Having no scheduled shoots this morning I decided to process the two films I shot yesterday evening for my Saxonvale project (it’s a long term project which I’ve been posting on Instagram as @takeagander).
So there I was, up to my elbows in my dark bag, wrestling (circa 30-year-old East German black and white) ORWO 120 films onto processing reels when I heard a knock at the front door. I knew exactly who and what it was, but couldn’t risk fogging my film to go and answer the door.
Thankfully our post lady didn’t just push a “we tried to deliver” card through the door, instead she found a safe place to stow the package and told me on the card where it was.
I was also grateful that the films loaded remarkably easily (very old 120 film tends to resist being unfurled), so as soon as they were safely in the developing tank I retrieved the package.
It was a book I’d been looking forward to receiving for some months, J.A (Jim) Mortram’s Small Town Inertia.
The book is a searingly poignant collection of black and white images and testimonies detailing the daily struggles of people in the small Norfolk town where Jim lives.
Unapologetically political, very anti-Tory, anti-globalisation and definitely anti-austerity, Jim’s book documents his subjects in a way which brings home in the starkest possible terms the effects of unemployment, mental and physical illness and addiction under successive governments which have sought to sideline these issues in favour of a market economy unfettered by the constraints of conscience.
It is to some extent due to my awareness of Jim’s work that I have sought to spend more of my time on documentary and working in traditional film. The Faces of Routes project, though shot digitally, would almost certainly not have happened if I hadn’t had my social conscience re-awakened by seeing images from the Small Town Inertia project a year or two ago.
Of course my work is very different to Jim’s and nowhere near as comprehensive (or, of course, as good). Jim has been deeply involved in the lives of his subjects, often helping them with bureaucratic paperwork or just daily tasks, and this shows in the photos.
However, even though my projects tend to be more random, less overtly political and involve being less embedded with my subjects, I will continue to be inspired by the work of J.A Mortram and others like him.
To which end, I’d better get this morning’s negatives scanned and added to my own personal project. It’s all very well to be moved and inspired, but if I’m to genuinely honour the work of others, there is no better way than to keep on pursuing my own.