The North

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Carey Gough, " Part one of two: John Bulmer interview", Hereford Photography Festival blog, 9 May 2009. a b c d e f g h i j k Hamilton, Peter (2013). "Northern Exposures". British Journal of Photography. Incisive Financial Publishing Limited. 160 (7808): 64–69. At the time, the Express was the foremost paper in Britain for photography and did many assignments in association with Paris Match.Soon he was commissioned by Town Magazine, a new magazine that became well known for ground-breaking photography, which used photographers such as Terence Donovan, Brian Duffy, David Bailey and Don McCullin. As a schoolboy I was fascinated by mechanical things like Meccano, toy trains, etc, and then someone gave me a Box Brownie camera. To start with I was fascinated by the mechanics; I developed my pics and built an enlarger out of Meccano and old saucepans. Then I discovered the magic of the image and I was hooked.

informed me that I should at once see a palace, a town, a fortified city, temples in high places, woods worthy of being each a a b Martin Harrison, preface to Young Meteors: British Photojournalism, 1957–1965 (London: Cape, 1998; ISBN 0-224-05129-6). It contains the private chapel, a rectangular apartment divided into three unequal portions by wide

Martin Wainwright, " North faces: John Bulmer's photographs of life in northern England" (selection of photographs). The Guardian, 2 February 2010. The Sunday Times then produced the first of the Colour Supplements, later copied by all the newspapers. The writer Martin Harrison, in his book about photography in the 60’s “The Young Meteors”describes the start of the Colour Magazines:- “The switch to colour was, therefore, quite sudden and few photographers were prepared for it.”John Bulmer was recognised immediately for having made the necessary adjustment and thinking specifically in terms of colour became one of the most prolific contributors of colour reportage to the Sunday Times Colour Section. I have most carefully selected each item according to my personal everyday needs. Due to many travels and a continuously changing environment, I enjoy a symbiotic relationship with the items I surround myself with. It has helped me to take excellent care of an important part of my identity: the need to be encircled by objects which trigger and challenge me aesthetically and intellectually – wherever I am in transit. It was bleak and cold, but when I did find people to photograph they were welcoming and friendly. They were touched that I was interested in them, and did not feel that I was there to exploit them as some might feel now. Inclosure Act was obtained in 1787–8 for Lastingham. (fn. 7) On Spaunton Moor (7,500 acres in extent),

War and swinging Britain interested them all, but Bulmer, brought up in Herefordshire by the famous cider-making family, turned elsewhere: north. He was commissioned by the Sunday Times colour magazine to illustrate a long piece by Arthur Hopcraft whose title began: "The north is dead …" Accounts of this groundbreaking piece often leave it at that, but the headline actually went on: "… long live the new north", and Bulmer was key to that novelty. An exhibition called Northern Soul, which has just opened at the National Coal Mining Museum near Wakefield, shows why. John Albert Walker, Arts TV: A History of Arts Television in Britain (London: J.Libbey, 1993; ISBN 0861964357), p.58. Here at Google Books; accessed 18 February 2013. Look for the unusual, and remember your image needs to surprise and excite the viewer. There are no rules: the only sin is being boring. This ended his career at Cambridge, and he went up to London where he was offered a job as photographer on the Daily Express. At the time the Express was the foremost paper in Britain for photography, and did many assignments in association with Paris Match.

John Bulmer (born 28 February 1938) [1] is a photographer, notable for his early use of colour in photojournalism, and a filmmaker.