This is Photobus by Daniel Meadows, homepage of the Free Photographic Omnibus and Digital Stories. Photobus is a journey in photo documentary. It began in the 1970s with still photographs and continues into the present, a time when pictures have discovered the talkies.

ONCE UPON A TIME...

 


...I lived in a double-decker bus, reg. JRR 404, better known as the Free Photographic Omnibus. She was my home, my travelling darkroom and gallery.

For fourteen months in 1973 and '74, we travelled about making a national portrait of the English. We covered 10,000 miles shooting pictures and giving them away. In January 1975 we parted company. But that wasn't the end of the journey...

...I'm still working.

Interview with Daniel Meadows from Multistory.

 

NEWS

Sep 27, 2016

The Shop on Greame Street 1972 (Café Royal Books, 2016) by Daniel Meadows.

Aug 1, 2016

Living Like This (Arrow Books 1975) by Daniel Meadows is featured in the August 2016 issue of Life Force, 'the magazine of the photo-essay'.

Jul 4, 2016

Daniel Meadows at Miniclick talks, 30 June 2016, The Bargehouse, Oxo Gallery, London.

Jun 21, 2016

A new radio documentary The Free Photographic Omnibus, made by award winning British producer Olivia Humphreys and first broadcast 17 June 2016,
is available for free download.

May 13, 2016

Neville, a new film by Multistory, celebrates the reunion between photographer Daniel Meadows and Neville Davies whom he photographed over forty years ago.

Apr 27, 2016

Liz Johnston Drew of Birkbeck College finds a 'lyrical turn' in English documentary photography. 

Feb 24, 2016

Reactions to The Story 2016 (19 February) in a 'storify' of tweets and photos.

 

 

 

 

 

 

 

 

 

 

Polyfoto
r/t: 2 min, 23 sec.

In the UK when we ask: "Where are you from?" we want to know a lot more than just your place of birth.

This story is about the England I come from.

<< Roland Barthes >>
Inspirations: 3 of 10

Book. 1981. Camera Lucida, reflections on photography. After years of dispassionate analysis Barthes comes across a photograph of his mother as a child, the "winter garden photograph". He lets his feelings in and suddenly the ideas start bouncing off the page: "I had discovered this photograph by moving back through Time? I worked back through a life, not my own, but the life of someone I love. Starting from her latest image, taken the summer before her death (so tired, so noble, sitting in front of the door of our house, surrounded by my friends), I arrived, traversing three quarters of a century, at the image of a child: I stare intensely at the Sovereign Good of childhood, of the mother, of the mother-as-child. Of course I was then losing her twice over, in her final fatigue and in her first photograph, for me the last; but it was also at this moment that everything turned around and I discovered her as unto herself. "