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                return parent::handleError($code, $description, $file, $line, $context);
$class = 'HTMLPurifier_ChildDef_Table'
$file = 'HTMLPurifier/ChildDef/Table.php'
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require_once - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/Bootstrap.php, line 45
HTMLPurifier_Bootstrap::autoload() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/Bootstrap.php, line 45
spl_autoload_call - [internal], line ??
HTMLPurifier_HTMLModule_Tables::setup() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tables.php, line 16
HTMLPurifier_HTMLModuleManager::setup() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/HTMLModuleManager.php, line 243
HTMLPurifier_HTMLDefinition::processModules() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/HTMLDefinition.php, line 190
HTMLPurifier_HTMLDefinition::doSetup() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/HTMLDefinition.php, line 166
HTMLPurifier_Definition::setup() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/Definition.php, line 45
HTMLPurifier_Config::getDefinition() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/Config.php, line 397
HTMLPurifier_Config::getHTMLDefinition() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/Config.php, line 330
HTMLPurifier_Generator::__construct() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier/Generator.php, line 65
HTMLPurifier::purify() - ROOT/Plugin/App/Vendor/htmlpurifier/HTMLPurifier.php, line 127
PurifyBehavior::purify() - ROOT/Plugin/App/Model/Behavior/PurifyBehavior.php, line 174
BehaviorCollection::dispatchMethod() - CORE/Cake/Model/BehaviorCollection.php, line 238
Model::__call() - CORE/Cake/Model/Model.php, line 829
ArchiveItem::matchKeyword() - APP/Plugin/Project/Model/ArchiveItem.php, line 505
ArchiveItem::applyMatchKeyword() - APP/Plugin/Project/Model/ArchiveItem.php, line 555

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ArchiveItems

Archive

87 results

All

Sort by

Name Origination Date Date Added

Filter by

Camerawork Four Corners Half Moon Photography Workshop

0000868_HalfmoonCamerawork_Coming&Going_BarryLewis_PanelCaptionList.jpg

Publication

Contact

Four Corners
121 Roman Road
Bethnal Green
London
E2 0QN

T: 020 8981 6111
E: info@fourcornersfilm.co.uk

Opening Hours

Office hours:
Monday to Saturday
10am to 6pm

Please note:
Gallery opening times may vary.
Please check exhibition details
when planning your visit.

Transport & Parking

Underground: Bethnal Green (Central Line)
Train: Bethnal Green (Overground Line)
Buses: 253, 106, 8, D6, 277, 425

Parking: Metered parking available on
Roman Road and surrounding area

Website by on-IDLE

Registered charity: 279945 | Company limited by guarantee: 1481359

Website by on-IDLE

History
+
Request History
4 previous requests available
====
Session
+
Session
- Config(array)
  userAgent144ed409884da073515230947c68441e
  time1758184843
  countdown10
- Antispam(array)
  first8
  second6
  answerfourteen
- sentry_event_idf2f890bb8ebe47b3b0b36a18d6e83f21
====
Request
+
Request

Cake Params
- pluginproject
- controllerarchive_items
- actionindex
- named(array)
  sortorigination_year
  directiondesc
  page3
- pass(empty)
- isAjax(false)
- paging(array)
  ArchiveItem(array)
  page3
  current20
  count87
  prevPage(true)
  nextPage(true)
  pageCount5
  order(array)
  ArchiveItem.origination_yeardesc
  limit20
  options(array)
  order(array)
  ArchiveItem.origination_yeardesc
  page3
  sortorigination_year
  directiondesc
  paramTypenamed
  queryScope(null)
Post data

No post data.

Query string
- keywordBarry Lane
Cookie

To view Cookies, add CookieComponent to Controller

Current Route
- keys(array)
  0action
- options(empty)
- defaults(array)
  pluginproject
  controllerarchive_items
- template/archive/:action/*
====

Sql Log

Sql Logs

default

Total Time: 17 ms
Total Queries: 66 queries

Query	Affected	Num. rows	Took (ms)	Actions
SELECT `AppPreference`.`id`, `AppPreference`.`application_name`, `AppPreference`.`email`, `AppPreference`.`mail_recipients`, `AppPreference`.`404_not_found_page_id`, `AppPreference`.`meta_title`, `AppPreference`.`meta_show_title`, `AppPreference`.`meta_reverse_title`, `AppPreference`.`userlog_record_limit`, `AppPreference`.`userlog_time_limit`, `AppPreference`.`favicon_id`, `AppPreference`.`animated_favicon_id`, `AppPreference`.`apple_touch_icon_id`, `AppPreference`.`created`, `AppPreference`.`modified` FROM `fourcornersarchive_live`.`app_preferences` AS `AppPreference` WHERE 1 = 1 LIMIT 1	1	1	0
SELECT `AppPreferenceExpanded`.`id`, `AppPreferenceExpanded`.`app_preference_id`, `AppPreferenceExpanded`.`key`, `AppPreferenceExpanded`.`value`, `AppPreferenceExpanded`.`created`, `AppPreferenceExpanded`.`modified` FROM `fourcornersarchive_live`.`app_preferences_extended` AS `AppPreferenceExpanded` WHERE `AppPreferenceExpanded`.`app_preference_id` = (1)	4	4	6	maybe slow
SELECT `AppPreference`.`id`, `AppPreference`.`application_name`, `AppPreference`.`email`, `AppPreference`.`mail_recipients`, `AppPreference`.`404_not_found_page_id`, `AppPreference`.`meta_title`, `AppPreference`.`meta_show_title`, `AppPreference`.`meta_reverse_title`, `AppPreference`.`userlog_record_limit`, `AppPreference`.`userlog_time_limit`, `AppPreference`.`favicon_id`, `AppPreference`.`animated_favicon_id`, `AppPreference`.`apple_touch_icon_id`, `AppPreference`.`created`, `AppPreference`.`modified` FROM `fourcornersarchive_live`.`app_preferences` AS `AppPreference` WHERE 1 = 1 LIMIT 1	1	1	0
SELECT `AppPreferenceExpanded`.`id`, `AppPreferenceExpanded`.`app_preference_id`, `AppPreferenceExpanded`.`key`, `AppPreferenceExpanded`.`value`, `AppPreferenceExpanded`.`created`, `AppPreferenceExpanded`.`modified` FROM `fourcornersarchive_live`.`app_preferences_extended` AS `AppPreferenceExpanded` WHERE `AppPreferenceExpanded`.`app_preference_id` = (1)	4	4	0
SELECT `FrontpageRewrite`.`id`, `FrontpageRewrite`.`old`, `FrontpageRewrite`.`new`, `FrontpageRewrite`.`created`, `FrontpageRewrite`.`created_by`, `FrontpageRewrite`.`modified`, `FrontpageRewrite`.`modified_by`, `FrontpageRewrite`.`status` FROM `fourcornersarchive_live`.`frontpage_rewrites` AS `FrontpageRewrite` WHERE `FrontpageRewrite`.`old` = '/archive/index/sort:origination_year/direction:desc/page:3' AND `FrontpageRewrite`.`status` = 1 LIMIT 1	0	0	0
SELECT `FrontpageRewrite`.`id`, `FrontpageRewrite`.`old`, `FrontpageRewrite`.`new`, `FrontpageRewrite`.`created`, `FrontpageRewrite`.`created_by`, `FrontpageRewrite`.`modified`, `FrontpageRewrite`.`modified_by`, `FrontpageRewrite`.`status` FROM `fourcornersarchive_live`.`frontpage_rewrites` AS `FrontpageRewrite` WHERE `FrontpageRewrite`.`old` LIKE '%*' AND `FrontpageRewrite`.`status` = 1	0	0	0
SELECT `FrontpagePage`.`id`, `FrontpagePage`.`level`, `FrontpagePage`.`sorting`, `FrontpagePage`.`name`, `FrontpagePage`.`title`, `FrontpagePage`.`slug`, `FrontpagePage`.`meta_title`, `FrontpagePage`.`meta_keywords`, `FrontpagePage`.`meta_description`, `FrontpagePage`.`in_sitemap`, `FrontpagePage`.`sitemap_modified`, `FrontpagePage`.`sitemap_changes`, `FrontpagePage`.`sitemap_priority`, `FrontpagePage`.`in_routes`, `FrontpagePage`.`layout`, `FrontpagePage`.`logged_in_only`, `FrontpagePage`.`logged_out_only`, `FrontpagePage`.`frontpage_user_landing_page`, `FrontpagePage`.`layout_file`, `FrontpagePage`.`layout_file_recursive`, `FrontpagePage`.`view_file`, `FrontpagePage`.`view_file_recursive`, `FrontpagePage`.`use_url_as_view`, `FrontpagePage`.`meta_title_template`, `FrontpagePage`.`options`, `FrontpagePage`.`options_local`, `FrontpagePage`.`tags`, `FrontpagePage`.`notes`, `FrontpagePage`.`created`, `FrontpagePage`.`created_by`, `FrontpagePage`.`modified`, `FrontpagePage`.`modified_by`, `FrontpagePage`.`status` FROM `fourcornersarchive_live`.`frontpage_pages` AS `FrontpagePage` WHERE `FrontpagePage`.`slug` = 'page:3' AND `FrontpagePage`.`status` = 1 LIMIT 1	0	0	0
SELECT `ArchiveItem`.*, MATCH (title) AGAINST ('Barry Lane' IN NATURAL LANGUAGE MODE) AS scoreTitle, MATCH (ref, title, subtitle, author, author_organisation, author_interviewee, author_designer, author_photographer, author_writer, author_editor, pdf_text, location) AGAINST ('Barry Lane' IN NATURAL LANGUAGE MODE) AS scoreAll, `ArchiveItem`.`id` FROM `fourcornersarchive_live`.`archive_items` AS `ArchiveItem` WHERE `ArchiveItem`.`status` = '1' AND MATCH (ref, title, subtitle, author, author_organisation, author_interviewee, author_designer, author_photographer, author_writer, author_editor, pdf_text, location) AGAINST ('Barry Lane' IN NATURAL LANGUAGE MODE) ORDER BY `ArchiveItem`.`origination_year` desc LIMIT 40, 20	20	20	2	maybe slow
SELECT `ArchiveItemsTheme`.`theme_id`, `ArchiveItemsTheme`.`archive_item_id` FROM `fourcornersarchive_live`.`archive_items_themes` AS `ArchiveItemsTheme` WHERE `ArchiveItemsTheme`.`archive_item_id` IN (754, 756, 757, 758, 759, 760, 761, 762, 763, 764, 765, 766, 767, 17, 19, 1555, 53, 1454, 1455, 1456)	31	31	2	maybe slow
SELECT COUNT(*) AS `count` FROM `fourcornersarchive_live`.`archive_items` AS `ArchiveItem` WHERE `ArchiveItem`.`status` = '1' AND MATCH (ref, title, subtitle, author, author_organisation, author_interviewee, author_designer, author_photographer, author_writer, author_editor, pdf_text, location) AGAINST ('Barry Lane' IN NATURAL LANGUAGE MODE)	1	1	1
SELECT `Medium`.`id`, `Medium`.`name`, `Medium`.`icon`, `Medium`.`archive_item_count`, `Medium`.`created`, `Medium`.`created_by`, `Medium`.`modified`, `Medium`.`modified_by`, `Medium`.`status` FROM `fourcornersarchive_live`.`medium` AS `Medium` WHERE 1 = 1	8	8	1	maybe slow
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6059 LIMIT 1	1	1	1
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6059 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	1	maybe slow
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6061 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6061 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6062 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6062 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6063 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6063 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6064 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6064 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6065 LIMIT 1	1	1	1
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6065 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6066 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6066 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6067 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6067 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6068 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6068 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6069 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6069 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6070 LIMIT 1	1	1	1
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6070 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6071 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6071 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6072 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6072 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 3018 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 3018 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 3022 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 3022 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 4537 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 4537 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 6053 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 6053 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 4437 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 4437 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 4438 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 4438 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `Asset`.`id`, `Asset`.`parent_id`, `Asset`.`uid`, `Asset`.`name`, `Asset`.`caption`, `Asset`.`ext`, `Asset`.`size`, `Asset`.`width`, `Asset`.`height`, `Asset`.`created`, `Asset`.`created_by`, `Asset`.`modified`, `Asset`.`modified_by`, `Asset`.`sorting`, `Asset`.`status`, `Asset`.`path`, `Asset`.`tags`, `Asset`.`crop_params`, `Asset`.`filter_params`, `Asset`.`mp4_video_ready`, `Asset`.`webm_video_ready`, `Asset`.`flash_video_ready`, `Asset`.`video_thumbnail_ready`, `Asset`.`mp3_audio_ready`, `Asset`.`ogg_audio_ready`, `Asset`.`object`, `Asset`.`object_id`, `Asset`.`object_alias`, `Asset`.`google_drive_file_id`, `AssetFolder`.`id`, `AssetFolder`.`parent_id`, `AssetFolder`.`nleft`, `AssetFolder`.`nright`, `AssetFolder`.`name`, `AssetFolder`.`size`, `AssetFolder`.`asset_count`, `AssetFolder`.`created`, `AssetFolder`.`created_by`, `AssetFolder`.`modified`, `AssetFolder`.`modified_by`, `CreatedBy`.`id`, `CreatedBy`.`user_group_id`, `CreatedBy`.`role_id`, `CreatedBy`.`uid`, `CreatedBy`.`avatar_id`, `CreatedBy`.`email`, `CreatedBy`.`password`, `CreatedBy`.`first_name`, `CreatedBy`.`last_name`, `CreatedBy`.`locale`, `CreatedBy`.`created`, `CreatedBy`.`created_by`, `CreatedBy`.`modified`, `CreatedBy`.`modified_by`, `CreatedBy`.`notify_me`, `CreatedBy`.`status`, (CONCAT(`CreatedBy`.`first_name`, " ", `CreatedBy`.`last_name`)) AS `CreatedBy__name`, `ModifiedBy`.`id`, `ModifiedBy`.`user_group_id`, `ModifiedBy`.`role_id`, `ModifiedBy`.`uid`, `ModifiedBy`.`avatar_id`, `ModifiedBy`.`email`, `ModifiedBy`.`password`, `ModifiedBy`.`first_name`, `ModifiedBy`.`last_name`, `ModifiedBy`.`locale`, `ModifiedBy`.`created`, `ModifiedBy`.`created_by`, `ModifiedBy`.`modified`, `ModifiedBy`.`modified_by`, `ModifiedBy`.`notify_me`, `ModifiedBy`.`status`, (CONCAT(`ModifiedBy`.`first_name`, " ", `ModifiedBy`.`last_name`)) AS `ModifiedBy__name` FROM `fourcornersarchive_live`.`assets` AS `Asset` LEFT JOIN `fourcornersarchive_live`.`asset_folders` AS `AssetFolder` ON (`Asset`.`parent_id` = `AssetFolder`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `CreatedBy` ON (`Asset`.`created_by` = `CreatedBy`.`id`) LEFT JOIN `fourcornersarchive_live`.`users` AS `ModifiedBy` ON (`Asset`.`modified_by` = `ModifiedBy`.`id`) WHERE `Asset`.`id` = 4439 LIMIT 1	1	1	0
SELECT `AssetCategory`.`id`, `AssetCategory`.`name`, `AssetCategory`.`created`, `AssetCategory`.`created_by`, `AssetCategory`.`modified`, `AssetCategory`.`modified_by`, `AssetCategoriesAsset`.`id`, `AssetCategoriesAsset`.`asset_id`, `AssetCategoriesAsset`.`asset_category_id` FROM `fourcornersarchive_live`.`asset_categories` AS `AssetCategory` JOIN `fourcornersarchive_live`.`asset_categories_assets` AS `AssetCategoriesAsset` ON (`AssetCategoriesAsset`.`asset_id` = 4439 AND `AssetCategoriesAsset`.`asset_category_id` = `AssetCategory`.`id`)	0	0	0
SELECT `AppPreference`.`id`, `AppPreference`.`application_name`, `AppPreference`.`email`, `AppPreference`.`mail_recipients`, `AppPreference`.`404_not_found_page_id`, `AppPreference`.`meta_title`, `AppPreference`.`meta_show_title`, `AppPreference`.`meta_reverse_title`, `AppPreference`.`userlog_record_limit`, `AppPreference`.`userlog_time_limit`, `AppPreference`.`favicon_id`, `AppPreference`.`animated_favicon_id`, `AppPreference`.`apple_touch_icon_id`, `AppPreference`.`created`, `AppPreference`.`modified` FROM `fourcornersarchive_live`.`app_preferences` AS `AppPreference` WHERE 1 = 1 LIMIT 1	1	1	0
SELECT `AppPreferenceExpanded`.`id`, `AppPreferenceExpanded`.`app_preference_id`, `AppPreferenceExpanded`.`key`, `AppPreferenceExpanded`.`value`, `AppPreferenceExpanded`.`created`, `AppPreferenceExpanded`.`modified` FROM `fourcornersarchive_live`.`app_preferences_extended` AS `AppPreferenceExpanded` WHERE `AppPreferenceExpanded`.`app_preference_id` = (1)	4	4	0
SELECT `Collection`.`id`, `Collection`.`color` FROM `fourcornersarchive_live`.`collections` AS `Collection` WHERE 1 = 1	9	9	0
SELECT `Menu`.`id` FROM `fourcornersarchive_live`.`menus` AS `Menu` WHERE `Menu`.`name` = 'Main menu' LIMIT 1	1	1	0
SELECT `MenuItem`.`id`, `MenuItem`.`menu_id`, `MenuItem`.`parent_id`, `MenuItem`.`nleft`, `MenuItem`.`nright`, `MenuItem`.`level`, `MenuItem`.`object`, `MenuItem`.`object_id`, `MenuItem`.`name`, `MenuItem`.`title`, `MenuItem`.`url`, `MenuItem`.`class`, `MenuItem`.`created`, `MenuItem`.`created_by`, `MenuItem`.`modified`, `MenuItem`.`modified_by`, `MenuItem`.`status`, `MenuItem`.`target` FROM `fourcornersarchive_live`.`menu_items` AS `MenuItem` WHERE `MenuItem`.`menu_id` = 1 AND `level` IN (0, 1, 2) ORDER BY `nleft` ASC	9	9	0
SELECT `FrontpagePage`.`id`, `FrontpagePage`.`level`, `FrontpagePage`.`sorting`, `FrontpagePage`.`name`, `FrontpagePage`.`title`, `FrontpagePage`.`slug`, `FrontpagePage`.`meta_title`, `FrontpagePage`.`meta_keywords`, `FrontpagePage`.`meta_description`, `FrontpagePage`.`in_sitemap`, `FrontpagePage`.`sitemap_modified`, `FrontpagePage`.`sitemap_changes`, `FrontpagePage`.`sitemap_priority`, `FrontpagePage`.`in_routes`, `FrontpagePage`.`layout`, `FrontpagePage`.`logged_in_only`, `FrontpagePage`.`logged_out_only`, `FrontpagePage`.`frontpage_user_landing_page`, `FrontpagePage`.`layout_file`, `FrontpagePage`.`layout_file_recursive`, `FrontpagePage`.`view_file`, `FrontpagePage`.`view_file_recursive`, `FrontpagePage`.`use_url_as_view`, `FrontpagePage`.`meta_title_template`, `FrontpagePage`.`options`, `FrontpagePage`.`options_local`, `FrontpagePage`.`tags`, `FrontpagePage`.`notes`, `FrontpagePage`.`created`, `FrontpagePage`.`created_by`, `FrontpagePage`.`modified`, `FrontpagePage`.`modified_by`, `FrontpagePage`.`status` FROM `fourcornersarchive_live`.`frontpage_pages` AS `FrontpagePage` WHERE 1 = 1	13	13	0
SELECT `FrontpagePage`.`id`, `FrontpagePage`.`level`, `FrontpagePage`.`sorting`, `FrontpagePage`.`name`, `FrontpagePage`.`title`, `FrontpagePage`.`slug`, `FrontpagePage`.`meta_title`, `FrontpagePage`.`meta_keywords`, `FrontpagePage`.`meta_description`, `FrontpagePage`.`in_sitemap`, `FrontpagePage`.`sitemap_modified`, `FrontpagePage`.`sitemap_changes`, `FrontpagePage`.`sitemap_priority`, `FrontpagePage`.`in_routes`, `FrontpagePage`.`layout`, `FrontpagePage`.`logged_in_only`, `FrontpagePage`.`logged_out_only`, `FrontpagePage`.`frontpage_user_landing_page`, `FrontpagePage`.`layout_file`, `FrontpagePage`.`layout_file_recursive`, `FrontpagePage`.`view_file`, `FrontpagePage`.`view_file_recursive`, `FrontpagePage`.`use_url_as_view`, `FrontpagePage`.`meta_title_template`, `FrontpagePage`.`options`, `FrontpagePage`.`options_local`, `FrontpagePage`.`tags`, `FrontpagePage`.`notes`, `FrontpagePage`.`created`, `FrontpagePage`.`created_by`, `FrontpagePage`.`modified`, `FrontpagePage`.`modified_by`, `FrontpagePage`.`status` FROM `fourcornersarchive_live`.`frontpage_pages` AS `FrontpagePage` WHERE 1 = 1	13	13	1	maybe slow
SELECT `Medium`.`id`, `Medium`.`icon`, `Medium`.`name` FROM `fourcornersarchive_live`.`medium` AS `Medium` WHERE `Medium`.`status` = '1' AND `Medium`.`archive_item_count` > 0 ORDER BY `Medium`.`name` asc	8	8	0
SELECT `Organisation`.`id`, `Organisation`.`name`, `Organisation`.`icon`, `Organisation`.`color` FROM `fourcornersarchive_live`.`organisations` AS `Organisation` WHERE `Organisation`.`status` = 1	3	3	0
SELECT `Theme`.`id`, `Theme`.`name` FROM `fourcornersarchive_live`.`themes` AS `Theme` WHERE `Theme`.`status` = '1' AND `Theme`.`archive_item_count` > 0 ORDER BY `Theme`.`name` asc	10	10	0
SELECT `Collection`.`id`, `Collection`.`name` FROM `fourcornersarchive_live`.`collections` AS `Collection` WHERE `Collection`.`status` = '1' AND `Collection`.`archive_item_count` > 0 ORDER BY `Collection`.`name` asc	8	8	0
SELECT `FrontpageSocialMedia`.`url`, `FrontpageSocialMedia`.`slug` FROM `fourcornersarchive_live`.`frontpage_social_media` AS `FrontpageSocialMedia` WHERE `FrontpageSocialMedia`.`status` = 1 ORDER BY `FrontpageSocialMedia`.`sorting` asc	3	3	0
SELECT `FrontpageSocialMedia`.`url`, `FrontpageSocialMedia`.`slug` FROM `fourcornersarchive_live`.`frontpage_social_media` AS `FrontpageSocialMedia` WHERE `FrontpageSocialMedia`.`status` = 1 ORDER BY `FrontpageSocialMedia`.`sorting` asc	3	3	0
SELECT `Menu`.`id` FROM `fourcornersarchive_live`.`menus` AS `Menu` WHERE `Menu`.`name` = 'Footer menu' LIMIT 1	0	0	0
SELECT `MenuItem`.`id`, `MenuItem`.`menu_id`, `MenuItem`.`parent_id`, `MenuItem`.`nleft`, `MenuItem`.`nright`, `MenuItem`.`level`, `MenuItem`.`object`, `MenuItem`.`object_id`, `MenuItem`.`name`, `MenuItem`.`title`, `MenuItem`.`url`, `MenuItem`.`class`, `MenuItem`.`created`, `MenuItem`.`created_by`, `MenuItem`.`modified`, `MenuItem`.`modified_by`, `MenuItem`.`status`, `MenuItem`.`target` FROM `fourcornersarchive_live`.`menu_items` AS `MenuItem` WHERE `MenuItem`.`menu_id` = '' ORDER BY `nleft` ASC	0	0	0

6 duplicate queries run.

Query Explain:

Click an "Explain" link above, to see the query explanation.

====

Timer

Memory

Peak Memory Use 16.24 MB

Message	Memory use
Component initialization	5.47 MB
Controller action start	6.03 MB
Controller render start	8.46 MB
View render complete	11.42 MB

Timers

Total Request Time: 461 (ms)

Message	Time in ms	Graph
Core Processing (Derived from $_SERVER["REQUEST_TIME"])	80.75
Event: Controller.initialize	5.61
Event: Controller.startup	1.13
Controller action	205.80
Event: Controller.beforeRender	17.85
» Processing toolbar data	14.99
Rendering View	94.10
» Event: View.beforeRender	0.04
» Rendering APP/Plugin/Project/View/ArchiveItems/index.ctp	67.90
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp	9.47
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp	0.61
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #2	2.83
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #2	0.44
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #3	2.82
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #3	0.43
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #4	2.66
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #4	0.40
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #5	2.59
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #5	0.39
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #6	3.17
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #6	0.39
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #7	2.59
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #7	0.39
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #8	2.54
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #8	0.41
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #9	2.99
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #9	0.44
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #10	2.64
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #10	0.40
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #11	3.13
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #11	0.43
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #12	2.86
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #12	0.42
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #13	2.64
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #13	0.40
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #14	3.14
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #14	0.44
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #15	2.63
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #15	0.39
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #16	2.51
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #16	0.39
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #17	2.52
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #17	0.39
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #18	2.58
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #18	0.38
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #19	2.50
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #19	0.37
» » Rendering APP/Plugin/Project/View/Elements/archive/item.ctp #20	2.45
» » » Rendering APP/Plugin/Project/View/Elements/lightbox-link.ctp #20	0.38
» » Rendering APP/Plugin/Project/View/Elements/pager.ctp	1.54
» Event: View.afterRender	0.02
» Event: View.beforeLayout	0.02
» Rendering APP/View/Plugin/Frontpage/Layouts/default.ctp	25.20
» » Rendering APP/View/Plugin/Frontpage/Elements/document/header.ctp	2.56
» » » Rendering ROOT/Plugin/App/View/Elements/icons.ctp	0.55
» » » Rendering APP/View/Plugin/Frontpage/Elements/og.ctp	0.24
» » » Rendering APP/Plugin/Project/View/Elements/design-styles.ctp	0.74
» » Rendering ROOT/Plugin/Frontpage/View/Elements/admin_preview.ctp	0.32
» » Rendering ROOT/Plugin/Frontpage/View/Elements/cookie_compliance.ctp	0.57
» » Rendering APP/View/Plugin/Frontpage/Elements/page/header.ctp #2	7.15
» » » Rendering APP/View/Plugin/Frontpage/Elements/menu.ctp	6.66
» » » Rendering APP/View/Plugin/Frontpage/Elements/menu.ctp #2	2.11
» » Rendering APP/Plugin/Project/View/Elements/filter.ctp	7.20
» » » Rendering APP/Plugin/Project/View/Elements/filter/archive.ctp	6.31
» » » » Rendering APP/Plugin/Project/View/Elements/archive/crumb.ctp	0.25
» » » » Rendering APP/Plugin/Project/View/Elements/archive/sort.ctp	0.78
» » » » Rendering APP/Plugin/Project/View/Elements/archive/organisation.ctp	1.04
» » Rendering APP/View/Plugin/Frontpage/Elements/page/footer.ctp	3.79
» » » Rendering ROOT/Plugin/Frontpage/View/Elements/social_icons.ctp	1.28
» » » Rendering ROOT/Plugin/Frontpage/View/Elements/social_icons.ctp #2	0.58
» » » Rendering APP/View/Plugin/Frontpage/Elements/menu.ctp #3	0.90
Event: View.afterLayout	0.00

====

Log
+

Logs

There were no log entries made this request

====
Variables
+
View Variables
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  titleComing & Going - Travellers in London - Barry Lewis
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  titleComing & Going - Travellers in London - Barry Lewis
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  archiveFour Corners Bishopsgate
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  authorSee sections X to AC
  author_editorSantiago Castrillon, Denisce DiIanni, Mike Goldwater, Liz Mackie, Jenny Matthews, Tom Picton, Richard Platt, Shirley Read (co-ordinator), Siddhiratna, Bruno Simes
  author_writerPierre Coutanche, Caro Webb, Nicky Hughes, Bruno Simes, Paul Carter, Paul Trevor, Mike Goldwater
  author_photographerPaul Trevor, Martin Parr, Tom Learmonth, James Ravilious
  author_designerLiz Mackie, Richard Platt,
  author_intervieweeDave McKay, James Ravilious, Terry Crabtree, Helen Bridges, Tom Learmonth,
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  tagsoffsite,blackfriarsyouth project,waterloo festival,islington gutter press,centreprise,community publishing,self-publishing,workers al association,street exhibition,trinity arts,the photographic gallery,blackfriars settlement,union place,community photography,alternative press,photo-journalism,documentary,arts council,paul carter,north paddington community darkroom,510 centre,darkrooms,urban aid,shelter,gulbenkian foundation,housing,national empty property campaign,the factory,pensioners,catering workers,commission for racial equality,split image,schools,manchester free school,north west arts,young offenders,mental health,hospitals,beaford photography archive,farming,womens' institutes,reading museum of rural life,printing,squatting,demolition,bonfire press,southwark general strike,paul trevor,exit,bangladeshi communities,national front,british movement,altab ali,skinheads,racism,anti-nazi league,hackney and tower hamlets defence committee,police racism,alternative technologies,photo-kit,dave hoffman,tower hamlets arts project,property developers,coin street,tape-slide,blackfriars photography project,glc,tenants action group,blind people,disability,disabled photographers
  titleCamerawork Magazine - Issue 13
  subtitleIssue 13: Photography in the Community
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  copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Pierre Coutanche, Caro Webb, Nicky Hughes, Bruno Simes, Paul Carter, Paul Trevor, Mike Goldwater, Martin Parr, Tom Learmonth, James Ravilious, Liz Mackie, Richard Platt, Dave McKay, Terry Crabtree, Helen Bridges
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  location(pg 1) North Yorkshire, UK. Blackfriars, London, UK. North Devon, UK. Islington, London, UK. Birmingham, UK. Southampton, UK. Bethnal Green, London, UK. (pg 3-4) Paddington, London, UK. (pg 4) Manchester, UK. Cheshire, UK. Salford, Manchester, UK. Oldham, UK. (pg 4-5) Beaford, Devon, UK (pg 5-6) Lambeth, London, UK. (p6-7) Tower Hamlets, London, UK. Bethnal Green, London, UK. (pg 8,9,10) Brick Lane, London, UK. Spitalfields, London, UK. Bethnal Green, London, UK. (pg 12-13) Waterloo, London, UK. Lambeth, London, UK. Blackfriars, London, UK.
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  pdf_text* v v . / \ \ • ■ *■ • ■ ** CAMERAWORK An accidental double exposure at a photo-kit session at Ranwell Club Playscheme, Bow. Summer 1978. Photography in the Community NO 13 Half Moon Photography Workshop 50p/$1.50 Community Documentation Photography with Kids Community Publishing Community Relations For some time Martin Parr has documented life in the area of North Yorkshire where he lives, and has held local exhibitions of his photographs. A large number of projects work with children and youth groups. This photo was taken by a member of Blackfriars Youth Project. Blackfriars also teach pensioners and community workers. Centerprise is a community publishing project which grew out of Workers Educational Association writing classes, and which produces books written by local working people. Photographs are used in many of the publications. Trinity Arts have produced an exhibition on the life of a multi-racial community in Birmingham. The exhibi tion aims to promote discussion and bring racial groups closer together. Waterloo Festival 1978 Archive James Ravilious works in a village in North Devon. He is helping to strengthen a sense of community by building up an archive of historical and contemporary material through copying villagers’ photos and docu menting the area himself. Muslim wedding Frank Ideson, Lord Savile's head game-keeper Environmental Education Offsite is an ILEA project in which Primary schools are encouraged to develop a wide range of skills, including photography, through studies of the local environment. From this, it is hoped that a broadlybased curriculum will emerge, with which children can readily identify. 12 accounts of work in Hackney 1905-45 Exhibitions on the Street Barrington circa 1920 Community Newspapers Islington Gutter Press is a local radical newspaper which uses photos in its presentation of issues not covered by the commercial press. Tom Learmonth is one photographer who has taken photography out of the gallery onto the street. He has documented life on an estate near his home and is showing the work in the local launderette and fly posting prints in the area. Photographer in Residence The Photographic Gallery at the University of Southampton initiated a photography project based in two schools in the local community. ‘My Mum’ Simon Smith age 12 Street Class Mansford Street - Unitarian Church Hall Free Press Working in the Community Community photographers continue both a photographic and communal tradi tion. Photographers since Lewis Hine and Jacob Riis have shown the things in our society that need to be changed. People have done community work since the great charitable settlements were established in our big cities during the last century. Community photographers, however, want to give more than charity or expose social injustices. They believe that people can use photography to make their own demands and help to make them free. Individual photographers in the community will continue to fight to change a ruthless society by exposing injustices; the bad housing, run down welfare services, poverty, unemployment, the day-to-day desperation of so many peoples’ lives. Groups like Union Place and Blackfriars Settlement also know that it is important, socially and individually, to give people a knowledge of photography. It can be argued that giving someone living in one room with four children access to a camera is only a bitter joke, but we believe that the camera can be used as a revolutionary instrument. It can unite people not only with a shared picture of the world, but bring them together in the very process of taking pictures. Photographs can change a private experience into common awareness. Community photography is frequently praised. The photographs may be questioned, but the process seldom is. Community photography can be shown to be reformist; another panacea for the dispossessed; utilising the patronising social work instincts of the middle classes; sticking plaster on the body politic. State funds can be seen to be corrupting a spontaneous movement, another form of political control, bureaucratic strangulation, stopping any attempt to change the status quo. A new profession - ‘the community photographer’ could take the bite out of radical social critique. Even so, community photographers apply their ‘art’ to social needs. They have a common aim, expressed in many ways, to teach people the skills to express their personal and political realities. It is a battle to take the mystery out of a simple craft; to make a cultural tool available to everybody, not just to an elite. In this issue of Camerawork we outline some of the factors, aims and problems of community photography. We will continue this discussion in future issues. We hope our readers will contribute. We think that community photography can actively involve people in social change. We believe that it can be a vital step in taking control of our own lives. The people who worked on this issue were Santiago Castrillon, Denisce Dilanni, Mike Goldwater, Liz Mackie, Jenny Matthews, Tom Picton, Richard Platt, Shirley Read (co-ordinator), Siddhiratna, Bruno Simes. is designed to provided a forum for the exchange of ideas, views and information on photography and other forms of communication. By exploring the application, scope and content of photo graphy, we intend to demystify the process. We see this as part of the struggle to learn, to describe and to share experiences and so contribute to the process by which we grow in capacity and power to control our lives. This issue of CAMERAWORK, March 1979, was produced by the Publishing Project, Half Moon Photography Workshop, 119/121 Roman Road, London E2. 01-980 8798. SUBSCRIBE TO CAMERAWORK: A full subscription to Camerawork includes six issues, posters and invitations for our exhibitions. The cost for this is £6.50 (students £5.00). Subscription to Camerawork alone is £4.50 for six issues. Institutional subscription (which includes posters and invitations) is £12.00 for six issues. Overseas subscriptions cost £1.00 in addition to the above costs. Send to H.M.P.W., 119 Roman Road, London E2 0QN. Tel: 01-980 8798. (ISSN 0308 1676) CAMERAWORK n recent years some new ways of using and producing ‘socially concerned’ photography have developed. Each of these ways reflects the lives, history and culture of working people and the fight for their needs and aspirations. None of these ways are new, most are simply extensions of what documentary. High Street and local press photographers have done for years. Concern to make photography and the arts in general more accessible to working people is not new either. In the Thirties the Federal Arts Project in America and the Workers’ Film and Photo League in Britain tackled the problem. What is significant now is the scale on which community photography is done. This work falls into three overlapping areas ‘alternative’ photojournalism; locally based documentary projects; and photographic activities which involve and serve the needs of local people. All these areas interrelate and have at one time or another been called community photography. I ‘Alternative’ photo-journalism Some photo journalists make a point of working for the alternative press, pressure groups, charities, self-help organisations and political groups in order to relate their skills to their social and political ideals. These photo journalists generally have a workstyle which is little different from the more commercial side of photojournalism - they move from place to place on different assignments and can generally spend only a short time with the people they photograph. Community documentary Other photographers try to make better contact between their expertise and ordinary people by photographing a particular group or in a parti cular locality. By undertaking extended docu mentary projects they build up an intimate knowledge of their subjects. They often live in the locality and work at the project full or pan time over several years. Two dilemmas often occur in the course of a community documentary project: the demands for pictures made by local people, and the problem of what to do when the people don’t like the way in which they or the area are portrayed. Subjects can make the same sorts of com plaints about photographers as photographers make about picture editors - lack of control. Even if the photographer is very sympathetic to his or her subjects in principle, when it gets down to details a lot of differences can surface. Community photography Community photography picks up these dilemmas because it is more concerned with the needs and preferences of local people. It aims to provide a resource in the form of photographic equipment, darkrooms,and teaching or access to a photographer’s service. Urban working-class neighbourhoods, villages and new towns have been most affected by social and economic changes and it is in such localities that most community photography takes place. Community work is essentially an educa tional process, usually started by bringing people together to achieve an immediate aim for example a tenants’ association might form to get essential repairs done. Then through finding out about existing decision-making structures and planning procedures, organising petitions, lobbying and sometimes taking direct action like rent strikes, people come to learn how to make their opinions and needs felt more strongly, even if they don’t actually get real control. However community work can be as patronising a way of helping as the social welfare approach. It can end up dealing mainly with symptoms of social inequality rather than the causes. Ways of working Most of the people doing community photo graphy have more or less drifted into it. Indivi duals and groups have initiated community photography activities all over the country, with little or no knowledge of each other. Whereas five years ago there were only a few projects, there are now dozens either doing community photography as their main work or using it in their other community activities. Despite different beginnings and relatively little contact between projects, most are developing working methods which are based on a similar set of principles. Community photography is about two kinds of access. It provides access to the work of experienced photographers outside the commercial and art worlds. This is made possible through self-published books and magazines and photographic exhibitions in laundrettes and pubs. It also provides access to expertise and resources so that local people can do photography themselves. Photography for the Community Community photography makes photo graphy relevant to local people by making them the main subjects, audience and users of the photographs produced. Through this greater contact with photographic processes people understand, appreciate and become more critical of all the photography they see. In addi tion, by providing the means for local people to learn photography themselves, diverse groups are brought together and they discover more, not just about photography but also about the community in which they live. Through making their own images people can break the mono poly professional communicators have over the representation of their lives. Resources for learning and doing photography have to be established before such work can happen. Properly maintained equipment must be available to lend to people on low incomes and to those who need it just a few crucial times a year. Resources should be based in places where people feel welcome and comfortable. This sometimes precludes educational estab lishments and galleries. Youth clubs, community centres, a house or flat turned over to the purpose are often more acceptable. Normally people need a strong interest in photography as a potential profession or hobby before they can get access to photographic facilities. Many courses require academic qualifications too. In neighbourhood dark rooms created by community photography pro jects there are no such restrictions. rojects try to avoid the possibility of equipment, technique and aesthetics dominating peoples’ interest. They aim to demystify both the technical and communi cations process of photography. Learning is usually done in small groups. The social interaction between people involved in learning to work as a group is often as important as the learning of photographic skills. People are usually free to learn at their own pace and to develop personal interests in a non-competitive atmosphere, but with the needs of the group and the community kept in mind. Very often people’s first pictures have some immediate practical use to a community group as well as being a means for the new photographer to express something personal. People running community photography projects need to have a primary and lasting commitment to their community. Their commit ment to their own interest in photography has to run a close second. There is usually an uneasy relationship between these two. Most projects are initiated by middle-class people in working-class communities. It takes several years for the local people to begin to understand and change their expectations of photography and the part it can play in their lives. It also takes time for photographers to adjust their expectations and redirect their imagination in response to local priorities. Workers in a community photography project generally need to learn administration, how to teach and raise funds. It takes time to learn these skills. Also since most community photography projects are so isolated and are constantly responding to local needs rather than following an ideal established model, an enormous amount of mistakes are made. Each project will probably independently work through similar problems because there is little contact between them. Many people involved with community photography work collectively. Groups often aim for a non-hierarchical structure. Workers try to take equal responsibility for managing the project and sometimes have equal pay. In community arts projects especially, workers exchange skills. Community photography requires the photo grapher to involve his or her subjects in deci sions about what to photograph, how to photo graph and how to use photography. It is often easy for the photographer to be the dominant voice because he or she is the most experienced. The ‘expert’s’ job is to build up people’s knowledge and confidence over a period of time, thus equipping them to make these decisions for themselves. t is not possible to understand the role and significance of community photo graphy by applying the attitudes and standards of established commercial and artistic photography. The primary aim of community photography is to create awareness and social interaction within a local setting. High technical and artistic quality is not always necessary. The effectiveness of community photography has to P I be measured in terms of the needs and expecta tions of the particular community involved. More images are needed which show the importance of the past and present contribution that working people have made to society and of the efforts made by working-class organisations to influence the direction of their fives. Commu nity photography has begun to provide these images. Such photographs, generated and collected locally can be distributed through community newspapers, posters, pamphlets and the litera ture produced by pressure groups. They often capture the interests of the mass media and this widens their audience considerably. However, there is a lot more to community photography than its products alone can demonstrate. Its value as process is important too. This includes the personal, cultural, social and political growth that is stimulated by the work of producing and using the photographs. For example, when a tenants’ association produces a tape/slide show they also learn about their neighbours, their community, campaign ing and self-assertion. People doing community photography do not identify with the established photographic community since they are not striving after commercial work or one-person shows at the Hayward Gallery. Often, once they start running darkrooms, teaching and administrat ing they have little time to take photographs themselves. They are not seen to be fully-fledged members of the community work movement either. Many do feel part of the community arts movement, but even here photography tends to be the least understood of the media involved. The media, photographic education estab lishments and the photographic community all perpetuate the image of the photographer as a lone creative individual. This sort of condi tioning does not make photographers fit comfortably into the community context where team work and collective creativity are needed. Once a community photography project gets under way it raises the expectations of local people and highlights their needs. If it fails there are several long-term repercussions. Newly realised photographic needs can no longer be met. More important, people’s morale is severely damaged. If people have begun to meet their own needs and then resources are cut off, it will be much harder for them to try again. They are already used to being of low priority in employment and housing. The failure of yet another venture reinforces their feelings of powerlessness. taff continuity on a project is important. The longer workers stay the better they know how to run the project and the more familiar they are with the community. However, the work on a community photo graphy project is stressful. Demands come from every direction. Learn to type. Get cameras repaired. Reorganise the darkroom booking system. Write a report. Get to a management meeting. Go to a funding meeting. Plan and run a workshop. Take photographs needed urgently for a public meeting. Visit a club for the elderly to see how they might use photography. Show the youth worker how to operate the slide projector. And so on. S Funding Even more important than the continuity of people is the continuity of the positions they hold. Both depend heavily on regular funding at realistic levels. Few aspects of community photography are a commercial proposition so fund-raising is a continuing priority. Few project workers have had much experience of fund-raising. The aims and concepts of community photography are often new to the potential funders. It is rare for all the funds for one project to come from one source. Different funders have very different criteria for their support. Worst of all,grants are rarely given for more than a year so fund-raising is a continuous drain on workers’ time. Community photography cuts across photography, community arts, education and community work. Funds for it have come from bodies associated with all these activities. Projects are faced with the dilemma that they want to fulfill the priorities and values of the community, yet they also have to be accountable to the funding bodies, who can exert pressure on policy and have the ultimate sanction of with drawing funds. The other approach to fund-raising is for projects to organise their own events - like sponsored concerts and jumble sales. These are hard work and don’t always bring in much money for the time put in to them. But they are often necessary to fill in funding gaps and they also create publicity. Some projects make a small amount of money through darkroom booking fees. The picture files which are being generated by community photography activities are becoming another source of income. he money problem is the plague of com munity photography projects. It creates an atmosphere of uncertainty and in security. The lack of a guarantee of continuity makes it difficult to make long-term plans, even though these are essential for achieving the full potential of such projects. In the end projects often survive only because project workers give their time free, either when living on the dole or by living off savings. Most workers have to work full-time for long periods on part-time wages. Those who have it put personal money into the projects and allow free use of their own equipment. T T he future Roy Shaw, Secretary General of the Arts Council of Great Britain, which is the main source of funds for the community arts, acknowledges that this area is under-funded. He is, however, careful to add that its activities should not grow by cutting the budgets of established art forms. Whether and how the balance will be re dressed between the arts appealing mainly to a wealthy minority and the development of working-class cultural arts activities will be a major factor in the future of community photo graphy and community arts. Future support and interest in community photography depends very much on the ability of projects to educate funders and the public about its practice and value. This is an extre mely difficult task. Most projects are so tied up in their local affairs that there is little time left for mounting major educational campaigns. The long-term future of community projects depends on achieving long-term funding. For the most experienced people in community photography to be able to continue to work in the field, many are going to need wages which enable them to support growing families. It is important not to draw' experienced people out of communities into colleges and such institutions to teach others. They would soon get out of touch. An apprenticeship scheme would be a better model to pursue. Community photography projects get caught in an accountability trap with responsibilities to the community, funders, fellow workers and national coordinating bodies. Since members of the community could become the weakest lobby, it is important that they are involved in the management structures of the projects in more than a token way. Few community photo graphy project groups as yet have any formal accountability to members of the community. Some argue that they would have to compro mise their vision of their intervention too much if they did so. This will be an important debate in the future of community photography. eople involved in community photo graphy need to get together, and to work out what theoretical and practical options are open to them. This issue of Camerawork deals with some of the ways of using photography in a local community. However I am wary of heralding this work as a major step forward in the democratisation of photography and society. There are many dilemmas to resolve yet before its real worth can be measured. For despite good inten tions, the extension of resources to the least powerful members of the society does not in itself bring about a change in people’s con sciousness or control over their fives. This is more determined by the particular uses the photographers and photographs are put to and the ideas which form the context of this work. These resources can be put to fascist as easily as socialist uses. If the photographic activities serve mainly to focus people’s consciousness on particular problems - eg. bad housing or unemployment, then the perspective gained is of only limited use. This is true too if awareness and action revolve totally around local identity, local problems and local needs. The local community cannot be seen as an isolated entity unto itself. It is a part of a wider economic unit and contains in microcosm its ideology and structures. For no matter where anyone fives or works, or what problems or needs they have, the primary issue is one of class. Working-class people through out the world have fewer resources, fewer oppor tunities and the least power. If community photography activities are really ‘developing the community’ then this issue of class needs to be taken into account when determining priorities. I think that it is crucial that people working in local communities look closely at the ideas about P 3 CAMERAWORK photography and politics produced by the more academic circles of the photographic community, and that they see how these ideas may be applied or developed among the people they are working with. For what is the long-term future of commu nity photography activities? Will the State try to subvert the power of community photography by making it fashionable, as a first step towards diffusing its potential? Is community photo graphy mainly a context for people to exercise their entrepreneurial spirit and find interesting jobs for themselves? Will community dark rooms be essentially entertainment centres where people can avoid confronting the causes of their powerlessness? Is using photography in community action and education blinding oeople to the fact that they are getting a voice but not a vote on decision-making committees? Will the growth of community photography mainly benefit the photographic companies who will be selling equipment and materials to increase their profits with the help of public mny oe ? Paul Carter P a u l Carter set up and ran the Blackfriars photo graphy project for five years. H e is now collecting information, with the help o f an Arts Council grant, for a book on the uses o f photography in the local community. This article is a very generalised overview o f the work going on and by no means a definitive statement; he would like feedback o f peoples’ reactions to this issue o f Camerawork to help better define what is going on with photo graphy in the community. H e can be contacted at 56 Chesil Street, Winchester. 510 Centre North Paddington Community Darkroom is based at the 510 Centre which is a meeting place and an information and advice centre. The Centre recently lost its Urban A id grant which is a large part of their funding. The grant was stopped by Westminster Council because o f a 'Don’t Vote N a z i’ leaflet put out by the Paddington Campaign Against Racism which is based at the Centre. The Darkroom has two part-time workers who provide a photographic resource in the form o f darkroom equipment and cameras. They also teach photo graphy and take pictures for the community. N icky Hughes spoke to Philip Wolmuth. When did the Centre itself actually start? The Centre has been going for about four years as an information and drop-in centre, funded by Urban Aid. It consists of a building and four part-time workers, two of whom work on the information desk, one administrator who does accounts and typing, and one group worker. Then there’s a whole lot of people like me who get grants from other places based here, so in fact there’s a staff of twelve. One person, for example, is funded by Shelter and works on housing with various tenants’ associations. We all have a commitment to the Centre and it actually takes all of us to keep it running. The four part-time people could in no way keep it running by themselves. Display made for Lanhill and Marylands Tenants’ Association There’s a lot of unemployment - a high propor tion of immigrants of all kinds who are either unemployed or working in low-paid jobs like catering or cleaning. There is a lousy council that’s done nothing about housing. H ow involved are the local people with the Darkroom? There are a lot of people interested in having photographs for themselves, for their groups or their activity. There’s a lot of demand for me to come along and take pictures but I’m trying to get people to take pictures for themselves. One of the blocks is that we haven’t had enough equipment. With the equipment grant that we got yesterday I want to buy some automatic cameras that you just have to focus and press the button. I think that will change things quite a lot. We should have had them ages ago. Do people come to the darkroom mostly through word o f mouth? Yes. That’s pretty effective because of the large number of groups that meet at the Centre. I’d say that every group that meets here has used the Darkroom in one way or another - tenants, pensioners’ groups, womens’ groups, guitar class. H ow do you function here? Photographs as evidence: fungus and damp in a hall way. For Walterton Road Residents’ Association H ow did you get involved? I was living locally and taking photographs for myself and was told that some people here wanted photographs taken. I did them and the demand seemed to grow and grow until it was suggested that I try and set up a proper project at the Centre. With quite a lot of help from Paddington Print Shop I wrote off grant appli cations and eventually got one from the Gulbenkian Foundation in 1976 - one part-time salary for a year. I got about £100 from the Centre here and £50 from a local charity and that was about it. I did an appeal on Capital Radio for an enlarger and got one. I built the darkroom and put in a bit of my own equipment. The Darkroom actually began working in November 1976 when we got the Gulbenkian grant. H ow are you funded? We, the Darkroom (we’re funded separately from the Centre) now have one full-time salary from the Arts Council. It started in April 1978. Apart from that we have no regular grants. We just managed to get a one-off equipment grant from the Gulbenkian - £880, which is basically the first equipment money we’ve ever had except for the £100 or so we had at the beginning. We’ve sort of scrounged the rest. We divide the salary between myself and Kathy Trevelyan. I get three days, she gets two. Her main responsibility is to do the classes. I do the rest. I tend to pick up all the loose ends. H ow would you describe the area you’re in? It’s a dump. It’s a large slum with no facilities. The Darkroom’s open and available to anyone who wants to use it. It’s pretty much booked up all through the week. It’s 15p per hour to use plus the cost of materials. All the materials are here. There are also cameras that can be loaned out. We have classes all day Wednesday, small groups. We do very little stuff with kids. It’s almost all adults. The teaching before was very informal and we haven’t been doing classes as such for very long. Now we’ve started to regularise it; on Wednesdays there are either two or three sessions in the day - morning, afternoon, and evening. People do come in to use the darkroom at other times and we give them help when necessary. H ow many people can you take in a class? It’s not a very big darkroom so it’s better if there’s no more than four. It varies from class to class. What’s been good is that, as we’ve developed, rather than only individual users coming along, we’ve had two or three groups of people who’ve started using it regularly there’s a class that comes from the local women’s centre and an adult literacy scheme. There’s always one or two people in a group who are interested in going the whole way and learning all about photography. Do you have a deliberate policy not to work with kids? In a way, yes. I enjoy working with kids but if we wanted to work with kids in a large way it would take up all the resources of the Darkroom. I prefer trying to explore other ways that photography can be used because being based in this Centre there are a lot of community groups that are involved in all sorts of political and local community action and they all need photographs. It’s much easier in a way to work with adults than with kids because we can give them three or four classes and get them on the right road and then they can just come in and book the darkroom without supervision any time they want. I’ve done that a lot and I sometimes find it frustrating. I have a plan to the extent that I have a political view about what goes on in the community and how I see various people in this Centre operating in the community. I see the Darkroom very much linked to what the local groups are doing. I have certain reasons for doing this work which are primarily because I’m really interested in photography. I want to be taking lots of pictures and encouraging other people to do the same. The two things sometimes conflict. Like sometimes, if I were given the chance. I’d be quite happy to take a whole lot of pictures for somebody even though I perhaps should be putting a lot more work into encouraging them to do it; on the other side of that is the time factor. Some weeks I can spend my whole time writing letters, doing administration, phoning people up, that sort of thing, which leaves absolutely no time for photography at all. It’s a compromise. Do you do the administration o f the Darkroom? Yes, my work involves a lot of administration. Every other day I have to write letters to do with grants, accounts, insurance. I have to do the stocking of the Darkroom so I have to keep a check of what’s there. I also have certain responsibilities to the Centre as a whole. We work as a collective. Do you do quite a lot o f service photography? Yes, there’s quite a demand for display boards, leaflets, etc. There are also people coming in who want photographs for newsletters, or posters, or evidence for something. As likely as not, they should be able to find them in the files. If not, I’ll do it for them. Incidentally, the files are not files of prints. They’re files of contact sheets which, unfortunately. I’m the only person who really understands. D o you find yourselves always responding to a need? W hat about exhibitions? When we’ve got the time, we try and do special projects - we did a large permanent travelling exhibition for the National Empty Property Campaign, who are based here. Initially, this was done for a press conference in the House of Commons that was called by the local MP. It’s been going all around the country to various housing action centres. More recently we did another exhibition: I’d been involved in setting up a large Community Arts Centre up the road called ‘the Factory’. They paid me a full-time salary to continue running the Darkroom here on a part-time basis if I did them an exhibition for their opening day, which was May 1st 1978. As they’re a big community leisure centre they wanted me to find out what was going on in the area, what facilities were available, what people did in their spare time. The idea was to involve as many people as possible in taking these pictures and in creating the exhibition. But the vast majority of the pictures were taken by me which was a shame. I became a bit disillusioned about using photo graphs to create exhibitions. The exhibition took a lot of time and trouble. When it was up for the opening it was really well received but after a few days I think it just becomes like wall paper. I think that there is a specific galleryexhibition viewing public, which isn’t the sort of public which lives round here. I don’t think that people round here are used to looking at pictures in that way or even want to. In a way I think their attitude’s quite healthy and I don’t want to change it. I mean why should they want to look at an exhibition? The things I want to do now are tape-slide shows. I think they reach people in a different way. They can also really involve people in the making of them in a way that with exhibitions it’s more difficult to do. For instance even if I ended up taking all the pictures for a tape-slide 4 CAMERAWORK show, there’s still a lot of creative work in ordering them, editing them, writing the script, which people in tenants associations could easily do. We are working on a tape-slide show about the problems faced by workers, in the main migrants on work permits in the catering industry. The catering industry is an important employer in North Paddington and is renowned for its chronic low pay and appalling working conditions. We got involved in this project mainly through one of the workers at the Centre, a Columbian employed by the Commission for Racial Equality. A lot of his case-work has involved dealing with migrants facing deportation and other difficulties as a result of the work-permit system and the way it operates in the catering industry. A group of Columbian catering workers that he has been dealing with were very interested in learning photography, so we arranged a series of classes with him as translator. As part of their classes they decided to take some pictures of conditions in the kitchens where they worked. We will be using some of these in the tape-slide show. They will also be helping to make the tape. W hatdoyou think are the successes o f the Darkroom? A lot of people are using it and getting a lot of enjoyment out of it. Plus the photographs are actually used for something: they’ve made a lot of difference to all the various pamphlets and leaflets that have been put out from here. It’s also automatic here now that if someone wants to put out a leaflet they come for a photograph. A lot of people have got a lot of pleasure out of making the photographs; other people and they themselves have got a lot of pleasure out of looking at them. knowledge the children have already. Where they know very little we work first of all with pinhole cameras. We have up to twelve children in a group and we provide each of them with a biscuit tin which they make into a pinhole camera. We encourage them to take whatever they feel like and advise them on the length of time to leave the sticky tape off and to make sure it’s put back securely. W e’re there the whole time but the emphasis is that they do it all. They very quickly take to it. We’d probably do that type of work for a day. Then gradually, over the following sessions we would take the children through all the processes. Are there problems working within a school? One of the very real problems we’re facing in schools at the moment is the indefiniteness of the kids turning up. We’ve been invited to schools partly as an attempt to overcome the truancy problem; we’ve definitely been dealing with those children on the periphery of the school. There’s an excitement level attached to those people who arrive from outside the school or playscheme and who offer something interest ing and different. It can undermine what’s already going on in the timetable. In our area this is a current debate in the community arts field - the relative value of the communitybased artist as opposed to the mobile community artist. W hat were the problems o f the first project? The problem was that the people who were teaching were relatively unfamiliar with informal teaching situations where you need the sort of expertise that is not necessarily photo graphic but more a communication skill than anything else: an ability to put people at their ease. W hat happened to all the people involved in the teaching? The Job Creation money ran out in August 1978 and so did the jobs. Some of the people are doing photography still though none of it’s really what they want to do photographically but there’s no opportunity in Manchester for them to use their skills. Richard decided he wanted to continue the project. The fact that it got going at all again was due to his determination and commitment to the idea. North West Arts agreed to fund the salary of one worker but there was no other money from Do groups always approach you first or do you sometimes approach them? It’s primarily them approaching us. We are being increasingly asked to do exhibitions. We’ve got three to do in a matter of a few months. It’s not something that the original project did before. When we work with groups we’d like to think that we might be heading towards holding an exhibition. At the moment a hospital is asking for an exhibition to put in their waiting room and we will concentrate on the work done by children. We’ll also use it as publicity for what we do. Also the NW Arts are interested in us taking photographs of both our own activities and those of other community arts groups with a view to an exhibition. Do you deal only with ‘straight’ photography? We feel an important part of this scheme is the opportunity to introduce new techniques. We have to learn about these. We’ve got interested but also inside them, towards people coming in and disrupting the routine. H ow do you see your role then? As a non-community based project we are making skills and ideas available to a variety of groups who are not necessarily ‘communities’ in the generally understood sense of a geographical area. We feel it is important that people gain their independence photographically so that we can move onto other groups and different areas. B u t do you find that many groups do gain their independence? This is a problem. We have consistently worked with some groups and yet they’ve come back again to ask us to run a project. But to balance that, the Ordsall High School where we’ve been teaching has a different attitude - the Head master there has put aside funds to establish a darkroom and buy cameras and the necessary equipment. Do you do any service photography other than the exhibitions you’ve been asked to provide? Other people who stage exhibitions know that we tend to have photographs illustrating certain viewpoints. We aren’t exactly non-partisan in the comments we make through photographs, e g, anti-Nazi demonstrations. Do you support campaigns or issues such as housing? I think we certainly will in the future. We don’t really do anything like that now though. It’s largely a matter of energy. I feel very motivated to record what’s happening locally and to encourage other people to use photography in that way too. However, our emphasis at present is work with children. S o do you think you are contributing in some part to social change by what you are doing here? W ill it be a natural step for you to establish a base where people could come to you for workshops? How can you assess that? I have no idea. It’s difficult to separate photography from the overall activity of the various groups and campaigns. It’s also difficult to assess exactly how much those groups are contributing to change. It’s not all a matter of photography. I’d very much like that. Our new premises in Oldham offer more opportunity of that in terms of size and facilities available. Whatever scheme we work on now, we want to have something concrete, to achieve a deliberate objective. I must say that I personally did have some mis givings when I started. I thought, ‘Will kids really be able to do that?’ I wasn’t convinced until I’d done my first workshop. These kids were spending hours of concentrated activity, they just couldn’t do enough. They were asking all the most pertinent questions. It was a dazzling reinforcement of the idea that anyone can learn photography. Split Image S p lit Image is based in Manchester and works with children in Greater Manchester and Cheshire. They have two full-time workers who run work shops to teach children photography, training work shops for playworkers and youthworkers and playscheme projects in the school holidays. N icky Hughes spoke to Helen Bridges. Beaford Archive H ow did Split Image begin? Helen White and Richard Raby, who’s still with the project, were working with Manchester Youth and Community Service (MYCS). Helen was particularly interested in setting up a photo graphy project. They undertook it as a Job Creation Scheme and got funding from MYCS. They set up the project early in 1977 and it was funded until August 1978. The project had two full-time supervisors - Helen and Richard - and five full-time trainees, all employed under Job Creation. It was a big scheme that had problems attached because of their inexperience in running something like that. W hat were their ideas? Very much community-oriented. They worked with any agencies - clubs, adventure play grounds, schools, etc - that were interested in introducing photography to their children. They wanted to introduce the idea that photo graphy needn’t be the sole realm of the expert, the professional, but that it could be a very creative medium that inexperienced people could use. H ow did they start work with children? With certain groups they did day projects, e g, Manchester Free School and Ordsall High School in Salford. They not only worked with groups of children aged from five upwards but also ran workshops with groups of playleaders, youth workers, etc who were interested in using photography on their sites. An important part of Split Image’s intention then and now is to initiate the idea and teach the relevant skills to the point where the play ground, school, or club would be prepared to spend a bit of money and set up their own darkroom. D id they set up darkrooms on the spot at places they went to? Yes. They would arrive and select a suitable space which was quite often the toilet, and simply convert it. W hat sort o f children’s workshops do you do on site? It depends on the kind of information and Richard Raby from Split Image working with children from Ordsell Free School. them for running costs. He had an enlarger and some cameras left from the Job Creation project. It was then put to NW Arts that another worker was needed to make the scheme viable. They have a very sympathetic community arts panel. The scheme had been a success so it was relatively easy to get another full-time salary approved. in tape-slide shows which are a sort of extension of the straightforward taking of shots. This involves taking sequences and dramatising or producing a story, mixing music and sounds with images. We spent a day producing two slide sequences at Burton Manor in Cheshire where they have the necessary equipment to do this. H ow do you fund your activities now? Why are you particularly interested in tape-slide? It’s a matter of making more applications for grants, e g, we’ve applied to Granada Tele vision, the Gulbenkian Trust, Marks and Spencers. We do ask for some payments from user groups, if they can afford it, to cover costs of materials, but usually they’re as hard up as we are. We are also under the umbrella of MYCS so we get all sorts of benefits from that in terms of accommodation and some sort of outlay towards rates. When did you join the project and how did you become involved? I joined in November 1978. I’d done a bit of work for the Manchester Free School so I knew about Split Image. I’m a teacher and I’m very interested in the educational aspects of the project. I like the idea of a constructive creative medium which allows people to develop their own insights and make their own statements as well as teaching them a skill. D id you do any photography before you joined Split Image? Not to any large extent. I’d taken lots of photos but I hadn’t done any processing. There’s been a lot to learn. The idea is that photography should be accessible to anyone. That should apply to me, so Richard gave me a crash threeday course before I started. I think that it’s a viable project to do with a group of children. Using tapes and slides we can entertain whilst producing, say, a record of a day at the adventure centre or a day’s outing, with people talking through it as the narrative. It’s exciting and affords a little bit more of a live concept than a static print. There’s a lot of work that children can get involved with in producing a tape-slide show. Are there other specific projects you’re working on? There are two other projects we’ll be working on from early in 1979: one is with a group of young offenders. We were approached by a social worker who has a group he works with on evenings and weekends. He has concentrated a lot on sporting activities and weekend trips away. He wants us to do a scheme that would give them scope to develop their self-awareness and self-respect while learning something new. They are all under 14 and therefore under the age of criminal responsibility and in difficult family set-ups. The other project is working in a psychiatric hospital with adults. We’re anxious to do this sort of work as there is a great need in hospitals for some sort of creative activity. There is great hardship experienced by people who are cut off from and ignored by society. At the same time there are a lot of obstacles that seem to come from prejudice, not only outside the hospitals, The Beaford Photographic Archive is part o f the Beaford Arts Centre in central North Devon. The Centre was founded eleven years ago by the Darlington Hall Trust with the aim o f revitalising the area. The archive employs onefull-time and one part-time worker who are building up an Archive o f copies o f old photographs and modem documenta tion o f the area. N icky Hughes spoke to Jam es Ravilious. H ow did you get involved with the Beaford Centre? The Archive proper started in 1971; a photo grapher called Roger Deakins was asked by the Centre to make a record of modern Devon. He worked for a year until the money ran out and the whole thing was more or less dropped. In 1972 I got a job teaching wood-engraving and lino-cutting for evening classes at the Beaford Centre. I asked the director if I could take a few pictures. Did you have a photography background? No, originally I was very anti it. I didn’t like it at all. I was trained as a designer. I was a painter manque, I think they call it - a failed painter. I was teaching drawing but I gradually took a few pictures and really liked it. When I came here it was suggested that I be paid £15 a week to keep the Archive going. In fact I worked full-time on it. I didn’t do anything else. It was so interesting to do. I bought the equipment and that was it. With your own money? Yes. All the cameras and the best darkroom equipment at my house are my own. What kind o f area do you cover? We are in an area which is claimed, and I dispute this, to be a depressed area: poor industry, mostly farming, mosdy relying on holiday makers. There’s more money made from tourism than from farming in North Devon. Therefore statistically I suppose you can say it is a depressed area but I have a fierce feeling that if you go around saying this it becomes selffulfilling. It’s an area of small farms. There are lots of young people who are unemployed, so people are tending to go to the towns. CAMERAWORK Dolton circa 1910 Landkey circa 1880 When you started here, did you have an overall plan? N o, I almost never have a plan. Simply by living in a place for a long time, by sheer accumulation of what you see out of the comer of your eye, you build up a total picture. I went to the dentist the other day with my wife and I took pictures of the dentist. Gradually you take the shop keepers, the doctor . . . it all adds up. So after five years, which is how long I’ve been here, I have a huge collection. Now that’s the great strength of the Archive. If you wanted an exhibition on thatch or hedging, I could provide you with one tomorrow. O f course when I say I’ll provide you with one tomorrow I’d probably have to take a few fill-in pictures, but it’s all basically there. We’ve got all kinds of exhibitions, on farming, landscapes and also things like ‘Follies and Grottoes of North Devon’. You also copy old photographs, don’tyou? How did this begin? That was how we originally started. It seemed to us that it was very rich here, very untouched. I decided to start from the centre and work outwards, so I started with Dolton, my own village?! went to a farmer’s wife I knew who had 70 or 80 really good pictures. I copied these photographs - some family snaps, lots of Dolton and a few from round about. I asked them if they had friends or relatives who might have more. I’d go to those people and so it went on. And I thought why not make a slide-show of them? People would come. So originally it was slide shows o f old pictures? Yes. Ashreigney was the first village we chose. W'e collected everything we possibly could. It’s done systematically, and all cross-referenced. We chose 70 or 80 slides and tried to make a story - starting with the village itself, the people, the shops, then the jolly events, the carnivals. When it was all ready we were sitting down waiting for perhaps 20 or 30 people to come when suddenly, about five minutes before the show began, the entire village to a man appeared - 112 people. We also had a little exhibition of objects that people had collected in their own homes - clothes, tools, fantastic old things. I didn’t really give a talk. I just showed the village. In the slide show I showed a selection of other photographs from round about, at first, and then when the first slide of Ashreigney came up there was an ‘aaaaaaah’. It was a terribly boring picture but they were absolutely set alight. From then on I was shouting to say what was on the slides. The pictures were probably mostly about the Twenties when the village photographers were there, and they’re very good plate camera contact prints, marvellous quality. In fact at the time I wasn’t thinking of extending the slide-shows. I did that one because I liked the people and they’d been very helpful. Archie Parkhouse. Dolton 1975 James Ravilious palaver, and it can go into the smallest village hall. T hat’s the most important thing. You tailor the exhibition to the village. Most of them are farmers, and farmers are damn busy and they don’t have time to go to the exhibitions, so I must try and take them to the villages. The general idea is lightness and flexibility so a large exhibition of 90-100 photographs can easily go in my small three-wheeler. Are you interested in taking the exhibitions further afield? Well, we’ve so far only done one or two exhibi tions outside this area. I’ve had one at Southampton University, one at the Reading Museum of Rural Life and one in Brest, in France, at the Palais des Arts et de la Culture. Also I’m hopeful of an exhibition in London next year. So you’re looking outward quite a lot? I’m being pushed that way, quite rightly, because I think in order to survive and get the grants the Archive has to be a bit famous. What about publications? The only book that I’ve done that is finished and is definitely coming out is called All Around the Year, published by John Murray. It is partly an educational book. It’s a diary of a farm and I’ve taken photographs throughout the year. There are 52 pictures, some drawings by my wife and 12 poems by Ted Hughes. What about posters and postcards? Well the accountant at Dartington Hall put up some money to print four posters. Unfortu nately they’re rather too large and it’s difficult to get people to stock them. But the postcards, they sell like hot cakes, locally anyway. We do a set of 12: six old photographs and six new. Do you have any contact with schools? Yes, I’m beginning to. They use the Archive because they are often out looking at buildings and I can show them how things have changed. I’ve started giving talks to schools. I was talking about thatch and cob at a school last week and it went down very well. That particular school has asked me to do three different classes for the next year. Do you provide photographs for schools? I’ve just packed off 105 of my own photographs to the Devon Schools Museum Service, who already have a large selection of both old and What about funding? I ’m always relying on grants that are sporadic. The principal source of income is the South West Arts but I’m on a sliding scale so the grant gets less every year. I get a small grant from the local council and some money from Dartington Hall - little bits here and there, scrabbling for money. One’s future is always uncertain. One feels constantly threatened. It would be nice to think that we could get one solid grant. A lot of photographers working on this sort of project find that they are spending so much time trying to justify themselves, and trying to get money and generally hassling, that they have no time for photography. What about the future? There’s the Barns Project. The Beaford Centre owns three barns, in a row, which we want to turn into a permanent place for the Archive. It’s not being exploited anything like as much as it could be, so the idea is that in the barns we have a darkroom, a place for people to study, a project room, a shop perhaps and a little library And then there would be an exhibition place. W e’d have a good cross-section of what the Archives contains - the early photographs and the modern ones. It could become a tourist attraction - there’s a nice garden for teas, it’d be a pleasant afternoon out - although I think it is important to stress that the Archive is princi pally for local people. It’s Devon’s own history for Devonians. Union Place Union Place was started in 1974 by a group of people living and working in central North Lambeth. They believe that consciousness, organisation and action in this deprived area of South London could be assisted by providing people with practical means of communication. The Centre works with local groups producing posters, exhibitions, leaflets, newspapers, badges and so on. They work as a collective of around ten people of whom two to three work with photography. Nicky Hughes spoke to Dave McKay and Terry Crabtree. When and why was Union Place set up? It’s been going over 416 years now. The idea for the place came out of experience inside housing groups on local estates and squatting groups and so on. Virtually the only way you could get a leaflet done in those days was to go to North London. That stifled a lot of local initiative. Initially, the idea was just to produce stuff like local leaflets but it grew quite quickly. Groups were finding out that it wasn’t simply a matter of duplicating leaflets. They were finding out more and more that they were confronting the State in quite a public way. They realised that some thing a little more sophisticated than a grotty half-readable sheet was required. So it moved from duplicating to including silkscreen and then we got an offset machine. Over the last 4Vi years, silk screen, offset and photography have been available to groups coming in on the principle of us showing people how to produce their own posters, photographs, exhibitions, leaflets, booklets. During that time, user groups have gone up from forty in the first year to 400 now. How did it get going? Originally it was open only in the evenings and the people who ran it went on working in their own jobs. Money was raised by holding jumble sales and there was a donation of a duplicator. As far as I can work out the people who started Union Place moved in and then asked the GLC if they could stay. The building is on a short lease for a very reasonable rent. How would you describe the area you’re in? One of the poorest areas in North Lambeth. The area has suffered blight from the planners. Houses have been knocked down and during the time that Union Place got going people were being evicted from those houses. A lot of big industry has moved out in response to the Government initiatives of the Sixties so there’s very little work for people. The net result of that is that you have a high population of old people and single parents: a very poor community. People either move out to get work or they’re unemployed. Was photography used at Union Place right from the beginning? Yes, some of the people who started Union Place had been doing photography for some time. Very early on, two streets round here that were squatted were billed for demolition and Union Place produced a number of street exhibitions which were used to support the demands that these squatting groups had. Union Place was working with these groups, not just providing a service but encouraging people to join in. What kind of street exhibition? The first one that I was involved in was around Villa Road. We helped produce an exhibition that was a brief photographic history of the street. It included what the plans for the houses were, how long it had taken the council to decant people, what was happening to the houses in between times plus the kinds of things that were going on in the street - street meetings, squatting houses, houses being wrecked by the council, etc. And was it because of the response that you realised that this was something that could really be developed? Yes, we decided to provide slide-shows and the various Womens’ Institutes organised them, and it’s gone from strength to strength. I’m booked up now for the next year. How do you do exhibitions? We’re doing four in four different villages. One every fortnight - probably present day photo graphs. There’ll be four prints to a stand and these stands, wooden T-pieces, stand on trestletables because all village halls have trestletables. This way we can have an exhibition put up for a day and taken down quickly without new photographs. St Giles in the Wood circa 1910 Were these exhibitions geared towards the council? No, towards the general public. For example, we went to the centre of Brixton with the Villa Road exhibition on the big shopping day in the market. The exhibition was fairly crudely pre sented and not very sophisticated at that time. We leaned the boards against the railings at one of the busiest junctions - no permission from the police but they didn’t seem to mind. I learned some interesting things about present ing photographs. The whole function of a 6 CAMERAWORK projects was looking at Camberwell New Road. We were suggesting to the kids using photo graphy in such a way that they could pick up on ideas through it, or on the reality around them that simply hadn’t been articulated. Of course, that works for adults as well as it does for kids. I think that quite often they get a sense of them selves that had been missing before, that expresses something concretely outside them selves. This type of process is very important. The particular way I think that it is important is working through something in a collective fashion. The whole process of learning in a group how to use photographs might well provide for some people a whole model of collective practice they simply haven’t experienced before. This particularly applies to people who are employed in hierarchical situa tions and whose domestic situation is very often an isolated nuclear family. To experience the collective way of organising is much easier than say fighting a battle on your own whether it be which prints to choose or supporting a Compul sory Purchase Order. gallery or an exhibition in a gallery has to be seen as a middle-class one, unless it’s some where obvious like in a trades hall but even then, the extent to which it is public is quite limited. We found that by putting the exhibition right there where people were we got a very good response. It gave us a chance too to hand out a bit of literature and talk about our particular situation. I’ve often felt that a lot of images broadly produced by the Left become stereotypes unless they’re talked through. Design of our exhibitions has become very important. We have had to draw people from a distance over to look at an exhibition, that’s why we use photographs in odd shapes, in triangles, hexagons, and so on. People will cross the street to look at them. What about funding? During its second year Union Place started to receive a small amount of money, basically for administration and overheads. A small propor tion was left over which amounted to three quarters of a salary between five people. Last year it was £9,000 but you can see how that much relates to the financial needs of the place when you realise that the collective has nearly always been between seven and ten people. People have mainly been on Social Security. It’s very much a case of people donating their time. It wras just about sufficient in conjunction with the printing revenue. We’ve always charged people cost price plus a small overhead charge. When Inner City funds became available there was a feeling that we ought to apply. Noone wants to go on working for nothing no matter how politically sound a motivation it is. We applied for all sorts of monies in 1977 but we were turned down on every front. Our first successful application was made at the beginning of 1978. We made an application for the running of Union Place as a whole, for the photography project as a separate project, an outreach worker, and extra money for what we call Community Education Workshops, which teach skills, including photography. We’d identify local groups who we’d get interested in that, e g, women on local estates, shop stewards in the area, and kids. Up to now the State has defined certain areas within its responsibility as deserving of finance, split up rigidly into housing, social services, health, etc. Nowhere is there a category that covers popular communication. Our applica tion had such good local support that we were able to lobby. We asked for letters from all our user gro
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  archiveFour Corners Bishopsgate
  vimeo_link
  authorSee sections X to AC
  author_editorSantiago Castrillon, Mike Goldwater, Liz Mackie, Jenny Matthews, Tom Picton, Richard Platt, Shirley Read, Kate Saunders, Siddhiratna
  author_writerJohn A. Walker, Graham Wade, Judith Rugg, Mark Haworth-Booth, Laurie Flynn, Jessica James, Jenny Matthews, Malcom Green, Theodore Scheimpflug
  author_photographerPeter Kennard, Helmut Newton, Marcia Resnick, Judith Rugg, Larry Herman, Barry Lewis, Henri Cartier-Bresson, Humphrey Spender, Christopher Ekani
  author_designer
  author_intervieweeHazel Peasley
  author_organisation
  tagsfantasy,humour,advertising,benson & hedges,adverts,deconstruction of media,media representation,de-coding advertising,cigarettes,woman's identity,self-image,angela kelly,larry herman,clydeside,shipbuilding,shipyards,labour,being disabled,a kind of life,helvard kjaervik,photographic collecting,photographers' gallery,limelight,lunn gallery,v&a,cameroon,west africa,congo,jumble sale,fees for freelancers,
  titleCamerawork Magazine - Issue 15
  subtitleIssue 15: Images of the Disabled
  dimension17 pages
  ocr1
  copyrightFour Corners, John A. Walker, Graham Wade, Mark Haworth-Booth, Laurie Flynn, Jessica James, Jenny Matthews, Malcom Green, Theodore Scheimpflug, Peter Kennard, Helmut Newton, Marcia Resnick, Judith Rugg, Larry Herman, Barry Lewis, Henri Cartier-Bresson © Henri Cartier-Bresson/Magnum Photos, Humphrey Spender, Christopher Ekani, Hazel Peasley
  credits
  related
  locationBethnal Green, London, UK (pg 6,7) Clydeside, Scotland, UK. Glasgow, Scotland, UK (pg 10) Southampton, UK (pg 12,13) USA, Canada, Europe (pg 14) Cameroon, West Africa
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  pdf_textRailway workers at Clapham Junction by Barry Lewis. From ‘Coming and Going’ an HMPW Touring Exhibition about travelling in London. Larry Herman Mark Haworth-Booth Jenny Matthews John A. Walker Judith Rugg Images of the Disabled N o 15 Half Moon Photography Workshop $1.75 1 CAMERAWORK Photomontage by Peter Kennard People who worked on this issue of Camerawork were Santiago Castrillon, Mike Goldwater, Liz Mackie, Jenny Matthews, Tom Picton, Richard Platt, Shirley Read (co-ordinator), Siddhiratna. is designed to provide a forum for the exchange of ideas, views and information on photography and other forms of communication. By exploring the application, scope and content of photo graphy, we intend to demystify the process. We see this as part of the struggle to learn, to describe and to share experiences and so contribute to the process by which we grow in capacity and power to control our lives. This issue of Camerawork, September 1979, was produced by the Publishing Project, Half Moon Photography Workshop, 119 Roman Road, London E2. 01-980 8798. SUBSCRIBE TO CAMERAWORK: A full subscription to Camerawork includes six issues, posters and invitations for our exhibitions. The cost for this is £6.50 (students £5.00). Subscription to Camerawork alone is £4.50 for six issues. Institutional subscription (which includes posters and invitations) is £12.00 for six issues. Overseas subscriptions by surface mail cost £1.00 in addition to the above costs. For details of air mail rates please contact us. Send to H.M .P.W ., 119 Roman Road, London E2 0QN. Tel: 01-980 8798. (ISSN 0308 1676) CAMERAWORK From ‘Possessions’ by John Hedgecoe Through the Lens Fantasy Early morning and a rush to the tube. Time to note a new face on the hoarding at the end of the road - a female raincoat flasher, selling bras it seems. Past the ticket collector - the sultry blonde selling peanuts and temptation has gone to join the other ghosts of the underground, the disembodied legs seeking the answer to their riddle ‘When was the last time a man said you had a great pair of jeans?’ and the vamp on the tiger skin waiting for the fire to be lit, two amongst a cast of thousands. Finding my eyelevel coincides with a female crutch I look up to find a leg erect in the air - ostensibly selling tights, but in reality communicating a whole lot more. It’s still only 8.30 and already I’ve been bombarded by images of women who neither look nor behave anything like me. The women’s movement has made an effort to attack sexist imagery in advertising but all too often the ad agencies, realising they have gloss and an ideal world on their side, go on to use sexual humour and exaggeration to capture hearts and minds. So the juicy, fruity, fresh and cheap women disappear to become badges on a tee shirt, and other adverts slip closer to a tasteful pornography. As nakedness becomes less of a taboo the debate over pornography and sexist images hots up and the images themselves have become part of the acceptable face of consumer society. At a public debate in April 1979 Arthur Scargill, the miners leader, vigorously defended the use of pin-ups in the union paper, and, as might be expected, the Sun used its page as an integral part of the General Election campaign. The Daily Star goes so far as to advertise the paper solely on the strength of its pin-ups. Pornography may have its uses (one view on current thoughts on porno is presented in Screen Education, Spring 1979), but one of its greatest dangers is that it encourages the idea that women are unreal, part of a fantasy world. Photography has always served as a sexual surrogate. ‘Produce your own’ is one reason often given for many people getting into photo graphy, and the covers of magazines at both ends of the market (Amateur Photographer at 25p and Zoom at £2) tend to reinforce this equation of photography and sex. Avoiding the temptation to indulge in phallic imagery and photography, it is sufficient to note at this point that the very illusionistic potential of photo graphy makes pornography possible. It is against background of advertising and mild pornography that it is interesting to review three books: Helmut Newton’s Sleepless Nights, John Hedgecoe’s Possessions and Women on Women. Adverts provide a good context within which to view such books as it is through them that we are constantly confronted with female flesh. (The tabloid pin-ups can also be considered adverts since they sell more papers than hard news does). Adverts are also con structed images, as are many of the photos in the books in question. Contemporary advertising photography involves considerable skill and technology, obviously helped by enormous budgets. The very fact that the picture is built up means that its ‘message’ can be so much more effective than a chance social documentary shot - for each factor can be manipulated until the desired overall effect is obtained. A recent trend in advertising has also been to produce enigmatic advertisements which do not overtly state what they are selling but are designed for sophisti cated social groupings who can bring their cultural consciousness to the image and thus understand it. The French photographer, Guy Bourdin, for example, has for some time now produced mysterious shoe adverts for glossy magazines. One of his adverts, like a photo by Newton, is often a whole tableau vivant in itself, a frozen moment immaculately lit and photographed, with the audience left to speculate on the message. However, the audience is assumed to be visually literate and can be relied on to search for the message and decode the advert. Helmut Newton comes from this up-market commercial world (Vogue in particular) and, like Bourdin, his work has been recognised as ‘good photography’. Their photographs have become products in themselves and are repro duced in books and magazines. Consumer society consumes not only the final product, but also is responsible for the current vogue for publishing posters and record albums in book form. There are many issues over which it is easy to criticise Newton. Firstly, the content of his pictures: a woman is often a sex object par excellence. In one photo she is laid out on an office desk, in another she is crouched on a bed with a saddle on her back. The women are always slim, long legged, beautifully groomed and made-up. They belong to a world of fantasy - male fantasy, so they are submissive, unquestioning - their static poses are arranged for the convenience of a voyeur. Other photos simplify violence and enable a compositionally pleasing photograph to represent an event which, had it been real, would have meant danger and suffering (the bodies on the balcony). Of course there is always a limit to be pushed, bad taste made into good taste, fame obtained through outrage. But at the same time some areas are offensive because they infringe on individual freedom. Thus the outrage that exploded over an evening paper’s fashion spread on ‘Clothes to be Raped in’ can also be directed at certain of Newton’s photos. The viewer becomes involved in the aesthetic of the picture at the expense of emotional involvement with the subject. The French magazine Photo frequently brings the sex and violence angle to an even more horrific juxtaposition. In its March issue some of Helmut Newton’s photos closely followed Marc Riboud’s reportage on atrocities in Iran; the camera did not differen tiate between simulated and real suffering. The context in which Newton’s pictures are used also leaves a lot to be desired - they are often used to sell sex in Playboy and Oui and clothes in Vogue - in these cases catering to a readership which is striving to identify with the opulent cosmopolitan settings, and which through photography settles for a vicarious enjoyment of the unobtainable. Newton’s pictures are very much a personal indulgence, the work of someone who is privileged enough to be able to follow up his whims. In a TV programme made about him, he explained how, in the pictures with plaster casts and surgical trusses, he was following up his own obsession with Eric von Stroheim. He had great difficulty in getting hold of the equipment he wanted until a leading Paris hospital was willing to co-operate with his desire to half-dress beautiful models in casts and surgical appliances. Newton’s work is only possible because a class society means expensive, often frivolous, clothes are required by a bourgeois elite. Their ‘culture’ demands sophisticated adverts to sell them goods. Thus there is a job for a photo Additions by Camerawork. grapher to produce sumptuous, often risque, pictures. A mild surrealism (the floating hands) is quite permissible, as is a not so mild sadomassochism. At the same time a sexist society has created a market for images of women with beautiful and available bodies. Women are portrayed as models for the real world to imitate - imma culately groomed decorative beings, mere life less masks. In some of the photos dummies replace ‘real’ women, but it’s difficult to tell who’s the dummy - the live models themselves are only acting out a part. In this way the pictures first exploit the women who are paid to contort themselves before the camera (hilarious to watch in the TV programme where models verged on physical exhaustion whilst repeating shots from a diving board). Next men look at the pictures, recognise the fantasy, and then look for it in the world around them. This means ordinary women are exploited on a second level: for in order to ‘get their man’ they have to try to reenact the fantasy that these women are acting out, mere figments of a male’s imagination. And so the world goes round. One of the redeeming features of Newton’s work might be its humour. It is quite obvious that his pictures ridicule the very world that they portray, although one of the dangerous charms of the bourgeoisie is that it can take jokes against itself. The straight pictures that occasionally appear - the Virgin Mary, butchers shop, Andy Warhol/sleeping angel - are visual jokes on another level. They reinforce the satirical tone of the whole book, a satire which is hardly a saving grace, for all the other images have been exaggerated into seductive fantasies and present a dangerous model of how the world might be. An editor of Vogue talked about the work as ‘social comment’, but for this to mean anything it would have to go much further. Ultimately Newton is very much at home in the bilingual world of cherie/darling. He may talk of his models as ‘little beasts’ but they are decorative enough to be tolerable, and a means to his end. From behind the lens he sees the artificiality and awkwardness of the model’s poses especially as he repeats shots to get it just right and boredom sets in. However, he is also aware of the distorted fantasy he will produce: an immaculate picture of an immaculate woman, an image to keep the world working in the hope that one day it will be attainable. For the moment the viewer is always a voyeur though, outside the world portrayed, which is both exotic (as seen in its colours, locations and longlegged, self-assured women) and disturbing 3 CAMERAWORK c B E o ■s c o c E o £ a S Q £ Skie was horrified iv learn th a t she had been walking around schoolall day with her skirl hiked up in the back. (people in plaster casts, half naked women but fully dressed men, women wrapped around each other for the sake of provocation). The photos are also disturbing in the odd sense of perfection that they emanate - this comes from careful picture construction, so that nothing is left to chance, Newton has visualised the ‘scenario’ and set it up to get the maximum effect from reflections, pictures on the wall, diagonal lines, spaces, contradictions. The two titles, Newton’s Sleeping Nights and Hedgecoe’s Possessions, give an indication of how far both books are from the world where most people live. Newton’s book is not about coping with teething babies, living next to a motorway or life without Mogodon. Nor is Hedgecoe’s book about fighting for a home, stereo, washing machine or even a Ferrari. The two titles also give an indication of the style and worldview of the books, whereas Newton’s is a fantasy dream world of surfacing repressions and unreal situations, Hedgecoe’s is the fantasy of wealth, what one can possess with money . . . ‘these women are possessions, they are the beautiful expensive objects that furnish the rich man’s life and amuse him during the long hours o f his leisure. ’ Hedgecoe’s background is similar to Newton’s - his magazine assignments (for Queen) took him into the world of the upper class. He decided to stay and use the sumptuous setting as a background for his fantasies, to create a world of beautiful, passive women who are bought along with the rest of the furniture. Clive Lancaster heavily criticised the book in the British Journal of Photography No 46 (17th November 1978) and the following week Hedgecoe leapt to his own defence ‘I f you have not realized by now, Possessions is in fact a satire, debunking the reverence paid to this mode of photography. It is related to the style o f over 20 different painters and photographers containing all the cliches o f our medium today. . . If, for example, you look at the photograph . . . o f the two girls attending to their hair, you should notice that this is a David Hamilton-type pose but with a glossy magazine advertising background. Yet one girl has hair like Rip Van Winkle (look it up for signifi cance) and the other would not disgrace the image o f a Lancashire millgirl. As John Berger pointed out in Ways of Seeing, the relationship between painting and advertising is a well established one. On pages 136 and 137 he gives examples of adverts and the paintings they are based on. Hedgecoe does not help his reader at all, and for the joke to work presupposes a considerable knowledge of art history. But are people really reverent towards glamour and advertising photography anyway? And is this the way to satirize it - so well that it looks like the real thing? One way to effectively attack and manipulate advertising photography is through image and text, as in the work of Victor Burgin and Derek Boshier, where simple juxtaposition or the addition of text clearly show the vacuous word of glamour and advertising. Hedgecoe’s concluding statement in the BJP gives a better explanation as to why this book was produced and foisted onto an unsuspecting Christmas panic-buying world: . . Why did I produce Possessions? For the same reason that people do crosswords: because o f interest, relaxa tion, stimulation and I enjoyed being just a photo grapher for eight days.’ Great - of course people should be able to enjoy themselves (for some it’s easier than others), but unfortunately those interested or who will bother to work out the derivation of the cliches are few and far between. More buyers of the books will be enticed by the bare breasts and buttocks, thinking that this sort of photography of women is OK if it is by a photographer with academic credibility and published in a hard-back book rather than a magazine. ‘D on’t you think your work is an insult to women?’ This is the gist of the question a woman reporter asks the eponymous heroine of the film T he Eyes of Laura Mars. The film centres around a woman photographer who is trying to work out her feelings about violence, m urder and everyday life in chic New York through pictures of models in re-staged murder scenes. In fact many of the photos used in the film were taken by Helmut Newton (some of them are published in Sleepless Nights, others in his previous book. White Women.) It is very signi ficant that in the film the photographer is a woman, for in the battle of sexual equality it has become apparent that women are just as good as men at shooting female flesh. The underlying dangerous assumption is that if women do it, it must be OK. Whereas men are looking for a turn on, women are explaining ‘basic realities’, producing pictures which ‘truly reflect [their] minds and emotions’ and give back to women ‘their hidden and secret side’. The words in inverted commas all come from W omen on Women a female companion to M asterpieces o f Erotic Photography. This book contains portfolios from twelve women photographers, all interested in explor ing female bodies for one reason or another. As in the case of Newton and Hedgecoe many of these women have worked in fashion and advertising, highly competent work to sell a product, and this ethos pervades their work. Linda Benedict-Jones’ work is a notable excep tion, but is very lost in a sea of gloss. The personal statement each photographer makes rarely enlightens the reader - take Sarah Moon’s explanation to her work (pictures done for Cacharel, Pirelli and Nova). ‘I am an applied fashion photographer, and inside these limits I am just trying to express what I feel about a certain moment in a certain situation in which women are involved.’ At least Alice Springs is as open as her husband Helmut Newton, about what she is doing__ ‘I am a voyeuse. . . ’. The cumulative effect that emerges from the book is the rather odd idea that an attractive model can be taken as representative of women in general and that the world of fashion and its props is the ‘real’ world. Shirley Beljohn may see her work as pictures of women removed from glossy idealized roles, but photography enables her to create an equally unreal fantasy world, playing with subde colours, comic juxta positions, frozen shapes and moments and construct a visually interesting and provocative picture. It is not enough to mock female sexual exploitation by just changing a few of the props. As with Newton and Hedgecoe humour can be very easily misunderstood. The picture of the woman on the lavatory with her feet on a half watermelon (subtle green with red fruit flesh) can be seen as a degrading picture of a woman rather than as a satire on contrived sexual behaviour. For me the most successful section of the book is Marcia Resnick’s work which very adroitly recreates the awkward moments of adolescence. Here again humour is an impor tant aspect of the work. But it is society’s expec tations that are mocked, rather than the subject herself. The inter-relationship of image and text is absolutely vital here, and it seems at the moment that any work which is undermining, or even just satirising d o m i n a n t ideology needs image and text to make the message clear. Straight visual satire leaves itself wide open to misinterpretation. Lucy Lippard pointed out this danger in a much quoted essay in From the Centre. ‘When women use their own bodies in their art work, they are using themselves; a significant psychological factor, converts these bodies or faces from object to subject. However there are ways and ways o f using one’s own body, and women have not always avoided self-exploitation. A woman artists’s approach to herself is necessarily compli cated by social stereotypes. I must admit to a personal lack o f sympathy with women who have themselves photographed in black stockings, garter belts, boots, with bare breasts, bananas, and coy, come hither glances. Parody it may be . . . but the artist rarely seems to get the last laugh. A woman using her own face and body has a right to do what she will with them, but it is a subtle abyss . . . The rest of the book ranges from Caroline Arber’s rather weak version of David Hamilton to Christa Peter’s bold sumptuous glossy mag colour. Too many of the portfolios merely reflect the male dominated market for sexist images and have successfully imitated current styles without undermining them. Obviously the fault does not fully lie with photographers. They are earning a living by servicing a need the demands of a publishing industry and the products that it wants to sell because of a histori cally determined market. The point at which women can intervene is to be aware of the images they are producing and question ones which present women as avail able, passive bodies. Women on Women also suffers from a change of context. Many of the photographers first produced their work for a commercial market (the end credits acknow ledge Stem , Lui, Pirelli and Nova as original publishers), and this work has then been repro duced as a personal statement, edited by the publishers into a saleable commodity. This change of context is a problem with all three books. Newton’s is a compilation of several years commercial work brought together with fantasy as a common core to bind the whole into a product. John Hedgecoe would like us to believe he produced the book for himself, and thus sees the pictures, within his personal perspective, in a very different way to the average (male) punter to whom its being sold. Ultimately Sleepless Nights, Possessions and a good two thirds of Women on Women come up against the hurdle that advertising photography has so successfully identified images of women (especially nude or seminude) with selling that female sexuality is auto matically read as an integral part of the cash nexus. Humour is also a key feature in market ing, as well as the most insidious means of main taining sexist, racist, etc, stereotypes. Combine these two - women and humour - and you have a very loaded product. Any reader will have to cut through layers of cultural conditioning before these images can be seen as other than exploitative and thus degrading. Jenny Matthews Possessions John Hedgecoe (.Mitchell Beazley Publishers Ltd, London. £9.95) Sleepless Nights Helmut Newton (Quartet Books L td, London. £10.95) Women on Women Twelve photographic portfolios (Aurum Press Ltd. £14.95) 4 Although the Tate Gallery is an art institution of the British state charged with the responsibility for collecting examples of contemporary British art it does not recognize advertising photo graphy as art. Nevertheless, full colour advertis ing photography is, arguably, the true public art of our time (true in the sense that it embodies the central values of our present culture). Western art lovers sneer at the Socialist Realism of the Eastern Bloc countries but accept without demur the Capitalist Realism displayed so prominently on the streets of our cities and in our mass circulation magazines. There can be few people in Britain who have not noticed, and been intrigued by, the adverts for Benson & Hedges gold special filter cigarettes. The series is noteworthy for the high quality of its colour photography and for the inventiveness shown by the advertisers in playing variations on their basic concept of a gold box of cigarettes placed in various settings. One image from the series a view through a window to a village green - I find especially compelling: it induces in me a profound sense of gloom; this emotion is in itself somewhat unusual because most adverts celebrate positive rather than negative values. This text is an attempt to explain how the image could produce such a response. Photographers have inherited a system of pictorial representation - linear perspective perfected by painters during the Italian Renais sance and they have also inherited a sophisti cated system of pictorial rhetoric developed by the painters of Western Europe over many centuries. Avant-garde artists constantly question the languages they employ Modernism in art often implies a language crisis, a rupture with meaning - whereas advertising photographers prefer to exploit the pre-Modern heritage of Western European painting and caricature. Adverts play with linguistic and pictorial rhetoric, but since their primary function is to communicate with a specified fraction of the general public, that play is limited in order to preserve coherence and intelligibility. Some adverts, it is true, make use of the artistic innovations of Dada and Surreal ism - the Benson & Hedges series amongst them - but their homage to art generally stops short of total obscurity and meaninglessness. When images whose meaning is indeterminate are used (the latest Benson & Hedges adverts fall into this category), their purpose is to attract and to puzzle the viewer in order to hold his or her attention. 66 . cigarette ads are not ads for smoking, but for brands. ? ? 66 . . the cigarette industry does not need advertising to maintain its level of consumption. It needs it only for the purposes of competition. The bene ficiaries of that competition ultimately are the consumers. If advertising were banned the strong brands would grow stronger and the weak weaker. ? ? Quotes from Rex Van Rossum (marketing director of Carreras Rothmans (UK) ‘Cigarettes and the Right to Advertise’ Campaign 17th March 1978 pp 30-32. T he open window motif My argument that advertising photographers generally prefer to exploit the pre-modern heritage of painting is borne out, I contend, by the Benson & Hedges image under scrutiny: it makes use of a compositional device especially favoured by the painters of German Romanti cism, namely, the open window motif (a view of landscape seen through a window from the interior of a dark room). In an article on the iconography of Romanti cism Lorenz Eitner writes: ‘The pure windowview is a romantic invention - neither landscape, nor interior, but a curious combination o f both. It brings the confinement o f an interior into the most immediate contrast with an immensity o f space outside . . . I t often places the beholder so close to the window that little more than an enclosingframe o f darkness remains o f the interior, but this is suffi cient to maintain the suggestion o f a separation between him and the world outside. He is actually put in the position o f the ‘figure at the window’. The situation closely resembles a favourite theme in Romantic literature: the poet at the window surveys a distant landscape and is troubled by a desire to escape from his narrow existence into the world CAMERAWORK encompasses both past and future.’ However, she adds this proviso: ‘since the picture is finished and the future events are never open, but specifically directed . . . So the spectator is put in possession o f a closure, a narrative sequence which is inevitably pre-determined.’ The ideological significance of this closure will be considered later. On page 162 Williamson gives the following analysis of the Benson & Hedges advert: ‘Here the open window links the present o f the foreground to the future; it signifies promise, and the distant light in the sky bears this out. The objects in the foreground are part o f the structure o f the myth, the story o f the picture. The cricket ball and wicket show w hat has been happening: they were playing cricket when it rained and spoilt the game. The pictures inside and the old church provide a basis in The Past (this hovers on the boundary o f ‘history’ since it represents a cultural, common ‘past’). A ll these things give clues as to the type o f person this is (and we are invited to be the person . . . ) . I t is quite clear in one static shot, the story o f the situation may be told. However there is a less clear dimension involving projection: the advertisement links a mythical present (the ‘story’ already described) to a mythical future, via the product; drink/smoke this and you will be led out o f the window . . . in the direction o f the future; but a future constructed . . . out o f a mythically structured past (the old church, the tankard, etc). The perspective o f the picture helps this trans porting to the mythicalfuture: the edge o f the picture frame and the frame o f the open window form a bounded perspective pointing inwards to the church at the other side o f the cricket pitch. The movement is then carried up and out o f the picture, via the church spire. So in fact our vision skims over the present, the abandoned cricket pitch, the rainy window, and already lodges (imaginarily) in a brighter future. As the caption says: ‘Every cloud has a gold lining.’ This implies a deterministic ‘happy ending’ to present events - also that time is as uncontrollable as the weather; you must simply wait for the sun to come out again, or for things to improve. ’4 This analysis can be schematized as follows: Top: above, background, far, outside, future, spiritual. spread out before him . . . The window is like a threshold and at the same time a barrier. Through it, nature, the world, the active life beckon, but the artist remains imprisoned, not unpleasantly, in domestic smugness. The window image thus illus trates perfectly the themes o f frustrated longing, o f lust for travel or escape . . . I t contrasts w hatA .W . Schlegel called the ‘poetry o f possession’ - the intimate interior - with the ‘poetry o f desire’ - the tempting spaces outside. This juxtaposition o f the very close and the fa r away adds a peculiar tension to the sense o f distance, more poignant than could be achieved in pure landscape.’1 A number of reasons can be given for the special appeal of the interior-with-window-view motif: (1) a viewer looking at a picture gazes into an imaginary space which he or she cannot literally enter, hence the imaginary beholder’s relationship to the window parallels the viewer’s relationship to the image. Furthermore, the window view (an instance of the picture-withinthe-picture device) is placed at a double remove from the viewer thereby increasing the poign ancy of his or her longing to enter it; (2) the motif echoes the very structure of visual perception itself, that is, our consciousness of being located inside a head (a room) looking out through our eyes (windows) to a world beyond us. In other words, the motif seems to be a visualization of the subject/object dichotomy of philosophy; (3) the movement from dark to light, from construc tion to expansion, as the eyes of the beholder penetrate the depths of the picture, space dupli cates the passage of a child from the womb to the world during birth. The absent spectator Judith Williamson explains in her text Decoding Advertising: ‘Every advertisement assumes a particular spectator: it projects into the space out in front o f it an imaginary person composed in terms o f the relationships between the elements within the ad. You move into this space as you look at the ad, and in doing so ‘become’ the spectator.’ Adverts shout, or whisper, ‘Hey you!’; ‘The ‘ you’ in ads is always transmitted plural, but we receive it as singular.’2That is, adverts are always aimed at groups in society but they are perceived one at a time by individuals. They interpellate concrete individuals as concrete subjects (here Williamson makes use of Althusser’s writings on ideology). No one is depicted within the ad but the picture is constructed in such a way that a person is suggested outside the picture space. Analysing another ad from the same series Williamson comments: ‘The perspective o f the picture places us in a spatial relationship to it that suggests a common spatiality (as in all ‘classical’ art); everything is proportioned to the gaze o f the observer - us, the absent person ‘meant’ by the picture’ 2 When I look into the picture I occupy . the position of the abstract subject constructed by the image: I am in a darkish room looking out of a window towards the village green where the cricket match has been abandoned because of bad weather. Before me on the window ledge is a cricket ball and bails, a mug of beer, a packet of cigarettes and an old photograph. The ducks/The birdcage/The art gallery/ The Christmas tree/The mousehole 48 sheet poster series was awarded the ‘Best of the year’ honour by judges from the Design Council in 1978: 66 We felt in many ways that the Benson and Hedges series was a milestone in poster advertising. The brilliant use of surrealism arouses curiosity and has created a talking point. The series has tre mendous brand impact and illustrates, perhaps, how the constraints on cigarette advertising can act as a spur to creativity. We had no hesitation in choosing the Benson and Hedges ‘Birdcage’ as the best poster of the year. 66 Special Filter is selling at the rate of well over 1,000 million cigarettes a month and has emerged as the group’s most profitable brand, while some of the older lines like Senior Service, Kensitas and Park Drive have slowly faded. Ronnie Roter Quotes from “Gallaher: Lessons We Learn from our Failed Brands” Campaign 16 Feb 1979 pp 37-39. Time as a commodity In chapter seven of Decoding Advertising Williamson discusses time, narrative and history. She claims that ads ‘can represent not only an event, but a series o f events’; ads can ‘evoke the past, promise the future, or tell a story which Bottom: below, foreground, near inside, present, material. It is clear that the movement of our vision into the imaginary depths of the picture space is a movement in time (if when travelling along a road we look towards the horizon we see how far we have to travel to reach our future goal); it is an imaginary projection into the future. But that future is not merely the possibility of brighter skies and the resumption of the game of cricket but the certainty o f death. The perspective lines of the window frame direct our gaze irresistibly towards the vanishing point: the church on the horizon, the exit point of Christians. As Williamson points out, the spire exits out of the picture space (it thrusts upwards towards the heavens). We are now in a position to comprehend the melancholy character of the photograph. It is not merely the grey skies and sombre colours, it is the latent message of the image: ‘I am alone; play has stopped; my cup is full; soon I will leave this world; in the meantime there is the consolation of beer and cigarettes.’ Whether the advertisers consciously or unconsciously intended to make a connection between cigarettes and death I do not know, yet I am convinced the picture asserts such a connection. (The ‘author’s’ intention is often thought of as the ‘truth’ of a text, but this overlooks the difference between an intention and an action the two frequently fail to correspond). Cigarettes are a consolation for the inevitability of death but since cigarette smoking is a contri buting factor to lung cancer they also hasten death. Thus the unconscious message of the advert seems to be: ‘death is a cloud on the horizon; cigarettes bring it nearer, but on the other hand, the pleasure of smoking is to some extent a consolation for death’s inevitability.’ Ideology The photograph links a modern product with a number of traditional English values - beer, cricket, the village green, the local church, previous generations (the photo on the window ledge), and in doing so, it imparts a thoroughly quietistic worldview: ‘each individual faces death alone, you must accept it without struggle.’ The picture sees the future only in terms of the past, or rather, in terms of a particular reading of the past. That is, a reading which stresses conservative values as against, CAMERAWORK say, revolutionary values. Since I am not a smoker or a Christian the physical and spiritual consolation offered by the ad has no appeal for me. Politically I am opposed to the quietism of the ad. However, these personal reactions are not sufficient to explain the sense of unease produced by the ad, because, after all, even a non-Christian can respond sympathetically to works of art such as those by Bellini or Casper David Friedrich which were motivated by a genuine religious sentiment. Ultimately what makes the ad so hollow is the recognition that its producers have left themselves out, that is, the people who actually made the ad served simply as agents for the manufacturers —no personal commitment was involved. In all likelihood the media workers do not believe in Christianity or even in the English heritage; the only thing one can be certain they believe in is commodities and the necessity to move them. These remarks can be justified as follows: when the series of ads as a whole is examined, it becomes immediately clear that what the advertisers appropriate and manipulate are existing systems of meaning common throughout our culture (what Williamson calls ‘referent systems’); examples are: the Olympic games, the cup final, holidays abroad, the thirties, Christmas, Space travel, the pyramids of Egypt, etc. f t Cigarettes are Britain’s largest packaged goods product category. Consumer expenditure is a massive £3.5 billion per year, of which over £2.4 billion goes in revenue to the government. The industry exports over £200 million per year, employs directly over 30,000 people and indirectly, through suppliers, retailers, etc, contributes to the employ ment of at least two million more. Over half the adult population buys the product almost daily. It is sold through over 300,000 retail outlets and is normally their biggest turnover item. It is one of the few packaged goods that is asked for by name. It is largely consumed in public and frequently offered as a gesture of friend ship in social and working conditions. There are over 150 brands on sale, prices are high - an average of over 50p per pack - and competition is very keen indeed. For an industry as large and significant as this to lose its basic freedom to compete by the use of advertising would be a very serious matter indeed. Rex van Rossum Advertising has a voracious appetite for these meaning systems because it consumes them so rapidly. The problem which the media workers constantly face is to find ways of injecting new life into tired meaning systems. Advertising as a system is indifferent to the content of the meaning systems it processes. Hence, it can make use of images of the heroes of the left, and it can make use of revolutionary rhetoric - safe in the knowledge that all authentic meaning will be contained by being trivialized and made humorous. The distanced, ironic manipulations of material hostile to advertising by media workers ensure that no one misses the point: ‘When we talk of revolution, we are, of course, only joking.’ Simultaneously the system demonstrates its enormous power and flexibility: ‘Look we can assimilate and bend to our own purposes even those who are opposed to us. Don’t worry about communism, capitalism is stronger, we show you that communism is harmless, that it is not serious; rest content.’ John A. Walker John A. Walker lectures in the history of art at Middlesex Polytechnic and at West Surrey College of Art. References: (1) L. Eitner ‘The open window and the storm tossed boat: an essay in the iconography of Romanticism’ Art Bulletin 37 (4) December 1955 pp 281-290. (2) J. Williamson Decoding Advertising: Ideo logy and Meaning in Advertising (Marion Boyars, 1978) p 50. (3) Op cit (2) p 78. (4) Op cit (2) p 162. Photo-silkscreen by Judith Rugg (original size 655mm x 500mm) Problemsofan alternative image In between Rembrandt and early exploration of photography was the exploration of changing self-image as form. Because of the dominant nature of the medium, formal aspects of paint ing were primary concerns, rather than the subjective aspects of self representation. The debate around photography as Art, and the threat that photography made to the dominance of painting as two-dimensional representation at the end of the eighteenth century is reflected in the kind of imagery used by early photo graphers. An acceptance of the nature of painting asserts itself in the nature of the photo graphic image. Working from a feminist critique as a photo grapher, and challenging kinds of forms and imagery by working with an alternative imagery of women, one has to examine the way in which the form of photography supports the imagery. As photography is the main vehicle of commu nication which presents us with negative images of ourselves, what need to be examined are the mechanisms inherent in the medium which account for the success of these negative images. I see this in terms of examining the form, using the medium to comment on itself. Taking photographs (or for that matter working in any medium from a critical point of view in relation to the subject matter) necessi tates a recognition of all the associations that the subject matter implies. This is in addition to its presentation within a fine art context, which context implies an aesthetic. There is a paradox in what Angela Kelly describes as the essentially private practice of self-portraiture in photo graphy (Self Image: the Personal is Political Camerawork 12) and the presentation of the image in a public context. This public presenta tion affects the original intentions of the photo grapher, and while Angela Kelly acknowledges this in her writing, it is difficult to interpret this in her piece Woman’s Identity. At this point I should define the term ‘feminist artist’: those women who are working in a critical visual way and who have an aware ness of the machinations of our oppression as women, and who are attempting to subvert it in visual terms within the context of fine art. Having defined it thus, we must acknowledge and analyse the common problems: is the perspective of so-called feminist artists/ photographers necessarily evidenced in a work regardless of content and subject matter? It doesn’t seem so to me. Woman’s Identity conveys meaning on certain levels. These are altered by knowing the political/ideological point of approach of the photographer. This is not always apparent in the work itself, but in statements by the person who produced the work. The group of images presented as Woman’s Identity appear to be a collection of isolated images. There is no coherence between them. As such they are dangerously on the brink of supporting what it is they are intended to oppose. As such they do not take cognizance of the fact that because of the supportive historical system behind sexist imagery, there is no need for it to have textual explanations - the imagery locates itself automatically. We are dis advantaged by our images being presented in isolation, as even positive re-evaluated female imagery is in danger of being neutralised or sub sumed into the dominant patriarchal culture. With reference to Angela Kelly’s point that Jo Spence’s photographs are inseparable from the text, is it because of the range of associations we are conditioned to have of a media reinforced image of women? I do not necessarily agree here that the text is essential to the reading of the photographs or that the photographs are illustrating the text; surely this places the image within a particular framework - as illustration. On the same level of criticism of Angela Kelly’s point here, I would question how a visual medium could make a literal statement, since I think that Jo Spence’s photographs support themselves as images and as such are not illus trative to the text. An essentially visual medium has to make a visual statement, and in order to successfully disrupt the pattern which forms the ways images of women are received and under stood, I think it is important to understand what that statement is, how it came to be made, and its importance to the actual medium. As feminist artists/photographers do we also have to identify the context in which we present our work if the meaning of the subject matter is related to the context? E.g. work presented in a gallery has a meaning which shifts when that work is reproduced in a magazine such as Camerawork where it is supplemented by text. In relation to self-portraiture: in order to produce a polarised image one has to question the kind of image one has of oneself in relation to the bombardment of derogatory images of women we are confronted with daily. In order to present a photographically positive image of oneself, one has first to have a positive selfimage. The inability, at this point in the modern tradition of photography, to make statements of facts or ‘objective truths’ is related to the kinds of ways in which women have been and are pre sented to the world. Nonetheless, the perpetua tion of a supposed norm (subordination of women) necessitates that we understand photo graphy precisely in terms of its supposed ability to objectify truthfully. We need to recognise this in order to de-construct it and re-evaluate the imagery we are confronting on our own terms. By challenging the images of role stereotypes perpetuated by the media, one is also drawing on an historical assumption and association related to that form of imagery in order to change it. When one is forced to make a point of one’s stand as a feminist the problem arises of how to make that point as part of the image itself. Whilst we are working to change the ways images of women are being presented we must acknowledge that we are, to an extent, part of an ideology that oppresses us. If we produce nega tive images of ourselves - if our work is under stood as not referring to but supporting sexist imagery - then we collude with our own self oppression. The clarity of one’s critical position is crucial. In describing Lee Friedlander’s approach to self-portraiture, Angela Kelly disregards the content of the image which is used to illustrate his work, where we see the familiar arrange ment of the protagonist male and the seemingly irrelevant passer-by who happens to be a woman. The fact that she happens to be a woman reinforces the point Angela Kelly is opposing. There is no such thing as a neutral (i.e. without pre-determined association) imagery where women are concerned. Simi larly, in the presentation of Richard Greenhill’s photograph from Family Self Portrait, a woman is represented as bringing a Christmas pudding to what we may imagine is a table crammed with waiting family members. The zone which Angela Kelly describes as the ‘area of art making’ cannot be dealt with until the area of art making and the reasons for criticising it have been clearly formulated. How does one, working in an aesthetic medium escape the tradition of the ‘fine print aesthetic’? If one is working within a specific set of defini tions of ‘art practice’, redefining the area to suit one’s needs can become an area of critique implemented within the work. It seems to me to be necessary to question the form of the photographic image in order to relocate photography as a potential force to question its own validity. Or, as far as we are concerned, to question its own validity as a vehicle of negative imagery. Does the practice of ‘art making’ become an activity primarily concerned with art as a commodity and there fore part of a system which advances our self oppression? One solution to part of the problem would be to make one’s work unsaleable and avoid, to an extent, the implications of the ‘fine print aesthetic’. However, if the look of the ‘fine print aesthetic’ is congenial to one’s subject matter it operates on a different level (i.e. it can be used to support the subject matter). A problem inherent in my own work is the way these levels operate in conjunction with the method of presentation and with clearly stating my case. Working with a medium like photo graphic silkscreen, it is an important part of my work to reintroduce the kind of aesthetic, seductive quality of advertising imagery which itself employs certain devices used in painting. The problem of a feminist imagery being under stood within a barrage of contradictory state ments is one which I share with many feminist artists currently working with photographic material. Judith Rugg a CAMERAWORK Primarily using photography, I have constructed a statement about a specific geographical area whose people are on their knees. But if their economic well being is desperate, Clydesiders are not defeated. The women and men of West Central Scotland have a mili tant past and their future security is theirs to make. As a journalist I recorded a period of time. I am an optimist because I am a socialist. The struggle to achieve political and therefore economic control of our lives will be long and difficult. I hope these photographs will contribute to that continuing struggle. LARRY HERMAN Processing turkeys, Pinkerton’s, Paisley. Many women are employed in low-paid assembly-line work in the factories that have grown up around Clydeside. When I was little my parents taught me a rhyme about their city, based on Glasgow’s coat of arms. It went as follows: This This This This Coats mill, Paisley. The multinational Coats group of companies made pre-tax profits of £ 16.2 million in the first six months of 1975. During the first half of 1976 pre-tax profits were £31.9 million. Assembly track, Chrysler Linwood. Workers’ ferry from McAlpine’s oil rig construction site at Ardyne Point to Wemyss Bay, after a twelve hour shift. This, the last site working on the Clyde was due to close a few months after this picture was taken. The labour force, already cut to 1600, will be redundant. is is is is the bell that never rang the fish that never swam the bird that never flew the tree that never grew Those four lines tell so much of Glasgow’s story. O f the obvious physical confines in which Glaswegians have lived their lives. Of terrible houses, hard jobs and foul working conditions, of freedom denied and potentiality crushed. But for all that, those four lines fall far short of reaching Glasgow’s most extraordinary feature, its inner soul, its extraordinary people. Defeated but invincible, deprived but possessed of great style and elegance, downtrodden but amazingly resilient and funny. And most of all, lovable and loving. In its people the ‘sweet green place’ of the Gaelic lives on. It was a small entity until the nineteenth century. Then one hundred years of explosive growth set in. People were extracted from the Highlands, the Islands and across the seas in Ireland to feed the shipyards and the steelmills and the coalmines required for this, the arsenal of the British empire. For every mile of the Clyde there was a millionaire. And for every major slum property development too no doubt. So fantastic were the takings in the good years before the end of World War One that captains of industry developed guilt feelings. The beastly Burrell, for example, Scotland’s own Citizen Kane/Cain was a compulsive buyer of bounty and treasure on an unbelievable scale. He finally tired of personally fondling his items day in and day out and struck a nice balance between shame and tax avoidance by leaving the lot to the City. Most of that Glasgow is now gone. The Coal Board cleared the Lanarkshire coalfields. The Steel Industry has closed door after door. In shipbuilding the czars are state grandees nowa days, concerned exclusively with browbeating Glasgow’s few remaining sons of the shipyards into meeting the output standards of Far Eastern shipyards where trade unionism is a one way ticket to the prison cell. In place of the ghettos and slums have come new towns, Cumbernauld and East Kilbride, outside Glasgow and hundreds of high rise blocks within. Then there have come dual carriage ways and motorways which stick out like sore thumbs in a city where car ownership is lower than any other in the UK. The old industrial base has gone. And in have come the capital intensive multinationals concerned not with the assembly of art collec tions but the repatriation of profits to fictional homelands like Luxembourg, Lichtenstein or Grand Cayman. Once again the people’s health is a source of terrible anxiety, with Glasgow the undisputed cancer capital of the world. Time again perhaps for the tree to grow and the bird to fly. Laurie Flynn Britain has a mixed economy with many firms under public ownership. This policy has been used, particularly since the Second World War, to facilitate the expansion and profits of the private sector because it has always been the weakest businesses that have been nationalised. We do not believe that nationalising our industries can solve the problems of the men and women who work in the yards. But with public ownership, we can begin to reverse the deterioration. Therefore, state ownership is the demand of the shipbuilding workers. It is not a case of having the choice in the matter. Regard less of weaknesses in public ownership of other industries, there should be no doubt that if our industry is left in private hands, the historic decline will accelerate and in a few years we will have very little shipbuilding in Britain. The management view during the past decade has been that shipbuilding has not been profitable. But they have never taken a broad view of society. The major decline of British shipbuilding not only affects jobs in the yards. In a fundamental way it affects steelmaking. Small specialist suppliers to the industry suffer, and, of course, unemployment affects local shops. Basically shipbuilding is an asset to the community and it is an asset to the whole region where the yards are located. Yards are operated inefficiently and this is caused because profits are hardly ever reinvested in shipbuilding. They are sent abroad, invested in other domestic industries or are used to finance speculation in the commodity, money or property markets. Our industry has been badly managed with the workers left powerless regarding decision making at management level. Britain is primarily an importing and export ing nation, and not to have an overall plan for shipping is economic lunacy. Today, ship building cannot be successful if it is left in isola tion from deep-sea and coastal cargo handling. In a planned shipbuilding industry, ship repair would be nationalised too since virtually all repair yards are part of shipbuilding groups. The labour movement must recognise that the traditional economic theories and values operating in this country are anti-social. We must demand a planned economy. The public ownership of industry must be used for the regeneration of our manufacturing base. There has to be forward planning of the British merchant fleet so we can build for future needs. Once our industry begins to expand and the confidence of workers is established, secure in the long-term prospects of their industry, then tensions within the industry like demarcation will disappear. Joint Shop Stewards Committee, Govan Shipbuilders Ltd, Glasgow A ll photographs by Larry Herman, whose work in Glasgow was financed by three grants from the Arts Council and support from local shop stewards committees. The pictures are available as a travel ling exhibition from Third Eye Centre, Glasgow, and a book is in preparation. 4 CAMERAWORK Jim Russell, one of the elected worker-directors, with the first copy of the first edition of the Scottish Daily News. Funded by Government business and public subscription, the paper was started when the Scottish Daily Express moved its printing to Manchester. Workers occupied the building for a year to safeguard the presses, but the paper only survived from May to November 1975. Ship’s painter, Govan shipyards. Clydeside is Scotland’s major port. It covers an area of 450 square miles or river, estuaries and sea lochs. 13,000 vessels and 19,000,000 tonnes of goods pass through the port every year. January 1974: the last day of full-time working before the start of the three-day week. Main Gate, Chrysler Linwood. Mass meeting of public transport workers striking against redundancies and the closure of Partick Garage. Since 1967 the number of people working on the buses has been reduced from 7000 to 4000, the number of buses in service from 1500 to 900, and fares have gone up 10%. It is now cheaper to travel by taxi if you go in a group of four. Retired boilermakers annual outing, Largs. Many boilermakers suffer loss of hearing by the time they retire. Picket, Clydeport Container Terminal, Greenock. Lorry drivers’ strike 1974. CAMERAWORK Photography for the Disabled? From the stark fact that, ‘There are over three million disabled people in Britain’, the text of Being Disabled quickly moves on to the more personal. The photo-essays build up very solid impressions of personalities and attitudes. A sequence on Maxine Wilson, a young black woman chairbound from birth, paints a parti cularly strong picture. Part of her own commen tary runs: ‘People sometimes make me feel unhappy, their altitudes towards you. It can be rather uncomfortable sometimes, the things they say about you. They think I shouldn’t mix with white people.’ The show is largely devoid of harsh pictures. Something in the photographs has struck me. 1 have always loved children since I was nine. I have always wanted one, but that is some thing that will never be. There is no chance of us adopting. They are very anti disabled people adopting. I mean you have to prove yourself. One of the few shows a middle-aged man, suffering from multiple sclerosis, being sus Adjusting to becoming disabled has been rather traumatic both for me and my parents. It affected my parents in as much as they had to move house to a suitable bungalow that was accessible both inside and out, but even then extensive adaptations had to be carried out which caused considerable upheavals. They also had to come to terms with me being utterly dependent upon them to do everything for me. I couldn’t make a cup of tea or any thing during the period that I was living with them. It put a lot of strain on them actually. pended from a complicated hoist contraption over a lavatory. Some of the photographs of children almost fall into a category of senti mentalism, yet possibly the worst offender which captures a boy and a girl of about five kissing each other while they support them selves on trolleys - is an excellent picture. In a workmanlike way, evidence on matters of education, transport, access and so on is constructed. Clearly there should be much better provision and a lot more thought devoted Paul Lucas and Hazel Peasley (quoted above) with Hazel’s sister and her child Peter White, who is blind, playing with his son on his day off. to the disabled so that they could more easily visit cinemas, use trains and get up kerbs. And clearly this thought is largely absent. Unfor tunately the exhibition is weak on offering any solutions. It is a little quirk of mine, that I would like to see the head of a council in a wheelchair for a day, because if you stuck every councillor in a wheelchair and said right, get about your business, they could never manage, they wouldn't know what to do. They would never be able to get around Southampton, because of all the difficulties involved with pavements and crossings and all the rest of it. I have probably got an ideal world in which my life is totally acceptable and you don’t have to bother about getting help anywhere. It is extremely thorough at presenting the current situation of the physically disabled and competently manages to show them as human beings with a whole range of hopes, desires and fears - just like anyone else. It seems to suggest that by being nicer and more concerned ordinary people may make a significant contri bution towards changing the rough deal the disabled get at the moment. But is this enough? It would be foolish to deny that the organisers of this exhibition - which in itself is something of a radical breakthrough for a straight photo graphic gallery to create - were not subject to certain constraints. And it would seem, rightly or wrongly, that they settled for portraying the experiences of the disabled and not digging deeper. The text towards the end warns the viewer that the exhibition is only a starting point for breaking down the popular stereotypes that attach themselves to the disabled. However, this line does appear a little transparent. It neglects to even suggest that commercial interests, the economics of capitalism, political discrimination against minority groups and sheer exploitation of human beings might have anything to do with it. Why are the disabled badly done by? Why is the National Health Service crumbling away before our eyes? Why don’t Mecca ballrooms make it easier for disabled people to attend them? Why do Mecca ballrooms also have a record for discriminating against blacks? Why do Mecca ballrooms support the Tory Party? Are any of these questions related? It is this line of investigation that is absent from the exhibition. I think that the photographs are quite good, in as much as they portray some of the diffi culties that we come up against. They don’t show that I can’t feel from the armpits down. It doesn’t portray either how you manage to get over most of the problems. It doesn’t portray the actual living conditions in some cases or the noise from the street for instance.. As I looked at the exhibition in that university hall, a cleaning lady came up to me and asked whether I was connected with it. She went on: ‘You see my husband’s disabled, and since it happened he hasn’t been able to find any work - do you think the people to do with this might know some way o f helping him out?’ The reality of that woman’s problem - and that of millions of others - will hang around until enough people start asking the right questions. Questions that have been avoided, consciously or uncon sciously, in Being Disabled. Graham Wade A Kind of Life is a laminated touring show avail able from H .M .P .W . Tel 980 8798 Being Disabled is a touring show laminated on panels available from The Photographic Gallery, University o f Southampton. Tel. Southampton (0703) 559122 Barry Lewis Barry Lewis Lily and Roy Harlow outside their home Barry Lewis Paul Lucas In the 19lh century Doctor Diamond took photos o f‘insane people’ to use as illustrations for a medical text book. Ever since, mentally and physically handicapped people have been photographed for a variety of different reasons -from conscious exploitation to social concern. Last year two exhibitions took place on the theme o f disability, both propagandistic in favour o f their subjects, seeking to show ‘how things really are’. Being Disabled was exhibited at The Photographic Gallery, Southampton. This exhibition was researched by Paul Carter who followed up a it/ish from the gallery to cooperate with the Department of Rehabilitation at the University o f Southampton. The aim was to create an exhibition which would break down stereotyped ideas o f the physically disabled. Barry Lewis was chosen as the photographer, and together with Paul Carter, interviewed the people who had been photographed. The exhibition was finally edited by a large group ofpeople, half o f them professionally involved in photography, and half of them disabled. A Kind of Life by Halvard Kjaervik was exhibited at the H alf Moon. The photographer documented the lives o f some o f the residents in an institution for the mentally handicapped in Northern Norway, whilst he himself worked there as an attendant. He hoped his pictures would present a case for the integration of the mentally retarded into society, rather than their isolation in institutions, and also show that the menially handicapped are human beings. Both exhibitions were praised as being sensitive and useful in explaining the situation of handicapped people to the world, but both were also criticised. The following review of Being Disabled by Graham Wade, and a letterfrom Peter Kennard and Jessica James on A Kind of Life indicates some of the problems o f working on the representation o f handicapped people. The quotes (in boxes) are by Hazel Peasley and Paul Lucas from the Being Disabled exhibition. CAMERAWORK Panel 4 from ‘A Kind of Life’ by Helvard Kjaervik Panel 5 from ‘A Kind of Life’ by Helvard Kjaervik Panel 9 from ‘A Kind of Life’ by Helvard Kjaervik ear Camerawork, Kjaervik’s exhibition sounded inte resting and different.He claimed to be taking photographs of mentally retarded people from the standpoint of someone who was involved and who had an intimate understanding of the mentally retarded from the experience of three years work in a large institution for them in Norway. He had not, it seemed, intended to take pictures as a photographer might in his search for unusual or sensational subject matter but rather to use the camera as an extension of his job. Furthermore, he appeared to question the exis tence of such institutions and the society which perpetuates them. As he writes in the notes accompanying the exhibition: ‘It was depressing tofind myselfa participant in a system which I felt I could not accept?. And he writes at some length of the need to inform the public about the mentally retarded before their integration in society can become a reality. But his text is often confused and, combined with his photographs, shows neith
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  pdf_textANNUAL REPORT 1979-80 ■§Hi6i^| HALF MOON PHOTOGRAPHY WORKSHOP-.- ANNUAL REPORT 1979/80 (including funding proposal for 1980/ 8 1 ) CONTENTS 1. Annual Report for 1979/80 Introduction Exhibition programme Camerawork The New Building Links with other organisations Camera Obscura Darkroom Programme Photographic Project Groups Postcards & catalogues Archive Administration Members of staff & Collective 2. Financial Estimates for 1980/81 Summary Revenue-Expenditure Income Capital-Expenditure & Income Notes to accompany estimates 3-Appendices Appendix I-Touring Exhibitions Touring Exhibitions-Bookings 1979/80 AppendixII-Payment for Camerawork Contributors Appendix Ill-Plans of New Building Appendix IV-Details of Darkroom Programme Appendix V-Sources of Funding PAGE 1 3 5 7 8 9 10 11 13 lf ^ 15 16 17 18 21 23 2k . 25 26 29 30 32 33 Annual Report for the year 1979/80 INTRODUCTION The Half Moon Photography Workshop came into being in October 1972 with the specific aims of showing documentary photography and discuss ing its role. Since that date the work of the HMPW has concentrated, though not exclusively, on two main areas: the production of Camerawork magazine and of photographic exhibitions. The first issue of Camera work was published in 1976, and the Half Moon Gallery mounted exhib itions in the foyer of the Half Moon Theatre from 1972 until March 1978. Central to the work of the HMPW is the idea that social documentary photography should reach a large audience, and in order to achieve this the HMPW moved into premises in Roman Road, Bethnal Green, which are being renovated to create a centre for photography that will be unique in the United Kingdom. We had originally hoped that these premises would be complete in 1979/ 8 0 ; unfortunately structural problems and the shortage of labour and materials have delayed the conversion programme. It is anticipated that the building work will be complete by the autumn of 1980 , when the gallery and darkrooms will open. This building will then provide a photographic resource centre from which we shall be contributing to the propagation and direction of new photographic work through photographic courses, project groups, seminars and the gallery. The HMPW, through Camerawork and its exhibitions, has always placed emphasis on the subject matter and social use of photographs. The work produced in the darkrooms yill be encouraged to develop this practice. Despite the lack of facilities, the year 1979/80 has seen a continued growth in the work of the Half Moon Photography Workshop* The work of producing exhibitions has thrived; although they have initially opened in other venues; all the exhibitions were laminated and form part of the HMPW's Touring Show service. This Touring service has expanded greatly over the last year. The HMPW has had 2^ shows available for hire; these have been hired over 100 times and have been shown in a wide range of venues, from arts centres, educational organisations and community centres to launderettes. Demand for Camerawork has increased, and as well as selling each issue to subscribers and directly in bookshops, there i 6 a constant demand for back issues. There has been a notable increase in sales abroad, in the USA, Australia and Northern Europe in particular, and in the coming year extra efforts will be made to increase sales both in the UK and abroad. The opening of the darkrooms and new gallery in the next financial year will lead to significant developments at the HMPW. For*the first time we will be able to embark on a substantial programme, teaching and initiating new photographic work, and through this developing a real local involvement. All our varied activities will take place under the one roof, and this will create exciting possibilites when different photographic areas overlap and feed in to each other. In the meantime, work on project groups is already underway and will continue throughout the year. During the last summer, members of the HMPW built a camera obscura, a 6 ' 6 M square black tent which acts both as camera, by means^of a lens in one side, and as darkroom, in which basic principles of photography can be demonstrated. This was taken to various community festivals in the E^st End, where it proved to be the centre of 'much fascination and interest. It is proposed that this will be developed and continued on a larger scale furing the coming year. The HMPW now employs nine people, two full-time and seven part-time. During the next year as the workload increases with the opening of the new building it is proposed that this number should be increased to nine, and that more part-time workers should become full-time .Vi At the moment three people work on Camerawork, one of whom is respon sible for distributing Camerawork, two people work On preparing exhibitions, one of whom is also responsible forytouring shows and publicity, one person co-ordinates the work' oiuthe new building, and two people do general administration* including book-keeping, fundraising, and subscriptions for Camerawork. Our projected revenue expenditure for the next financial year is £SE>5°72 , with an expected earned income of £32,873'. In Addition we shall also need capital of £1^,400 to complete and equip 1the new building. At the end of this report there is a financial summary and a detailed financial breakdown. In order to enable Us to fulfil the commitments of the organisation during the coming year we shall be applying to various funding bodies for grant aid; a list of organisations from which we ho^e-to receive grants is given after the financial breakdowns. We believe that if we are subsidised adequately we shall be able to make full and proper use of our new building. - 3 - EXHIBITIONS PROGRAMME After five years of regular monthly exhibitions, the HMPW vacated its gallery space in Alie Street, Aldgate, in April 1979* This was a conscious decision to expand and develop our already substantial exhibition programme by opening shows at selected galleries and spaces while our new gallery was being converted. Naturally, this has entailed a great deal more organisation and co-ordination with other galleries and groups. It has, however, proved extremely worthwhile and has both broadened our audience for shows, and established important links for future collaborations. Having our own gallery space again will certainly provide us with a much needed stable base from which to launch shows, but this period of transition has proved to be very valuable. As in previous years we have chosen to laminate all our shows under plastic, thereby allowing maximum portability and ease of hanging. This is very important pursuing our policy of touring exhibitions, further details of which are given in Appendix I. We began the year by opening 'Brick Lane 1978' by Paul Trevor at the Whitechapel Art Gallery - a show specifically designed for small local venues, and including both English and Bengali text. This was followed by 'Lost at School', a series of portraits by George Plemper, which we opened at the Institute of Education. It was primarily aimed at schools and colleges. Later in the year we launched 'Bethnal Green 19^9-52' by Nigel Henderson at Central Library in Stepney; it proved to be a show of great local interest. Meanwhile, 'Coming and Going: Travellers in London' by Barry Lewis was appropriately opened at the Polytechnic of Central London in Regent Street, provoking a response from commuters and tourists alike. During the last few months of 1979 the HMPW researched and organised our most ambitious and largest show to date: 'Bringing It All Back Home - an exhibition about Northern Ireland' is three times the size of any other show we tour. Building from the work done for Camerawork 1^ 'Reporting on Northern Ireland', this show was launched at the Cockpit Gallery, Holborn, and moved to Action Space, Chenies Street, to coincide with the London festival of Irish arte and culture 'A Sense of Ireland'. Towards the end of the financial year we organised 'The Teds', an exhibition baaed on a book by Chris Steele-Perkins and Richard Smith, which opened at the Side Gallery, Newcastle, in February. Before the end of March we will also be producing a show by Glyn Satterley on the North-East of Scotland. It will open in London and then go on tour in Scotland. As this financial year draws to a close, we are actively organising and researching new and larger shows, for our own gallery as well as for other venues, before we open. By the end of March we will have twenty-six laminated shows on tour. - k- The Half Moon Photography Workshop has always recognised the need to pay photographers; once a touring show has earned enough money to cover the cost of its origination, the photographer shares subsequent earnings with the HMPW. However, we were very pleased to be part of the Greater London Arts Association scheme for the payment of artists during this year, and we look forward to this system continuing next year in conjunction with the Arts Council of Great Britain. - 5 - CAMERAWORK The end of this year will see the publication of the nineteenth issue of Camerawork magazine. In the six issues produced during the year there has been a consolidation both of the readership of Camerawork and of the direction of the magazine itself. The magazine has benefitted from widespread awareness and public discussion of issues raised in the magazine in conjunction with exhibitions and other Half Moon activities. This will be reflected not only in increased demand, and improved sales figures, but also in continuing to maintain the standard and vitality of the photo graphy and the debate within the magazine. The full-time co-ordinators work in conjunction with the editorial group who work in an unpaid capacity, meeting weekly to decide the content of the magazine. In addition, staff and volunteers contribute to the production work, and particularly to the mailing of Camerawork to subscribers, for which we greatly rely on volunteers' assistance. There is still no budget allocation for paying contributors, and a proposal regarding this is included in Appendix II. This means that the editorial standard can be maintained only by dint of the goodwill and commitment of the contributors. The editorial group must commit a lot of time to discussion and negotiation with potential contributors, as photography does not have an established tradition of writing, debate and analysis, and we feel the role of the magazine is to help create this. Thus extensive and time-consuming research is a fundamental and crucial mainstay of Camerawork's success. Great pains are taken to ensure that with the consequent demands on our time neither editorial nor production standards are compromised. One small change which will improve our position is doing Camerawork's layout and paste-up on the Half Moon premises rather than in an outside design studio. This will streamline the process, and cut down the cost of outside help. Camerawork 13 was a thematic issue which investigated the practice of community photography, a widespread and vital tradition of photographic activity. The issue helped promote mutual awareness for people working in community photography of their common problems and their strengths. Camerawork 1^, 'Reporting on Northern Ireland', was another thematic issue. It comprised a seven-page dossier of contemporary social documentary photography showing working and living conditions in the province, an investigation of photography's role - in Northern Ireland, by local newspapers, amateurs, and the security forces, and also in the mass media in the rest of Britain. All these were placed in context by a brief, illustrated history of the facts leading up to the current situation, and a discussion of social and economic conditions* there were three pages relating the experiences of professional photo graphers who have worked in Northern Ireland. - 6 - Camerawork 15 was a compilation issue. Photographs and text documented life on the Clydeside; there was a section looking at images of the disabled; the practice of photographic collection was examined; two articles looked at images of women in photography; there were articles on advertising photography, photography without electricity, and an information section. Camerawork 16, another compilation issue, looked at a Manchester project to create a photographic archive of popular history, the use of photography in reporting on Nicaragua, Japanese photography, and our Camera Obscura project; it discussed the implications of our Lewisham issue number 8 , and there was a final letters and information page. Camerawork 17 consisted of an article on cultural history and trends in fashion and advertising photography, extracts from and discussion of the Half Moon Touring Show 'Who Killed Blair Peach?', a review of the new annual*Photography/Politics', a dossier of photographs of the 1888 matchgirls' strike from the National Musuem of Labour History, a spread of photographs of Windscale, a look at current uses of the postcard, its history and how to make your own, an article on photog raphy and the law, and a letters and information pelge. Camerawork l8 includes an examination of still images and photographs on television; a discussion of the conventions of pornography, a look at how the media and the 'News of the World' approach the problems of squatting; a dossier of photographs documenting the steel and mining areas of South Wales, along with reviews, letters, and information. Camerawork 19 is planned as a compilation issue, including the work of a little known photographer in the Thirties, a study of meaning and context of images, a look at the practice of amateur photography, a continuation of our series on photography and the law, how to set up a photographic archive, a look at Pinhole photography - co-ordinating with a planned HMPW exhibition on Pinhole photography, and more. Much thought is being given to planning distribution strategies for the forthcoming year. The Publications Distributions Co-operative are continuing to distribute 2 , 5 0 0 copies of each issue to a well established network of alternative, community and art bookshops throughout England, Scotland and Wales. We supply a number of major London retail outlets, and work on new and potential retail outlets. There is tremendous scope for Camerawork sales in many regional outlets, such as gallery bookshops and arts centre bookshops, which are not covered by PDC. On our own we do not have sufficient resources to supply this market throughout the country and we are discussing forming a confederation of similar magazines to exploit the market more aggressively. Similarly, it has proved very diffi cult to distribute Camerawork abroad, although the large number of enquiries we receive indicates that there is considerable demand for Camerawork in many countries. Our efforts will be directed towards a wider and more efficient distribution for all Half Moon publications and products, such as postcards, along with Camerawork itself. We welcome the possibility that the Arts Council may organise a distrib ution system for publications it supports; we would be pleased to encourage this and contribute to discussions in setting it up. - 7 - THE NEW BUILDING In April 1977 we of 119-121 Roman These two floors ground floor has signed the lease for the ground floor and basement Road with the London Borough of Tower Hamlets. comprise approximately 5,000 square feet. The a ^O foot shop front onto a main shopping High Street. The new building will offer the following facilities: GROUND FLOOR Entrance via double doors in the shopfront. Gallery space of approximately 200 ft. of running wall space* Reception counter with sales facilities. Small seating area. Offices for all areas of the Workshop. Meeting Room. Storage for slide and print archive. Toilets. These plans result in a much larger gallery than the Alie Street space, which had only 70-80 ft. of running wall space. We can expect to have adequate office space for the first time. BASEMENT. Entrance via separate door on left hand side of shopfront, allowing darkroom to remain open when the gallery is closed. This makes it possible to maintain a security check on the darkrooms. Communal darkroom with nine enlarger bays. Five individual darkrooms. Film processing rooms. Two finishing rooms. Copying room. Co-ordinator's office. Toilets. Several bodies were approached to meet the costs of conversion. By December 1977 we had raised most of the necessary funds, which total approximately £90,000. Material costs are being provided by the London Borough of Tower Hamlets (£20,000), ACGB Arts Capital (£2,000), ACGB Housing the Arts (£3*000) and the labour costs are being provided by the Manpower Services Commission's Job Creation and S.T.E.P. programme (£60,000). A further ACGB Art Capital grant of £3,000 was awarded in 1979/80. The London Borough of Tower Hamlets is sponsoring the conversion scheme, and the administration of funds and supervision of the conversion are therefore being done by them, to plans and detailed specifications provided by us , shown in Appendix III. The conversion began in March 1978. Although the work on site is now nearing completion, progress has not been as rapid as we had hoped. This is due to a number of problems inherent in the Manpower Services Commission programme, which have resulted in continual shortages of skilled labour, shortages of materials, and in admini strative delays. However, the conversion is now entering its final phase, and we anticipate that all facilities will be complete by the autumn of 1980, ready for the launching of the Half Moon Photog raphy Workshop's new programme in September. - 8 - LINKS WITH OTHER ORGANISATIONS I Educational Activities Members of the Half Moon Photography Workshop group have been conducting workshops, teaching, and lecturing throughout Britain. HMPW members teach at the following places: North East London Polytechnic, London College of Furniture, Harrow College of Art and Design, Sir John Cass School of Art, Workers Educational Association and evening institute classes. Visiting lectures have been given at the Royal College of Art, the Winchester School of Art, Trent Polytechnic, Manchester Polytechnic, the Polytechnic of Central London, Sir John Cass School of Art, Maidstone College of Art, the Arnolfini Gallery in Bristol, and the Institute of Contemporary Art. Weekend workshops for teachers have also been held in Birmingham, organised by the West Midlands Arts Association. These varied and rewarding links will prove invaluable to the HMPW when its darkroom teaching programme gets underway later this year. II Advice A large number of people from all over the world visit the workshop every year - some just drop in for a chat, whilst many seek technical or critical advice for their work or projects. Consequently, paid workers at HMPW spend considerable amounts of time dealing with these visitors, in addition to answering many enquiries by telephone and by letter. We have also had four students on placement with us, and many other colleges and educational establishments paying visits to the office. Although it is time-consuming, we realise the value of this kind of personal contact, and endeavour to accomodate visitors whenever it is possible. - 9 - THE CAMERA OBSCURA As a result of discussions about the best way to publicise the activities of the Half Moon Photography Workshop at local events such as the E.l. festival, the idea of building a portable Camera Obscura was evolved. In essence a large black box with a black cotton lining, the Camera Obscura has a lens installed in one side, which throws an image onto the opposite wall. By standing inside the box, it is possible to see a clear, inverted image of the scene outside around six feet away. This was used to demonstrate the elementary principles of photography to the largest possible number of people in a way that they could see rather than just hear about. By standing in the box, people could watch the image being formed on the screen on the wall, and then see the picture being developed in photographic chemicals. The box functions both as camera and as darkroom. The machine provoked a lot of local interest, and we gradually made improvements. We had a lorry cover made to the size of the Camera Obscura, making it completely light proof, and we changed from using conventional photographic paper, which gave a negative image, to a direct positive paper. Communicating the enthusiasm that members of the Half Moon feel for photography is often difficult, and the Camera Obscura solved this problem admirably - it allowed the people with whom we came into contact to discover the fascination for themselves. It demonstrated the simplicity of the basic principles, and at the same time showed a little of the magic of photography. A report of the project, showing some of the photographs taken, appeared in Camerawork 16. We hope to continue this aspect of our work throughout the coming summer at local festivals and fetes. 10 - DARKROOM PROGRAMME The darkrooms will Programme outlined for hire will also many photographers enable us to carry out the Practical Workshop on the following page. The darkrooms available provide a much needed resource in London for the without their own darkroom facilities. The darkrooms will be open to public use on the basis of payment of a yearly membership fee. Members will be able to book the use of an individual darkrooms for a three hour session, or a bay in the communal darkroom. Three people will be needed to co-ordinate the photographic work taking place in the darkrooms. One of these people would have overall respon sibility for the organisation of the Practical Workshops; while the other two people would be involved in teaching, they will take on major responsibility for the running of the darkrooms. With three people working in the darkrooms, we will be able to have two skilled people at any one time to maintain the darkrooms and offer advice to people using the facilities. We feel it essential that the darkrooms are well serviced; otherwise it will not be possible to make full and proper use of the facilities that will be available. Photographic materials will be available for purchase in the darkrooms for slightly above wholesale cost price. In order to establish a stock of film, chemicals and paper, we will require a capital sum of £ 5 0 0 . PHOTOGRAPHIC PROJECT GROUPS The HMPW feels that the work of the Photographic Project Groups is very important for the future of the organisation. By providing people with the opportunity of working together around a common theme, many objectives are achieved. The groups will provide the opportunity for people to learn from one another while producing new work. Working in a group means that a project can be embarked on that may appear too large for a person working alone. The teaching and learning situation in a group is a dynamic one as the photographic work of people working together evolves in different ways. In the Spring of 1978 a women's group met at the HMPW and produced an exhibition, 'Sisters', for the Theatre Royal at Stratford East. The 'Squatting Documentary Project Group', which received a grant of £750 from GLAA last year, was set up with the help of the HMPW, and will produce an exhibition in the early summer. When our darkrooms open we foresee further groups being established, in which we will be directly involved, basing their work at the Half Moon. This photo graphic work will eventually be produced in exhbition and publication form. Towards the end of the financial year we received a grant of £^,300 from the Greater London Arts Association to fund two project groups. Ths grant gives us our first opportunity directly to sponsor the origination of photographic work, which we will be able to make into exhibitions and use for Camerawork. We have advertised the projects, and invited people to apply. There have been over 16q enquiries, and the projects are creating a great deal of interest. Two groups will be set up, each to work on one of the following topics: Women's changing role in society, the impact of Nuclear Power, or a documentary study of the East End. As well as suggesting the above themes, we have also said that we would welcome suggestions from applicants about projects they would like to start or complete. Each group will be established and overseen by the Project Groups Co-ordinator. The aim of each project group will be to produce an exhibition or publication of its work, with photographs and text, and to provide the Gallery with small 'work-in-progress' shows. Selection for the projects will take place at the end of February 1980 , and we hope to be able to support further projects in the next financial year. It is proposed that two different forms of group exist - one for the commission of work from established photographers, and the other for less experienced photographers. Major Project Group Many photographers feel the need to collaborate, with others on the coverage of an issue, but generally find this impossible, as assign ments are rarely for more than one photographer at a time. The market demands that photographers often remain isolated. We would like to set up a project group for a small number of such photographers. We see their participation in a project group as being part of their 12 - •job' as photographers, and thus expect that they should be paid for two days work a week. We will employ three photographers two day a week for six months; they will be selected by interview and submission of a portfolio. They will meet as a group and will be expected, in collaboration with i;he Project Groups Co-ordinator, to produce a detailed plan of their work within a month of the commencement of the project. The work will be aimed at being produced in exhibition or publication form within three months of the end of their six month period. Minor Project Groups We also propose to establish two more 'minor' project groups of less experienced photographers - one of the darkroom co-ordinators will be responsible for establishing the groups. Each group will meet for six months and will consist of five people. The groups will be allocated time in the communal darkroom to work together once a week. Since these groups will be of people of varied experience, the co-ordinator's role will be to make sure that those with less knowledge of photography acquire new skills during their partici pation in the group. It is not proposed to pay those in the groups for the work they put in, but, since it is expected that an exhibition and publication will result form the groups, materials and travelling expenses will be given to each of the five participants. - 13 - POSTCARDS AND CATALOGUES During this last year year the Half Moon Photography Workshop launched its second set of postcards - six images taken from the Nigel Henderson Touring Show 'Bethnal Green 19^9-52'. So far these images have proved extremely popular. We hope to produce further sets in the next year. In the next year the distribution of our postcards and catalogues will be undertaken in conjunction with that of Camerawork, so as to establish a network of retail outlets in shops and galleries. As with Camerawork, we are encouraging efforts to co-ordinate distribution with other organisations which have similar ranges of products and similar marketing concerns. - 1* f ARCHIVE The Half Moon Photography Workshop has been building up a collection of photographs - mainly slides of our exhibitions, but also some prints mostly from past issues of Camerawork. As material has been growing, and requests to use slides and photographs have increased, it has become clear that a demand exists for slide sets that we can produce for hire, and for prints that can be used for reproduction. At the moment our exhibitions are copied onto slide so that we have a perma nent record of each show, as well as copies we can hire to schools. The Archive already provides a link between all parts of the HMPW, and it is important as a resource for the areas of work that we are involved in. The Archive will expand to include the work of photographers from Britain and abroad. Already we are producing a comprehensive slide bank of the work of eighteen major 20th Century documentary photogra phers, comprising a collection of 800 slides. The prints and slides in this part of the Archive will be a useful source for people giving illustrated lectures and talks. The Archive will act as a bank for material produced in the darkrooms and will thus feed back into the Practical Workshops. This will be of use not only to us in planning future courses, but also to outside organisations and individuals teaching photography - we already receive numerous requests for information on organising courses. We see much of the photographic work that will be produced in the darkrooms centring around social documentary photography, much specifically recording the life of the local community. Tower Hamlets has been influenced considerably by the declining docklands - one of the projects undertaken in the workshops will be an attempt to document the changing docklands and the consequent developments in the area. The work from this project will feed directly into the Archive, providing a valuable record of the area. We already receive a constant stream of requests for material. We envisage that among those using the Archive will be people teaching photography at the Half Moon and elsewhere, people using the dark rooms researching projects, people organising seminars or talks, schools and colleges, local institutions who may need pictures of the area, and newspapers and magazines. We anticipate that the Archive will thus partially have a commercial use, so that after a while it will move towards being partially self-financing. - 15 - AIMINISTHATION AND SUNNING COSTS As the work of the Half Moon Photography Workshop expands, increasing demands are placed on the time of the staff, although these have not increased as much as had been anticipated because of the delays in the completion of the building. In 1980 / 8 1 , with the expansion of the organisation, more staff time will be needed to run our new activities. In addition to this, we shall face higher running costs. Both rent and rates will increase with the revaluation of the building. There will also be increases in expenditure on all the major overheads due to our expansion into the new building, and to inflation. To cope with the increased requirements in the coming year, it is proposed that some of the people who at present work part-time should work full-time. It will also be necessary to make further appointments to work in the darkrooms. Salaries, PAYE and National Insurance Most of those employed at the HMPW are not on PAYE, although all new appointments in the last year have been made on this basis, as will future appointments. During this financial year all members of staff have been paid a salary of £*t,2 0 0 on a pro rata basis, depending on the number of days per week they work. In the next financial year we intend to raise this salary to £^, 8 0 0 . At the present time the HMPW employs nine people, one full-time and one full-time since February 1980 . The rest are part-time. We anticipate that the same number of people will be employed in the next year, although seven appointments will be full-time and two part-time. It will also be necessary to employ some photographers and teachers on a sessional basis to run courses in the darkrooms. Capital equipment Our new building will require a considerable amount of office equip ment, particularly as we have always been poorly off for furniture. At the moment much of our office equipment belongs to members of the collective. - 16 - MEMBERS OF STAFF Administration Jill Pack (replaced by Marguerite McLaughlin in August 1979)• Keith Cavanagh (replaced by Liz Kessler in October 1979)* Camerawork Shirley Read Liz Mackie (replaced by Greg Kahn in November 1979) Richard Platt Keith Cavanagh (distribution) Exhibitions Ed Barber Nicky Hughes (Touring Shows organiser) Building Co-ordinator Mike Goldwater Members of the Collective Ed Barber, Keith Cavanagh, Mike Goldwater, Nicky Hughes, Marguerite McLaughlin (associate member), Liz Mackie (associate member), Jenny Matthews, Jill Pack (until July 1979)» Richard Platt, Shirley Read, George Solomonides (associate member) and Paul Trevor (until February 1980). - 17 HALF MOON PHOTOGRAPHY WORKSHOP - FINANCIAL ESTIMATES Financial Year 1980/1981 SUMMARY 1. REVENUE INCOME EXPENDITURE 300 5638^ 16800 15765 Practical workshops 3315 351^ Darkrooms 2780 1330 Gallery 8675 12321 628 1100 Administration Camerawork Publications ^500 Project groups Archive 375 TOTAL 958 32873 95872 2300 lMtoo 2. CAPITAL FIXTURES & FITTINGS (see notes) - 18 - HALF MOON PHOTOGRAPHY WORKSHOP - FINANCIAL ESTIMATES Financial Year 1980/1981 1. REVENUE EXPENDITURE Administration Rent Rates (including rate relief) Rates (water) Gas Electricity (6 months @ £100-) 6 raonthe @ £400) Building repairs Vehicle - running costs " - servicing, tax, insurance Travelling expenses Telephones (4 lines) Postage Stationary Printing (office) Photocopier Bank charges Accountants fees/auditing Job advertising Insurance (contents of building) Burglar alarm maintenance Volunteers expenses Cleaning materials Cleaning - labour (6 months @ £18.75 p.w.) Roller towels (6 months @ £65 p.ra. for 12 units) Entertaining ( mailing and exhibitions) Tea, coffee etc for office Training course fees Wages National Insurance contributions Depreciation TOTAL 3400 800 120 650 £00 250 566 *+ 0 *+ 120 1200 900 700 150 430 200 400 200 420 300 500 180 488 39° 300 120 200 36960 4000 l£0O 55W 56384 - 19 EXPENDITURE continued Camerawork Picture sizing materials Typesetting (£250 per issue x 6 issues) Printing costs (£1300 per issue x 6 issues) Half tones and line prints (£*+00 per issue) Binding and folding (£300 per issue) Paste-up materials (£15 per issue) Postage- mailing Stationary - mailing Cassettes Proof-reading fees Paste-up fees Publicity Contingency 150 1500 7800 2*+00 1800 90 270 l80 25 200 1000 200 150 TOTAL 1575515765 Practical Workshops 1 . Beginners courses (6 courses per year) Fees to tutors (2 tutors per course) Materials (£50 paper, £25 film per course) Overheads, repairs etc 2 . Documentary photography workshops (1 day per week x 2 6 ) Tutor fees Materials (£l8 per week x 26) Overheads, repairs etc 3 *Specialist short courses (2 sessions per week x 2 * ) + Tutor fees Materials(£l 8 per week x 2*+) Overheads, repairs etc * .Seminars + Posters Sound recording and transcribing Participants fees and expenses Publicity for workshops Contingency 600 *+50 150 260 *+68 23*+ 2*+0 *+32 110 120 50 200 100 100 TOTAL 31+ 5 * 551^ Darkrooms Chemicals Repairs and renewals Materials service Library books Materials for camera obscura l80 250 500 100 300 TOTAL 13301330 - 20 - EXPENDITURE continued Gallery 13 exhibitons 2160 200 1110 Posters Repairs and renewals Typesetting Photographic printing and writing Mounting materials Lamination Touring show leaflet Information sheets/press releases Touring cases (10 @£2k each) Foam,pins etc Touring show insurance Film and slide mounts for copying shows Touring show carriage Payments to photographers Payments to photographers (A.C.G.B. scheme) Postage 1550 360 3000 200 l8 o 250 100 326 170 350 1000 1025 350 TOTAL 12321 12321 TOTAL 600 300 1100 1100 Publications Catalogues Postcards Project groups 2^00 1800 200 100 Payment to photographers Materials allowance Travel expenses Contingency TOTAL 5500 5590 Archive Slide hanging filing system (500 @ £kO per 100) Film,paper and slide mounts Information leaflets (20 per year, 500 copies) 200 500 TOTAL TOTAL EXPENDITURE FOR HALF MOON PHOTOGRAPHY WORKSHOP 258 95H" 958 95872 95872 - 21 - INCOME Administration 100 Photocopier use Use of van 200 TOTAL 300 300 Camerawork (6 issues) 5250 4950 1200 P.D.C. (2500 per issue a 35p each) Subscriptions (1100 @ £4.50) (100 3 £ 1 2 .0 0 ) Direct sales ( inc. back issues) 1000 @ 60 p 12000 @ 40p (orders of 10 plus) 600 4800 TOTAL 16800 16800 Practical workshops Beginners courses (6 weekend courses) 10 per course@ £20 each 3 per course@ £10 each (students) 3 per course& £2 each (unwaged) 1200 180 36 Documentary photography workshops (1 day per week x 26) 12 per course@ £2 per week 6 per course® 50 p per week (unwaged) Specialist short courses (4 courses - 6 weeks each, 2 sessions per week, 24 weeks) 7 persons @ £5 each per week 2 persons @ £ 2 .5 0 each per week (unwaged) Seminars (6 seminars, 80 people per seminar S 5Qp each) 624 78 840 120 240 TOTAL 3315 3315 Darkrooms Membership fees (full fees £10 p.a., unwaged £5 p.a.) 200 f £5 l (6 months only) 50 ® £ 2 .5 0 (6 months only) Darkroom hire: Communal darkroom (9 enlargers for 15 sessions per week @ 50p per person per session. Assuming 50# capacity) Individual darkrooms (5 darkrooms for 15 sessions per week @ ?5p per person per session. Assuming 50# capacity) Camera obscura 1000 125 844 731 80 2780 2780 - 22 - INCOME continued Gallery Touring shows (150 @ £^0 average) Payments to photographers (repaymentfromA.C.G.fl.) Touring show carriage Sale of posters TOTAL 6000 1025 550 1500 8675 8675 Publications Catalogues750 & 25 p each Postcards2000 < lOp each 9 2000 < 12p each 9 188 (wholesale) (retail) 200 2^+0 TOTAL 628 628 Archive Hire of slide sets: to schools < £1 per day, £5 per week, £15 per month 9 to colleges < £5 per day , £15 per week , £50 per month 9 50 hirings a year < average of £2.50 per hire 9 125 Sales of information sheets (5000 @ 5p each) 250 TOTAL TOTAL EARNED INCOME FOR HALF MOON PHOTOGRAPHY WORKSHOP 575 375 52875________ 52875 DEFICIT 62999 TOTAL (income + deficit)__________________________________ 95872_____________ 2. CAPITAL EXPENDITURE Darkrooms Office furniture Building fees 5*kX) 6000 300° and equipment T CTAL lM+OO l V + O O INCOME Money for which we can claim on the production of receipts Deficit 2300 12100 2300 - 2 .i*- HMPW FINANCIAL KgfIMATflS - 1930/1981 Notes to accompany budgets; 1. It is anticipated that the new building will be finished and fully operative from September onwards. It is hoped that the building will be ready in July and that it might be in limited uae from July; teaching programmes etc. are however planned to start in September. 2. Six issues of Camerawork are planned for the forthcoming year; each issue will be sold for 60p although the HMPW will give a 33# reduction for the purchase of 10 or more copies, and PDC is supplied with copies at 35 p each. 3. Ten major and three minor exhibitions are planned for the forth coming year. The hire fee for exhibitions will vary according to the size of the exhibition and the means of the hiring venue, however the average rate will be f ^ 0 per month. c4 k. The income shown on the summary sheet is earned income. ated grant income is shown in Appendix V. Anticip - 25 “ APPENDIX I TOUKING EXHIBITIONS HMPW believes that photography is a powerful educational and social tool but that it is frequently misused and undervalued in contemporary society. Everyone is surrounded by images yet there is little discussion of the role of photography and its effect on our life. In an attempt to use photography with a greater awareness we produce touring exhibitions for hire which present photographs in an inform ative broadly educational, and enjoyable context. We have 2b exhibitions on a variety of themes and issues with text forming an integral part of the shows. Subjects covered include classrooms, factorywork, Northern Ireland, the circus, Bethnal Green, the sheep industry, photography by blind children. The photographs and text are mounted on standard white panels which are laminated under plastic film to seal them. This makes them lightweight, waterproof and durable. Each panel has eyelets in the corners for easy hanging. The shows vary in panel size from 12"xl5" to 2^Mx30", and in number of panels from 19 to 100. Each show travels in a portable fibreboard case and weighs in total between 12 and ^+0 kilos. The exhibitions are designed in this way so that they will not be confined to gallery situations* Their format ensures that they are suitable for most spaces - libraries, schools, community centres, churches, launderettes, museums, foyers, bookshops and even outdoors. We are thus able to reach an audience that would not normally visit galltf’ ies, and one which is well beyond London. We have been making strong local links with various organisations who now regularly take our shows on a package basis, and in the coming year this is an area we shall develop. One member of staff devotes three days per week to the organisation and publicity of the touring show service. She is responsible for touring show enquiries, bookings, dispatch, collections, as well as overall publicity for HMPW. The touring show information sheets which were produced early in 1979 and which we send out regularly nationwide have meant that we receive dozens of enquiries a week. Approx, two thirds of our 2b shows are;touring at any one time. A number of the shows have already covered their initial costs of production and, where appropriate, the photographers concerned are earning a 50 # share of the net profit on the shows. The average cost of each show has been £55 p«r month (our usual hire period) though occasionally we reduce the fee to organisations that cannot afford to pay it in full. We are now producing larger exhibitions of up to 100 panels, as well as our smaller shows, and these will operate on a sliding seals of hire charges up to £60 per -month. We have proved the importance of having a member of HMPW devoting her time to the organisation and promotion to the touring shows. The thouring show service has grown enormously and shows every sign of continuing to expand. It is significant in enabling the work of the gallery to be less dependent on funding. 26 - HMPW TOURING SHOW BOOKINGS 1979/80 SHOW VENUE Bethnal Green N igel Henderson Bancroft Road Library, El Centerprise Bookshop Woolwich Building Society, El Circus Travelling Lawrence Migdale Hollyhead School Duncan Jordanstone College of Art Magnum Leisure Centre People Portraits Edward Barber Whitechapel Art Gallery Family Self Portrait Richard Greenhill Midland Group Rochdale College Portugal Paul Harrison Bethnal Green Institute Classrooms Janine Wiedel Institute of Education George Green School School of Art Education City and East London College Dudhope Arts Centre Home Economics Teachers Centre Growing Old Mike Abrahams Ruhr Planning Authority Centerprise Bookshop Dame Colet House, LBTH Holloway Prison Midland Group Japanese Freestyle Glynn Williams Palace Theatre, Newark Magnum Arts Centre Life in the Orkneys Chick Chalmers Derby College of Further Education Hyde Library, Cheshire Lyth Arts Centre Ruhr Planning Authority Mile End Launderette Staffordshire Art College Spirit of My Country Jan Siegieda Camden Library Charnwood Arts Council Derby College of Further Education Shuttles Steam & Soot Daniel Meadows Wrekin & Telford Arst Association Ruhr Planning Authority Palace Theatre, Newark Winchester College of Art Merlin Theatre, Frome Museum of Lincolnshire Life Native Dancers Naomi Weissman Lyth Arts Centre, Wick A Kind of Life Halvard Kjaervik Polytechnic of Central London Camden Library. SHOW VENUE Factory Photographs N ick Hedges SCARP Conference Ruhr Planning Authority Hull College of Art Chester College South Yorks Photography Project Birmingham Polythechnic Bournemouth & Poole College Document on Chile Peter Kennard G a r n e r Arts Centre First of May Bookshop Lancaster University Hull College of Fine Art Mid Warwickshire College Using Photography Blackfriars Photography Project Institute of Education Montefiore Centre, LBTH Rednock School, Glos. Blackfriars Settlement Catford Link Bethnal Green Institute Cockpit Gallery Arnolfini Northern College Fleet Community Education Centre Hampshire Teachers Centre Three Brothers Karli Gros Ruhr Planning Authority Lyth Arts Centre Toynbee Hall Cumbria College of Art Contemporary Portraits Group Show South Yorks Photography Project Sir John Cass College Biddick Farm Arst Centre Oxford House LBTH Socialist Book Fair Isleburgh Photographic Club Derby Museum Trent Polytechnic Sheep Industry Jim Byrne/Pete Addis Swansea University St. Pauls Church, Margate Carslile Museum Bankfield Museum Halifax Sheffield City Polytechnic St. Edmunds Art Centre Ruhr Planning Authority Coming & Going Barry Lewis Polytechnic of Central London Ruhr Planning Authority Visions of the Blind Photographs by blind children Institute of Education Southfield Church Ruhr Planning Authority Toynbee Hall Southfields Library - SHOW 28- VENUE Brick Lane 1978 Paul Trevor Whitechapel Art Gallery Montefiore Centre LBTH Kent University Cockpit Gallery Fleet Community Education Centre City & East London College Ceiterprise Lost at School George Plemper Institute of Education Oval House Ruhr Planning Autority Mile End Launderette Bringing It All Back Home Group Show Cockpit Gallery Action Space Midland Group Royal Court Theatre TOTAL Zb 106 (Laminated copies of Camerawork 8 ,Lewisham,and 14, Northern Ireland are also available for hire) -2SL APPENDIX II Payment to Contributors to Camerawork It has become clear to us that, although the magazine can run for a time on goodwill and the generosity of others, after a period it has a professional standard and reputation to maintain and must sometimes pay for the services rendered to it in the form of articles, prints, research and so on. The Editorial group of Camerawork meets weekly to discuss content, design andlayout of the magazine. This has always been and will continue to be, unpaid work; but, until now, contributors have not received fees for their work. This has limited us in our ability to commission articles from experienced writers. We would there fore like to pay a small page rate of £20 to our contributors. The attached budgets do not make any allowance for the payment of contributors to Camerawork; we should however like the Arts Council to fund this seperately, perhaps on a similar basis to that for paying artists who exhibit in certain galleries. The annual cost of such a scheme would be approximately £2000. -30 'ArVC/ •v/IAT APPENDIX III 'n • O # *A. A n ,fc , * 7 ^ M oor* //?- / / z O r-C X JrvO * s » <:*/ve a tvoiz/cStnor* R em oter rvc^FV/A^. /V_^ " '» ■ RHO-ro o e . fit?I f y i\, «*> p//r>< ^ ^ ' '*r ■w «> >y ll+*HiBI*-t f»7 « , f-ciuoLt.-, /U ..//M 5 A«► -" C n m n J ^ U ^ TL*
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  authorHalf Moon Photography Workshop, Barry Lewis
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  tagstravel,underground,crowds,advertising,news,newspapers,waiting room,streets,commuting,commuters,city businessmen,train station,billboards,traffic,traffic jams,routemaster bus,rush hour,congestion,city life,victoria station,museum of london,transport system,trains,tubes,passengers,suburbs,british rail,waterloo station,charing cross station,holborn tube,liverpool street station,london bridge,heathrow airport,sikhs,cleaners,delays,branch closures,linesmen,clapham junction,shoppers,trafalgar square,escalator,smoking carriage,bus queue,fluffer,oxford street,bowler hat,evening news
  titleComing & Going - Travellers in London - Barry Lewis
  subtitleExhibition Poster for Coming & Going - Travellers in London by Barry Lewis
  dimension1 page
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  copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Barry Lewis
  creditsGreater London Arts Association, Arts Council of Great Britain
  relatedIn Pictures - Coming & Going https://in-pictures.photoshelter.com/gallery/Coming-Going-traveling-in-London-in-1976-Barry-Lewis/G0000vWvq9iWP5Oo/C0000KkjgAy1kLUs Press Release 0000872
  locationLondon, UK
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  created2018-06-04 15:00:07
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  scoreAll9.610039710998535
  ArchiveItemsTheme(array)
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  authorHalf Moon Photography Workshop
  author_editor
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  author_interviewee
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  tagsbangladeshi community,racist attacks,poverty,police,national front,protest,fascists
  titleBrick Lane 1978. A community under attack - Paul Trevor
  subtitleTouring exhibition income tracking
  dimension1
  ocr0
  copyrightFour Corners/Half Moon Photography Workshop/Camerawork
  credits
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  locationBrick Lane, London, UK
  copyright_obtained0
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  created2018-06-04 15:34:23
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  modified2025-09-17 22:48:26
  modified_by(null)
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  authorJohn Flower, Morning Star, Paul Trevor
  author_editor
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  author_designer
  author_interviewee
  author_organisation
  tagsbangladeshi community,racist attacks,poverty,police,national front,protest,fascists
  titleBrick Lane 1978. A community under attack - Paul Trevor
  subtitleReview of the exhibition
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  copyrightMorning Star, Paul Trevor
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  modified2025-09-17 23:51:18
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  authorHalf Moon Photography Workshop
  author_editor
  author_writer
  author_photographer
  author_designer
  author_interviewee
  author_organisation
  tagsbangladeshi community,racist attacks,poverty,police,national front,protest,fascists
  titleBrick Lane 1978. A community under attack - Paul Trevor
  subtitleExhibition text
  dimension1
  ocr0
  copyrightFour Corners/Half Moon Photography Workshop/Camerawork
  credits
  related
  locationBrick Lane, London, UK
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  origination_date1979-1980
  origination_year1979
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  created2018-06-04 15:34:25
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  modified2025-09-17 20:09:29
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  scoreAll6.524572372436523
  ArchiveItemsTheme(array)
  0(array)
  theme_id51
  archive_item_id1456
- media(array)
  39(array)
  Medium(array)
  id39
  nameMagazine
  iconicon-magazine
  archive_item_count33
  created2025-06-19 10:43:05
  created_by(null)
  modified2025-06-19 10:43:05
  modified_by(null)
  status1
  7(array)
  Medium(array)
  id7
  namePhotograph
  iconicon-photograph
  archive_item_count1694
  created2018-04-04 13:06:19
  created_by(null)
  modified2025-06-19 10:41:16
  modified_by(null)
  status1
  9(array)
  Medium(array)
  id9
  nameDocument
  iconicon-document
  archive_item_count530
  created2018-04-06 07:49:18
  created_by(null)
  modified2025-06-19 10:39:55
  modified_by(null)
  status1
  11(array)
  Medium(array)
  id11
  nameAudio
  iconicon-audio
  archive_item_count100
  created2018-05-07 11:15:32
  created_by(null)
  modified2025-06-19 10:39:41
  modified_by(null)
  status1
  32(array)
  Medium(array)
  id32
  namePublication
  iconicon-booklet
  archive_item_count397
  created2025-06-04 11:01:22
  created_by(null)
  modified2025-06-19 10:40:59
  modified_by(null)
  status1
  33(array)
  Medium(array)
  id33
  nameEphemera
  iconicon-poster
  archive_item_count295
  created2025-06-04 11:01:22
  created_by(null)
  modified2025-06-19 10:40:16
  modified_by(null)
  status1
  37(array)
  Medium(array)
  id37
  namePress
  iconicon-article
  archive_item_count214
  created2025-06-18 18:07:11
  created_by(null)
  modified2025-06-19 10:51:04
  modified_by(null)
  status1
  36(array)
  Medium(array)
  id36
  nameFilm
  iconicon-rushes
  archive_item_count15
  created2025-06-04 11:01:24
  created_by(null)
  modified2025-06-19 10:40:34
  modified_by(null)
  status1
- filterCrumb(array)
  0(array)
  labelAll
  url/archive/index
- activeTabarchive
- $request->data(empty)
- $this->validationErrors(array)
  AppPreference(empty)
  AppPreferenceExpanded(empty)
  FrontpageRewrite(empty)
  FrontpagePage(empty)
  ArchiveItem(empty)
  Tag(empty)
  Collection(empty)
  Organisation(empty)
  Theme(empty)
  User(empty)
  ArchiveItemsTheme(empty)
  Medium(empty)
- Loaded Helpers(array)
  0Cache
  1AppTable
  2Form
  3Asset
  4AdminPreview
  5CookieCompliance
  6Frontpage
  7FrontpageSitemap
  8Html
  9Js
  10Pager
  11Text
  12Time
  13Number
  14Avatar
  15Antispam
  16Menu
  17SimpleGraph
  18Paginator
  19DebugTimer
  20Toolbar
  21AppJqueryEngine
  22HtmlToolbar
====

Environment

App Constants

Constant	Value
CONFIG	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/Config/'
FILTER_VALIDATE_BOOL	(int) 258
HTMLPURIFIER_PREFIX	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Plugin/App/Vendor/htmlpurifier'

CakePHP Constants

Constant	Value
APP	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/'
APP_DIR	'app'
APPLIBS	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/Lib/'
CACHE	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/tmp/cache/'
CAKE	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/Cake/'
CAKE_CORE_INCLUDE_PATH	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib'
CORE_PATH	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/'
CAKE_VERSION	'2.10.19'
CSS	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/webroot/css/'
CSS_URL	'css/'
DS	'/'
FULL_BASE_URL	'https://fourcornersarchive.org'
IMAGES	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/webroot/img/'
IMAGES_URL	'img/'
JS	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/webroot/js/'
JS_URL	'js/'
LOGS	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/tmp/logs/'
ROOT	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live'
TESTS	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/Test/'
TMP	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/tmp/'
VENDORS	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/vendors/'
WEBROOT_DIR	'webroot'
WWW_ROOT	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/webroot/'

PHP Environment

Environment Variable	Value
Php Version	'7.4.33'
User	'fourcornersarchi'
Home	'/var/www/vhosts/fourcornersarchive.org'
Script Name	'/app/webroot/index.php'
Request Uri	'/archive/index/sort:origination_year/direction:desc/page:3?keyword=Barry+Lane'
Query String	'/archive/index/sort:origination_year/direction:desc/page:3&keyword=Barry+Lane'
Request Method	'GET'
Server Protocol	'HTTP/1.0'
Gateway Interface	'CGI/1.1'
Redirect Query String	'/archive/index/sort:origination_year/direction:desc/page:3&keyword=Barry+Lane'
Redirect Url	'/app/webroot/archive/index/sort:origination_year/direction:desc/page:3'
Remote Port	'33636'
Script Filename	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/app/webroot/index.php'
Server Admin	'[no address given]'
Context Document Root	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/'
Context Prefix	''
Request Scheme	'https'
Document Root	'/var/www/vhosts/fourcornersarchive.org/httpdocs/live/'
Remote Addr	'216.73.216.174'
Server Port	'443'
Server Addr	'10.0.0.4'
Server Name	'fourcornersarchive.org'
Server Software	'Apache'
Server Signature	' Apache Server at fourcornersarchive.org Port 443 '
Path	'/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/snap/bin'
Http Accept Encoding	'gzip, br, zstd, deflate'
Http User Agent	'Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)'
Http Accept	'/'
Http Connection	'close'
Http X Real Ip	'216.73.216.174'
Http Host	'fourcornersarchive.org'
Proxy-nokeepalive	'1'
Ssl Tls Sni	'fourcornersarchive.org'
Https	'on'
Passenger Download Native Support Binary	'0'
Passenger Compile Native Support Binary	'0'
Script Uri	'https://fourcornersarchive.org/archive/index/sort:origination_year/direction:desc/page:3'
Script Url	'/archive/index/sort:origination_year/direction:desc/page:3'
Unique Id	'aMuNS0qRg4NdhcqpISNLpQAAAQk'
Redirect Status	'200'
Redirect Ssl Tls Sni	'fourcornersarchive.org'
Redirect Https	'on'
Redirect Passenger Download Native Support Binary	'0'
Redirect Passenger Compile Native Support Binary	'0'
Redirect Script Uri	'https://fourcornersarchive.org/archive/index/sort:origination_year/direction:desc/page:3'
Redirect Script Url	'/archive/index/sort:origination_year/direction:desc/page:3'
Redirect Unique Id	'aMuNS0qRg4NdhcqpISNLpQAAAQk'
Redirect Redirect Status	'200'
Redirect Redirect Ssl Tls Sni	'fourcornersarchive.org'
Redirect Redirect Https	'on'
Redirect Redirect Passenger Download Native Support Binary	'0'
Redirect Redirect Passenger Compile Native Support Binary	'0'
Redirect Redirect Script Uri	'https://fourcornersarchive.org/archive/index/sort:origination_year/direction:desc/page:3'
Redirect Redirect Script Url	'/archive/index/sort:origination_year/direction:desc/page:3'
Redirect Redirect Unique Id	'aMuNS0qRg4NdhcqpISNLpQAAAQk'
Fcgi Role	'RESPONDER'
Php Self	'/app/webroot/index.php'
Request Time Float	(float) 1758170443.7063
Request Time	(int) 1758170443

====

Include
+
Included Files

Include Paths
- 0/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Plugin/App/Vendor/htmlpurifier
- 1/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/pear/numbers_words
- 3/opt/plesk/php/7.4/share/pear
- 4-> /var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/Cake/
Included Files
- core(array)
  Behavior(array)
  0CORE/Model/Behavior/ContainableBehavior.php
  Cache(array)
  0CORE/Cache/Cache.php
  1CORE/Cache/Engine/FileEngine.php
  2CORE/Cache/CacheEngine.php
  Component(array)
  0CORE/Controller/Component/SessionComponent.php
  1CORE/Controller/Component/RequestHandlerComponent.php
  2CORE/Controller/Component/CookieComponent.php
  3CORE/Controller/Component/AuthComponent.php
  4CORE/Controller/Component/PaginatorComponent.php
  Config(array)
  0CORE/Config/config.php
  Configure(array)
  0CORE/Configure/ConfigReaderInterface.php
  1CORE/Configure/PhpReader.php
  Controller(array)
  0CORE/Controller/Controller.php
  1CORE/Controller/ComponentCollection.php
  2CORE/Controller/Component.php
  Datasource(array)
  0CORE/Model/Datasource/CakeSession.php
  1CORE/Model/Datasource/DboSource.php
  2CORE/Model/Datasource/DataSource.php
  Error(array)
  0CORE/Error/exceptions.php
  1CORE/Error/ErrorHandler.php
  I18n(array)
  0CORE/I18n/I18n.php
  1CORE/I18n/L10n.php
  Log(array)
  0CORE/Log/CakeLog.php
  1CORE/Log/LogEngineCollection.php
  2CORE/Log/Engine/FileLog.php
  3CORE/Log/Engine/BaseLog.php
  4CORE/Log/CakeLogInterface.php
  Model(array)
  0CORE/Model/Model.php
  1CORE/Model/BehaviorCollection.php
  2CORE/Model/ModelBehavior.php
  3CORE/Model/ConnectionManager.php
  Network(array)
  0CORE/Network/CakeRequest.php
  1CORE/Network/CakeResponse.php
  Other(array)
  0CORE/bootstrap.php
  1CORE/basics.php
  2CORE/Core/App.php
  3CORE/Core/Configure.php
  4CORE/Core/CakePlugin.php
  5CORE/Event/CakeEventListener.php
  6CORE/Event/CakeEvent.php
  7CORE/Event/CakeEventManager.php
  8CORE/Core/CakeObject.php
  Routing(array)
  0CORE/Routing/Dispatcher.php
  1CORE/Routing/Filter/AssetDispatcher.php
  2CORE/Routing/DispatcherFilter.php
  3CORE/Routing/Filter/CacheDispatcher.php
  4CORE/Routing/Router.php
  5CORE/Routing/Route/CakeRoute.php
  Utility(array)
  0CORE/Utility/Hash.php
  1CORE/Utility/Inflector.php
  2CORE/Utility/ObjectCollection.php
  3CORE/Utility/Debugger.php
  4CORE/Utility/CakeText.php
  5CORE/Utility/ClassRegistry.php
  6CORE/Utility/Set.php
  View(array)
  0CORE/View/HelperCollection.php
- app(array)
  Config(array)
  0APP/Config/core.php
  1APP/Config/bootstrap.php
  2APP/Config/config.php
  3APP/Config/routes.php
  4APP/Config/database.php
  Controller(array)
  0APP/Controller/AppController.php
  Datasource(array)
  0APP/Lib/Model/Datasource/Database/Mysql.php
  Model(array)
  0APP/Model/ApplicationModel.php
  Other(array)
  0APP/webroot/index.php
- plugins(array)
  Admin(array)
  Config(array)
  0Admin/Config/bootstrap.php
  1Admin/Config/routes.php
  App(array)
  Config(array)
  0App/Config/bootstrap.php
  1App/Config/routes.php
  Configure(array)
  0App/Lib/Configure/YamlReader.php
  Model(array)
  0App/Model/AppPreference.php
  1App/Model/AppModel.php
  2App/Model/AppPreferenceExpanded.php
  3App/Model/Tag.php
  Behavior(array)
  0App/Model/Behavior/ExpandableBehavior.php
  1App/Model/Behavior/SluggableBehavior.php
  2App/Model/Behavior/IncrementalBehavior.php
  3App/Model/Behavior/AppSerializeBehavior.php
  4App/Model/Behavior/PurifyBehavior.php
  5App/Model/Behavior/TaggableBehavior.php
  Component(array)
  0App/Controller/Component/AppComponent.php
  Plugin(array)
  0App/Vendor/htmlpurifier/HTMLPurifier.auto.php
  1App/Vendor/htmlpurifier/HTMLPurifier/Bootstrap.php
  2App/Vendor/htmlpurifier/HTMLPurifier.autoload.php
  3App/Vendor/htmlpurifier/HTMLPurifier/Config.php
  4App/Vendor/htmlpurifier/HTMLPurifier/ConfigSchema.php
  5App/Vendor/htmlpurifier/HTMLPurifier/PropertyList.php
  6App/Vendor/htmlpurifier/HTMLPurifier/VarParser/Flexible.php
  7App/Vendor/htmlpurifier/HTMLPurifier/VarParser.php
  8App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCacheFactory.php
  9App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache/Decorator/Cleanup.php
  10App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache/Decorator.php
  11App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache.php
  12App/Vendor/htmlpurifier/HTMLPurifier/DefinitionCache/Serializer.php
  13App/Vendor/htmlpurifier/HTMLPurifier/HTMLDefinition.php
  14App/Vendor/htmlpurifier/HTMLPurifier/Definition.php
  15App/Vendor/htmlpurifier/HTMLPurifier/HTMLModuleManager.php
  16App/Vendor/htmlpurifier/HTMLPurifier/AttrTypes.php
  17App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Enum.php
  18App/Vendor/htmlpurifier/HTMLPurifier/AttrDef.php
  19App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Bool.php
  20App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Text.php
  21App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/ID.php
  22App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Length.php
  23App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Pixels.php
  24App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/MultiLength.php
  25App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Nmtokens.php
  26App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/URI.php
  27App/Vendor/htmlpurifier/HTMLPurifier/URIParser.php
  28App/Vendor/htmlpurifier/HTMLPurifier/PercentEncoder.php
  29App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Lang.php
  30App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Color.php
  31App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Clone.php
  32App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/FrameTarget.php
  33App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/Class.php
  34App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/Integer.php
  35App/Vendor/htmlpurifier/HTMLPurifier/DoctypeRegistry.php
  36App/Vendor/htmlpurifier/HTMLPurifier/Doctype.php
  37App/Vendor/htmlpurifier/HTMLPurifier.php
  38App/Vendor/htmlpurifier/HTMLPurifier/Strategy/Core.php
  39App/Vendor/htmlpurifier/HTMLPurifier/Strategy/Composite.php
  40App/Vendor/htmlpurifier/HTMLPurifier/Strategy.php
  41App/Vendor/htmlpurifier/HTMLPurifier/Strategy/RemoveForeignElements.php
  42App/Vendor/htmlpurifier/HTMLPurifier/Strategy/MakeWellFormed.php
  43App/Vendor/htmlpurifier/HTMLPurifier/Strategy/FixNesting.php
  44App/Vendor/htmlpurifier/HTMLPurifier/Strategy/ValidateAttributes.php
  45App/Vendor/htmlpurifier/HTMLPurifier/Lexer.php
  46App/Vendor/htmlpurifier/HTMLPurifier/Lexer/DOMLex.php
  47App/Vendor/htmlpurifier/HTMLPurifier/EntityParser.php
  48App/Vendor/htmlpurifier/HTMLPurifier/TokenFactory.php
  49App/Vendor/htmlpurifier/HTMLPurifier/Token/Start.php
  50App/Vendor/htmlpurifier/HTMLPurifier/Token/Tag.php
  51App/Vendor/htmlpurifier/HTMLPurifier/Token.php
  52App/Vendor/htmlpurifier/HTMLPurifier/Token/End.php
  53App/Vendor/htmlpurifier/HTMLPurifier/Token/Empty.php
  54App/Vendor/htmlpurifier/HTMLPurifier/Token/Text.php
  55App/Vendor/htmlpurifier/HTMLPurifier/Token/Comment.php
  56App/Vendor/htmlpurifier/HTMLPurifier/Context.php
  57App/Vendor/htmlpurifier/HTMLPurifier/Generator.php
  58App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/CommonAttributes.php
  59App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule.php
  60App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Text.php
  61App/Vendor/htmlpurifier/HTMLPurifier/ElementDef.php
  62App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Hypertext.php
  63App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/HTML/LinkTypes.php
  64App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/List.php
  65App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/List.php
  66App/Vendor/htmlpurifier/HTMLPurifier/ChildDef.php
  67App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Presentation.php
  68App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Edit.php
  69App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Bdo.php
  70App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/BdoDir.php
  71App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform.php
  72App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tables.php
  73App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Table.php
  74App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Image.php
  75App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/ImgRequired.php
  76App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/StyleAttribute.php
  77App/Vendor/htmlpurifier/HTMLPurifier/AttrDef/CSS.php
  78App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Scripting.php
  79App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/ScriptRequired.php
  80App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Object.php
  81App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Forms.php
  82App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Input.php
  83App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Textarea.php
  84App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Name.php
  85App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/NameSync.php
  86App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/XMLCommonAttributes.php
  87App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Ruby.php
  88App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Iframe.php
  89App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/Strict.php
  90App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy/XHTMLAndHTML4.php
  91App/Vendor/htmlpurifier/HTMLPurifier/HTMLModule/Tidy.php
  92App/Vendor/htmlpurifier/HTMLPurifier/TagTransform/Font.php
  93App/Vendor/htmlpurifier/HTMLPurifier/TagTransform.php
  94App/Vendor/htmlpurifier/HTMLPurifier/TagTransform/Simple.php
  95App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/EnumToCSS.php
  96App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/BgColor.php
  97App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Border.php
  98App/Vendor/htmlpurifier/HTMLPurifier/AttrTransform/Length.php
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  114App/Vendor/htmlpurifier/HTMLPurifier/ChildDef/Custom.php
  115App/Vendor/htmlpurifier/HTMLPurifier/IDAccumulator.php
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  117App/Vendor/htmlpurifier/HTMLPurifier/AttrValidator.php
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====

Archive

Request History

Session

Request

Cake Params

Post data

Query string

Cookie

Current Route

Sql Logs

default

Total Time: 17 ms Total Queries: 66 queries

Query Explain:

Memory

Timers

Logs

View Variables

App Constants

CakePHP Constants

PHP Environment

Included Files

Include Paths

Included Files

Total Time: 17 ms
Total Queries: 66 queries