Latest news with #PicturePost
The Guardian
5 days ago
- Entertainment
- The Guardian
John Chillingworth obituary
The documentary photographer John Chillingworth, who has died aged 97, was one of the stable of famous photographic names who worked for the pioneering weekly magazine Picture Post in the 1940s and 50s. Picture Post's unique characteristic was that it was accessible to all, but did not patronise the ordinary people whose lives were reflected in its pages. The magazine documented the postwar social change that resulted from the Beveridge report of 1942. Among other examples, Chillingworth contributed images of a social worker in Nelson, Lancashire, in 1954, showing her engaged in the delicate task of combing out the newly washed hair of an elderly woman seated at the kitchen table. As if in contrast, he followed up with a feature on elegant fashion models in Paris and London. A picture of the Leigh rugby player 'Nebby' Cleworth at work as a labourer on a weekday between games celebrated the dignity of labour rather than the glamour of winning a match. Chillingworth delighted in a sense of place and character, encountering the specific in the general, and local identity in a capital city. He developed a naturalistic style, and was able to pass unnoticed on assignment. Elements of the past often entered his photo stories, however contemporary. Jewish Whitechapel (1952) shows a news agency, its windows boarded and broken and an ad for the Jewish Evening News painted on the frontage, too high to deface. Nearby is a Jewish tailor's shop beside a large advert for a local theatre company, its text in Hebrew, offering the real sense of a distinct London community. Although he worked at Picture Post for only a short time – around nine years, on and off – it was an important period for Chillingworth. During the 1990s, when he regularly visited the Centre for Journalism Studies at Cardiff University, where I was working at the time, his conversation remained very much focused on his time at Picture Post and its 'family' of photojournalists. Born in the working-class district of Upper Holloway, north London, Chillingworth shared and understood the background of many of his subjects. His father, John, was an official with the National Union of Journalists. His mother, Georgina (nee Winterbourn, and known as 'Mabs'), was a housewife. The eldest of four children, John attended St Mary's Church of England primary school in Hornsey, then St David and St Catherine's secondary, which he left, like many of his peers, aged 15. Although he scarcely knew what the job would involve, he signed up soon afterwards as Picture Post's tea maker. On finding the darkroom more interesting than the office kitchen, he began spending his spare time learning and assimilating all he could. Picture Post photographers generally brought their camera films to be developed in the office. Alongside and observing the likes of Bill Brandt, Thurston Hopkins, Merlyn Severn and Bert Hardy, and a growing influx of émigré photographers including Gerti Deutsch, Felix Man (Baumann) and Kurt Hutton (Hübschmann), Chillingworth was an eager and adept tutee. Hutton in particular took Chillingworth under his wing, encouraging him to experiment with a camera, and remaining a lasting friend and mentor. Through Hutton, Chillingworth acquired the skill of passing unobserved in a crowd. Like him, he transitioned to becoming a staffer rather than an occasional contributor. According to the author and publisher Dewi Lewis in his monograph John Chillingworth: Picture Post Photographer (2013): 'He was soon producing a vast range of photo stories of a very high quality. Encouraged by Picture Post's legendary editor Tom Hopkinson, Chillingworth learned to combine 'storytelling' images with the written word, and worked with some of the finest magazine journalists of the age. Having been too young to serve during the second world war, in 1946 he undertook national service with the Royal Engineers, returning to Picture Post's office in Holborn in 1949. He left only a year before its demise in 1957. A picture taken of Chillingworth by Dan Farson on a beach in 1956 shows him clad only in shorts under a burning sun. All Chillingworth is wearing above the waist are a pair of cameras: a Leica strung around his neck and a Rolleiflex around his midriff. It is a fine example of Hutton's advice taken to heart: a high-speed Leica for shots taken of moving or changing subjects; a weightier Rollei to capture a portrait, pose or perspective taken with careful preparation. In 1989 a selection of Chillingworth's work was exhibited in 150 Years of Photography at the National Science and Media Museum in Bradford. In the same year he was made an honorary fellow of the Royal Photographic Society, described as 'one of the makers of photographic history'. He is survived by his third wife, Ros (nee Taylor), whom he married in 1987, four children from two earlier marriages, and his sister, Ann. John Chillingworth, photographer, born 18 January 1928; died 6 April 2025
Kuwait Times
11-05-2025
- Business
- Kuwait Times
A handshake for a hundred camel loads
In a tale of trust and tradition, British editor A R Lindt recounts a 1937 rice deal in Kuwait By Mahmoud Zakaria This story is based on real events that took place in 1937. It was documented by A R Lindt, editor of the British magazine Picture Post, who visited Kuwait that year and witnessed the events firsthand. The story was later published in the magazine on October 15, 1938. Lindt visited Kuwait with his wife, following a recommendation from the British ambassador in Baghdad. He stayed at the residence of the British Political Agent in Kuwait, Captain Gerald de Gaury, and was placed under his supervision. De Gaury grew suspicious of Lindt's intentions due to his many inquiries into Kuwaiti affairs, suspecting possible ties to the German government. Lindt left Kuwait on July 6, 1937 aboard a Kuwaiti pearl diving ship owned by the renowned Kuwaiti merchant Ahmad Al-Sarhan. His role aboard the ship came through a nomination by Abdullah Al-Mulla Saleh, the Kuwaiti government secretary, who appointed him as a translator for Al-Sarhan. 1 The famous Kuwaiti merchant Suleiman Al-Haroun (the seller) 2 The client sits in Hajj Suleiman's office to begin bargaining over the price of the deal. 3 The merchant and the customer exchange in light-hearted banter, as the principles of Arab hospitality require a general conversation interspersed with some jokes before talking about the deal. 4 The client begins to disclose his request to purchase 100 camel loads of rice, with payment to be made after six months. 5 Research into previous transactions with this client begins through files. 6 After offers and negotiations, Hajj Suleiman decides to complete the deal and agree on the terms. This story — 'Hajj Suleiman Sells 100 Camel Loads of Rice' — details commercial practices in Kuwait at the time, as seen through Lindt's interactions with several Kuwaiti traders. These included Fahad Abdulatif Al-Fawzan, Abdullah Al-Mulla Saleh, Ahmad Al-Sarhan and others. As for the merchant Suleiman mentioned in the article's title, his exact identity remains unclear, but it is widely believed he was the well-known Kuwaiti trader Suleiman Al-Haroun. Lindt personally witnessed this fascinating story, which gives us insight into how business deals were conducted in Kuwait during that era. In this case, the deal involved Kuwaiti merchant Suleiman Al-Haroun and a buyer negotiating the sale of rice — a shipment estimated at 100 camel loads. The buyer arrived, and the two men began negotiating. As part of the bargaining process, the merchant relaxed, took off his shoes, and began rhythmically shaking his feet. The buyer, in a typical negotiation tactic, left the office several times, signaling disinterest and trying to gain the upper hand. Despite these maneuvers, the deal ultimately came together — as was often the case. Once both parties reached an agreement, they sealed it with a handshake. Lindt asked the Kuwaiti merchant, 'Surely you'll receive a written confirmation for this transaction?' The merchant replied, 'No, a handshake between us is enough. I've already given instructions for the goods to be delivered.' 7 Finally, the handshake signifies the deal, as Hajj Suleiman says to the buyer, 'I will send you the rice now, and you will pay me in dollars after six months.' 8 Hajj Suleiman welcomes his guest, the buyer of the deal, and invites him to dinner before his departure. A R Lindt Mahmoud Zakaria The Oct 15, 1938 cover of Picture Post magazine that carried this story. Lindt admired this method of business, built on mutual trust. In his observations, he also noted the progress Kuwait had made by that time. Kuwaiti merchants had begun using filing cabinets, typewriters and electric fans. They followed global stock prices via cable and wireless technology. The country also boasted a state-of-the-art ice factory — the most advanced of its kind during that period. Despite the modernization, Kuwaitis maintained a strong social and familial structure rooted in tribal affiliations. Lindt remarked that the ruler of Kuwait could truly be considered a father figure to his people. PS: Special thanks to the Center for Research and Studies on Kuwait and Fahad Al-Abduljaleel, the historical researcher who helped publish and document the details of this captivating story.
Wales Online
09-05-2025
- Entertainment
- Wales Online
Head to National Museum Cardiff this May half term for a diverse and vibrant experience
Fancy taking a journey through time, discovering the natural world from the universe's beginnings to the age of dinosaurs as well as a range of exciting events? Not only can you do that in one place at National Museum Cardiff, but entry is also completely free. A charge may apply for some events. This May half term, visitors can enjoy a variety of engaging activities and exhibits at this great destination in Cardiff which offers a mix of art, history, and science for everyone to explore. National Museum Cardiff is one of seven museums across Wales, which are part of the Amgueddfa Cymru family. Mammoth MAY-hem Bring the whole family to discover an Ice Age favourite that has now taken its place in the heart of the National Museum Cardiff! Be amazed by the most complete woolly mammoth skeleton ever found in Britain—an extraordinary mammoth discovery. The 3D mammoth is a replica of bones discovered in Shropshire in 1986 and were dated at between 14,000 and 14,500 years old. Join the museum for an exciting and educational adventure as you delve into this piece of history. Explore other stunning prehistoric exhibits throughout the museum and make lasting memories together. Dinomania is back (Image: National Museum Cardiff) Get ready for a roarsome adventure as you enjoy prehistoric fun, including meeting adorable baby dinosaurs who might just nibble your fingers, and coming face-to-face with Spike, a huge walking Spinosaurus. He's massive, mighty, and always up for a roar! During the 90 minute show you will learn incredible dinosaur facts. Ever wondered how fast a T-rex could run or what a Velociraptor really looked like? Dinomania have the answers. You can also explore the Dinomania fossil collection and see real fossils up close and uncover the secrets of the ancient past! The event takes place on May 28 until June 1 at 11am or 1.30pm. This is a ticketed event, with entry £15 per person. John Akomfrah's Listening All Night to the Rain What could we achieve if we learned to truly listen? Contemporary art and activism become one in noted artist John Akomfrah's profound piece, Listening All Night To The Rain. Be among the first to experience it at the first stop on a UK tour following its debut at the 2024 Venice Biennale. The immersive audio-visual piece is a journey of sights and sounds that draw out specific moments in time, events in our collective histories that have shaped individuals and societies. It opens on May 24 and is free to enjoy. Book your free tickets in advance here. Picture Post – A Twentieth Century Icon (Image: Haywood Magee /Picture Post/) Before 24-hour news and social media, how did people see the world? Groundbreaking photo-magazine Picture Post revolutionised the way Britain understood itself, capturing everyday life, major events, and shifting social attitudes, reaching 1.7 million readers at its peak. The exhibition of some of its striking photography will reveal Britain's transformation from the 1930s to the 1950s, from war and politics to cultural change, so you can discover the moments that defined a nation. Experience the power of photography to inform, challenge, and connect - just as Picture Post did for a generation. Opening on May 24 book your free tickets here Pay a visit The museum is open from 10am until 5pm, Tuesday until Sunday (although it is open on Bank Holiday Monday). Children under 16 must be accompanied by an adult at all times. Its public programme is supported by People's Postcode Lottery. Visit National Museum Cardiff to discover the full what's on programme.
The Guardian
21-02-2025
- Entertainment
- The Guardian
Resistance review – a captivating century of protest and photography
Taking us from the founding of the suffragette movement in 1903 to the vast demonstrations against the Iraq war in 2003, Resistance presents us with a century of protest in Britain, of causes and gatherings and acts of defiance. A hundred years of reasons, of inequalities and wrongs and rights, of marches and riots, of peaceful sit-downs and kiss-ins, of fortitude and dissent and things kicking off. Things can get ugly. A fire bomb in the road, marbles under the horses' hooves. Not resisting is uglier. Resistance also presents us with 100 years of photographs. Filled with incident and detail, personal shots and anonymous press images, documentary series and photographs found in archives and culled from collections, they range from journalistic assignments to surreptitious surveillance images, pictures by famous photographers and by anonymous agency ones. Conceived by Steve McQueen and curated by Clarrie Wallis, it is a show of fractured continuities and swerving vantage points. All the images have been scanned in black and white and hung in black frames. There are a few sepia-toned photos but no colour images. All the prints are relatively small and invite close looking. They gather and disperse and they march around the walls of the Turner Contemporary. The images home in and they pull back. We see crowds on the move and groups of the unemployed lying in the road to disrupt the traffic on Oxford Street. Protesters occupy tree houses high above the proposed Newbury bypass and they dance on the missile silos at Greenham Common. We find ourselves in courtrooms and cells, marching among millions and watching Arthur Scargill on the telly in someone's sitting room in the north-east of England. There's disenfranchised lassitude and the amazing creativity of the squatters who occupied scaffolding towers and netting above a row of houses to prevent their eviction. A couple dance wildly at an early Caribbean carnival in St Pancras Town Hall in 1959, sound systems are rigged-up in Notting Hill and anti-Iraq war activist Brian Haw begins his 670th day of protest opposite the Houses of Parliament in 2003 (his vigil lasted a decade, until his death in 2011). There are riots in the Bogside; Tom Robinson performing at a Rock Against Racism carnival; anti-racists blocking a National Front demonstration in New Cross; and Humphrey Spender documenting the Great Depression in 1936, photographing kids playing in a derelict street in Jarrow and unemployed Tyneside workers on the Newcastle quay, the Tyne Bridge looming behind them. Images such as Spender's, published in the popular Picture Post, gained enormous currency. Subtitled How Protest Shaped Britain and Photography Shaped Protest, the exhibition ends at a point when social media and advances in smartphone technology began to irrevocably change our relationship with images, as well as the relationship between photographs and videos and truth. The exhibition is compelling in all sorts of ways. As social history, as documentary, as eye-witness report and as remembering, whether it is of the unemployment marches of the 1930s or the protests against the overwhelming silence surrounding the deaths of 13 young people in a house fire in New Cross in 1981. Resistance is more than a parade of markers or a timeline of dissent. Well-known protests such as the Grunwick Dispute in 1976-8, in which a group of mostly Indian female workers from east Africa walked out of the film processing factory in west London where they suffered low wages, intimidation and exploitation, or the demonstration against the poll tax in 1990, the battles for gay liberation and against Section 28, also meet largely forgotten protests here; members of the Royal Society for the Protection of Birds protest 'against the use of egret feathers in hats' at a demonstration in London in 1911, and blind people march from cities around England and Wales to London in 1920, petitioning for 'Justice not Charity'. In the early 1990s, disabled protesters hold a 'Piss on Pity' campaign challenging ITV's patronising, celebrity telethon appeals, and 30 years on we have 'crip rights' and protests. It is easy to get caught up in the incidental details. The policeman wheeling his bike behind the Jarrow marchers. The kid, knock-kneed, hands in the pockets of his shorts, staring at the photographer Christine Spengler while she's taking a picture of a young British soldier on a Belfast corner in 1970. I do a double-take. The kid's wearing a weirdly comical mask, his own resistance to the presence of soldiers on the streets. The young unemployed sit on the floor and lean at the counter in the dole office, in Tish Murtha's 1981 series Youth Unemployment. From the same series, kids leap from a high window on to a pile of old mattresses in a wretched, partly demolished housing block. An onlooker in the image is holding a ventriloquist's dummy, which looks back out at us, a sort of bug-eyed rejoinder to our looking. John Deakin, then working for Picture Post, took a group of portraits of delegates at the 1945 Pan African Congress in Manchester. These included Jomo Kenyatta, future president of Kenya, and Jamaican Pan-African activist Amy Garvey. The photographer's close friend Francis Bacon called Deakin the greatest portrait photographer since Nadar and Julia Margaret Cameron. We meet individuals as well as crowds here; Tony Benn, speaking in Trafalgar Square during the Suez crisis, and Bertrand Russell, at an anti-nuclear missile protest in 1961 ('Bertrand Russell – King of the kids!', my father used to shout, whenever the aged philosopher appeared on the television). Oswald Mosley, in ridiculous jodhpurs and riding boots, exchanges a fascist salute with his blackshirt followers at a 1936 rally, and here's Mosley again, rallying a postwar crowd. He's ditched his absurd uniform of strongman leather belt and the boots by now. Mosley's pre-war antisemitism gave way, by the 1970s, to the National Front and broader attacks on immigration and the Black and Asian population, leading to mass demonstrations and shows of revulsion against them. Sometimes resistance has to go on and on and it must never stop. An anti-fascist protester is led away after a mounted police baton charge during the Battle of Cable Street in 1936, and a week later fire runs in the gutter on another East End street. There are flashpoints and long-terms protest, hunger strikes and a picture of a 'dirty protester' incarcerated in Belfast's Maze Prison, smuggled out in 1979. We find covert police images of suffragettes, and another of them in court (the camera hidden in the photographer's hat). The stories bolster the images and keep the whole thing alive. The exhibition and accompanying book – with numerous essays by Gary Younge, Paul Gilroy, Baroness Chakrabarti and others, and including first-hand accounts of protest movements and acts of resistance – has been several years in the making. McQueen's highly personal introduction recounts his going to a Saturday school, one of several set up by Black families to help children who were being failed by the education system. It was here that McQueen learned to draw, and to gain confidence. Eventually he went to art school. The first demonstration he went on was against the introduction of student tuition fees in 1988. He knows he could not have gone to art school if he'd had to pay. 'My own resistance started with me loving myself,' he writes. 'My resistance was my courage to dare and push my ability.' Resistance is inspiring. Resistance is at Turner Contemporary, Margate, from 22 February to 1 June
