This document provides background information for a photography project investigating youth subcultures. It discusses the work of photographers Gavin Watson and Don McCulin who documented skinhead and punk subcultures. Watson began photographing these groups in the 1970s using a box camera. The document examines specific photos by Watson and McCulin that influence the project's style, seeking gritty portraits that capture critical moments. It proposes taking a documentary approach to photograph different youth cultures in various locations and with different cameras in the future.

1. An Investigation into the progression of youth subculture
through the medium of photography.
Introduction;
“Hoodies, Louts and scum”; Just three of the words in which the
mediachooses to describe the teenage subculture. The Independent
newswebsite has gathered statistics portrayinghow in the past year
over half of newscoverage on teenage boys wereabout crime; the
bias of mediation representshow people are pulled into believing all
teenagers everywhereare scum as all they do is cause violence.
Dueto the amountof negative coveragethe media creates on the
youthsubcultureportrayshow this topic of discussion is relevantin
today’ssociety. Joiningthe stereotypes, the photographs produced in
these shoot willconvey the progression of differentsubculturesof
youth- from mods and skinheadsto hoodies and skaters.
The work of Gavin Watson shows a range of youthsubculturesfrom
the skinhead era of 1960s-70sto modern day sub-cultures. Thisideas
act as an inspirationalstarting point for the personalproject because
Watson has shown a range of photographscapturingthe movement
of fashion.
Historical and contextual study
Pinhole camera; This is a camera without a lens with a tiny aperture.
It is a small hole on oneside of a box with subsequently creates an
inverted image on the other side of the box- the camera obscura
effect- this term was how the term “camera” was invented, meaning
“dark room”. The oldest found description of pinholephotography is
found in a book from 1856 by David Brewster, who defined thisstyle
of photography as “a camera without lenses, and with only a pin-
hole”.
It has been estimated that around the year of 1822 the photographic
process of heliography was invented by Josephy NicepphoreNiepce,
this was the technique in which he used to make the earliest known
photograph which has survived. Thiswas the processof engraving
producingimagesdirectly onto a stone then copied by photographic
means. This technique was a way to capturenature; this therefore
can be argued to be one of the first formsof documentary
photography, capturinga scene directly from naturewith a camera. It
was then washed in lavender oil which resulted in a permanent
image.

2. The “view camera” was originally developed between the yearsof
1840s-1850sand isa large formatcamera where the lens formsan
inverted image on a screen directly at the subject.
A view camera which became nicknamed as the “mammoth camera”
(dueto its substantial weight of 640kg)isclearly a camera which
isn’t easily portable which would havehad an effect on the use
because it would be hard to set up for a movement. GeorgeR
Lawerancebuilt this camera in 1899, withthe purposeof taking
photos of the “Alton Limited” train. This meant that it could be set up
and kept there, the photographer wouldn’thavebeen able to moveit-
a way of documentingthis train.
Duringthe late 19th and early 20th century, the box camera became
increasing popular by the public, a moremobile camera that wasn’t
dependenton atripod. It wasa cardboard or plastic box with a lens
at oneend of the box and film at the other. The box camera originally
came loaded with film and when the film was full, the individual
would haveto take the camera to the market, getting them developed
and then refilled and so forth. This was the start of the digital
photography of development. Theintroduction of this camera
became used by many of differentpeopleas it didn’ttake long to set
up and it was easy for them to carry around and capturemoments
they wished to.
Kodak were the company who developed the box camera but were
also the ones who first developed the first commercial colour process
in the year 1935. When individualsused colour film, they would take
the photos then have to send the photos off to Kodak to be processed.

3. One of the earliest documentary photographerswasarchaeologist
John Beasly Greenewho travelled to Nubia in the early 1850s with
the intentionsto capturethe ruins. Then duringthe yearsof 1861-
1865 documentary photographerswerepulled in by the American
CivilWar in order to frame“living memories” and recordsthe battle.
Greenedied at the age of 24 but still left a high number of
photographs presentinghis work of both architecture and
documentary-keepingthem both clearly separated. The first style of
documentary photography withGreenecreated was duringan
exhibition within Egypt-the place where he one: spentthe majority
of his photography workinglife at and two: his place of death. He
used documentary photography in order to document the different
landscapes, sculpturesand inscriptions. The followingyear, Greene
wentback to Egyptto document photos in upper Egyptat the site of
the templebuilt by Ramses the third and was able to documentwith
a friend who wasan architect the encryptionswithin the temple.
Photographer research:
An early exampleof this work is Gavin Watson who grew up on a
councilestate in High Wycombe. In his early teens, his first camera he
bought was a Hanimex. He captured punk and skinhead erathrough
the useof black and white photography that was published in a book
in 1994. When Watson began taking photos, he himself was a
Skinhead that shows how his perspectiveof the subjects he used in
his work wasat a more personallevel. Even though Watson is still
taking photos today, he is now usinga moredigital form of
photography. Yet for the pictures, which are relevant to my shoots
and project, he has used moreof a film style of photography. It is
suggested that his earlier work would havebeen used by a box
camera- a camera that washighly popular and used by the majority
of photographersduringthis era. Watson then progressed his work
shown in the book “Skins and Punks” published in 2008. Then
Watson furthered his photography when workingon a Dr Martens
campaign and another project with the singer “Plan B”. Watson’s
work is highly influenced by the work of Terry Richardson.

4. (The left image is by Richardson and the right image is by Watson)
(Image on the left) this is first example I have chosen to display
watsons work because I believe it is clear in showing his early pieces
of work displayingthe youthskin head era. This image is really
interesting and clear that the camera he has used is e earlier style
because elf the quality, as the subjects are rather sharp yet appear to
be runningdown thestreet, you as the audiencecan tell that the
camera used wasn’tan old view camera because it doesn’tappear to
be a staged shot, these cameras were unableto capturedocumentary
images as they took too long to set up, by the time the photographer
was ready to take the picture the scene he wanted would have
passed. This is a really interesting image because it shows the
reckless side of youth, the, runningalongthe side of the road would
be distracting for the in coming vehicles- therefore being
troublesome. Furthermorethis image also shown the collective
identity and group cultureof teenagers because they are runningasa
group and the second subject appearsto be lookingback and Watson,
this suggests these subjects werefriendsof Watson, they are running
yet at the same time makingsurehe is still with them. Another point
of this image which I find intriguingis the idea that these subjects all
look rather similar- this displaysthe collective identity even further
because is showshow they have the same valuesas each and dress
the same as part of their culture.

5. (Image on the right) this image further shows the newer version of a
camera because of the crowded location, Watson wouldn’thavebeen
able to get the older camera set up and in the space gaining the same
tight and claustrophobic atmosphere. This effect has a symbolicview
for the audiencebecause it shows even though stereotypically
teenagers are considered as secluded but at the same time this image
suggests they are constantly surroundedby peoplewho just do not
acknowledgethem- perhapssuggesting the theory that they are
misunderstood and peoplearescared of them. Another way that this
image is interesting is the rebellion of the action this subject is doing,
nowadaysthis would be considered illegal and also disrespectful, to
be smoking in a small place such as a train.
Don McCulin
Don McCulins photography started when he served in the RAF where
he worked asa photographers assistant although he failed the theory
test which was needed to become a photographer in the RAF. Proving
himself as a photojournalist, McCulin has managed to documents
actors from the poverty in western London to the warsin Africa. His
first lot of earningsfrom the RAF wassupposedly spenton his very
first camera which enabled the start of experimentation of
documentary photography. Below aretwo examples of his work…
(Image on the right) this image doesn’tsignify youth exactly but it
clearly representsthe style of Don McCulinswork quite clearly. This
is because this photo shoot was taken on the frontlineof a war ridden
country and he has managed to capturethe raw form of pain that the
locals would havebeen feeling. Even though my project isn'ton war, I
could be able to use this in order to influencemeand take a portrait
of this form of a stereotypical teenager then through editing making
it appear gritty and dark.

6. (Image on the right) this image is interesting in showing the
destructiveSide of youthbecause of the broken glass scattered
everywherein the floor showingthe destruction of youth. When
researching Don McCulinswork, this is another photo (similar to the
first image) taken through a war and this subject is a lady who is
throwing a grenadeoff a holiday inn balcony. This photo further
shows the documentary styleof photography that Don McCulin uses
in order to create a raw insight of a certain event. Furthermorethis
image links with the “critical moment” documentary photographers
use when taking a photo. This is because if McCulin was to of taken
this image a momentlater, the subject would havebeen in a different
position and wouldn'tshow the destruction that individualscan
cause. Therefore I can usethis image to influencemy work when
usingdocumentary photography becauseit shows mewhen I plan to
shoot, I should stay in one place, perhapson a street corner looking
down my viewfinder waitingfor a momentthat is clearly
representative of youth.
Relevance of photographer research:
Gavin Watson
This image was taken by Gavin Watson. This image has had an
inspiration on me because I find the colouringcontrast helps convey
a really interesting image. This is because the dark colouring of the
boots contrasting with the grey pavementmake the boots stand out
much moreclearer. This can be helpfulwhen taking an image
experimentingwith youth because it showsa suggestive stereotype
that teenagers like to stand out and also it shows individuality. As
spoken briefly about above, Watson morerecently has worked in
connection with the company of Dr. Martens, this relates with his
older work such as this image displayed herebecause it shows the

7. progression of fashion- how items of clothing such as shoes were
associated with skinheadshere but then morerecently the meaning/
style has changed- they are now associated with ‘indiekids’.
This is my image which I believe is rather similar to the work of
Gavin Watson because of the similar useof style. Whilst editing this
photo, I used Noise in order to make a moregrainy and film like feel
to it. This way I found itworked better in showing the skinhead punk
era which I intended. Furthermore this shows how Gavin Watson has
inspired my work because it helped show me that in order to show a
personality of a subject, the audiencedo not need to see the subjects
face, parts of the subject includingtheir shoes can work just as well.
Furthermore, when taking this image, I did useto samesubject
position as the oneshown in Watsons photo however as I wastaking
it at college I took it by a wall and grass and I found the surroundings
didn'tlook very good so addingmy own twist on the photo it resulted
in this.
Don McCulin.
I have used this image again of Don McCulin becauseI believe it links
better with my work than other images of his. Asspoken about
before with McCulinswork, it isn'texactly youthdisplayed butit has
helped influenceme through the techniques of documentary that was
used to create similar styled images of destruction. Additionally, asit
is clear, I wouldn'tbetaking photos of peopleholding grenadesor in
a war zone, or on a film cameraeither, however the style of this
image is really interesting because it is gritty and clearly shows the
critical momentof documentary photography.

8. This my photo which I have chosen that is similar to the work of Don
McCulin becauseI believe it links in really well. Even though it is
clearly not a war scene and it isn'tof someoneholding a grenadeI
believe that this image shows the similar style of destruction.
Furthermore, this images differsfor McCulinswork because I got my
subjects to stand here, however this was because I would find it very
hard to have access to peoplewho actually cause destruction for fun-
I had to recreate it similarly. The critical momentwhich is displayed
in McCulinswork isdisplayed through the fire. When taking this
photo, I stood behind my subjects waiting for the flames to be ‘right’.
By having the fireright I mean by having a high flameflowingto the
side in wind. Furthermoremuchlike the McCulin photo, I wanted to
show an identity of my subject but not have there face either in it or
very clear- using the style of coats I think this has worked rather well.
Another way that I think it is clear McCulinswork has had an
influenceon my work is through the editing. When researching
McCulins(asexplained above), he used an old style camera, but nota
view camera, this was because it wouldn'thavebeen easy to use a big
view camera when taking photos in a style of documentary becauseit
would had taken him too long to set it up. However the camera he did
use lacked colour and also formed a grainy effect. In order to do this,
I donethis shoot late in the eveningso it wasn'tpitch black but was
dark enough to usea high ISO giving a grainy noiseon top on the
image. I also experimented withblack and white editingyet found it
didn'twork very wellbecause the fire wasunclear as it is over
exposed, however I did lower the saturation of the coloursto gain a
similar effect to the image taken by McCulin.
The future:
If I were able to/ have get access to, I would liketo continuemy
studiesof youth and documentary yetin differentcountries-
displayingthe differentcultureswhich have an impactof different
styles of youth. Furthermore, in the futureI wish to experimentwith
not just differentplaces, but also differentcameras. This is because I
believe it could be a really interesting approach to form different
series of images on youthusingdifferentcamera techniques- for
examplein one country usingonestyle of camera in order to gain a
differentstyle of documentary photography. Butalso in the more
recent future, I believe it would bereally interesting for me to
experimentdocumentary photography withyouth without the time
frameof deadlines-therefore meaningme being able to go outto
London or my local town justto take photos for fun, nothaving to
have a certain number of shoots doneby a certain date, this way I
believe I would beable to gain a higher inside of youthrather than
staging certain shoots.

9. Conclusion…
The further into documentary photography I research, the moreI
come across which inspiresme and influencesmeto try new
techniques. For example, when I originally set out to do this project, I
thought the documentary styleof photography would be too hard
and not accessible and that I would only beable to capturethe ‘dark’
and negative stereotypes of youth. Yet now, I have learnt that when
usingdocumentary photography, itdoesn'tmatter when I do it- the
time- there will alwaysbe a critical momentwhich I would be able to
use in my photography work. There will alwaysbe youths around-
it's just findingthe spot. My finalaim for this project in photography
A level is to achieve a full series of photographs which all coincide
with each other- with the runningtheme of the stereotypes and non
stereotypes of youth.
Bibliography:
Date accessed (20-11-16)Gavin Watson Archive
[http://www.gavinwatsonarchive.com/about/]
Date Accessed (25-11-16)Shoot-Gavin Watson
[http://www.shootgroup.com/photographers/gavin-watson/more-
info/]
Date Accessed (25-11-16)Terry Richardson OfficalWebsite (written
by Terry Richardson)
http://www.terryrichardson.com/archive/#/vintage/2/4
Date Accessed (26-11-16)Written in 2014 Gavin Watson| Skins and
Punks<< ChasingLight
http://blog.ricecracker.net/2013/06/05/gavin-watson-skins-and-
punks/
https://donmccullin.com/don-mccullin/
Date Accessed (27-11-16)Don McCullin|Hamiltons
http://www.hamiltonsgallery.com/artists/29-don-
mccullin/overview/
Date Accessed (27-11-16)JamesHyman Gallery
http://www.jameshymangallery.com/artists/13995/john-beasley-
greene