Creative Camera

Creative Camera (also known as "CC") was a monthly magazine on fine art photography and documentary photography. The successor to the very different (hobbyist) magazine Camera Owner (which had started in 1964), Creative Camera was published in England between 1968 and 2001.[1]

Amanda Hopkinson, writing in The Guardian, called it an "immensely influential magazine".[2]

Editorship

The first editor was Bill Jay.[3] Jay was ousted in 1969[4] and went on to found the short-lived Album. Colin Osman and Peter Turner took over.[5]:8 Turner left in 1978, and was replaced by Judy Goldhill.[5]:12 Replacing Mark Holborn, Susan Butler was coeditor from 1984 to 1986.[5]:12-13 Turner became editor again in 1986, on the occasion of Osman's sale of the magazine.[5]:14 Turner resigned in 1991 and David Brittain took over.[5]:17 Brittain changed the name to DPICT in January 2000 in response to emerging digital technology. The magazine closed eighteen months later.

The New New

In 1990, the photographers Henry Bond and Richard Burbridge guest edited a double issue showcasing emerging British photographers—"The New New" issue, October–November. The selection they made included the first published examples of photo-based artworks by Sarah Lucas, Damien Hirst and Angus Fairhurst.[6][7] Bond's collaboration with the magazine continued as an ongoing series of artists' pages that ran as "openers"—appearing on the inside front cover and contents page. One spread, created by Hirst, depicted the mutilated corpse of a young man with wounds to the eyes, and was captioned 'Damien Hirst: Fig. 60 Self-inflicted injuries...'; another introduced Fairhurst's self-portrait 'Man Abandoned by Colour.'[8][9]

Notes

  1. ↑ Bill Jay, "What Happened Here?: Photography in Britain since 1968." Conference at the National Museum of Photography, Film and Television, Bradford, England, 14 October 2004.
  2. ↑ Hopkinson, Amanda (5 August 2009). "Bill Jay: Photographer who found a niche as an advocate of his art". The Guardian. Retrieved 2 January 2015.
  3. ↑ David Allan Mellor, "A Contextual Chronology", p.150. In David Allan Mellor, ed., No Such Thing as Society: Photography in Britain 1967–87: From the British Council and the Arts Council Collection (London: Hayward, 2007; ISBN 978-1-85332-265-5).
  4. ↑ Brittain, David; Cahill, Clinton (2013). Inside Photography: Ten Interviews with Editors. Stockport: Dewi Lewis. pp. 24–25. ISBN 978-1-907893-46-9. Following my ouster from 'Creative Camera'
  5. ↑ 5.0 5.1 5.2 5.3 5.4 David Brittain, "Mirror with a Memory: Thirty Years of Writing in Creative Camera"; in David Brittain, ed., Creative Camera: Thirty Years of Writing.
  6. ↑ See artists' pages, p. 2-3; 16-45; and images accompanying scholarly essay, Andrew Renton, "Disfiguring: Certain New Photographers and Uncertain Images," p. 16-21.
  7. ↑ Also see the comments on that issue made by David Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain, "Peter Turner 1947-2005," Afterimage, Sept-Oct, 2005.
  8. ↑ See: Creative Camera issues 309/310/311/312. A comprehensive database of the magazine contents on hwwilsonweb.com (athens signin required).
  9. ↑ Facsimiles of the pages on Bond's archive, i.e., Hirst (Issue 309, April–May 1991, p. 2-3); Fairhurst (Issue 312, October–November 1991, p. 2-3).

External links