Only The Sunny Hours:
Contemporary Photography with a
Curated by Cally Trench
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)
Black and white 127 film
Judy Goldhill used 127 black and white film, standard processing, and hand printed her photographs.
Judy Goldhill has been involved in photography from a young age, 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.
Goldhill's artist's books are held in library collections both in the UK and internationally.
Breathe, her current exhibition is currently on show at The Freud Museum, London, where through photographs, film and an artist's book she examines early parental loss.