Aug 13, 2018

Meadows... 'master of the great ordinary'


Boot-boys are 'Big Picture' in the Observer.

The Observer's Big Picture (Sunday 12 August 2018). In celebrating the forthcoming group photography show Distinctly Britain — at the Pingyao International Photography Festival, China — Sean O'Hagan features Meadows's 'Boot-boys' picture from the Free Photographic Omnibus, Barrow-in-Furness (1974).

Distinctly Britain, curated by Tracy Marshall, features 150 photographs by twelve artists who have been making work in Britain over the last five decades. Daniel Meadows is represented with a dozen of his National Portraits: Now & Then photographs. The other photographers included are: Elaine Constantine, Ken Grant, Paul Hill, Chris Killip, Markéta Luskańćová, Kirsty Mackay, Niall McDiarmid, Tish Murtha, John Myers, Paul Seawright and Martin Parr.  

Apr 28, 2022

The Guardian today.
A steeplejack takes a break in midair - Daniel Meadows' best photograph

Apr 21, 2022

It's Daniel Meadows week at Café Royal Books! A new title, a new reprint, and a new bundle… all available now.

Apr 11, 2022

Daniel Meadows interview now on YouTube.

Jan 16, 2022

The most comprehensive exhibition yet assembled of 'British documentary photography since the 1960s'. Opens at the Mönchehaus Museum, Goslar, Germany.
20 Feb 2022. 

Oct 30, 2019

Ben Smith’s podcast NOW LIVE: #116 Daniel Meadows

Aug 13, 2018

Boot-boys are 'Big Picture' in the Observer.

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.

<< Dana Atchley >>
Inspirations: 2 of 10

Two astonishing Digital Stories. Late 1990s.

Home Movies (aka The Turn Film) celebrates Atchley's grandfather's annual ritual of marching his four sons out of the house, walking them up the garden path and then telling them to do a 360 degree turn for the camera. By editing several of these "turn" clips together Atchley gives us a beautiful yet funny sequence of a family growing up, something he reflects upon in voice-over. Time is telescoped.

Redheads is narrated, both to camera and in voice-over, by Atchley's mother Martha who tells of her childhood growing up on a farm in western New York State.

I paid my first visit to Atchley's Next Exit site in the spring of 2000 and we immediately began an email exchange. He invited me to attend a Centre for Digital Storytelling workshop in Berkeley, California, later that year... which I did.