299:, July 1967) with interviews (including Aaron Siskind and David Douglas Duncan) highlighting aesthetics, rather than merely technique; in 1967 Jay added 'Creative', in a smaller font, to the title 'Camera Owner'; and by December substituted a smaller type size for 'Owner' so that the words 'Creative Camera' dominated the masthead. The magazine encouraged its readers to set up 'postal circles' by circulating around a boxed print for feedback.
29:
310:
s full colour, the black-and-white photograph being the medium of serious art and street photography, and some documentary work, of the period. Picture spreads, with usually a full page devoted to each image, were separated form articles that included press releases, editorial and opinion pieces, and
557:
edited and published in 1999 by
Brittain, provides a survey of significant British perspectives on what constituted 'art photography', on the succession of movements and surrounding theory, the rise and prominence of certain practitioners, the question of social use, and changes in technology that
366:
Osman established a gallery, bookstore run by his wife and sister-in-law and a book-order company specialising in the photographers featured in the publication. When it purchased
Mansfield Books International its mail-order business expanded such that it rivalled the largest book holdings in
492:
continued to provide an open forum on what best represented
British art photography; Mark Durden's February/March 1998 article "Defining the Moment" asserted that the publication was still true to British photographic traditions; and exhibitions such as the Victoria and Albert's
513:, as reforming documentary work in response. Photography critic and professor David Green in a series of articles explored and attempted to define how conceptual and multimedia practice and theory stood in relation to ever more diverse and mercurial 'straight' art photography.
269:, took over editorship in November of the previous year. The publishers Davpet Ltd. announced that the magazine was folding. In May 1966 Colin Osman (August 16, 1926–April 12, 2001), publisher of Coo Press that produced
524:
guest edited a double issue showcasing emerging
British photographers—"The New New" issue, October–November. The selection they made included the first published examples of photo-based artworks by
587:
noted the tendency for young
European photographers to look toward America as the source of contemporary and avant-garde imagery, while Americans remained ignorant of European developments of "
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275:
founded by his grandfather
Lieutenant Colonel Alfred Henry Osman (responsible for pigeon training and organisation during World War One) with tens of thousands of subscribers, purchased
295:
s audience of camera club members for more serious photographers and photojournalists; by 1966 book reviews had begun to be included in the contents (for example, John
Szarkowski's
447:
photography and writings raised the consciousness of a new generation of artists who also responded to greater immigration into
England by addressing and critiquing Britain's
536:. Bond's collaboration with the magazine continued as an ongoing series of artists' pages that ran as "openers"—appearing on the inside front cover and contents page. One
387:. In 1980 the magazine was issued bi-monthly to save money but was back to monthly after the April/May 1981 issue, but with texts integrated with the imagery. Replacing
1326:
1137:
See artists' pages, p. 2-3; 16-45; and images accompanying scholarly essay, Andrew Renton, "Disfiguring: Certain New
Photographers and Uncertain Images," p. 16-21.
279:
for ÂŁ1. Osman's father
William had recruited two thousand amateur pigeon fanciers to provide birds for a Special Continental Pigeon Service, MI14(d), a branch of
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was the only outlet. An endless stream of people with interesting pictures came into the office. The magazine was the centre of things. It was terrific!
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509:’s participation in attempts to decipher the question. Susan Butler saw the use of colour in the 1990s, renewed with attention to the example of
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was coeditor from 1984 to 1986. Turner became editor again in 1986, on the occasion of Osman's sale of the magazine. Turner resigned in 1991 and
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These changes in social politics took effect in the magazine by 1986, when Colin Osman resigned to make way for full revenue support by the
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and in January 1970 Colin Osman, drawing on his photo-historical interests and amateur photography, became editor. He was joined by
1146:
Also see the comments on that issue made by David Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain,
334:, as 'generating enormous excitement with missionary zeal'. Jay as early 1969 was courting Arts Council funding for the magazine.
351:, first as Assistant Editor and then as Co-Editor. Turner, like Jay who suggested he take the job, had studied photography at the
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and, with Osman, conducted four-guinea two-day photography workshops for hobbyists at an Essex retreat. He is remembered by
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and the transfer of editorial decisions to a board of directors so that, while inclusive of traditionalists represented by
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about visual representation of societal structures, with motifs and motivations subsequently analysed in applications of
682:
No Such Thing as Society: Photography in Britain 1967–87: From the British Council and the Arts Council Collection
331:
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Jay was paid little for his editorship and supported the position with lectures to camera clubs, part-time teaching at
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magazine. He instituted a stronger cover design and integrated pictures more prominently into the internal layout.
323:
411:'s aesthetic of 'the decisive moment,' particularly as it related to radical street photography such as that by
463:
254:
643:" Conference at the National Museum of Photography, Film and Television, Bradford, England, 14 October 2004.
540:, created by Hirst, depicted the mutilated corpse of a young man with wounds to the eyes, and was captioned
311:
British and international commentators' responses to developments in photography and current exhibitions.
337:
Jay left after differences with Osman in December 1969 to set up a short lived high-production periodical
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The magazine, into the 1970s, was a magazine by practitioners for practitioners, with an ethos shaped by
1104:
In Osman, C., & In Turner, P. (1974). Creative camera international yearbook 1975. London: Coo Press
817:
Focal encyclopedia of photography : digital imaging, theory and applications, history, and science
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Artworks provided visual commentary on the ideological and textual content. In 1990, the photographers
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with a distinctive wide-bordered silver cover featuring a centred monochrome image, in contrast to
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See: Creative Camera issues 309/310/311/312. A comprehensive database of the magazine contents
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in June 1964 and which was edited, from Issue #10, in April 1965, by another South African
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was published in England between 1968 and 2000, and was the forerunner of the short-lived
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486:'s critical and intellectual content in line with more general art world publications.
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819:(4th ed. / Michael R. Peres, editor-in-chief ed.), Focal Press (published 2013),
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In response to emerging digital imaging technologies, Brittain changed the name to
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David Allan Mellor, "A Contextual Chronology", p.150. In David Allan Mellor, ed.,
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Cover of the January 1974 edition of Creative Camera featuring photography by
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photography of the late 1960s and early 1970s. In addition to the magazine,
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being in English...seen in the United States" to counteract the tendency.
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published five hardbound Yearbooks over 1975 to 1979. Turner remembered;
201:(also known as "CC") was a British monthly/bi-monthly magazine devoted to
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Englander, David A; Osman, Colin; Arts Council of Great Britain (1981).
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had been debated in the pages of the magazine over its three decades.
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1233:"Bill Jay: Photographer who found a niche as an advocate of his art"
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Val Williams, 'Crowned with Thorns: Creative Camera 1965-1978'. In
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as "radical and art-focused"; an "immensely influential magazine".
592:
470:, Colin Osman and Peter Turner, perspectives introduced by members
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David Brittain, "Mirror with a Memory: Thirty Years of Writing in
241:, subtitled 'the teach-yourself photo monthly' first published by
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Defunct photography magazines published in the United Kingdom
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415:. This was later modulated by the theories of John Tagg and
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Rodger, George; Osman, Colin; Caiger-Smith, Martin (1987).
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Encyclopedia of Twentieth-Century Photography, 3-Volume Set
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La casa de cita: Mexican photographs from the Belle Epoque
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At its original location at his grandfather's house at 19
209:. The successor to the very different (hobbyist) magazine
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The British worker photographs of working life 1839-1939
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There were no photography galleries in England then so
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What Happened Here?: Photography in Britain since 1968.
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roots, and gave prominence to artists like Nigerian
482:, Geoffrey Batchen and others in the 1990s brought
391:, who was the first editor appointed by the board,
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1327:Monthly magazines published in the United Kingdom
1175:Facsimiles of the pages on Bond's archive, i.e.,
948:Magnum opus : fifty years in photojournalism
832:
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814:
791:Warren, Lynne; Warren, Lynn (15 November 2005),
542:Damien Hirst: Fig. 60 Self-inflicted injuries...
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841:Inside Photography: Ten Interviews with Editors
1283:Manchester: Manchester University Press, 1999.
1055:Creative camera : thirty years of writing
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355:(1965–1968) before becoming a journalist for
1302:2001 disestablishments in the United Kingdom
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1197:(Issue 312, October–November 1991, p. 2-3).
575:The magazine folded eighteen months later.
503:British Photography from the Thatcher Years
265:, whose articles featured in the July 1965
1207:Cooper, Thomas Joshua; Hill, Paul (1979),
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859:Following my ouster from 'Creative Camera'
595:, and subjective photography", with "only
1297:1968 establishments in the United Kingdom
1281:Creative Camera: Thirty Years of Writing.
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1010:Creative Camera: Thirty Years of Writing.
839:Brittain, David; Cahill, Clinton (2013).
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383:Turner left in 1978, and was replaced by
249:, a photojournalist who had worked with
750:Vol. 41 No. 7, 4 April 2019, pages 15-16
740:Jon Day, 'Operation Columba', review of
555:Creative Camera: Thirty Years of Writing
795:, Taylor and Francis (published 2005),
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1022:"Kiss the Past Goodbye – Peter Turner"
970:
1322:Defunct magazines published in London
1186:(Issue 309, April–May 1991, p. 2-3);
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657:"Creative Camera – The Golden Fleece"
1116:Photography: a critical introduction
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1231:Hopkinson, Amanda (5 August 2009).
495:British Photography: into the 1990s
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925:. Arts Council of Great Britain.
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544:; another introduced Fairhurst's
1317:Magazines disestablished in 2001
1269:and the ongoing Creative Camera
815:Peres, Michael R (29 May 2013),
705:Hopkinson, Amanda (2002-04-16).
27:
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1057:. Manchester University Press.
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464:Arts Council of Great Britain
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215:(which had started in 1964),
1262:The Golden Fleece website:
659:. 2019-01-24. Archived from
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281:Military Intelligence (MI16)
7:
1118:(4th ed.), Routledge,
1008:"; in David Brittain, ed.,
10:
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1211:, Farrar, Straus, Giroux,
553:A compilation of articles
324:London College of Printing
221:
1209:Dialogue with photography
1166:(athens signin required).
1148:"Peter Turner 1947-2005,"
971:Vargas, Ava, ed. (1986).
443:' philosophies. Burgin's
253:and as picture editor of
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1279:of David Brittain, ed.,
1114:Wells, Liz, ed. (2009),
1053:Brittain, David (1999).
873:Jerusalem caught in time
684:(London: Hayward, 2007;
583:In a May 1977 interview
561:
549:Man Abandoned by Colour.
291:Jay gradually exchanged
133:March 31, 2000
707:"Obituary: Colin Osman"
591:, of photojournalism,
353:Guildford School of Art
207:documentary photography
142:no. 362, Feb./Mar. 2000
1083:History of photography
1081:Turner, Peter (1987),
772:No.321, April-May 1993
747:London Review of Books
381:
332:Manchester Polytechnic
297:The Photographer's Eye
115:; 56 years ago
898:Egypt: caught in time
896:Osman, Colin (1997).
875:. Garnet Publishing.
871:Osman, Colin (1999).
744:by Gordon Corera. In
742:Secret Pigeon Service
639:July 8, 2011, at the
409:Henri Cartier Bresson
373:
113:February 1, 1968
1277:Google books preview
602:Thirty years later,
499:Museum of Modern Art
433:Thinking Photography
330:, then a student at
203:fine art photography
89:Sylvester Stein (as
16:Photography magazine
505:(1990) attested to
93:), Colin Osman (as
23:
1193:2011-07-11 at the
1182:2011-07-11 at the
1164:on hwwilsonweb.com
847:. pp. 24–25.
572:in January 2000.
455:, and Uganda-born
453:Rotimi Fani-Kayode
19:
1218:978-0-374-13893-6
1153:, Sept-Oct, 2005.
1125:978-0-415-46027-9
1092:978-0-600-50270-8
1064:978-0-7190-5804-2
1026:The Golden Fleece
982:978-0-7043-2578-4
957:978-1-85378-001-1
932:978-0-7287-0280-6
907:978-1-873938-95-9
882:978-1-85964-120-0
854:978-1-907893-46-9
826:978-1-136-10613-2
802:978-0-203-94338-0
690:978-1-85332-265-5
522:Richard Burbridge
511:William Eggleston
272:The Racing Pigeon
247:Jurgen Schadeberg
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232:
220:
216:
212:Camera Owner
210:
197:
196:
195:
94:
91:Camera Owner
90:
54:Peter Turner
20:
975:. Quartet.
632:Bill Jay, "
526:Sarah Lucas
497:(1988) and
472:Ian Jeffrey
435:(1982) and
399:took over.
343:(1970–1971)
328:Martin Parr
128:Final issue
110:First issue
1291:Categories
1151:Afterimage
1085:, Hamlyn,
1032:2019-09-01
950:. Nishen.
900:. Garnet.
845:Dewi Lewis
724:2019-09-02
667:2019-09-01
620:References
518:Henry Bond
445:conceptual
359:magazine.
287:Editorship
229:Background
137:2000-03-31
120:1968-02-01
73:A4 stapled
65:Bi-monthly
1244:2 January
1188:Fairhurst
719:0261-3077
579:Influence
476:Jo Spence
425:semiotics
283:in WW2.
189:613320302
177:0011-0876
81:Coo Press
78:Publisher
60:Frequency
1191:Archived
1180:Archived
637:Archived
593:fotoform
449:colonial
322:and the
263:Bill Jay
163:Language
155:Based in
63:Monthly
1273:project
1271:Archive
439:'s and
320:Croydon
166:English
147:Country
135: (
118: (
102:Founded
86:Founder
1215:
1122:
1089:
1061:
979:
954:
929:
904:
879:
851:
823:
799:
717:
688:
538:spread
316:Harrow
158:London
130:Number
70:Format
42:Editor
1177:Hirst
570:DPICT
563:DPICT
427:from
340:Album
222:DPICT
1246:2015
1213:ISBN
1120:ISBN
1087:ISBN
1059:ISBN
977:ISBN
952:ISBN
927:ISBN
902:ISBN
877:ISBN
849:ISBN
821:ISBN
797:ISBN
715:ISSN
686:ISBN
532:and
520:and
423:and
256:Drum
237:was
205:and
184:OCLC
172:ISSN
105:1968
501:'s
459:.
431:'s
357:SLR
1293::
1235:.
1073:^
1041:^
1024:.
991:^
857:.
777:^
755:^
733:^
713:.
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697:^
692:).
648:^
528:,
478:,
474:,
318:,
1248:.
1067:.
1035:.
985:.
960:.
935:.
910:.
885:.
727:.
670:.
345:,
139:)
122:)
97:)
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