"I was a young apprentice industrial photographer"
Back in early 1978, I was taken on as an apprentice industrial photographer; how, I really don't know! I was being employed by a major international car components company. During the interview for the job, I remember saying, I had no interest in cars! As a side note, it took me four attempts to pass my driving test! Not a good start in working for such a renowned automotive company.
My boss, the only photographer in the Lucas Girling brakes division was originally from Bournemouth. He sounded 'very posh' and always tried to correct my 'Welshness' in terms of pronunciation and dialect - of course he failed! The photo department was based in Cwmbran, but we covered all the Lucas Girling factories, mainly in South Wales and the Midlands. So as they say, I leaned the trade and my boss, Mr Brown, was a master of technical photography and video.
Early on into my apprenticeship, Mr Brown asked if I would like to cover the International Motor Show, held annually at the NEC, Birmingham. I remember being pleased, as he trusted me with a 'proper' assignment. I was given a media pass the day before the show opened to the public. He also gave me a long list of around three A4 pages, of things I needed to photograph. For example, head lights on a British Leyland truck, a car battery in a brand new Morris Marina. The list went on and on and got even more boring!
I arrived at the motor show and presented my media pass. I was given goodies, a glass of wine and a ticket to eat all this posh food; I felt so important.
After a few glasses of wine and just to say, it was 10.00AM, I began to look at my list. I found the first item, a Leyland truck and walked over to it, greeted by a beautiful looking model in a revealing bikini. Young ladies were scattered around the show, I assume to bring a bit of interest to the boring cars and lorries. So my job was to photograph the engine and the young model said, "where do you want me?" I was only eighteen years old with no interest in cars and lorries, though suddenly began to show a lot of interest in the motor show. So I tried to be cool and said to the model, "just in front of the lorry would be great". I shot a roll of film and totally forgot about the engine that I was supposed to have photographed. This went on all day, with me photographing these beautiful young attractive ladies.
I couldn't wait to get back to Wales the next day and process the films; around 15 rolls in total (540 shots of models wearing skimpy swim suits).
It was time to show Mr Brown the contact sheets. He asked "where are the photos I asked you to shoot listed on your notes?" Lesson one in photography, ALWAYS KEEP TO THE BRIEF! Mr Brown spent the whole of that morning screaming and shouting at me. He threatened to terminate my employment, but eventually calmed down and said I'm on my last warning.
I worked at Lucas Girling for four years, three as an apprentice and the last year as a company industrial photographer. It was time to move on though and Mr Brown and I stayed in contact for a few years after. He taught me so much.
- The Newport Years (part 1)
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Back in 1982, I gave up a full time, well paid job as an industrial photographer. I remember my late Mam saying, "are you sure?" It was certainly a big gamble, but sometimes you have to back yourself and follow your dreams.
After four years of working on large industrial photographic projects, I was back at the highly acclaimed documentary photography course, shooting on a 35mm Canon F1 and only allowed to use a 50mm standard lens. We were instructed to go out and find and photograph 'a man at work'. We were told to shoot 2 to 3 rolls of film of the same person. Although I suppose I was used to photographing people, it was a challenge to spend quite a bit of time photographing one person! Then it was back to dev the film, make a contact sheet and wait for a crit. After being told of my mistakes, it was back out to find another culprit. So you would photograph around three different people in a day, amounting to somewhere around 400 images. This went on every day for around six weeks and each student was eventually moved on to the next project, which was relationships. I remember the joy of being moved on, but the pain of even a greater challenge! The rationale for this process, was for you to get used to photographing people and also to learn to build a relationship and confidence in pointing a camera. Many street photographers these days will take a sneak snap, and quickly move on! The course was certainly a turning point for my photographic practice and I'm so glad I did it. |
A contact sheet from 'Man at Work' assignment, whilst studying on the Documentary Photography course at Newport College of Art in 1982. |
A time to reflect!
We are in the middle of a historic moment in the history of mankind. A pandemic that has claimed the lives of over thirty thousand people in the UK alone. Some reports indicate that the true number is double that. So what do we do as photographers or film makers during this period. 'Stay at home and only exercise locally,' is the message in Wales, which I believe is sensible. I'm 60 years old, therefor amongst the higher risk category. I'm not over weight and I am pretty fit, training everyday and even in normal circumstances, playing rugby. So what of the images coming from this period? Will they be the defining record of this extraordinary time? People certainly in my neighbourhood have bonded, clapping for the NHS on a Thursday evening. I'm a drummer, so I started playing percussion instruments in the street. Everyone now, makes a noise with saucepans, tambourines, cymbals and what ever else they can lay their hands on. As a professional photographer/film maker, should I really be taking part in all of this. Shouldn't I be taking photos or making films? A picture editor of a national newspaper said angrily stated to me once, 'you are a witness, not a participant!'
The question I have particularly become interested in is, what is a professional photographer/film maker? I watched an incredibly powerful documentary on television last evening. It was about front line workers at the Royal Gwent Hospital in Newport, South Wales. It was filmed entirely by staff in the Covid 19 intensive care ward, using mobile phones and Gopro cameras. Their penetrating stories were told through working long hours and their love and passion for caring for their extremely ill patients. Their footage also captured the home lives of doctors, nurses and carers, giving the viewer an insight of their dedication and commitment. Of course, the film was beautifully edited by a professional post production editor. I cried during the programme and felt a shiver in my heart going to bed to gain a peaceful night's sleep. I'm proud to clap on a Thursday evening in exchange for missing numerous photo opportunities. As a professional though, I'm always thinking of other ways to capture this time.
Since 1978, I've been paid to take photographs; it has been my only job! Yes I've worked in numerous genres of photography and media education for the past forty two years; but is it still possible to be able to do that in this day and age. 'Everyone is a photographer, everyone is a film maker!'
We are in the middle of a historic moment in the history of mankind. A pandemic that has claimed the lives of over thirty thousand people in the UK alone. Some reports indicate that the true number is double that. So what do we do as photographers or film makers during this period. 'Stay at home and only exercise locally,' is the message in Wales, which I believe is sensible. I'm 60 years old, therefor amongst the higher risk category. I'm not over weight and I am pretty fit, training everyday and even in normal circumstances, playing rugby. So what of the images coming from this period? Will they be the defining record of this extraordinary time? People certainly in my neighbourhood have bonded, clapping for the NHS on a Thursday evening. I'm a drummer, so I started playing percussion instruments in the street. Everyone now, makes a noise with saucepans, tambourines, cymbals and what ever else they can lay their hands on. As a professional photographer/film maker, should I really be taking part in all of this. Shouldn't I be taking photos or making films? A picture editor of a national newspaper said angrily stated to me once, 'you are a witness, not a participant!'
The question I have particularly become interested in is, what is a professional photographer/film maker? I watched an incredibly powerful documentary on television last evening. It was about front line workers at the Royal Gwent Hospital in Newport, South Wales. It was filmed entirely by staff in the Covid 19 intensive care ward, using mobile phones and Gopro cameras. Their penetrating stories were told through working long hours and their love and passion for caring for their extremely ill patients. Their footage also captured the home lives of doctors, nurses and carers, giving the viewer an insight of their dedication and commitment. Of course, the film was beautifully edited by a professional post production editor. I cried during the programme and felt a shiver in my heart going to bed to gain a peaceful night's sleep. I'm proud to clap on a Thursday evening in exchange for missing numerous photo opportunities. As a professional though, I'm always thinking of other ways to capture this time.
Since 1978, I've been paid to take photographs; it has been my only job! Yes I've worked in numerous genres of photography and media education for the past forty two years; but is it still possible to be able to do that in this day and age. 'Everyone is a photographer, everyone is a film maker!'