Judy Goldhill writes: This project provoked thoughts about my life-long involvement with photography, and the photographs and photographers that first inspired me. The English photographer Tony Ray-Jones was entranced by capturing the English at play, who he forensically studied in black and white photographs. My prized possession is his publication, A Day Off, a well-thumbed volume. I used a visit to Glyndebourne to re-imagine Tony Ray-Jones’s celebrated photograph of picknicking opera-goers through the lens of the Brownie 127.
The Brownie 127 camera has such strange, soft focus and distortion, which perhaps recreates that rarified atmosphere. The paraphernalia of picnicking in the genteel English country house gardens has stayed much the same, but the iPhone, selfies, and social posing have changed the atmosphere of this extraordinary event. The couple in the Tony Ray-Jones photograph were unaware of the photographer’s presence; he was invisible, as I was with my old-fashioned plastic Brownie, but for different reasons. My opera lovers were absorbed in themselves and their own digital images.
Judy Goldhill, The Glyndebourne Series (2015)
Judy Goldhill used 127 black and white film, standard processing and printing.
Judy Goldhill has been involved in photography all her life, from owning a Box Brownie when she was ten to photographic publishing (Picture Editor of the BJP and Co-Editor of Creative Camera, 1978-80), and since 1980 a freelance portrait photographer. She has recently undertaken three artist residencies with American observatories and is currently artist-in-residence at UCL. Her work was recently featured in the Financial Times ‘Science and Photography’ special issue.