John Hinde and a Defining Vision.

A photographer who played a crucial part in the development of colour photography, John Hinde is known

primarily for seaside postcards, but also for his variety of commissions including ‘Citizens of War’, ‘British Circus Life’ and his series of Butlins Resort Photographs that photographer Martin Parr published in a book entitled 'Our True Intent is all for Your Delight'. Working as a ‘Walkie’ photographer at Butlins in Filey, Parr explains the impact Hinde’s colour images had upon him and his own photographic practices:

“The amazing postcards of the camp produced by John Hinde struck me immediately. These were simultaneously inspiring and depressing. Inspiring, because the highly saturated, colourful images were such a great record of the place; depressing, because they made my own black and white efforts look rather lacklustre.”

(Parr, 2005, 5)

With a large format camera and Ektachrome film, Hinde’s set out to depict as he describes “the beautiful aspects of the world” (Hinde in Lee and McGonagle 1993, 14). Through vibrant colour combinations, he evokes a theoretical similarity to Richard Hamilton’s Pop Collage ‘Just What Is It That Makes Today’s Home So Different, So Appealing’ saying this exquisite lifestyle, distant from the 1950’s and the grey, depressive repercussions of wartime Britain is not exclusive, but for mass public consumption. A desire to achieve a colour that is “instantly understood and appreciated by a mass audience” (Lee and McGonagle, 1993, 14), the photographs also show similarities to the 1970’s short documentary films of British cities, leisure and entertainment produced by Harold Baim. Also photographed in Ektachrome film, the documentaries compare in their luxurious, somewhat surreal depiction of modern living (View http://www.baimfilms.com/baimStillsFilms.asp for copyrighted images).

Quoted by Declan McGonagle, Hinde “had an almost evangelical sense of the role of colour photography in society, colour was the servant of optimism and positive feeling” (Lee and McGonagle, 1993, 12). His books and picture postcards were designed for commercial purposes. During 1956, at a time of social and industrial re-build, “John Hinde Ltd started fortuitously at the beginning of a new Pop culture which would interpret bright colours as synonymous with freedom, choice and optimism” (Lee and McGonagle, 1993, 14). David Lee quotes Hinde in saying that his postcards stand for happiness and enthusiasm within society. “Pictures should always convey a positive, good feeling, something which makes people happy, which makes them smile, which makes them appreciate some tenderness” (Lee and McGonagle, 1993, 19).

 It wasn’t until the 1970’s however, that Hinde began to receive recognition for his photography. David Lee believes that his “naïve concept of colour” was an unsuitable depiction of society. “Discouraged by art experts”, it was considered “unsubtle and the wrong way forward” (Lee and McGonagle, 1993, 18). His constant connection in his career to the commercial industry derived him any acknowledgment as a serious photographer or as an artist. “When I first encountered him” quotes Parr “his name was almost entirely forgotten - he was looked upon as the creator of clichéd postcards and almost a laughing stock” (www.tate.org.uk/tateetc). As the years progressed however, Hinde’s postcards shaped the appearance of a past generation that we, the viewer can reflect upon:

“When artists debate their role in society, when Ireland and other similar countries reconsider the issues of Identity constructed over many decades, when an important period of social and cultural history is being re-examined it is right that the work of John Hinde and the Hinde Company should be exhibited widely.”

(Lee and McGonagle, 1993, 12)

In 1971 The Irish Museum of Modern Art held a collective exhibition of Hinde’s photographs and postcards, to which Martin Parr was one of the founding supporters. Whether Hinde’s work is purely a commercial entity or his use of colour stood for an artistic response to society, it had a direct influence upon Parr and his career describing his use of colour as “contemporary” (www.tate.org.uk/tateetc):

“Each image offers everything a good photo should. They are entertaining, acutely observed, and have great social and historical value. They appear casually taken, yet we know from the photographer how difficult they were to stage. As with all Hinde imagery, they show an idealized view of the world and, after a passage of time, acquire the power of a lost dream.”

(Parr, 2005, 7)

What makes this colour so unique is that instead of seeing the whole image, the eye is drawn to every figure, piece of furniture and decoration individually. The images seem almost layered, 3d like a collage. Hinde’s achieved this by introducing “bright foreground colours into his cards” (Lee and McGonagle, 1993, 18). In doing so, Hinde produced an unsubtle, alluring concept of colour that overwhelmed its audiences. It deliberately exaggerated the conventional producing a unique interpretation of a commercial experience, manipulating the audience’s perceptions and appealing to the 1950’s united belief of a brighter future. By combining this with a carefully choreographed subject matter as described by Val Williams, in the case of his Butlin’s collection, “posed campers were photographed progressing through the playful rites of passage of a Butlin’s holiday” (Williams, 2011, 35), Hinde is creating an overall view of perfection. Like manikins in a shop window, each person is an advert of the new glamorous way of living that is available at Butlins.

Once this is established, Hinde’s images can be dissected and examined through the use of colour for each image has been crucially structured to produce the best outcome possible. In comparison with Daniel Meadows photographs at the same resort in 1972, we see how Hinde used colour as a deliberate tool to manipulate the viewer’s interpretation of a Butlins holiday. In particular, both photographers captured a similar image in two different manners. The children’s play area at Butlins in Filey was to be used in both their colour photographs. Hinde’s photograph wishes to show a brighter future emerging from the aftermath of post World War depression. This desire to achieve as he describes “the beautiful aspects of the world” (Hinde in Lee and McGonagle, 1993, 14) is evident throughout the image. Deliberately photographed in front of a bright blue sky, the particular choice of film accentuates the contrasting colours that shine in the sunlight. This variety in colour also represents a variety in choice. Slides, swings, play houses all become visible as separate observations. Hinde’s is representing to the viewer the variety that is available at Butlins through a surreal depiction of everyday staged occurrences. In the case of Meadows, his particular experiences were not filled with the same optimism that Hinde’s chose to perceive.

“Set against the backdrop of 1970’s Britain - with its inflation, unemployment, labour disputes and rising cost of oil, culminating in 1973, with the imposition of compulsory power cuts, Butlins was an escape from uncertainty and social unease.”

(Williams, 2011, 35)

Its former glory was starting to deteriorate under a suffering social climate. “The whole Butlin’s family image had become severely dented. Reports came in of leaking and damp chalets, of cold swimming pools, peeling paint, closed facilities, poor food and indifferent staff” (Meadows in Williams, 2011, 35).

Meadows use of colour achieves a rather different interpretation of the same space. Taken in overcast weather conditions, low saturated tones capture the dull, declining atmosphere that had overcome the British leisure industry of the 1970s. What we see when viewing these two images is the rise and fall of a resort through the use of colour. Hinde in the post war optimism and meadows during 1970s decline.