A nice little video on the wet plate technique used by this photographer.
In 1984, on one of his return visits to the UK, Bill Jay was interviewed by Rob Powell for The British Journal of Photography. The entire interview is reproduced here and may be downloaded as a PDF scan .
This article is the text of the lecture delivered by the late Bill Jay on 3 July 1980, at the Newport Art Gallery, Newport, Gwent, under the aegis of the Documentary Photography Course at Gwent College of Higher Education, during a short visit to the UK. It is reproduced from The British Journal of Photography where it appeared in July 1980.
Jay was then Associate Professor of Art History at Arizona State University and, before leaving the UK for the USA in 1972, he was a significant catalyst in the development of the resurgence of photographic fine art and the self-expressionist movement at the beginning of the ’70s. He was, for a time, the editor of Camera Owner magazine and engineered its transformation into Creative Camera during his tenure.
The article does not appear in Jay’s extensive online catalogue of articles and so has been added here. Continue reading “Photography in America – Bill Jay, 1980”
Written by Colin Osman, it gives a full and detailed account of all that Osman had discovered about Hugo van Wadenoyen and provides the most information I have discovered about him to date.
The quality of the included image was very poor, but I have added it here for reference. Continue reading “Landscape Revolutionary”
The first set of Peter Soar’s photographs of Cambridge Lion Yard redevelopment in 1970/71. Some background to the redevelopment of Lion Yard is given after the photo gallery. Continue reading “Peter Soar – Cambridge: Set 1”
Modfot One was an exhibition of contemporary photography, produced in 1967 and exhibited at the Royal Watercolour Society’s galleries in Conduit Street, London, during May of that year. It continued to tour around Britain and the world for three and a half years as a British Council touring show. It is tempting to consider it in a similar vein to Edward Steichen’s ‘Family of Man’ exhibition of 1955 in the U.S. Although its intentions were somewhat different, it may have had a similar effect on the public’s perception of the scope and possibilities of still photography.
This article is reproduced from the May 1967 issue of Camera Owner magazine Issue number 35 (the precursor of Creative Camera magazine) and was written by Carl Wildeblood. It relates to the articles on this site about the modfot one exhibition published here and here.