Reviewing Hinde was a suggestion by my tutor Jayne Taylor. Landscape isn’t a strength of mine and the reviews she has suggested have been really helpful.
First thoughts on Hinde. Yuck. Dull. Tourism. Not my thing. In fact I dislike his photography so much I decided not to review it.
However, here I am. Reviewing. Why? Because after looking at Hinde’s postcards I started thinking how I could create something similar and yet different for assignment one:- Square Mile.
My initial thoughts:- Summer, enhanced sky and sea, muted buildings, sand and people. Fast shutter speed. No blur/movement from people. Perspective creates four layers. Sea, sand and people, promenade and buildings, sky.
Shadows are strong, although there is cloud the sun is out. People and buildings in direct sun are not washed out. Photo has been developed well or filters used.
The sand, buildings and people have had black added which gives the acidic look (i.e. if you make a colour wheel with paint you can pastelise the colours by adding white or make them acidic and muted by adding black).
Perspective, colour, movement suggested by lights reflection on road, but definitely reflection from illuminations not traffic going past. Wet road but no signs of current rain. Colours acidic. Development suggests possible overpainting (lights from street lamps have very little gradient).
Notes from john hinde collection contact and essays (Beale and Abadie; 2009)
Developed interest in colour photography just prior to leaving school. Used three colour Carbro process (single colour on tissue for each three colours exposed onto gelatin – bit to complex to explain just now). Work for Adprint on Britain in Pictures series and further developed expertise in colour photography. 1955 set up John Hinde Ltd and developed his postcard works which coincided with increase in tourist industry.
Notes from Kate Burt – Independent
Burt quotes Edmund Nagele – a photographer for John Hinde Ltd who explains the extensive planning and production of each image to ensure the timing and lighting were correct and that obstructions were removed or obscured.
Negele explains how Hinde would make extensive notes for the Milan based photo developers he used, telling them what to remove, what colours to change and how to complete the developing.
“After John had masked the transparencies, black and white negatives and the prints for the colour-notes would be made. More umming and arring behind closed doors: John himself would prepare these instructions for the colour separations, which were produced in Milan (Italy). No PhotoShop in those days, only skilled Milanese Signores who would change colours, follow the scribble “make new sky” to the letter and insert the perfect holiday wish. They would eagerly remove objects of lesser desire; telephone posts and TV-aerials scored especially high. More desirable items included people and cars, thus the scribbles became frantic: “make jumper red” and “change colour of car to yellow”” (Nagele)
Having made a brief review of Hinde it’s clear that he was a very skillful photographer and perhaps more importantly a developer. He broke the mould with his vision on producing idyllic landscape, tourist photography, believing that high quality and aesthetically pleasing colour photography rather than the custom black and white. He was a master developer who made use of his experience in the printing industry to ensure he produced colour rich (high saturation) photos. Knowing that there was a lack of technical ability in the UK to produce the colours that he wished, he had his photos developed in Italy. I can see the skill, planning and vision that Hinde had, but I neither like his subject matter or photos. I do wonder if this is a commonly held view (Parr excluded), as there is no mention of Hinde in the bibliography of Hacking (2014) nor in Johnson, Rice and Williams (2016).
Fig 1 – John Hinde Studios; BM13A The sands and promenade, West cliff, Bournemouth; Online at www.johnhindecollection.com (accessed on 30/07/2017)
Fig 2 – John Hinde Studios; BM13A Blackpool illuminations, The pleasure beach; Online at www.johnhindecollection.com (accessed on 30/07/2017) (I have not signified John Hinde as the photographer as it’s possible that his employed photographers made the photos).
Abadie, M and Beale, S; 2001-2009; Nothing to Write Home About; in johnhindecollection contact and essays; Online at http://www.johnhindecollection.com/contact_nationalmedia.html (accessed on 30/07/2017)
Burt, K; 2011; King of technicolour tourism: A new exhibition celebrates John Hinde’s postcards; Online at http://www.independent.co.uk/arts-entertainment/art/features/king-of-technicolour-tourism-a-new-exhibition-celebrates-john-hindes-postcards-2307780.html (accessed on 30/07/2017)
Nagele, E; Wish you were here: The early days of my photography; Online at http://nagelestock.com/uk/Stockphotochat/postcard.htm (accessed on 30/07/2017 (link is inconsistent – sometimes works/sometimes doesnt)
Hacking, J; 2014; Photography the whole story; London; Thames and Hudson
Johnson, WS, Rice, M, Williams, C; 2016; A history of photography; Cologne; Taschen GmbH