Sepia Saturday 178: Polyfoto, The Natural Photography

I do appreciate that, for Saturday Sepians at least, sepia is a state of mind rather than a colour, shade or bygone photographic hue, but this week I will share a photograph in the traditionally sepian style from my aunt's family collection.


Lieutenant Charles Leslie Lionel Payne, 1941
Unmounted silver gelatin print (76 x 98mm)
Image © and courtesy of Barbara Ellison
Her father - my grandfather - had served as a machine gunner in the Canadian Expeditionary Force during the Great War but, when the Second World War broke out, at 47 he was a little old to head off abroad, and was commissioned as an officer in the Pioneer Corps. Judging by the number of passport-style shots of my grandfather taken during the war years, he and the rest of the family were rather proud of his achievements, and justifiably so. In early 1942 he was promoted from Lieutenant to the rank of Captain, and by mid-1943 he was Major Payne, Officer Commanding 315 Company at Newport, Monmouthshire.


Reverse of silver gelatin print (76 x 98mm)
Image © and courtesy of Barbara Ellison
The back of an almost identical print has the remains of stamp edging stuck to the four edges, suggesting that it may at one time have been affixed to a mount or frame of some sort. Both this and the previous print have a small number 60 pencilled on the back, in the lower right-hand corner.


Lieutenant Charles Leslie Lionel Payne, 1941
Unmounted silver gelatin prints (each strip 110 x 37mm)
Image © and courtesy of Barbara Ellison
The prints are sepia-toned enlargements of a negative which also resulted in the two strips of 1¼"-square portraits above, and are almost certainly a product of the Polyfoto process. Unfortunately the reverse only has the date 1941 (corrected from 1940) written in blue ink by my grandmother. Derby had its own Polyfoto studio during and after the war, situated first at The Spot, and later in the Midland Drapery Co. Building on the corner of St Peter's and East Streets.


Two portraits of an unidentified woman, undated, estd. c1935-1945
Unmounted silver gelatin Polyfoto prints (37 x 37mm)
Image © and collection of Brett Payne
One of these two similar-sized head-and-shoulders portraits from my own collection fortunately does have the remnants of the manufacturer's name on the back, as well as the number 22 written in purple pencil, although the subject sadly remains anonymous.


The Polyfoto camera, made in England by Kodak Limited, 1933
Image © and courtesy of the National Media Museum
The camera used to produce these photographs was a rather unusual one, employing an automated process which reduced costs dramatically, although it did not, such as with Photomatic photobooths, dispense with the need for an operator. Originally of Danish design, and subsequently manufactured under license in England by Williamson Maunfacturing and Kodak Ltd from 1933, they used a repeating back, a series of 48 half-inch-square exposures being made on a 7" x 5" glass plate negative as a handle on the side was cranked.


Taking portraits in a Polyfoto studio, c.1949
Image © and courtesy of the Polyfoto web site
They were deployed in booths located in all the major towns in England, Scotland and Wales. Caulton (2010) lists 109 of them existing around 1950, most operated as concessions in large department stores, although there were a number of stand-alone studios in busy central locations.


Sabrina at a Polyfoto studio in a department store, 1956
Image © and courtesy of British Pathé
British Pathé has a wonderfully evocative film clip of Sabrina in her sweater (for those among you familiar with the Goon show) having her portrait taken at a Polyfoto booth in Bourne and Hollingsworth's department store (click on image above to view the clip). They advertised themselves as "the only system of photography giving natural and truly characteristic portraits, since the sitter can move and converse freely whilst the 48 photographs are being taken."

The sitter was asked to look this way and that. Sometimes the session was stopped, to remove a hat or coat. The photographer would chat to the sitter to put them at ease and often induced a genuine smile. Children were often given a ball or balloon to play with.

(Geoff Caulton, 2010)

A former employee of Polyfoto describes here how the camera was operated and the glass plates then dispatched to the Head Office and factory at Stanmore in North London (later located at Boreham Wood, Hertfordshire) (Anon, 2006).


Polyfoto proof sheet envelope
Image © and collection of Brett Payne, courtesy of Anthony Norton
After developing the glass plate negative, 48-photo proof sheets were printed using fixed-focus enlargers and sent back to the studios. The envelope shown above, marked with the address of Derby's Polyfoto studio at number 3 The Spot, is presumed to be one in which the proof sheet was delivered to the studio, ready for collection by the customer.


Yvonne Chevalier, De Gruchy's Department Store, St Helier, Jersey, c.1948
Proof sheet (silver gelatin print, 225 x 300mm) and numbered plastic sleeve by Polyfoto Ltd.
Image © and courtesy of Alison Richards
This proof sheet shows 48 different photographs arranged in a 6x8 grid, together with a numbered plastic sleeve or overlay, from which the customer could choose to have one or more shots enlarged at an additional cost.


Variation in degree of sepia-toning of Polyfoto print enlargements
Images © and courtesy of Barbara Ellison
The enlargements could be supplied in a number of different formats, ranging from 4" x 5" to 10" x 12", and with a variety of finishes, including sepia toning and colouring.


Enid Joan Goacher, Sussex, c.1948
Proof sheet (silver gelatin print, 225 x 300mm) by Polyfoto Ltd.
Image © and courtesy of George Plemper
Of course the individual prints on the proof sheet could themselves be used and, as Geoff Caulton notes (2010), many carefully selected shots were cut out and "carried in purses, wallets and paybooks in every theatre of war."


Paul Godfrey, Arnold's Ltd., Great Yarmouth, 1949
Mounted proof print, taken by Polyfoto Ltd in a department store booth
Image © and courtesy of Paul Godfrey
Many proof prints were individually mounted behind simple pre-printed passe-partout card frames, such as this cute example from fellow photohistory enthusiast Paul Godfrey.



Geoff Caulton also has a number of fine specimens displayed on his PhotoDetective web site (click the Gallery button), most of which appear to have been taken during the war years, and I suspect this is when the Polyfoto attained its greatest popularity.


Mary Lavender Wallis in WAAF uniform, before June 1942
Booklet of proofs by Polyfoto Ltd.
Image © and courtesy of Nigel Aspdin
One could also chose to have the proof sheet cut up into blocks of six and mounted in a plastic-covered album, such as this booklet ordered by Nigel Aspdin's mother, and probably taken at a Polyfoto branch in London shortly before she received a commission in the WAAF in June 1942. She visited the studio for another session in her new officer's uniform sometime after that date, for which Nigel also has an almost complete proof sheet.



It appears that Polyfoto was not restricted to the United Kingdom. The above unidentified and undated print is from Denmark, and I have also seen a characteristically diminutive print originating from Leipzig, Germany. I'd be interested in hearing from readers who have seen examples from even further afield, as I am unsure whether the cameras ever reached North America or the Antipodes.


Former Polyfoto studio in Hainstrasse, Leipzig, Germany
Digital image taken with Sigma DP2s camera, 19 February 2012
Image © and courtesy of -fs-
It is not clear how long the Polyfoto network lasted although certainly by the late 1960s, when the head office moved to Watford, its popularity was on the wane. Several sources claim that the reason for its demise was the coin-operated photobooth although I have my doubts, since the operator-free booths were already well established prior to the Second World War, when the Polyfoto network was expanding rapidly.


Duc de Coimbra, c.1860
Albumen print (201 x 237mm), uncut carte de visite sheet, by Disderi
Image © and courtesy of George Eastman House (GEH NEG:13908)
The idea of exposing multiple frames on a single photographic plate was not a new one. In fact, it had been around for nearly seven decades prior to the Polyfoto camera's debut in 1933, and indeed formed the basis of popular commercial photographic portraiture in the 1860s and 1870s, as introduced by Disderi and others with the carte de visite format in the mid- to late 1850s. Using a multi-lens camera several (usually eight) exposures were made on a single collodion wet-plate which was contact-printed on albumen paper. The images were then cut up and mounted on card separately as cartes de visite.


Simon Wing Ajax Multiplying Wet Plate Camera, c.1899-1900
Image © and courtesy of David Tristram Ludwig's Antique Cameras Photo Gallery
This technique of taking several frames on a single plate also found very popular use in the production of gem tintypes, which I will cover in a forthcoming Photo-Sleuth article. The multiplying wet-plate camera designed by Simon Wing and shown above, had a mechanism surprisingly similar to that of the Polyfoto camera of 1933. So, as some say, there is nothing new under the sun.

Before you head over to see what the rest of the Sepia Saturday folk have in store for you this week, have a look at this poignant two-and-a-half-minute Polyfoto compilation by Daniel Meadows about his parents.

References

Polyphoto Portrait Photography Studios web site. [retrieved 19 May 2013]

Anon (2006) Reviving the Polyfoto, on Camster Factor, 2 March 2006. [retrieved 19 May 2013]

Anon (nd) Polyfoto Vintage Style Photobooths, on Ian Johnson Wedding Photographer. [retrieved 19 May 2013]

Caulton, Geoff (2010) The Polyfoto and Polyfoto Studios, on PhotoDetective. [retrieved 19 May 2013]

Coe, Brian (1978) Cameras: From Daguerreotypes to Instant Pictures, United States: Crown Publishers.

Sepia Saturday 128: The Mikado

This week's Sepia Saturday theme gives me an opportunity to show off another eBay purchase, one which would have had a lot more relevance to my great-grandfather Charles Vincent Payne (1868-1941) than to myself.


This silver gelatin print mounted on thick white card with an embossed rectangular frame was an unusual purchase for me, as I know nothing about operatic musicals and, to be honest, am not particularly partial to them either. However, I am intrigued by the late Victorian fascination with all things Oriental, including The Mikado written by Gilbert and Sullivan and first produced at the Savoy Theatre by the D'Oyly Carte Company in March 1885.


I believe this group of nine young ladies dressed to the oriental nines, bedecked with fans and a multitude of hair ornaments, must be participating in the chorus for a performance, possibly amateur rather than professional, of "The Mikado." The group portrait appears to have been taken by photographer Henry Spink of Brighton on a visit to the performance venue, since the background includes appropriately painted oriental scenes.


The Mikado, Three Little Maids from School
Publicity poster for New York production, 1885
Image courtesy of Wikipedia
Their costumes are very similar to those shown in a poster for one of the professional D'Oyly Carte productions, depicting the "Three Little Maids from School."


Three Little Maids, London 1885
Image courtesy of Wikipedia
The Three Little Maids - in this case, the actresses Sybil Grey, Leonora Braham and Jessie Bond - are also shown in this photograph from the first D'Oyly Carte performance at the Savoy Theatre. Whether the painted scene is a theatre prop from the actual performance or a specially prepared studio backdrop is unknown.


Three Little Maids, c.1885
Tintype by unidentified U.S. photographer (5.7 x 8.4 mm)
Image courtesy of The American Museum of Photography
The instant success of the opera, even across the Atlantic, is demonstrated by this tintype from the mid- to late 1880s (courtesy of The American Museum of Photography), also showing the "Three Little Maids" in a pose which was widely emulated for advertising purposes. In this case, the painted backdrop seems to be a generic, rather then specifically oriental scene.


Advertising Card for the Tricora Corset, c.1885
Chromolithograph, by unidentified artist
Image courtesy of The American Museum of Photography
A delightful card for The Tricora Corset is a typical example of the advertising produced with this theme.


Geraldine Ulmar as "Yum-Yum," The Mikado, 1886
Cabinet card by B.J. Falk of New York
Image courtesy of the New York Public Library
Photographers also made full use of the commercial possibilities, such is in this "paper moon" style of cabinet card portrait by celebrity hunter B.J. Falk picturing Geraldine Ulmar, one of the cast in the original 5th Avenue D'Oyly Carte production which ran from August 1885 to April 1886. She also appears as the central figure in the "Three Little Maids from School" poster.


David Simkin's thoroughly researched work on the Spink family of photographers from Brighton very usefully includes a dated list of studio addresses. This suggests that Henry Spink Junior operated from 109 Western Road, Brighton from 1896 to 1934, but that his portraits show the name "Henry Spink" - as opposed to "Henry Spink (junior)" or "Spink (Brighton) Limited" - only from 1911 to 1921. It seems likely to me that this group portrait is from the early, pre-War part of that period, say between 1911 and 1914.


The Mikado 1904 by the Leicester Amateur Music & Dramatic Society
Image © and courtesy of Alan Craxford
By the turn of the century - perhaps even earlier - The Mikado was being performed by amateur dramatic societies. Alan Craxford has written about his grandfather's involvement with local amateur dramatic society in Leicester in the 1920s and early 1930s, and includes a programme for a performance of The Mikado in April 1904 which he surmises that his grandfather may have attended.

It seems likely that after the Second Savoy repertory season from April 1908 to March 1909, a revival of interest may have led to increased amateur performance of the opera throughout the United Kingdom. I haven't yet found documentation of such a performance in Brighton, but I'm sure that if there was one, the records will appear on the net eventually. In fact, Brighton hosted the first provincial production of The Mikado in July 1884, a little more than a year after its original debut.


Charles Vincent Payne in costume, c.1894
Cabinet card by Pollard Graham, Derby
Image © and collection of Brett Payne
My great-grandfather, shown here in what I assume was one of his theatrical get-ups, might have had quite a different life had he chosen to take up a reputed offer of a contract with the D'Oyly Carte Opera Company. As it was, he worked as a coach builder, a builder and a grocer, then was in business as an estate agent for much of his working life in Derby, but many of his leisure hours were taken up with amateur singing and dramatics (see Whistling Bird, the Arizona Cowboy and the Disappearing Lady).

Join Sophie Tucker with her "I Can't Get Enough Of Your Love," and other such entertaining stories - head over to Sepia Saturday for this week's smorgasbord.

Sepia Saturday 79: Dressed for the Beach

Sepia Saturday's photo prompt this week from Alan Burnett depicts two young early 20th Century ladies relaxing on the beach in Atlantic City, but dressed in a manner that will certainly protect them well from the noon day sun. Not everyone goes to beach to swim, and if you live in this Antipodean location, then you'd be advised to go well wrapped at this time of the year (the Met Service advises 3 layers!). As far as swimming's concerned, I think you'd have to pay me.


My own contribution for this theme consists of two tintypes, mounted in flimsy paper sleeves the size of cartes de visite. They are part of a larger collection of 73 loose photographs which I purchased as a single lot on eBay last year. The vendor told me that they had originally been acquired together, and my own research has given me reason to believe that they do indeed belong together. Although these tin types are not inscribed, I've been able to determine, by comparison with others in the collection in which the subjects are identified, and by some additional research, who is depicted and approximately when it was taken.


Measuring roughly 69 x 82 mm, they are an odd size, somewhere between quarter-plate and sixth-plate. Both show a woman seated on the beach with two young children. She is Emily Minns née Carr (1840-1927), wife of Stoke Newington draper Charles Thomas Minns (1838-1900), and the two children with her are most likely her two eldest sons Charles Walter Marston Minns (1874-1951) and Frederick Thomas Minns (1875-1956).


Her third son was born in late 1877, which suggests to me that these two photographs were taken in the summer of 1877, probably by an itinerant beach photographer. The second image, taken from a slightly different angle, includes what may be a large spoked wheel of a bathing machine, similar to that shown in an early 20th Century photograph which I posted two weeks ago as a submission for the 105th Carnival of Genealogy (Swimsuit Edition).


Ladies' and Children's Bathing Suits
Harper's Bazaar, 15 July 1876
I assumed initially that they were dressed for outdoor activities. However, now that I've looked at Stella Blum's Victorian Fashions and Costumes from Harper's Bazaar 1867-1898, I think they could well be wearing bathing suits. Although not identical - that would be so "last year" wouldn't it - the clothes are similar to those depicted in the engraving shown from July 1876, reproduced above. Perhaps someone more familiar with Victorian fashions can confirm - or refute - this. While they belong firmly in the "What were they thinking?" category in the present day, I feel they were at the height of fashion back then.

I'm looking forward to a suitably eclectic selection of swimsuits among the other Sepia Saturday contributions this week.

Researching an album from Cleveland, Ohio - Introduction

It's now almost a year since Jack Armstrong from Pennsylvania contacted me out of the blue, saying that he had for some years owned an old photograph album containing "a couple of dozen portraits," many of which were from the English Midlands, and several from my specific area of interest, the county of Derbyshire. He had purchased the album at a yard sale some years before, so he had no personal connection to the photographs.

It has been on a back shelf, collecting dust and guilt .... Somewhere out there is somebody to whom this would be a treasure. If you are interested in the album you can have it. I'd just like to see it find a safe home.

While searching the web for information about the photographers, he had stumbled across my web pages. To cut a not very long story even shorter, Jack very kindly sent the album to me (at a not inconsiderable cost to himself) and, apart from some initial investigations that I made last year, it's been gathering yet more dust and guilt (albeit Antipodean dust and guilt, rather than the North American variety) ever since.


Due to my study commitments over the last year, and with some embarrassment on my part, I haven't had the time to give the album the attention that I was intending. However, I've decided that it's probably worthwhile posting a run down of my initial work, and then writing further on progress in forthcoming months as I find the opportunity. At least this way I can acknowledge Jack's generosity and make a start on the study. I feel that my ongoing detective work into the album's original owner(s), and the subjects of the photographs contained within it, will benefit from exposure to a wider audience. While I don't claim any expert knowledge in the field, I'm also hoping that a detailed account of my discoveries during the course of my research may assist, in some small way, others delving into their own family collections. As always, I would very much appreciate feedback, comments, queries, constructive criticism, etc. along the way. Please feel free to question my judgement, conclusions, etc. - it's the best way for us all to learn from the experience.


Externally the album, as can be seen from the images above, appears to be in a rather distressed state. The original patterned plush olive velvet - of a style which was introduced and became common in the 1880s - is now threadbare and has split open at the edges, revealing the padding inside, some of which is doing its best to escape. While the binding between the cover and the album leaves has partly separated, the cardboard leaves themselves are largely intact. The album pages are constructed of double layers of dark green glossy card, printed in grey ink with a design including wild flowers and fairies. Tiny writing at the base of the design states, "PAT. APPLD. FOR 1887." Some of the individual photo sleeves are torn, as is often the case with these old albums, but most of the photographs themselves are in excellent condition. The album measures 220 x 275 x 85 mm externally, and has 18 pages.


There are somewhat more than "a couple of dozen" photographs. In fact, the album contains 55 of them, consisting of 26 cabinet cards, 22 cartes de visite, 3 sixth-plate tintypes (or ferrotypes) and three other format types, a couple of them rather battered, and several lying loose between the album leaves. All except one of these are portraits. One loose photo mount with a stylised flower art nouveau frame has lost its photograph. There is also a loose colour print of water lilies, apparently (from the text on the reverse, which relates to an adjacent, now missing, page) from an instructional book on water colour painting.

The next article will discuss the series of procedures that I always try to follow when starting out researching a photographic album.

A family tintype portrait from the 1890s

A few months ago Patti Browning sent me a detailed scan of a full plate tin/ferrotype in her possession which she was trying to date. This outdoors family portrait, probably by an itinerant photographer, was a very interesting photograph to investigate. It also taught me quite a bit about the need to look very carefully at the physical aspects of a photograph, not merely the subject matter. Rather than repeating myself, I thought I'd send readers over to Patti's blog Consanguinity to see a detailed image and an analysis. Patti and I both would be very keen to hear from anyone who can spot any further interesting features, or who might have further comments to make.

Sidney's first appearance at Church, 16 June 1861

I often think of the rise of popular portrait photography as having really taken off with the introduction of the carte de visite by Disderi, a craze for which is commonly reputed to have been precipitated around 1860 by the enthusiastic British Royal couple. However, the collodion positive process, which had been introduced by Scott Archer in 1852, and resulted in the format known in the United States as the ambrotype, was responsible for the birth of another portrait type which Coe (1976) describes as also having become well known on that side of the Atlantic, the ferrotype or tintype. Writing about a recent visit to the Who Do You Think You Are? Live! family history show in London, Maureen Taylor remarked on her Family Tree Magazine photodetective blog that she noticed how tintypes are far less commonly seen in the United Kingdom. Perhaps this is the reason I understimate it's importance in those early years.

After having been first described in France in 1853, and then introduced into the US in the late 1850s by Smith and Griswold (Leggatt, 1999) the tintype became enormously popular from around 1860 onwards. There were significant advantages in this process, particularly to the itinerant photographer, in that the outlay expenditure for setting up in business was low, and it was quick and cheap to produce, and versatile. The lack of a negative meant that it was a one off portrait, which was the most significant disadvantage - for duplicates one had to rather go the carte de visite route. Their cheapness and versatility meant that tintypes were produced in huge quantities across the North America continent throughout the 1860s and 1870s, and remained enormously popular for the remainder of the Victorian era and even well into the 1900s (Hannavy, 1997). Leggatt (1999) states that, in his opinion,

"Compared with other processes the tintype tones seem uninteresting. They were often made by unskilled photographers, and their quality was very variable. They do have some significance, however, in that they made photography available to working classes, not just to the more well-to-do."

While I have to disagree about the mid-range tones of the tintypes rendering them uninteresting - to me they impart a feeling of warmth and immediacy generally not seen in the more common albumen prints of the carte de visite - the availability of these portraits to almost every facet of society often provides a glimpse into a side of life rarely encountered elsewhere.


The roughly trimmed early tintype portrait shown here epitomises everything I like about the collodion positive format. The tonal range in this particular, unenhanced image is more than adequate, and has been embellished with some skillful hand colouring of the subject's pink cheeks and the light blue cravat tied around his neck. In fact, the tones of the tintype impart such depth to the photograph that I had to check carefully for further retouching. The stylised oak leaf-patterned edging to his jacket, the tartan check and folds of his skirt, the gold (I think!) patterned head band and dashing feathers on his dark velvet cap, the slightly hesitant expression on his face, even his neatly laced up boots, all point to it being a special day for the young subject of this portrait.


A lthough we might be able to make an educated guess at the occasion, a paper label affixed to the reverse of the tintype, and inscribed in black ink with what appears to be a contemporary hand, handily reveals the purpose of the sitting:

Sidneys first appearance at Church. 16. June 1861

The lack of an apostrophe notwithstanding, I'm very thankful to his mother for recording the event for posterity. Surely it was his mother who dressed him so carefully for the important event, led him to church, and then into the studio, calmed his fears about about the head clamp being fixed into place and the strange man under the dark cloth fiddling for what seemed like ages, and likewise carefully wrote out the label when they got home later that day?


American poet William Cullen Bryant's mother recorded that he made his first appearance at church in the middle of his third year (Muller, 2008). This young lad appears a little older - perhaps about four years old - but it is likely that this was but the first of several visits that he made to a photographic studio during his lifetime. Audrey Linkman writes that most photographic portraits in the 1800s were taken to celebrate or record events that she refers to as rites of passage, such as christenings, birthdays, weddings and anniversaries. Although few of the photographs in our family history collections have generally been lucky enough to survive with such helpful annotations, it is often a useful exercise to examine portraits with a view to which significant event in the subject's, or subjects', life it might portray.

The carte de visite portrait shown above, which I used in a previous article on Photo-Sleuth, was probably taken in the late 1860s, and from the dress worn by the child clearly celebrated it's christening. Other events, such as the breeching of boys and the confirmation of both sexes may be more difficult to pick out, since the accompanying clothing changes may not be so obvious to us a century and more later. I'll be keeping a sharp eye out for such possibilties, both in my own old family photos as well as my collection of purchased photographs, and will hopefully feature some more in the coming months, as I return to a more regular posting of articles and images here on Photo-Sleuth.


These photographs have an even greater poignancy for me at the moment because, just as happened in the household of sometime reader of this blog intelliwench last year, my eldest daughter has just started at university a month ago. Of course this has occasioned some wistful perusing of old photographs, including the record of her first day at "big school" some dozen odd years ago, shown above. This shot captures her in the ubiquitous "two sizes too big/she'll grow into it" school uniform on her way to the car as we head off at the beginning of that first day, with her two younger, over-excited and very jealous sisters desperately wishing they were going too.

Some things change, some just stay the same.

References

Coe, Brian (1976) The Birth of Photography: The story of the formative years 1800-1900, (1989 Edition) London: Spring Books, ISBN 0-600-56296-4, 144p.

Hannavy, John (1997) Victorian Photographer at Work, Series: A History in Camera, Risborough: Shire Publications Ltd., ISBN 0-7478-0358-7, 136p.

Leggatt, Robert (1999) A History of Photography: The Tintype Process. Last updated 24 Sep 2008.

Linkman, Audrey (n.d.) Picturing the Family, Ch. 5.4 Rites of Passage, Unit A173_1, The Open University.

Muller, Gilbert H. (2008) William Cullen Bryant: Author of America, Ch 1. America's First Poet, SUNY Press, ISBN 978-0-7914-7467-9, 400p.

Sixth-plate tintype of "Sidneys first appearance at Church, 16 June 1861," by unknown photographer, Collection of Brett Payne

Carte de visite portrait of Unidentified woman and child, by Job Bramley, the Family Fry Pan Portrait Gallery, Leicester, Collection of Brett Payne

35mm colour print of LFP's first day at school, by Brett Payne, 13 January 1998, Collection of Brett Payne