we did on a couple of occasions show the RTPI the photographs. Our working rela tionship with the RTPI was fine, wasn't some thing we presented to them at the end and they said, ‘Christ, look what they've done.' It wasn't like that. I feel very friendly towards them. It's essential to understand that this exhibition is not about architecture. It’s not necessarily about town planning, but basically it's about the people who are affected by these two orienta tions. these two pursuits - town planning and architecture. Ron McCormick: That’s right. It's very much about the link in between - this is the people and this is the nature of the environment they live in and how they have to come to terms with it. how they live within it and the things that are good and the things that are bad. Larry Herman: By and large these new projects.lhese new developments are jerry-built. They’re not going to last. They’re built to make profits for the next generation of developers. Ron McCormick: Very important. They're also built without any real understanding of quality of environment. Look at the Red Road flats in Glasgow. Can you honestly tell me that much thought was put into quality o f environment for people who live on the thirtieth floor, or down on the ground? Larry Herman: The thing is you see that under lining development in this country is the profit motive. Underlining, directly, vast sums of money have been made. One o f the captions says, at the top end o f the pile, a hundred men have shared over £400 million. This is what motivates this country. It's tempered from time to time by liberalism and a Christian conscience perhaps - for want of a better expression - but it’s profit making. It’s capitalism, and this is what’s the sickness o f this society. This exhibi tion is one more agitational effort. All over this country people are becoming aware. I f i t ‘ an agitprop exercise, why do you show it s in a place like the ICA ? Larry Herman: Basically for two reasons. One reason is that the ICA hanging here was done with the people involved in town planning and architecture and government. We would hope that they would come. Give them an opportun ity. But the exhibition is going to tour for a couple o f years and it's going to tour all over the country. In that time it’s going to give an op portunity for people who are not professional town planners to see the exhibition and to show them that this is what three photographers have discovered. I went into this exhibition because o f certain orientation, certain political orienta tion, but I discovered many things about this, about new housing and old established housing and essentially I discovered that people for the first time in our generation, at least, are articu lating this great separation between them and the people who govern them, make the rules. And I think this is happening on the shop floor, and is also happening in individual communities at a very, very local level, street organisations beginning in this country for the past four or five years, and this is a start. And I think it’s just a matter o f time before people, you know, demand democracy in this country. At the moment people don't have democracy, they live under an oligarchy, certainly not a democracy. Ron McCormick: Do you think. Tom. that there would be somewhere else better to have shown this exhibition? The problem is always who actually sees what you do. I f you produce a radical magazine, who is reading it? Ron McCormick: In that sense. I think this is probably one o f the best places that we could show it at, because it’s one of the few places that architects and planners deem worth visiting. The number of architects’ shows they put on here, the number o f symposiums and archi tectural debates. We very much had this in mind. Does the ICA < Institute o f Contemporary Arts, London) hire it out ? Ron McCormick: The ICA hung the show for nothing and they produced posters, gave the space and we organised the crates and had it all mounted up and it’s all coated in plastic so it can’t come to much harm so it’s all light and easy to hang. And the ICA now tour it at a basic cost to cover transport, insurance and the cost of producing posters. They've taken it over, have they? Ron McCormick: We asked them to take it over. By showing it here was a way o f getting someone to take it over. It was one of those delicate negotiations. They’re going to deal with the administration. We just forget it. We’re photographers. We don’t want to spend our time lugging this thing around and hanging it. Tlie ICA can do it. What do you think putting text, as you have, adds to the exhibition? Larrv Herman: I think it breaks down one as pect o f the drawback of photography, being simply visual. People use words, people might think conceptually in images, but communicate in words. And I think that, perhaps besides from music - which is considerably universal words are much more viable means of communi cation in many ways and combining the photo graphy and text sort of overcomes this draw back to photography. One o f the interesting things, one o f the things that editors have always said about photography is that i t ’ difficult to edit your own pictures. s That one o f the great arguments with the jour nalistic magazines is that you had to separate the functions o f photographer, writer and editor. For example, i f a photographer had bled to get a particular picture, he didn t particularly want that one thrown out. But you did the whole process. Ron McCormick: We’re very aware o f the whole editing process. That produced dilemma after dilemma, not just as we were actually shooting and going through it, all that, but then in terms o f what aspect we were going to explore further. But when it actually came, we had all the pictures there on the floor, -we actually di vided them into two piles, good pictures and not-so-good pictures. How did you gel to that stage ' Ron McCormick: We went through each other’s contacts, pointed out things that we thought were...If I suddenly saw on Larry’s contacts a picture which I thought had a place in the exhib ition and he hadn't printed that. I’d say. ‘Well. Page 5 Interview can we see that?’ And we just built up until we had about a thousand proof prints. Larry Herman: The main thing was that we didn't edit these things by ourselves. We edited with three different people. And I assure you that we did fall out. did have arguments. Three different people, do you mean three other...? Ron McCormick and Larry Herman: No. Among ourselves. Larry Herman: And we did disagree and we did agree. I mean, all these pictures, maybe less than a handful we all agreed, this picture, not that it was a good image, but because it was a good image because it was placed in context. And it was very much of the group working together and editing each other. We saw each of our contacts and proofs, talked... Ron McCormick: The editing process was quite a valuable experience for us. We ended up with a pile of about a hundred what we thought were acceptable pictures, and this other much bigger pile of practically rejects. Three piles. One pile of rejects was just out. the second pile o f practi cally rejects, and we might go to them if we need, and we found that through editing, actual ly having to illustrate a concept, we were contin ually having to go to what we didn’t consider as being good pictures. Because in those piles were pictures that illustrated a point. What is it that makes a good picture? Is it some sort of high blown. almost line-art aesthetic or is it a criteria that is determined by its illustrative capacity? We ended up by having to use pictures on many different levels. Some levels, the pictures stood on their own right, sometimes didn't even need captions, didn't need any sort of text references at all. In other cases, they worked very well with another picture, two pictures together. And in the third case in which photographs were almost used as punctuation to extend an idea to another section. We didn’t use them just because they were pictures in their own right and they could stand on their own. they acted as some sort of link. They were like the ‘ands’, the ‘ifs’, and the 'huts’ that one would use in a sentence. How were these panels put together? Ron McCormick: These early panels are very broad conglomeration o f city images. They begin to talk about people. They begin to talk about how people live in their environment. An other point o f view that I think is quite impor tant that we should make, we never actually saw any difference between the text and the pic tures. We always saw the text and the pictures working on parallel lines, one complementing the other. Larry Herman: Not illustrating the other. Ron McCormick: Not illustrating and neither one or the other having predominance. So we hope that when the people go around, not only are they struck by the images, but they actually spend time looking at the text and reading it. It makes a very strong political point then under pins what is being said in the pictures and vice versa. The two work hand in hand. It’s not a question of a whole page of text and you have a little picture up in the corner. Both the text and the photographs have equal validity in our eyes. Who laid it out? Did you lay it out on a floor or on a table? Ron McCormick: Yes. What we did was we took over this warehouse and built within it a huge room, so that we had plenty o f wall space to actually use. plenty of floor space. We took all the pictures there with all the text and we worked out some sort of rough skeleton for the exhibition in terms o f concept, idea, and then began to break the pictures up into those areas so that these pictures were defin itely in the introduction, so that these pic tures were definitely in the council estates. So you were separating into panels or spreads? Ron McCormick: More into subjects, into spreads, and the number of panels which went into each spread. Did you work out each /ranel and then finally work out the order o f panels? Ron McCormick: No. No. no, no. We worked out the order of the spread as it were. What we wanted to start with and what we wanted to finish with. What we wanted to say. at the beginning, what we wanted to say at the end. And how we went about it in between. And then, very abstractly, broke up the pictures .into that sort o f order and the text. We ended up with lots and lots of piles all the way along the floor, all round the room. How concrete were these sub-categories ? Ron McCormick: They became, within a week or so. they became very concrete. Can volt sat what they were.' Ron McCormick: First of all was an intro duction. general view of the city, relationship between people, and environment, then we looked at the problem, the sort of heritage within the city. Then we looked at the muni cipal response to solving the problem, council estate and New Town and that sort of thing. Then we went onto the new city, the overall planning. We then went to finance and poli tics, business interests, on the planning pro cess. We then went into how that affected the new city centre. From that we went onto I think social services as a municipal way o f deal ing with stress and the whole problems gen erated by living in the cities, living in mass groups. Larry Herman: And also stress derived from town planning. Ron McCormick: And then we went back into an area which we called village in the city, which we saw as a natural way that people have o f dealing with the problems of living in a city, o f living in large groups, large communities. They sort of focus down and they build a small community o f corner shop and small neighbour hood, a few streets. How long did it lake to make the exhibition? Nick Hedges: I .think our first meetings were in something like November 74. We realised that we would have to stop shooting pictures in about March or April to be ready in time. You could say that, discussion in November, shooting pictures through to April, and then just the physical business of putting together, editing through all this material we’d got, and that took about two months from April to June, from the end of April to the beginning of June, to as semble the material, be mounted, and the conference, the deadline was the middle of June. June the thirteenth, I think. Ron McCormick: It took a year from beginning to end with about six months setting it up. How many days do you think you actually did each ? Ron McCormick: It would be very difficult to determine that. Larry Herman: When we stopped shooting and were simply editing, we were putting in thir teen. fourteen hour days, fifteen hour days sometimes. Ron McCormick: From nine in the morning, nine, ten o’clock in the morning to after midnight. Larry Herman: And that went on for about four or five weeks. Ron McCormick: There is an element of pro test in the exhibition, the whole concept of the exhibition - we’re saying, look we have a right to contribute to the planning of our cities, that’s what the exhibition is about. By doing the exhibition we’re actually taking part in the planning process. We’re actually talking with planners, by doing it for them, by presenting it for them, by putting the ex hibition on at their annual conference, by going along and talking to them, and we gave a paper and we explained that. Nick Hedges: That’s why I have reservations about my own, our own, exhibition. It’s a generalised statement, not a statement of specifics. If you can be specific about things, then you run the risk of being specific about the wrong thing, but that's up to you, but what you don’t run the risk of is missing things out, you can put in everything... Ron McCormick: In town planning terms, it doesn't go far enough, if s not radical enough for town planners. For many town planners it’s saying the things that lots of people have said to them time and time again. But this is part of the schizophrenic nature of the exhibition. It’s not just talking to town planners, it’s also talking to people as well. And because it is, ifs in a funny middle road situation. If anything, ifs sort of populist exhibition. It’s too easy. Ifs trying to please, not please, ifs trying to speak to too many people. Nick Hedges: What I do think is important is to be specific in documentary photography, deal with one thing very hard, which I think is why Phillip Jones Griffith’s book about Vietnam is so good. Larry Herman: The reason why this exhibi tion works so well is that we understood very well exactly what we wanted to do. We went ahead and did it. This is not to say that we didn’t change along the way but essentially weunderstood what we wanted to do. Ron McCormick: It’s very much a matter of discipline. As a photographer you either work on your own. exploring your own responses to the world, and making essentially personal state ments about your situation and your situation within the world or you work with other people and you make general comments and statements Page 6 Continued.... about the world, they are generally acceptable, generally understood - whether they're accept able or not is another matter. Up until now the newspaper and the magazine provided an outlet for that area, sa
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      • titleFebruary: Camerawork 1 published
      • content<p>February: Camerawork 1 published with Statement of aims. Issues 1-4 </p> <p> </p>
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      • essay_titleTowards a New Politics of Photography
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p style="text-align: justify;">In the first issue of <em>Camerawork </em>Jo Spence sought to explore what she called ‘the politics of photography’. For Spence, images had an ideological content, expressed through a ‘series of visual signals and short cuts’ which needed to be unpicked by reading the context from which the photographs sprung and the intentions of their creator.</p>
      • essay_content<p>The question of how photographs might be political, and how one might decode (or even produce) these messages, dogged <em>Camerawork </em>throughout its existence. This thorny issue was never fully resolved, and the contradictory responses raised within the magazine’s pages track the shifting attitudes buffeting British photography during the 1970s and 80s. </p> <p><meta charset="utf-8" /></p> <p style="text-align: justify;">In her article, Spence proposes that photography’s visual shorthands create a kind of limited understanding: producing ‘stereotypes’ of the world around us. The camera might not lie, but it flattens; draining shades of nuance from the situation to render an issue black and white. In this proposition, Spence brings together an interest in signs developed by the recently-fashionable study of semiotics, and an understanding of photography’s ability to divide the world into ‘types’ present since the Victorian era.</p> <p style="text-align: justify;">Spence’s concern is the photograph as re-presentation: a regurgitation of isolated appearances with no attempt at critique. She posits that the mimetic quality of photography works in the interest of the capitalist media, who commodify these fragments of truth in order to nullify their potential to disrupt false consciousness. Spence was reacting to a world in which photojournalism was still prominent, with the photo-essay delivering the news in illustrated magazines and papers. The proximity of these often-harrowing images to advertisements, with their shiny parade of commodified objects and (particularly female) bodies, was concerning. News photographs took on this sheen, whilst the messages in the adverts, seen alongside ‘objective’ documentary, became naturalised.</p> <p style="text-align: justify;"><em>Camerawork </em>sought to disrupt this process and reveal that both sets of images were political: i.e. the product of a particular agenda. Today, it might seem that we no longer need to be told not to be so naive. We are more suspicious of things that purport to be true than ever before. The idea of truth itself seems up for grabs. We know western media is not to be trusted; it has become commonplace to point to fake news, but the increasing presentation of content through algorithms ensures that even images that have not been fakes, edited or otherwise doctored are still suspect for their very existence in a structure so obviously plugged into corporate capitalism.</p> <p style="text-align: justify;">What, then, can <em>Camerawork’s </em>warnings add to our dealings with the media? Perhaps the answer can be found in Victor Burgin’s essay for the third issue<a href="https://www.fourcornersarchive.org/archive/view/0000003">, ‘Art, Common Sense & Photography’</a>. Burgin states that manipulation of the world, far from being an aberration, is the basis of all photographic practice. Photography is an alchemical process of transformation, rather than a mirror, and recognising this is a vital step in being able to unmask the politics of images. Although Burgin’s chemical metaphor no longer holds, photography is still a distortion of the world, albeit digital, reducing it to pixels and binary code. An awareness of this could enliven us to the ways in which technology reconstitutes media and presents a certain picture of events through its highly subjective networks.</p> <p style="text-align: justify;">Burgin’s most striking point, however, is his identification of the central paradox of the camera. The issue that has long troubled artists, so much so that Brecht felt it necessary to call the instrument ‘politically-deficient’, is that in order to enact political change the camera must be able to penetrate appearances, but it is only able to record them, parroting back the dominant order and reproducing inequality. This is what Spence warns against in Issue One.</p> <p style="text-align: justify;">However, Burgin suggests that this is actually what makes photography so powerful: it enables us to turn the weapons of the master against him. Creating contrast and comparison is for Burgin the way to animate the inherent contradiction between image and reality. This advice might stand for photographers today: expose the irrationality in the world through a medium we know to be much more irrational than we previously allowed for.</p>
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      • nameMedia Theory
      • essay_titleCritical engagements with documentary photography
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p>The subheading to <em>Camerawork </em>8, a special issue on the ‘Battle of Lewisham’, proclaims: ‘What are you taking pictures for?’. <em>Why photograph?</em> was a central concern of Half Moon Photography Workshop. In many ways the ‘why’ was easy to answer (although, as this issue showed, the reasons were many): what was more difficult was the issue of who - who could be a photographer, and what being a photographer meant. </p>
      • essay_content<p>In order to answer these questions, HMPW framed a radical reinvention of the medium and its practitioners, advancing a new concept of ‘community photography’. This was first outlined by Jo Spence in <em>Camerawork</em> 1 and elaborated on in Issue 13, which was dedicated to ‘Photography in the Community’. What Spence discusses in this first issue is a three-pronged attack on the mechanisms of mainstream image production and circulation in Britain. </p> <p><meta charset="utf-8" /></p> <p style="text-align: justify;">The first weapon in this war was alternative or community presses, which offered photographers control over the fruits of their labour. Such publications could show solidarity and promote community action, providing an antidote to the individualism and sensationalism of traditional journalism. </p> <p style="text-align: justify;">The power was in having control over the means of image production: Spence recommends the use of photography as a tool by social activists. Through workshops and equipment loans, groups could encourage community feeling and help marginalised people represent themselves - gaining the skills to be critical of images and demand different depictions. Those who attended these workshops then became community documentarians, going out into the places in which they lived and worked to photograph the other residents and build a picture of a life from the inside contrary to popular stereotypes and ignorance. </p> <p style="text-align: justify;">Community photography, then, was about providing alternatives: alternative images, alternative photographers, and alternative channels of publication and distribution. Half Moon Photography Workshop attempted to provide for all three: in their gallery and magazine, their workshops, and promotion of photographers such as<a href="https://www.fourcornersarchive.org/archive/index?keyword=derek+smith&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5"> Derek Smith</a> and <a href="https://www.fourcornersarchive.org/archive/index?keyword=george+plemper&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">George Plemper</a>.</p> <p style="text-align: justify;">These ideas were radical in the Britain of the 1970s, where social documentary photography had fallen victim to its own success and become co-opted into mainstream imagery. However, in their suspicions and desire to create new photographers, HMPW were drawing on doubts already seeded within certain corners of the English documentary tradition.</p> <p style="text-align: justify;">Bill Brandt was a pioneer of British social documentary photography. His 1936 book ‘The English at Home’, a pictorial survey of British domesticity between rural and urban settings and across classes, appears a classic of the genre. However, this work was actually highly innovative, as Brandt responded to increasingly ambivalent feelings towards his claim to objectivity. Brandt mobilised a technique of juxtaposition drawn from the surrealists, in which commentary was produced in the collision of the photographs on facing pages. In this, Brandt directly intervened in the images, exposing the mechanics by which photographic meaning was produced, and foregrounding not only his creative role but his subjectivity. </p> <p style="text-align: justify;">Brandt’s suspicion of the photographer’s supposed ‘objectivity’ was also felt by the members of HMPW. They transformed this doubt into a new manifesto. It was not enough to recognise and acknowledge one’s limitations as a photographer: those biases still existed. Instead one needed to encourage more people to document themselves in order to counter the stereotypes of others.</p> <p style="text-align: justify;">In this community-based photography, HMPW found precedent in Mass Observation. Founded in 1937, and another surrealist-inspired endeavour, Mass Observation aimed to record everyday life in Britain through a network of volunteer observers who kept diaries, answered questionnaires, and took photographs of daily occurrences. Over 1,500 people were recruited from all social classes; ordinary people were given the necessary tools and encouraged to record their own lives and the lives of their communities.</p> <p style="text-align: justify;">In its desire for an ‘insider’s perspective’, Mass Observation chimed with HMPW’s ambitions, and the collective themselves were interested in this earlier project, dedicating an issue of <em>Camerawork </em>to the observers. Many of the photographers HMPW chose to exhibit also sat within this ethos: from Derek Smith’s photographs of his Teeside home, to George Plemper’s sensitive portraits of his pupils at Riverside. But HMPW differed from Mass Observation on two vital points. </p> <p style="text-align: justify;">While Mass Observation had aimed at an objective record comprised of a great number of data points, many of HMPW’s photographers shared the tacit assumption of their subjectivity, even if the rhetoric of objective investigation was still present. Daniel Meadows’ <a href="https://www.fourcornersarchive.org/archive/index?keyword=Shuttles%2C+Steam+and+Soot+-+Daniel+Meadows%C2%A0&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">Shuttles, Steam and Soot</a>, was billed as a ‘serious investigation’ of the Lancashire cotton industry, but what actually enlivened the images for Meadows was the strangeness of the encounters - the interpersonal aspect. </p> <p style="text-align: justify;">Mass Observation had been instigated to create an archive of everyday life, but HMPW had far greater aspirations. As stated in their special issue: ‘to document alone is not enough - the process must be taken further and used to effect social change’. Change was always the purpose of HMPW’s projects, and social change relied upon a fundamental transformation of tradition. Suspicion of the photographer was transformed into a vision of community documentary, and community documentary was transformed into political action. Why take pictures was obvious, but HMPW’s chance of achieving that goal relied on a complex understanding of who (photographer and subject) gained by looking to the past as much as to the future.</p>
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      • nameCamerawork Magazine
      • essay_titleA brief history of the publication
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      • essay_extract<blockquote> <p>Camerawork as a magazine had a quality about it - when I first saw a copy in 1976 I'd never seen a publication like it and I still haven't. It stopped me in my tracks. The A2>A4 folding format, the print quality - amazing for single pass litho - the picture spreads and the articles, they all set it apart from any other photo-magazines of that period – Ed Barber</p> </blockquote> <blockquote> <p>Camerawork is designed to provide 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 photography, 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 own lives. – Camerawork magazine masthead, issues 1-19</p> </blockquote>
      • essay_content<p>A key part of Half Moon Photography Workshop’s programme was the publication of a magazine.<i> Camerawork</i> was first published in February 1976, using a broadsheet format – sheets of A2 paper folded to A3, then to A4. Stencil bold, the only large typeface that they had, was used for the title. Expression Printers’ stark black and white printing was highly effective. Tony Bock, Terry Dennett, Roger Eaton, Mike Goldwater, Janet Goldberg, Marilyn Noad, Tom Picton, Jo Spence, George Solomonides and Paul Trevor produced the first issue of <i>Camerawork</i>, put together at a marathon all-night session in Goldwater’s studio in Chalk Farm, fuelled by coffee and beigels. After the first issue they drew Ed Barber, who was recruited to work on the accounts but quickly joined the magazine collective, along with Shirley Read, Liz Heron, Richard Platt and Jenny Matthews and many others. </p> <p>The early magazine had a pluralist, open and improvisational approach, encompassing articles on renowned photographers including Bill Brandt, Paul Strand and Brassai alongside alternative histories of photography, grassroots practice and DIY pages on photographic processes. Regular critiques by leading writers such as John Berger, Victor Burgin and John Tagg explored the ideological constructions shaping photographic practice. <i>Camerawork</i> rapidly established itself as a forum for critical debates on the politics of documentary representation, the role of the photographer and the use of the medium in oppositional politics. As the use of larger images increased, a centre spread was added that could be pulled out as a poster. The first was Robert Golden’s photograph of miners waiting for their shift at Kellingley Colliery, Yorkshire. The second, Richard Greenhill’s dramatic image of his wife Sally minutes after giving birth to their daughter. </p> <p><i>Camerawork</i> included visually compelling, thematic issues such as <i>Lewisham</i>, the <i>Picture Story</i>, <i>Portraits</i>, <i>Photography in the Community</i> and <i>Reporting on Northern Ireland</i>. The magazine became a key platform for photography addressing left-wing oppositional politics. Reports of anti-racist demonstrations highlighted community action whilst shedding light on police brutality.  Issue 14 on Northern Ireland proved highly contentious at a time of significant press censorship. Coverage of anti-nuclear protests helped to galvanise support for the revival of the Campaign for Nuclear Disarmament.</p> <p>The magazine’s emphasis changed in the later issues, focusing more on broader politics of representation rather than solely photographic practice. Content expanded to include film, video, tape/slide and television with an increased emphasis on analysing mainstream media.</p> <p>Alongside this <i>Camerawork</i>’s focus became explicitly political from issue 20 (1980) in response to the election of Margaret Thatcher. The magazine’s a new masthead stated that it was ‘a journal of the politics of photography’. The editorial read: ‘We must pursue this politics of the image into all the struggles that affect our lives: struggles over class, patriarchy, power knowledge, communication and education’. This went too far for the Arts Council, who reminded Camerawork that its subsidy was ‘on the basis of its attention to photography and not as a platform for political comment’. By issue 25 the masthead had changed to the neutral statement that: ‘Camerawork aims to promote debate and discussion on politics, photography and representation’. </p> <p>Thatcherism marked a crisis for left cultural approaches. Black and white photography no longer felt like a connection to a radical past. ‘The Fight to Work’, a four-page spread in <i>Camerawork</i> 18, showed vivid images of the steel workers strike, and called for photography that was neither mass media representation of intimidating pickets, nor abstracted images of heroic workers. It was one of the last articles of its kind. In ‘Loves Labour Lost’, <i>Camerawork</i> 29, Kathy Myers argued that Labour’s posters helped lose them the 1983 election with their use of outdated images of working-class men in flat caps. Visual artists should ‘combine the visual sophistication of advertising with the social insight needed to provide new visions and fantasies for the future’. In her interview with Stuart Hall he also called for a new kind of imagery: ‘The left has to look around and see the language that consumer capitalism speaks to people in’. These arguments reflected the left’s seeming inability to combat a Thatcherite world in which there was ‘no such thing as society’.</p> <p>Increasingly the concerns of many artists and photographers moved away from social struggle towards a focus on post-modern theories of representation and popular culture. The last four issues of <i>Camerawork</i> are noticeably different. The design of issue 29 is reminiscent of <i>City Limits</i>, with articles on video exhibition, graphic design of album covers and cable music television by Malcolm McLaren. Later issues of<i> Camerawork</i> changed direction several times. From issue 29 the format was altered to an A4 magazine style, with, for the first time, an editor: first Kathy Myers, then Liz Wells. But production faltered with lack of funding, and a loss of organisational direction. The magazine folded after issue 32 in 1985. </p> <p>During its ten years, <i>Camerawork</i> made a profound impact on debates about the politics of photography and representation, and brought an extraordinary range and breadth of documentary and photojournalistic work to audiences worldwide. The role and influence of the magazine has often been historically overlooked within the canon of established British photographic history. The aim of this digital resource is to open up the understanding and appreciation of this renowned publication for a new generation.</p>
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• 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
  • 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
      • 4App/Model/TagObject.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
      • 6App/Model/Behavior/UniqueKeyBehavior.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
  • Asset(array)
    • Config(array)
      • 0Asset/Config/bootstrap.php
      • 1Asset/Config/routes.php
    • Model(array)
      • 0Asset/Model/Asset.php
      • 1Asset/Model/AssetAppModel.php
      • 2Asset/Model/AssetCategory.php
    • Behavior(array)
      • 0Asset/Model/Behavior/UploadBehavior.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/Medium.php
      • 6Project/Model/TimelineItem.php
      • 7Project/Model/ArchiveItemsTheme.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