Thatcher Funeral

Bedroom Tax Protest

Trafalgar Square. 30/3/2013

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‘Bedroom Tax Con’
Reel Rebels Radio

When We Were Small

From the little person’s viewpoint.
It’s almost certain that altering the scale of different elements in a composition alters the mood of it. Size matters. The urban environment is generally more intimidating to children than to adults.
So does the device of photographing from the height of a child impart some of its vulnerability, and therefore depict the city as intimidating as it really is to them?

 

‘I hear Thy gentle voice, calling unto me.’

Trelech. Sir Caerfyrddin. 19/2/2013
Recently, an old friend of mine died. A farmer and farmer’s daughter, this is a little record of the place and culture in which her gentleness grew.
Mi Glywaf Dyner Lais.

Stargardt Vision – Understanding the World

Jan Bölsche, born 1973, works as photographer and author in Berlin, Germany. His photos have been published in newspapers, magazines, travel guides, catalogs and on websites and CD covers. He specializes in capturing the Decisive Moment.
Controlled by a defect gene, the cells of Jan Bölsche’s retina started to slowly fade away in his early adolescence. In an still ongoing process, a growing blurry and nebulous spot in the center of his field of vision covers objects he tries to bring into focus. This medical condition is called “Stargardt’s disease” or Juvenile Macula Degeneration (JMD). His sensation of color is also quite different.
I
 met him in a cold Greenwich to talk over how he works, and the state of photography now.

 How did you start taking pictures?

I wish someone had told me about photography. I always had a strong interest in the visual arts, but when this eye thing happened to me, I was desperate because I had the feeling, it’s over now. So I focussed on my computer interests.
Then a friend pointed out that a digital camera could be useful to me as a reading aid. Then I discovered it was a good way to read distant street signs and so on. So I would take a picture and read. It became a navigation tool. Which gave me more independence rather than having to ask for help 1000 times a day.

So you began by literally using photography to understand the world… How did you develop?

On Flickr. Flickr is the 2nd ingredient which brought me to photography. Which gave me another reason to leave the house and bring something back.
I had a challenge with a friend on Flickr to get the best picture on a specific subject. We lived far apart but could exchange images and criticisms online. That’s what it’s all about. Finding like-minded people you can learn from.

 And those who aren’t as like-minded?

‘Doesn’t happen very often. Most comments are almost exclusively positive.’

So what about the debate about the continued preference for monochrome?
Some would say the whole BW ‘look’ is merely due to the failings of the medium.

I agree. What I try to do is make something interesting and make a point about something. And so I tend to put emphasis on what I want the viewer to see, and a yellow plastic bag can be a distraction. And so I get rid of it…
Telling a story is what I want to do. Pushing a button that starts a thought process which has an open ending. An image which makes you think about the situation you are in.

How much do you sense the change in personal space, and the need to ask consent? Is there a new relationship between people and photographers when everyone is a photographer? A need to negotiate the space and moment.

How to deal with this dilemma. As a photographer I want to capture a moment which would be destroyed if I asked permission. I Like to run around cities and have to find situations that are special in that they last only a few seconds. Interactions. Might be an advertisement, a person yelling, and in the background a graveyard.

But isn’t a moment of consent just another moment, and as valid?

But the situation I’m interested in – I don’t want them to become aware that they are part of some interesting scenery. Their behaviour would change. At worst, they would start posing. Often it is about non-awareness of them interacting with their background or with someone else. So I can’t really point that out. So if you care for your personal rights You have to tell them afterwards.

The Creuzberg street market shot seems to embody your condition, with the dynamic details swirling round the empty centre.

The woman who looks a bit annoyed, right. It’s an interesting shot because it’s a May 1st street party with lots of people and food stands and she was responsible for this stand creating a bottleneck. What you see is this crowd – a very annoyed crowd because nothing moves because of this food stand. I couldn’t move for half an hour, and so I took the picture.

I’ve been in uncomfortable situations only twice. Once in a car park in Croatia. I took some shots of the car park, out of boredom, with some guys in the background. One of those guys approached me and said.’ Show me your picture, give me your camera.’ He scrolled through and said ‘delete it.’ I didn’t know how to do it, and he was getting more aggressive. There was nobody else there and his friend was coming over.. I got away in the end.

The other time was in Sicily, There were some elderly men on chairs having a discussion, and I took a picture of them. Candid picture, I thought. And one of them saw the camera and was offended and started yelling, I ignored it and he stood up. His friends were yelling. The bus came so we escaped.

If I do candid shots I feel a bit guilty. I’m not really supposed to do that. But then when I start thinking about exhibiting, is there a legal issue. And so I would never publish something which the person would probably not agree to. The least I can do is not make fun of People.

What about the whole digital versus film debate?

People are very opinionated about everything.

This reaction is an effect in all industries which used to be exclusive. Music business, Film industry, book publishers, they are all ranting about technological progress because they are not on the winning side. And the same is true of photographers. I am personally annoyed by this criticism of digital photography by those who insist on the darkroom. If you prefer an outdated and inefficient way of working, sure, do it. But don’t criticise those who are not willing to do the same.

Why is it more creative if you rely on random effects you cannot control? It is less creative in some ways. In the end it is all about different tools for a different medium. Live and let live. We all have our different views on what we call reality. And it’s healthy to accept that we see the world differently. Do any two people mean the same when they say yellow or blue? From that angle there’s no point in saying you manipulated the colour. There is no right and wrong colour.

I never had a big interest in documenting. What I do is more to express what – either telling a made-up story or it is expressing what I experienced in the situation and used every photographic tool that I master to get the point across. And it involves altering the reality.
The field where I is have a lot of dispute is image manipulation. 
I use the pictures I take as a painter would use paint. As raw material, and I would never ever publish this raw material because it is not interesting for me. For example the composition is never like I really want it to be. I never get the camera angle right fist and the horizon is wrong..

The dispute is mostly about colour. No one seems to care if you convert from colour to bw but if you start to shift the white balance to something that does not feel right, to emphasize the certain colours – it’s too ‘easy’.

But the opposite is Instagram, where suddenly everyone is doing the same manipulation because it’s built into the software and that’s what I would oppose, because there is a reason why I do things. Taking the colour out of a shot for me is because the colour does not add anything. It’s about pattern or texture and light and shadow and sometimes the colour is distracting for me, because you might have something very yellow in there that is just wrong.

But commercial manipulation, images of perfection? ‘Consumerist Realism’?

Magazines are are selling a made-up reality to a target market. On the issue of commercial manipulation it is important that people realise that by only seeing manipulated photos it’s shifting the balance of what is normal – the effect of that might be that the image of yourself is altered because you are way below that standard. And it effects variety too.

They have an interest in selling products, and they create the environment for advertising. And this is meant to be as attractive to as many people as possible. And now it’s too easy. You can even go one step further and create 3D models from software..

This is an educational problem – schools should be teaching that every photo published on a billboard, in a women’s magazine, in a teenage magazine, is a lie.

Can a manipulated image be more ‘real’, or ‘true’ than an unedited one? As in an old family portrait which misrepresents the sitter?

Just because an image came out of a camera doesn’t make it real. You can take 200 images in two minutes which completely distort the personality of the person. Because it was just not the right moment to take the picture.

And this is one of the challenges I face because I can’t see faces and the expression. So when I do portraits, I take 100s of photos. I cannot direct as you did to me, what I can do is set the lights up and take 100’s of photos, and statistically there will be one which feels right.

How do you compose and select?

I just use the same techniques as everyone else only sometimes they completely fail.
Sometimes on the optical viewfinder I see even less than in the real world. This would be different with a very long lens but on a viewfinder sometimes more what I normally do is take a series of shots and review and change the angle.
Focussing is not really a problem for me on the screen compared to the real world. I can magnify the screen making this area which is not responsive to light smaller in relation to the area I want to see.

Which presumably means more emphasis on the context than a star subject? A more general compositional approach?

Only partly true.
I compensate by not focussing what I want to see. A normal person would Just automatically centre on what’s most interesting to you, so you don’t have to adjust your eyes. But what I do is look for criss-cross patterns across what I want to see, left to the centre, and up and down, so I sort of collect the information and once it is in the brain it can be recalled and so the next time I focus the chair, for example, my brain just remembers it and makes up the missing information.
A friend once showed me a portrait of a woman and asked me if was there anything special about it..
‘No, it’s just a portrait of a woman.’ But w
hen I looked at it carefully I could see that the nose was actually terribly distorted. I didn’t see it. I saw a nose because my brain was just making up a nose from the context of the face. Something the brain just does. We all have this blind spot where the optical nerve meets the retina, and all make up the missing information to a certain extent. I’m just doing it on a grand scale.

So the context created the reality?
How do you handle say, dance photography?

My approach to all active scenes is the same as with portraits. I produce raw material to work with and make all the decisions afterwards. I combine and stitch shots. For example ‘Home Sweet Home’. A young girl in a Berlin subway with a few items from a flea market, sitting where people don’t normally stand. I asked if I could take her picture she was happy with that. But later I realised I was not happy with the composition. Because there was not enough context. So I locked the exposure and took lots of pictures of the now empty background. And I stitched them together and had a lot of space to work with and could get the composition I wanted.

About viewpoint in as a tool. What’s your angle on angles? I’ve noticed many photographers seem to only photograph standing to attention.

I use viewpoint to make a visual connection, getting two objects in the same shot, to alter the way you see or perceive the person. To put someone in a heroic pose because that is an interesting statement. This is the same with so many things. People seem to be opposed to doing the obvious thing.

I would say that nothing is wrong which is fun. For me its always about experimenting. Just another experience. On my Flickr stream there are lots of images which are completely over the top when it comes to separation etc. But I like the look.

If you look at the commercial signs I photographed this week, they’re not much to do with reality, and I shot with a very high ISO by accident. That is one of the hardest things, to use the camera interface designed for normal eyes. So I need a magnifying glass to see the menus. That is something makers should address. Accessibility.

‘What camera? For when?

I did not want to bring my DSLR to London because I was warned not to carry it around on the street, and also it’s a heavy burden. I use it in the studio, but when I take it out I wish I hadn’t taken it because it’s just another thing to leave in the pub.
I carry my Canon S95 around. It’s very good in low light, I think. I recommend the Sony TX . The nice thing was the speed of operation. I used it a lot. Not obvious that the camera was turned on.

How do you find London’s disability access post-Paralympics?

It is slightly better than Berlin but still inconsistent. If you’re lucky, you have announcements on the platforms. But you cannot count on it. For example, the lift situation is very bad in Berlin. The city simply doesn’t have money.

How has Berlin changed photographically since you started?

Gentrification.. It’s probably not fair, because if you spend a lot of time in the same place it becomes less interesting. It’s not the fault of the place. A lot more tourists, and the city’s adapting by providing services which are not too interesting..It’s the trend to globalisation.. the nice Turkish restaurant which is now gone, all that. The ruins have been replaced with office buildings..

I’m especially disappointed with Potzdammerplaz. Before the war it used to be a beautiful place. It looked like Paris. They had a one-time chance to create something completely new in the heart of a big city and they completely failed. As a pedestrian its a pain because they have built something that is completely car-centric, so it is very hard to cross the street. Canary Wharf style architecture. So if you are into Architectural Photography it’s fine I suppose, but for as a user of the city it’s a failure. I am annoyed I have to go there to see original undubbed movies. Its the only place. I leave as fast as possible, I just don’t want to be there. A lot of the interesting roughness has been replaced.

You’re a Berlin Boy?

I grew up in the west. Near Hamburg.

I didn’t want to go to Berlin to see The Wall, my parents forced me on a day-trip before 1989. On the way to the bus home, I got a bit separated and a group of punks shouted at us

‘Piss off tourists no-one will miss you!’

I was embarrassed being part of this trip. But then I came back in ’92. The situation was still new and we had a lot of fun. The people just took over the town. There were lot of vacant spaces and they just made their clubs and exhibitions?

How have you found Hackney?

Not really time to judge. A bit like Berlin in its use of industrial buildings. A lot of space, which is unusual. My neighbours here are artists and it seems they can get of living from what they like doing..

Berlin in a sense is like a club. When people ask where I come from I say I am a Berliner. I think the smaller the place is the longer it takes to get accepted. In a city of exiles everyone is the same. It is very suited to let them experiment with their lifestyles, so people are happy to just practice their art. There are not many places you can live without a lot of money.

I’ve been in London for not even a week, and two of my London friends in Berlin tell me they prefer Berlin, but they miss the openness of Londoners. It is perfectly acceptable to have conversations with strangers in pubs. This does not happen so much in Berlin. I was on a railway platform yesterday and ran into this guy who asked me ‘Are you aware there’s a steam train coming into this station?’ And we ended up talking about being disabled.. for 20 minutes. We parted and I got on the train, really happy. And this is something that adds so much pleasure to life. Just random encounters, and an exchange of ideas and points of view.

Jan Bölsche

Jan Bölsche

Abridged Version Reel Rebels Radio

Photography and Play

Give a child a camera, and they instinctively know what to do. The need to frame the world between four straight lines, and the act of marking or freezing or acquiring that moment with a click seem to be primal, universal drives. A way of trying to understand our ever-changing environment. Even chimps will play with reality by hiding their eyes for a while, and then allowing the world back in. As a young chimp,  I remember being fascinated by the rainbows created by the sun shining through my black woollen blazer, as I sat, with a row of companions like Mexican layabouts, looking at the sun through our school ponchos. Everyone loves a kaleidoscope.

A friend of mine turned up with her 7 year old son the other day. I gave him my old OM1 to play with and he was completely absorbed. Apart from the beauty of the machine, what seemed to really excite him was the act of controlling and even owning the moment with a click. Plus the sense of Action at a Distance when using a gun or a hose or flying a kite or fishing. The fact that he was not actually recording anything on film didn’t matter. But what did was the attempt to make some sort of order out of the whirlwind world. Maybe that’s all Play is, and it’s what we’re all still trying to do.
I suspect budding photographer Tyran Gray from Granville St. James in Jamaica was doing just that in his image  ‘Life Sweet’. And by doing so created an image which would easily stand up to professional standards in terms of its honesty and visual grasp of the situation. I look forward to seeing more of his work.

Cllr Althea Smith, Mayor of Southwark. 'Life Sweet' Tyrone Gray. 'Interpretations'. Elephant & Castle 2012.

Cllr Althea Smith, Mayor of Southwark. ‘Life Sweet’ Tyrone Gray. ‘Interpretations’. Elephant & Castle 2012.

National Geographic Kids Photography 2012: the winners.
Work by children aged 6 to 14 in the people, humour, scenery and animals categories

JN Foundation, Jamaica.

Company of Shadows. Macbeth.

Rehearsal 1. The Last Refuge. Peckham. 26/2/2013
Performance: March 5 – 10.
Cast: Marcus AdolphyTheo AncientTania BatzoglouCharlotte ChinnVictoria DenardGus GowlandJohn FaganBecca Horn, Alex Klarke, Rob Kenyon, Matt LordNorman MurrayAimee RobertsonFahad SalmanEmmy RoseFrancesca Woods Peckham Shed Theatre Company.
Director: Cassie Vallance. Assistant Director: Niall Costigan. Designer: Emma Wee. Producers: Norman Murray, Bertie Watkins, Helen Hamer.
Venue: The Last Refuge. Partners: The Hob Pub in Forest Hill. The Etcetra Theatre in Camden. The Creative Networks: Hackney Downs Studios.
First Review (Londonist
If you ask me, you can keep James McAvoy and his outing at the Trafalgar Studios, because last night I went along to the first night of a much more edgy production of Macbeth in Peckham, performed by the Company Of Shadows with help from the kids of the Peckham Shed Youth Group.
Staged in and around the Last Refuge venue (found in the warren of alleyways opposite the railway station), Marcus Adolphy (Comedy of Errors at the National and Twelfth Night at The Nursery Theatre) gives a very muscular and powerful performance as Macbeth, perfectly paired with Greek actress Tania Batzoglou who plays a thickly-accented Lady Macbeth brimming with hot Mediterranean passions. They make a striking couple – the sparks that fly between the two really have to be seen to be believed.
Also notable are John Fagan, who fills the boots of Macduff with an alarming level of grief and fury, Norman Murray playing the disarmingly loyal Banquo (whose death scene involving the rapid clicking on and off of hand-held LED torches in the darkness gives it a stark stop-motion quality) and Rob Kenyon, who makes the most of the porter’s walk-on part with an uncomfortably intense and intimate performance.
Of course the witches can’t escape a mention, with the five actors involved in the roles alternately dashing about between the members of the audience and sliding menacingly around the walls of this dusty old warehouse space…
That’s not to say that the whole cast don’t deserve credit – for a first night it was a remarkably polished affair with solid performances all around, and I was particularly impressed by Simon Johns’ bone-crunching fight choreography which made for some very uncomfortable watching.
So, my advice to you if you need a Shakespearean fix is to keep most of your money in your pocket and instead head over to The Last Refuge in Peckham for the Company of Shadows value-for-money production of Macbeth – it runs through until 10 March and I can highly recommend it.

Full Rehearsal 2 & Workshop.

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Dress Rehearsal Day

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First Night – Waiting for Cues.

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The Man Who Lived In A Haystack

1. Clennig
2. Dai Blaen Nant – The Man Who Lived In A Haystack.
3. Living Land.
4. Haymaking
5. ‘Dwr yn yr Afon, a’r Cerrig Yn Slip..’
6. Shandy with Mary.
7. Water Spirits
8. Swimming
9. Strangers
10. ‘We Come Along on Saturday Morning.’
11. Down Town
12. Snow 1962/3
13. Felinfoel County Primary School
14. Big Cousin

15. Summer Jobs

•••

Clennig 

BAPTISM. Afon Lliedi. 1963
'Pwll Clai'

•••

Fire

Delivery Men

The coalman, the popman, milkman, breadman,

•••

Dad! Haircut!

Before the war, my father used to run a combined snooker parlour and gentleman’s hairdressers in Old Castle Road. Even in a Depression, people had to have a haircut.
During the war he served as regimental barber in the Royal Engineers. After being demobbed, he worked at the Llanelli Rail Company repairing coal wagons. While this was in fact relatively well-paid skilled labour, it was hard and dirty work. In his boots, army haversack, filthy cap and black face, he could be mistaken for a collier coming home. Except that by that time most pits had pithead baths. My father still had to wash by the fire in the 1950s.

To add to the family income, and probably to keep up his hairdressing skills, he used to cut hair, on demand, in our back porch, and in Summer would go completely al-fresco, which helped keep the clippings out of the house. Another Llethry Road special-attraction. Men one shilling, boys sixpence, if I remember. The open door looked straight into Cae Beili Glas, with its long grass and cows.

The customers were mainly old friends and neighbours, contacts from the village such as Omri the butcher and his son. Even a local councillor. And a deacon or two. On summer Saturdays, there could be quite a queue past our kitchen , the front joining in the chat with the current customer and my father, the rest talking to my mother through the open window, or leaning idly into the field. On particularly balmy days, some of Lew Protheroe’s Friesan milk cows grazing in Cae Beili would wander over out of curiosity.
So far, so idyllic. Naturally the economical rates attracted gangs of loud hairy boys from the new estates in Felinfoel, who seriously tested my father’s patience, but no more than I did when he tried to cut my hair.

•••

'Pwll Clai'

Bad in Bed

•••

Standard 3E. Felinfoel County Primary School. 1962.  Master Mr John Williams.

Playtimes

My first playtime in Felinfoel C.P. was in September 1959. My first memory of the space was of exploring the narrow ridge which snaked at room-floor level around the craggy stone structure, turning it into a perilous Alpine cliff-edge. The game was to shuffle along without falling off.
Almost my second memory is of hearing the name ‘Benny!’ being called, and turning to see an older boy flying up the cramped slopey playground as if on wings. Even at that age we knew there was a genius in our midst. I know, because ‘I was there’.
Like most village schools of the time, the playgrounds were segregated between Boys and Girls. The Girls’ yard was much smaller than ours, but had flushing toilets. We didn’t mind. We certainly didn’t miss competing for space with skipping. Which of course was ‘soppy’. Boys played rough games. Like the homicidal ‘Best in Dying’. One boy was selected as ‘gunner’, to defend a chosen point. The rest ‘stormed’ the gun-point, dying as theatrically as possible. The Gunner chose the Winner, who then became the Gunner. It was a game vulnerable to corruption. I’ve never heard of it since.
Girls played intricate rhythmic games requiring intense coordination of mind and body, juggling the dance of the rope with improvising the lyrics of the accompanying rhymes – I realise now. We dismissed this skill as an example of mere feminine delicacy, like their seemingly natural ability to crochet, play musical instruments, and invent a pig-language which boys could not understand
If I had joined in, I might have been better at Maths. Or even been able to play the piano – a bit. There was the occasional corner of boys researching the Holy Trinity odds of Rock-Paper-Scissors (‘Izzy-Azzy-Oo’), but nothing more mathematical.

School Trips

TBC

Going Home Time

The most vivid memory is of the mad stampede for our sugar-fix from Freddie Tripp’s little sweetshop next to the school. From the centre of his Multicoloured Cave of Candy, he frantically dealt with the crazed mob baying for Spanish Root, Sherbet Lemons, Black Jacks, Flying Saucers and a hundred other recipes for instant kiddie-comfort.
Adorable 8-year old madames fighting their way to the front with Lovehearts burning in their eyes. Then squatting ferally by the stone wall, to watchfully cram them in a mouth half-hidden by golden curls. This was when a bar of Fry’s Chocolate Cream sold for fourpence.
The swaggering 10 year-old boy of the ‘top class’, day-old Spanish Root roguishly in the corner of his mouth, spits through likerish-stained teeth. Pulls his socks up beyond his knees as far as possible, cloaks himself with his Pacamac, and flies home to his fortress of solitude for Shepherds’ Pie, if it was a Monday..
Then there were flavoured crisps. A taste revolution. The new decade had begun with a crunch.
The trip home often became a miniature ramble, squeezed in before the inevitable Teatime. The Lliedi ran nearby, with its baptismal pool, and was a natural attraction in all seasons.
However, going home was not all dilly-dallying through the Dewdrops. Felinfoel was not an idyllic unified pastoral hamlet. Older boys from the Church School lay in wait to terrorise unwary strays from The County School, and even from Ysgol y Babanod – the path from which to Llethri road ran past the gates of the Church School and against the forbidding stone wall of the church. There was no escape. It was often safer to take the long route home via the bridge downstream.
Sometimes that didn’t work. Somehow, three of us were rounded up and tormented by four or five much bigger older and nastier boys. The same boys who used to stamp on birds nests and blow up frogs with bicycle pumps.
We were aged about 8. The torture consisted of bloodcurdling threats and extreme Chinese burns. Long, detailed descriptions delivered with sadistic relish. The message was clear, we were not going home alive. Two of us were just young enough to believe them, including me. I genuinely thought my time had come, but the youngest lad was totally hysterical and inconsolable. His reaction was possibly even more disturbing than the threats of the bullies. And the entire experience was made totally bizarre by being conducted in the open centre of Felinfoel, astride the giant water-pipe crossing the Lliedi. Locals went about their business on the road alongside, stopping to chat outside the White Lion, the Bear or the church, like an episode of Trumpton, totally oblivious to the group torture on the pictureseque riverside grassy knoll, almost within earshot. A bunch of boys. Nothing to see here. No harm done.

Felinfoel County Primary School between the years 1959-63 definitely still used some Victorian educational methods. Children were intimidated and punished for mistakes in their work, not merely to maintain order in class.
I would feel the dreaded Mr Tayson glowering over me while I tried to untangle some weird problem in Arithmetic, until the numbers would get jumbled, and I would have to make an answer up in desperation. Then he would explode, as I knew he would.
He was the same during ‘Penmanship’. Ink-stained ruler in hand, punishing every uncrossed ‘t’ and undotted ‘i’. As a result, my handwriting is appalling and my Maths skills were effectively paralysed at the age of 9. I would class that as ‘child-abuse’ in its way.
The pupils’ experience at Felinfoel CP depended largely on the age and attitude of the form teacher. Teachers like John Williams and ‘Wilf’ Rees, were generally respected, and did not depend on fear. Their lessons were definitely more memorable than best forgotten. Mr Williams weekly history lessons were hypnotising, with their simple stories of ancient Wales and the ‘Beaker People’ which I later discovered were based on the most recent archeological discoveries. Wilf Rees loved to read to the class, one day performing every character in Alice in Wonderland.
Wilf delivered the Dodo’s line from the Caucus Race as a pompous old idiot in a posh English accent:
“All have won, and all must have prizes”.
But instead of reading straight on from the book, he improvised a reaction from the excited crowd: ‘Prizes! Prizes! Prizes!’ – in pure broad phonetic Llanelly.
The contrast of characters was delicious and brought the house down. We didn’t stop laughing for minutes. We heard our voices squealing for ‘Prizes! Prizes! Prizes!’ He was making fun of us, and we loved it.
That was a big day for education.

‘Graduation’

By some miracle, all my Felinfoel C.P. term reports from December 1959 – August 1963 have survived almost intact. The absences are interesting as they probably reflect Flu epidemics and hospital holidays as much as my chronic laziness (“Mam I got a bad belly, honest.”).
The relatively small sizes of my class can be partly explained by the fact that the school was divided into Welsh and English-speaking classes. However, this doesn’t explain why some teachers, like Miss Walters, taught years one and two in the same room at the same time. (1W & 2W)
For some reason, our year escaped that experience.

Ultimately the dreaded Eleven Plus loomed over us, and scared some of us into action, especially when hearing horror stories of the alternative, Coleshill Secondary Modern, from older brothers of friends trying to frighten me. They did. But some in our class with brothers who had ‘failed’ the Eleven Plus were far more relaxed. They had brothers waiting to protect them and seemed to have a grasp of the purpose of ‘Secondary’ school system, which was to supposed train future tradesmen and engineers, which they wanted to be. They did not want to be ‘Grammar Snobs’ or go to University. Neither did I. But I didn’t mind going if I felt like it at the time. Naturally I would choose to go to Oxford because I preferred their boat-race colours.
During my four years at Felinfoel CP, the world experienced the Cuban Missile Crisis, The assassination of J.F. Kennedy, The launch of Telstar, and the worst winter of the century. The world of ‘DRINKA PINTA MILKA DAY‘, Babycham, not being able to stay awake long enough for The Goons or ‘Quatermass’, wearing shorts in Winter, and having agonising growing pains at bus-stops.
And then suddenly one wonderful world-changing Summer – The Beatles…
I visited the school one more time in 1970, with a friend about to do a Teacher training course. The new headmaster told me how horrified he had been at seeing the state of the toilets. I had no excuses, and could only mumble “We managed”. The rest of the school was much the same. The same vintage desks, lavish ceramics and high windows. The dinner was better.
A few years later this excellent example of Victorian community architecture was bulldozed to dust.

‘Holidays’

bogarde/cubs belt/black boy/underwater/knickbocker glory/

It’s a sunny day in 1956 or 7, and tall, dark, well-dressed young man is walking up a flight of stony steps from the Mynydd Mawr railway with a little 4 or 5 year old noisy boy trotting at his heels. Every question is answered quietly and patiently, but the boy keeps on badgering and showing off and falling into ditches and stinging nettles whenever possible, and generally earning the babysitter his fee – not that he is paid any, being his cousin.
They get to their destination. A dark little corrugated iron shed next to the Municipal Filter Beds, where the man’s father is having his dinner. There is a striking family resemblance, except that the parent is much sterner and intimidating to the boy – his great nephew – who is now much quieter as the Uncle and his workmates eat their sandwiches and smoke their pipes and cigarettes to the background scent of the purifying sewerage
The couple carry on with their walk. Down down through the pinewoods to the side of the reservoir to skim stones across the sunflecked water until it’s time to go.
This is almost the boy’s first taste of the world and of not being treated like a baby. Of being introduced to the sights and sounds and smells of things outside the prison of a pram. And in his big, handsome, patient cousin he has the perfect guide, and will remember the experience for the rest of his life. Almost every surviving hedge and tree and pub and riverbank within walking distance of the Noisy Boy’s house has a sunny memory of his big cousin imprinted on it like a seal of authenticity. And every time he sees Dambusters on TV 50 years on, he will remember seeing it for the first time in the glittering cinema dark with his big cousin. He wiill remember being gently told not to shoot everyone in the Odeon when watching the B-westerns; and the incredible trip to see an ‘A’ Certificate – ‘Hell Drivers’ with Sean Connery and a host of British stars. The sign outside actually dared to say HELL, a word not allowed in the respectable world. A word which once caused tightly-corsetted ladies to faint at the horrifying visions of eternal torment triggered by the mere word. It invited in the Devil.
– And always remember the Firestation Xmas parties and the presents made by the hero-firemen – even though he never did win the fort – which every boy coveted.
And never forget the trips to Felinfoel Brewery to fetch cheesy slabs of yeast for home-baking, stored in square holes in the white walls of the vaults housing the huge vats of fermenting beer, foaming with suds a foot deep. The fragrance was so overpowering it had to be waded through. The river smelt and foamed the same downstream for half a mile.
– Or watching the farriers opposite the Brewery fettling a gigantic dray horse, in a shower of red-hot sparks and clouds of choking hoof-smoke, on the forge open to the kerb at the historic Union Inn.
He will never forget these moments because they were shared, and because they felt like freedom. For those afternoons, the Big Cousin’s role was to make good memories, whether he knew it or not. Many other adults on Llethri Road made similar nameless contributions, in the spirit of the traditional African proverb that ‘It takes village to raise a child.’

[watch this space]

TO BE CONTINUED...

Llanelly House
Llanelli L:ibrary
STRADEY PARK

 

Studio Nan / Real Nan

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I was asked to scan in this image of a client’s grandmother, taken as a remembrance on the eve of her daughter’s emigration to Britain from the West Indies. The client mentioned that the photo (left) did no justice to her grandmother’s personality, a failing which is clearly a combination of haste and negligence on the part of the photographer. Together, we undid the damage and converted formidable, stern Nan into the one she remembered.
The question was, ‘Is this how you remember your grandmother?’ The next question is therefore whether to adjust it to be more faithful to the memory of the sitter is to be unfaithful to historical truth.

Does emotional truth take precedence over the chemical record of the moment, snatched briefly without any sympathy with the sitter, or much real consideration of the needs of the target audience for the photograph?
The slight rotation of the head, plus ‘smearing’ of the edges of the mouth with Photoshop make the photographed Nan more like the real Nan, according to her grand-daughter. Which reality is truer?

First Impressions Do Count

I realised recently that two of the images which have had most influence on me as a photographer are two of the first I ever saw, and I don’t even know who took the photographs.

This simple composition of my mother at work has always fascinated me for its clarity and for its respect of the ordinary. It provides all the information we need and lets us draw our own conclusions. And for this kind of family snapshot, is remarkable for being both un-posed and spontaneous.

This image of my sister and a friend taught me the basics of  the action shot, including the importance of background and context to add interest, ask questions, and tell a story.
Rodchenko, Cartier-Bresson, Klein and McCullin and the rest came along later and overshadowed these early influences. But essentially, I am still taking the same two pictures, for better or worse.