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This story is close to my heart.

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And it is personal too.

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It is the story of a largely
forgotten London-born photographer,

4
00:00:35,000 --> 00:00:36,960
James Jarche.

5
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Jarche had a long and illustrious
career on Fleet Street.

6
00:00:42,480 --> 00:00:45,800
He began photographing before
the First World War

7
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and his images continued to be
printed as front page stories

8
00:00:49,560 --> 00:00:51,480
up until the 1950s.

9
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He always said it was a wonderful
life, it was a difficult life,

10
00:00:56,440 --> 00:00:58,280
it was a tough life.

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It wasn't the world of the paparazzi
as we know it today, though.

12
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This was pure news.

13
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Jarche took a good number of images
that have become iconic.

14
00:01:12,760 --> 00:01:16,800
Churchill in top hat peaking from
cover at the siege of Sydney Street.

15
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The candid shot of Edward
with a mystery woman

16
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before she had been identified as
Wallis Simpson.

17
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With his camera Jarche recorded many
of the great figures of his day.

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His story is personal for me

19
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because he was the man I
knew as Jimmy.

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He was my maternal grandfather.

21
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I grew up under his spell,
loving him dearly

22
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and it was Jimmy who gave me
my first camera,

23
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coached me in photography

24
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and passed on his passion for it.

25
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And he used to say to me,
he used to say,

26
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'When you look through the camera

27
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it's not what you see,
it is how you see it.'

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The greatest part of
your whole equipment

29
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has nothing to do with this.

30
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It has to do with this.
It has to do with your lens.

31
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50 years ago Jimmy gave me
his last camera, a Leica M3.

32
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I'm now going to use it to photograph
the world today.

33
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And in an attempt to understand his
career better

34
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I'm going to do what he did.

35
00:02:19,240 --> 00:02:21,040
(GUNSHOTS)

36
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I'm going to be sent on assignments
across Britain

37
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to experience what it's like to be
a press photographer.

38
00:02:27,920 --> 00:02:29,840
I'm going to photograph
the sort of images

39
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that Jimmy might have been asked
to photograph.

40
00:02:32,480 --> 00:02:36,240
I'm going to shoot some of the places
and the people that he shot.

41
00:02:45,200 --> 00:02:49,280
London seems to be a different city
from the one I know as a boy.

42
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So much has changed about Britain
during my lifetime.

43
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Jimmy once photographed the Thames
from a vantage point

44
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high up on the famous Shell building.

45
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Oh, my goodness me.

46
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It makes me go quite cold.

47
00:03:06,200 --> 00:03:08,720
Here I am. This is almost exactly
the same spot.

48
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Look at that.

49
00:03:12,280 --> 00:03:15,280
And actually he saw a bit of history
being made

50
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because this building was being built
at the time over 80 years ago.

51
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There are the girders.

52
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It is a snapshot of history.

53
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It is timeless and yet
it isn't timeless.

54
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Things have moved on

55
00:03:32,200 --> 00:03:34,040
and yet so much is still the same.

56
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Jimmy's father had a modest
photographic business

57
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by Tower Bridge.

58
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He died when Jimmy was only 10

59
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leaving his son and wife to run the
family business.

60
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It was by necessity that Jimmy became
a professional photographer

61
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when he was still just a boy.

62
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I also grew up in London with my
brothers John and Peter.

63
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We all remember Jimmy because he came
to live with us

64
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wen he was an old man.

65
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He was hugely charismatic

66
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and he entertained us all
with his vivid stories.

67
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We of course knew him as our beloved
grandfather

68
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rather than as a photographer with
a lifelong career on Fleet Street.

69
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To find out more about Jimmy
the photographer

70
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I've come to Getty Images to meet
the man who runs the archive,

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Matthew Butson.

72
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This is the largest commercial
archive in the world.

73
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There is about 85 million images
here on site.

74
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A lot of them we know about

75
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because they're well catalogued.

76
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But a lot of them we don't

77
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so we are still finding stuff we
didn't even know we had.

78
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It's like an Aladdin's cave.

79
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Most of this stuff is catalogued

80
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so we've got the day books,
index cards and what have you.

81
00:04:54,280 --> 00:04:56,800
I'm wondering how many of Jimmy's
photographs

82
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that have never seen the light
of day might lie buried
in these racks.

83
00:05:00,360 --> 00:05:02,960
Sometimes you get continuity
problems.

84
00:05:02,960 --> 00:05:04,680
So you get a run of negatives

85
00:05:04,680 --> 00:05:06,840
and then you think, 'Where has the
rest gone?'

86
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They have gone into another
collection

87
00:05:08,760 --> 00:05:11,880
so sometimes it's like trying to put
a jigsaw back together.

88
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So there is gold in them thar hills.
It's just a case of finding it.

89
00:05:15,560 --> 00:05:17,880
It really is in my
genre, a detective story.

90
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Absolutely.

91
00:05:19,600 --> 00:05:21,240
To try and find out.
Definitely.

92
00:05:21,240 --> 00:05:23,800
And an obvious
question, did you find any?

93
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We found a few.
Did you?

94
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I think you'll be interested, yeah.
Really?

95
00:05:28,200 --> 00:05:30,920
If you look at the
negatives these are 66 years old.

96
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Can I just see that?
Beautiful.

97
00:05:34,160 --> 00:05:36,160
And that is his photographs?

98
00:05:36,160 --> 00:05:40,160
Yeah, and you've got the original
caption slugs on the
back of the contact.

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00:05:40,800 --> 00:05:44,080
'Jarche. Life in Berlin.

100
00:05:45,120 --> 00:05:50,680
British soldiers sitting in
Hitler's desk turned upside down.'

101
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My goodness.

102
00:05:52,640 --> 00:05:56,480
And then you see it leads to the
actual published story.

103
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Yes.

104
00:05:58,520 --> 00:06:01,880
Wow. Look at the devastation
in Berlin.

105
00:06:02,600 --> 00:06:04,880
That is one of my favourite
in the Reichstag.

106
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That's a wonderful picture.

107
00:06:06,680 --> 00:06:08,640
Look at how sharp this is.

108
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He was using available light which
you can see coming down the stairs

109
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from a lamppost or something.

110
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If you look at some of the
colour work

111
00:06:17,760 --> 00:06:20,560
that transparency
could been taken yesterday.

112
00:06:20,560 --> 00:06:23,960
That is an extraordinary picture
of George Bernard Shaw.

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Absolutely pin sharp as well.

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George Bernard Shaw uses to say,

115
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'I like you, Jarche,

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because you don't make me look like
a white rat.'

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(LAUGHS)

118
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Well...

119
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He didn't, did he? I mean that's
a wonderful portrait, isn't it?

120
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I've not seen that.
It is a fabulous picture.

121
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Oh, my... Are these all
his front page pictures?

122
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Yeah, every single one of these.

123
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And this is just a smattering.

124
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He was a regular
on the front page,

125
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sometimes three weeks out of four
in a month.

126
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That is how highly
they regarded him.

127
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Was he very highly regarded?

128
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I think so. Absolutely.

129
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It just makes me so proud of him.

130
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Look how he got it. Look at this.

131
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I know.
Look...

132
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It's almost like a veil on her face,
isn't it?

133
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Through the tennis racket he's given
her a veil.

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That's like just reportage.

135
00:07:15,960 --> 00:07:18,360
No. That is what made Jarche so
interesting.

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He was very versatile in
what he captured.

137
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He covered every gamut
of photography.

138
00:07:23,800 --> 00:07:29,680
Oh, look. The victory portrait
of Winston Churchill.

139
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Taken by my grandfather.

140
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Boo-boom.

141
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That is a fabulous portrait.

142
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Isn't that great?
Absolutely.

143
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Oh, beautiful.

144
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What strikes me is
all these front covers,

145
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they are all people and
that's how I remember him.

146
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He loved people.

147
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Look, another one.

148
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Another one. They are people, people,
people.

149
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He was really
a people's photographer.

150
00:08:03,080 --> 00:08:06,400
I am amazed by the quantity
and the quality of Jimmy's work

151
00:08:06,400 --> 00:08:10,080
that Matt has been able to dredge up
from the depths of Getty's archive.

152
00:08:12,480 --> 00:08:14,400
It is a joy to see so many of his
images

153
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that are totally new to me.

154
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I'm beginning to form a clearer
impression of my grandfather

155
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and the huge body of work he left
behind.

156
00:08:24,720 --> 00:08:27,480
Jimmy was able to get along
with anyone.

157
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It was a quality that stood him in
good stead

158
00:08:29,520 --> 00:08:32,360
as a portrait photographer.

159
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I find that many of his portraits
really look beneath the skin

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to capture the sitter's character.

161
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I'd like to try my hand at doing
what he did.

162
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One more.

163
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I've been given a few minutes with
a series of people in a studio

164
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to capture the essence of who they
are and what they do.

165
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That is brilliant.

166
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A nice, big smile.

167
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Right.

168
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Hold it.

169
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Thank you very much.

170
00:09:11,680 --> 00:09:13,640
And a nice smile.

171
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Now look at me.

172
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Thank you.

173
00:09:21,480 --> 00:09:23,440
# Mac The Knife

174
00:09:35,880 --> 00:09:37,840
# Oh, the shark has

175
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Hello. How are you?

176
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Ow!

177
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Sometimes it will say cheese.
Oh, good! Yes, you do that.

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Occasionally.
Cheese.

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# Just a jackknife has old MacHeath

180
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# And he keeps it out of sight #

181
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Oh, my goodness.

182
00:09:56,600 --> 00:09:58,240
And just look at me down here.

183
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That's it.

184
00:10:02,640 --> 00:10:04,600
Thank you.

185
00:10:12,180 --> 00:10:14,140
(PIANO)

186
00:10:16,700 --> 00:10:19,820
On the trail of my press photographer
grandfather James Jarche

187
00:10:19,820 --> 00:10:21,700
I have come to
the Royal Ballet School

188
00:10:21,700 --> 00:10:24,940
to see if I can capture something
of these talented dancers.

189
00:10:30,940 --> 00:10:34,100
Like Jimmy I too get a huge
kick from photographing people.

190
00:10:34,900 --> 00:10:39,020
But the difference between us is
he was a pro.

191
00:10:39,020 --> 00:10:40,740
Photography for me is a passion

192
00:10:40,740 --> 00:10:43,860
but I have never known how it really
feels to be sent on an assignment

193
00:10:43,860 --> 00:10:46,420
and told don't come back
unless you get the shot.

194
00:10:51,940 --> 00:10:54,620
To discuss the rigour
involved in getting that shot,

195
00:10:54,620 --> 00:10:56,980
I've come to a place
that's always prided itself

196
00:10:56,980 --> 00:10:59,300
in publishing the world's
top photographers.

197
00:10:59,300 --> 00:11:02,420
The Sunday Times magazine.

198
00:11:02,420 --> 00:11:04,980
I'm here to meet the picture editor,
John Jones.

199
00:11:05,660 --> 00:11:07,500
John impressed on me

200
00:11:07,500 --> 00:11:10,740
just how important the invention of
cameras like my Leica

201
00:11:10,740 --> 00:11:12,580
has been for photojournalism.

202
00:11:12,580 --> 00:11:15,540
This suddenly freed people up

203
00:11:15,540 --> 00:11:17,780
to run around different angles,

204
00:11:17,780 --> 00:11:19,500
and shoot a lot of film,

205
00:11:19,500 --> 00:11:21,340
as opposed to one shot.

206
00:11:21,340 --> 00:11:23,620
And shoot stories.

207
00:11:23,620 --> 00:11:27,540
Because with cameras you couldn't
carry 10, 15, 20 plates.

208
00:11:27,540 --> 00:11:29,220
You'd have a couple of plates.

209
00:11:29,220 --> 00:11:31,660
That is very interesting.
So that small film cameras

210
00:11:31,660 --> 00:11:33,580
because it has so much film in it,

211
00:11:33,580 --> 00:11:35,500
you could actually do story
photography.

212
00:11:35,500 --> 00:11:37,300
Exactly. From me that
is the key thing.

213
00:11:37,300 --> 00:11:41,140
Narrative, shooting different
shapes, difficult angles.

214
00:11:41,140 --> 00:11:42,940
Different viewpoints.

215
00:11:42,940 --> 00:11:44,980
It is about breaking down
what you see.

216
00:11:45,300 --> 00:11:48,820
If you took all your prints from
whatever story you are shooting

217
00:11:48,820 --> 00:11:50,900
and you laid it all out
and made your edit,

218
00:11:50,900 --> 00:11:52,940
and you started top left

219
00:11:52,940 --> 00:11:55,860
and ran your eye across
all the columns.

220
00:11:55,860 --> 00:12:01,060
When you get to bottom right you
should understand everything
about that story.

221
00:12:01,060 --> 00:12:03,140
So rather than looking for
the picture

222
00:12:03,140 --> 00:12:07,260
that would win a competition every
time, just go for the story picture.

223
00:12:07,260 --> 00:12:09,060
The story.

224
00:12:09,060 --> 00:12:11,100
For me as an editor,
we have to lay this out.

225
00:12:11,100 --> 00:12:14,220
So I have to be able to have
the options.

226
00:12:14,220 --> 00:12:15,940
OK, OK.

227
00:12:15,940 --> 00:12:18,100
It doesn't take much just to turn
the camera,

228
00:12:18,100 --> 00:12:20,060
and shoot another frame.

229
00:12:20,060 --> 00:12:23,860
And would you worry too much about
apperture and this sort of thing?

230
00:12:23,860 --> 00:12:27,060
Would you demand that accuracy
from me all the time?

231
00:12:27,060 --> 00:12:29,020
Yes.
Absolutely? Yes.

232
00:12:29,020 --> 00:12:30,980
That is a given.

233
00:12:32,740 --> 00:12:34,900
You're not going to make it easy,
are you?

234
00:12:36,220 --> 00:12:38,620
With John's advice
in the forefront of my mind

235
00:12:38,620 --> 00:12:40,420
I am following in the footsteps

236
00:12:40,420 --> 00:12:42,940
of one of Jimmy's most moving picture
stories.

237
00:12:49,260 --> 00:12:52,660
In the summer of 1931
Jimmy was sent to South Wales

238
00:12:52,660 --> 00:12:55,980
to photograph the mining
communities of the Rhondda Valley.

239
00:13:01,420 --> 00:13:04,420
This series of mining photographs
from 80 years ago

240
00:13:04,420 --> 00:13:07,500
contain, for me, some of
his most enduring images.

241
00:13:26,540 --> 00:13:30,020
Welsh mining was at the time
in the grip of a harsh recession.

242
00:13:31,940 --> 00:13:34,340
The stark images that Jimmy captured

243
00:13:34,340 --> 00:13:38,540
are pure social documentary and take
me back into a forgotten world.

244
00:14:08,500 --> 00:14:10,460
Come on.

245
00:14:11,820 --> 00:14:13,740
That is all right.
He is in the frame.

246
00:14:15,660 --> 00:14:17,340
Lovely.

247
00:14:17,340 --> 00:14:19,020
Do you live here?

248
00:14:19,020 --> 00:14:20,700
Yeah, yeah. Up there.

249
00:14:20,700 --> 00:14:23,020
I'll tell you what.
I'm trying to find this.

250
00:14:23,860 --> 00:14:25,540
I recognise you from somewhere.

251
00:14:25,540 --> 00:14:27,220
Do you?
Off the telly maybe.

252
00:14:27,220 --> 00:14:28,940
It could be.
What is your name, sorry?

253
00:14:28,940 --> 00:14:30,700
David Suchet.
I thought it was.

254
00:14:30,700 --> 00:14:32,580
How do you do, Mr Suchet?
What is your name?

255
00:14:32,580 --> 00:14:34,420
Leighton.

256
00:14:34,420 --> 00:14:36,340
And that is...
Max.

257
00:14:37,900 --> 00:14:41,780
He is lovely, isn't he?
Do you recognise that street?

258
00:14:44,740 --> 00:14:47,620
I don't. The thing is, they all
looked the same.

259
00:14:47,620 --> 00:14:49,580
They had the small gardens in the
front

260
00:14:49,580 --> 00:14:51,420
and the toilets then ran all to
the back.

261
00:14:51,420 --> 00:14:53,300
Oh, these are toilets?

262
00:14:53,300 --> 00:14:56,220
Yeah, yeah, this used to be
where all the toilets were.

263
00:14:56,500 --> 00:14:58,420
All of them, yeah.

264
00:14:58,420 --> 00:15:01,340
How long ago were these all changed,
all this changed?

265
00:15:02,020 --> 00:15:03,900
I can't remember.

266
00:15:03,900 --> 00:15:07,020
There used to be up to 16, 17 people
living in these houses.

267
00:15:08,060 --> 00:15:10,700
That many?
Yeah, yeah, believe it or not.

268
00:15:10,700 --> 00:15:13,020
Or so my father-in-law
used to tell me.

269
00:15:13,020 --> 00:15:16,580
Because I gave him a hand to fix the
house up and everything.

270
00:15:16,580 --> 00:15:18,260
He used to run through the stories

271
00:15:18,260 --> 00:15:21,180
but they never used to be there
at the one time, except on a Sunday.

272
00:15:21,180 --> 00:15:25,300
On a Sunday that would all gather
and sing songs and all that.

273
00:15:25,300 --> 00:15:28,020
There was quite a community life.
Yeah, yeah.

274
00:15:28,020 --> 00:15:29,980
All the street...

275
00:15:30,780 --> 00:15:32,780
Well, thank you, Leighton,
very, very much.

276
00:15:32,780 --> 00:15:34,740
Bye-bye.

277
00:15:49,540 --> 00:15:51,500
I wonder.

278
00:15:51,940 --> 00:15:53,900
I wonder.

279
00:15:56,460 --> 00:15:58,420
I think I've found it.

280
00:15:59,820 --> 00:16:01,940
Well, I mean I don't know
for sure but...

281
00:16:02,420 --> 00:16:04,980
Look, look.

282
00:16:04,980 --> 00:16:06,940
There is the front gardens.

283
00:16:08,460 --> 00:16:10,300
There is the houses.

284
00:16:10,300 --> 00:16:12,100
Here is the road.

285
00:16:12,100 --> 00:16:17,820
I think this could be it and
there is a step in the houses

286
00:16:17,820 --> 00:16:19,780
just about here.

287
00:16:21,340 --> 00:16:25,060
And Jimmy would been able
to stand up on here

288
00:16:25,060 --> 00:16:26,780
to get that.

289
00:16:26,780 --> 00:16:28,660
I think I've found it.

290
00:16:28,660 --> 00:16:30,620
Oh, hello, I'm David Suchet.

291
00:16:31,060 --> 00:16:33,020
Hello, yes. I can see you are.

292
00:16:33,260 --> 00:16:37,140
Now, my grandfather took a picture of
one of the streets around here.

293
00:16:37,140 --> 00:16:40,380
And I just wondered if you would know
if this was your street?

294
00:16:40,380 --> 00:16:42,300
Yes, this is our street. Yes.

295
00:16:42,300 --> 00:16:43,980
Is it?
Yes.

296
00:16:43,980 --> 00:16:45,900
Mrs Ackerman, her daughter Betty.

297
00:16:45,900 --> 00:16:47,620
Yeah.

298
00:16:47,620 --> 00:16:49,580
Her father and her husband.

299
00:16:50,300 --> 00:16:53,380
And that is number 18.

300
00:16:53,380 --> 00:16:55,140
See the chicken?

301
00:16:55,140 --> 00:16:56,900
Yeah, Mr Owen.

302
00:16:56,900 --> 00:16:59,420
I can remember it.
How long have you lived here?

303
00:17:00,100 --> 00:17:01,860
I am 87.
You're not.

304
00:17:01,860 --> 00:17:03,700
I am so. I was born here.

305
00:17:03,700 --> 00:17:06,020
Where were you living at the time of
the photograph?

306
00:17:06,020 --> 00:17:07,700
Number five.
You were in number five.

307
00:17:07,700 --> 00:17:09,420
I was born at five.

308
00:17:09,420 --> 00:17:12,060
This was your house?
That wasn't our door, though.

309
00:17:12,060 --> 00:17:13,900
No. They have changed the door

310
00:17:13,900 --> 00:17:17,660
but you lived here when
this picture was taken.

311
00:17:17,660 --> 00:17:21,420
Did everybody have similar jobs
in this area?

312
00:17:21,420 --> 00:17:23,180
Yeah, it was mostly miners.

313
00:17:23,180 --> 00:17:24,980
Were they miners?

314
00:17:24,980 --> 00:17:29,020
This this gentleman, was he a miner?

315
00:17:29,020 --> 00:17:31,100
I would think so.
They're all miners.

316
00:17:31,100 --> 00:17:32,900
What was your dad?

317
00:17:32,900 --> 00:17:34,820
A miner.
He was a miner. Yes.

318
00:17:35,180 --> 00:17:37,340
And my husband.
Your husband was a miner?

319
00:17:38,540 --> 00:17:42,300
I could tell you lots of stories
about that house but I won't.

320
00:17:42,300 --> 00:17:44,260
(LAUGHTER)

321
00:17:44,260 --> 00:17:45,940
I know we were forbidden to go
there.

322
00:17:45,940 --> 00:17:47,620
Why, why?

323
00:17:47,620 --> 00:17:50,860
Don't you dare go to Mrs Ackerman's.
They're not very clean.

324
00:17:52,140 --> 00:17:58,100
So of course we would always say,
'No, we won't go, Mam.'

325
00:17:58,100 --> 00:18:00,100
But of course when Mam
went in, we went in.

326
00:18:00,100 --> 00:18:02,660
And then you saw... Was it just
a dirty house, then?

327
00:18:02,660 --> 00:18:04,540
Well...

328
00:18:04,540 --> 00:18:09,260
Their little boy he said, 'Mam,
I want to go to the toilet.'

329
00:18:09,260 --> 00:18:12,940
So she said, 'Oh, it's raining
nasty.

330
00:18:12,940 --> 00:18:15,340
Go on, have a wee on the mat.

331
00:18:15,340 --> 00:18:17,180
The fire will dry it!'

332
00:18:18,700 --> 00:18:21,300
Now, I remember that.

333
00:18:21,300 --> 00:18:23,100
And I was forbidden to go up there.

334
00:18:23,100 --> 00:18:25,740
Are you serious? This was
why the house was dirty.

335
00:18:26,220 --> 00:18:28,700
I wanted to tell my mother
and I couldn't tell her

336
00:18:28,700 --> 00:18:31,940
because she knew I'd been up there
if ever told her.

337
00:18:31,940 --> 00:18:34,260
You'd have been in trouble.
I would have, yes.

338
00:18:34,260 --> 00:18:36,220
So I had to keep it to myself.

339
00:18:37,420 --> 00:18:39,380
Are you ready? Nice smile, then.

340
00:18:41,340 --> 00:18:44,300
That is great.
Thank you very, very much.

341
00:18:55,900 --> 00:18:57,860
OK, back further.

342
00:19:04,460 --> 00:19:06,420
That is pretty good to me

343
00:19:07,140 --> 00:19:11,660
because if that chimney was growing
out the side there,

344
00:19:11,660 --> 00:19:14,180
there is the old road.

345
00:19:14,180 --> 00:19:16,140
But it is extraordinary.

346
00:19:16,300 --> 00:19:19,180
I mean, I'm virtually standing where
Jimmy was.

347
00:19:19,180 --> 00:19:24,180
It is very exciting.

348
00:19:24,980 --> 00:19:26,940
I've got it. I've got it.

349
00:19:27,100 --> 00:19:28,740
I've got to take that away

350
00:19:28,740 --> 00:19:31,060
because that will clear my view

351
00:19:31,060 --> 00:19:33,380
but I've got to take
this picture from here.

352
00:19:43,340 --> 00:19:45,300
Thank you very, very much.

353
00:19:48,540 --> 00:19:50,660
I discovered that in the valleys of
South Wales

354
00:19:50,660 --> 00:19:53,100
there has been a recent resurgence
in mining.

355
00:19:53,460 --> 00:19:55,700
A number of old pits have opened up

356
00:19:55,700 --> 00:19:59,340
and mining is an employer here once
again for young man

357
00:19:59,340 --> 00:20:03,020
whose fathers and grandfathers
worked underground.

358
00:20:03,020 --> 00:20:04,700
Hello.

359
00:20:04,700 --> 00:20:06,340
How are you, sir?
I'm well, thank you.

360
00:20:06,340 --> 00:20:08,060
How are you?

361
00:20:08,060 --> 00:20:12,060
I'm so pleased to know that your
grandfather had taken a picture
of my father.

362
00:20:12,060 --> 00:20:14,140
You what? He took a picture
of your dad?

363
00:20:14,140 --> 00:20:15,900
My father, yes.

364
00:20:15,900 --> 00:20:17,860
In that... Come and show me.

365
00:20:21,580 --> 00:20:23,300
In here?

366
00:20:23,300 --> 00:20:26,540
My father was a little man
and always worked with the horses.

367
00:20:26,540 --> 00:20:28,460
Is that your dad?
Yes. That is him.

368
00:20:29,100 --> 00:20:31,020
Oh, my goodness.

369
00:20:31,020 --> 00:20:36,300
My father worked from Penallta
from 1930 until he was 69.

370
00:20:36,300 --> 00:20:39,100
There was no retiring age then.

371
00:20:39,100 --> 00:20:41,020
You worked as long
as they wanted to.

372
00:20:41,940 --> 00:20:45,100
So in his sixties we made him
finish at 65.

373
00:20:45,100 --> 00:20:50,140
Before then there was men down
the pit at 70, sometimes 80.

374
00:20:50,140 --> 00:20:51,900
Did you work in the pits?

375
00:20:51,900 --> 00:20:53,860
Yes, I went down the pits, this pit.

376
00:20:54,180 --> 00:20:56,220
Come and have a look at this. Look.

377
00:20:58,380 --> 00:21:00,340
That is his dad.

378
00:21:00,620 --> 00:21:04,820
I left school I was 14
and went down Penallta pit.

379
00:21:04,820 --> 00:21:08,660
Yeah. I was a collier down here
from 1939 to 1970.

380
00:21:09,660 --> 00:21:11,460
Is it nice to see your dad like that?

381
00:21:11,460 --> 00:21:13,140
Yes, yes.

382
00:21:13,140 --> 00:21:15,500
What does it make you feel
when you see Dad like that?

383
00:21:15,500 --> 00:21:17,340
Gets me thinking a lot.

384
00:21:17,340 --> 00:21:20,420
My father had gone to the 1914
war and back down the pit.

385
00:21:20,420 --> 00:21:23,780
So he had seen a long life,
a hard life.

386
00:21:24,740 --> 00:21:26,700
This is the number one shaft.

387
00:21:26,860 --> 00:21:29,420
One is a downcast. That one.

388
00:21:30,260 --> 00:21:32,580
So the air went down that one,
circulated

389
00:21:32,580 --> 00:21:34,940
and up the upcast at number two.

390
00:21:34,940 --> 00:21:36,740
And how deep is this?

391
00:21:36,740 --> 00:21:38,700
About half a mile.

392
00:21:39,260 --> 00:21:41,700
Really? About half a mile down?

393
00:21:41,700 --> 00:21:43,340
A tough life?

394
00:21:43,460 --> 00:21:45,140
Hard. Well, these guys know.

395
00:21:45,140 --> 00:21:46,860
Is it really tough down there?

396
00:21:46,860 --> 00:21:49,620
Not as bad as it was years ago.
No, it is better now.

397
00:21:49,620 --> 00:21:52,420
And how much coal
have you produced today?

398
00:21:52,420 --> 00:21:55,580
Hopefully we are looking to produce
a million tons a year. Hopefully.

399
00:21:56,500 --> 00:21:58,460
(BANTERING AND LAUGHING)

400
00:22:06,180 --> 00:22:09,260
I really
didn't know that mining still existed

401
00:22:09,260 --> 00:22:11,700
in the way it existed 50, 60 years
ago.

402
00:22:13,380 --> 00:22:16,340
You know, I am witnessing
the past in the present.

403
00:22:16,340 --> 00:22:18,700
It is schizophrenic for me.

404
00:22:18,700 --> 00:22:21,940
To see miners come out in that state,

405
00:22:21,940 --> 00:22:24,660
it reminds me of so many
of my grandfather's photographs.

406
00:22:24,660 --> 00:22:26,380
It hasn't changed.

407
00:22:26,380 --> 00:22:28,820
Thank you. Thank you very much.

408
00:22:28,820 --> 00:22:30,420
How long have you been down
the mines?

409
00:22:30,420 --> 00:22:35,020
33 years. I started in 1979.

410
00:22:35,020 --> 00:22:39,380
In the Britannia mining school of
training.

411
00:22:39,380 --> 00:22:41,300
And all the time.

412
00:22:41,300 --> 00:22:44,100
And you, how long have you been?
Three weeks.

413
00:22:44,100 --> 00:22:45,780
Three weeks!
Yes, just started.

414
00:22:45,780 --> 00:22:47,580
So are you?

415
00:22:47,580 --> 00:22:49,620
Father and son.
You are father and son.

416
00:22:52,660 --> 00:22:54,620
That is really lovely.

417
00:23:02,020 --> 00:23:06,540
# I remember the face of my father

418
00:23:07,540 --> 00:23:12,900
# As we walked back home
from the mine

419
00:23:13,500 --> 00:23:18,380
# He'd laugh and
he'd say that's one more day

420
00:23:18,380 --> 00:23:23,140
# And it's good
to feel the sun shine

421
00:23:23,980 --> 00:23:28,700
# Take me home to my family

422
00:23:29,340 --> 00:23:34,180
# Take me home to my friends

423
00:23:34,780 --> 00:23:40,260
# Take me home where my heart lies

424
00:23:40,260 --> 00:23:42,820
# And let me

425
00:23:43,820 --> 00:23:47,660
# Let me, let me sing again

426
00:23:51,540 --> 00:23:53,500
# Take me home

427
00:23:53,780 --> 00:23:56,300
# Let me sing again

428
00:23:56,860 --> 00:23:58,860
# Take me home

429
00:23:58,860 --> 00:24:01,500
# Let me sing again

430
00:24:02,100 --> 00:24:04,060
# Take me home

431
00:24:04,580 --> 00:24:07,300
# Let me sing again

432
00:24:08,900 --> 00:24:16,220
# Take me home #

433
00:24:17,780 --> 00:24:19,740
(WHISTLES)

434
00:24:49,500 --> 00:24:52,140
I am very familiar with the pictures
of my grandfather

435
00:24:52,140 --> 00:24:55,420
with General Eisenhower
and General Montgomery.

436
00:24:56,180 --> 00:24:58,300
I know that during the Second
World War,

437
00:24:58,700 --> 00:25:01,700
Jimmy was working for both
Illustrated and Life Magazine.

438
00:25:01,700 --> 00:25:03,980
But I've never had
a very precise idea

439
00:25:03,980 --> 00:25:07,300
of where exactly they sent him
with his camera.

440
00:25:10,260 --> 00:25:13,060
My brother John has experience
of war zones

441
00:25:13,060 --> 00:25:15,700
from his time as a correspondent
in Afghanistan.

442
00:25:16,140 --> 00:25:19,620
But I can only imagine what
it takes to be a war photographer.

443
00:25:19,620 --> 00:25:22,700
We decided to visit the archives
of the Imperial War Museum

444
00:25:22,700 --> 00:25:26,140
where assistant curator
Rosanna Wilkinson

445
00:25:26,140 --> 00:25:28,180
had dug out a heap
of Jimmy's photographs.

446
00:25:28,180 --> 00:25:30,660
This is a campaign in Libya.
Libya, Lebanon.

447
00:25:30,660 --> 00:25:32,540
Libya.

448
00:25:32,540 --> 00:25:35,260
Goodness me. Did you know
that Jimmy had been to Libya?

449
00:25:35,260 --> 00:25:37,220
I had no idea.

450
00:25:37,220 --> 00:25:39,420
This is it.
That is the man. There he is.

451
00:25:39,420 --> 00:25:41,380
Oh, my goodness.
That is Jimmy.

452
00:25:41,380 --> 00:25:43,100
I think that is
when he first arrived.

453
00:25:43,100 --> 00:25:47,060
In March 1941 he immediately set
out on the trail of the Australians
across the desert.

454
00:25:47,060 --> 00:25:50,300
They were fighting for this Italian
oasis village of Giarabub.

455
00:25:50,300 --> 00:25:52,820
And he arrived two days
after they had taken the village

456
00:25:52,820 --> 00:25:55,780
and he was there to photograph
the Italian dead.

457
00:25:55,780 --> 00:25:58,460
Those are amongst the first
sights he saw when he arrived.

458
00:25:58,460 --> 00:26:00,180
Goodness me.

459
00:26:00,180 --> 00:26:02,700
'Australian soldier finds a bust
in bronze of Mussolini

460
00:26:02,700 --> 00:26:04,380
and wishes it were alive.'

461
00:26:04,380 --> 00:26:06,940
Because he is strangling it.

462
00:26:06,940 --> 00:26:09,260
I love that. That is great.

463
00:26:09,260 --> 00:26:13,140
Look at that print.

464
00:26:13,140 --> 00:26:15,620
Italian prisoners.
That is a great photo.

465
00:26:32,660 --> 00:26:34,980
He's in North Africa in '41.
When did he go to Burma?

466
00:26:34,980 --> 00:26:37,260
He went to Burma in early 1942.

467
00:26:37,260 --> 00:26:39,620
The Japanese invaded in early '42.

468
00:26:39,620 --> 00:26:41,700
That is what he was photographing.

469
00:26:41,700 --> 00:26:44,580
So it is 180 mile road

470
00:26:44,580 --> 00:26:47,780
that they are trying to
get Indian refugees going.

471
00:26:47,780 --> 00:26:49,860
One photograph that
is quite well known.

472
00:26:49,860 --> 00:26:52,460
It is a portrait of a Chindit who is
using his rucksack

473
00:26:52,460 --> 00:26:54,860
to shield his face from the sun.
Oh, my goodness.

474
00:26:54,860 --> 00:26:57,860
And this quite well-known because
we get a lot of people writing in

475
00:26:57,860 --> 00:27:00,780
thinking it is a relative. I've got
quite a few people write in

476
00:27:00,780 --> 00:27:03,220
and they are convinced they can
identify this person

477
00:27:03,220 --> 00:27:06,020
and sadly we can't confirm it
because he's not been identified.

478
00:27:06,300 --> 00:27:08,020
That is a wonderful picture.

479
00:27:08,020 --> 00:27:10,220
It is, it is. I think it's
a brilliant shot.

480
00:27:13,500 --> 00:27:15,540
That is a brilliant picture.

481
00:27:15,540 --> 00:27:18,180
Oh, yeah. See, that's what I always
knew him as.

482
00:27:18,180 --> 00:27:20,140
Oh, my God.

483
00:27:21,220 --> 00:27:24,580
Oh, that is...that is terrible.

484
00:27:24,580 --> 00:27:26,980
He never spoke to us about any of
that, did he?

485
00:27:26,980 --> 00:27:28,980
No.

486
00:27:28,980 --> 00:27:32,020
'The body of a Japanese airman
killed with five others

487
00:27:32,020 --> 00:27:34,380
when a bomber was shot down by RAF
fighters.'

488
00:27:35,220 --> 00:27:36,900
Oh, dear.

489
00:27:36,900 --> 00:27:39,940
Although it was something that he
preferred not to talk about

490
00:27:39,940 --> 00:27:43,620
Jimmy had obviously recorded many of
the more horrific aspects of war.

491
00:27:43,620 --> 00:27:45,980
In North African and the Far East

492
00:27:45,980 --> 00:27:49,620
he felt the heat of battle and
experienced what it's like to be
under fire.

493
00:27:49,620 --> 00:27:51,620
(GUNSHOTS)

494
00:27:55,260 --> 00:27:57,220
(SHOUTING AND GUNSHOTS)

495
00:27:59,180 --> 00:28:01,940
I've joined up with the British Army
during training.

496
00:28:01,940 --> 00:28:05,100
It's a simulated battle but it gives
me a much clearer idea

497
00:28:05,100 --> 00:28:07,340
of how it feels to be caught in the
thick of things

498
00:28:07,340 --> 00:28:09,340
armed only with a Leica.

499
00:28:12,420 --> 00:28:14,420
(GUNSHOTS)

500
00:28:18,180 --> 00:28:20,140
(MACHINE GUN FIRE)

501
00:28:21,020 --> 00:28:23,580
The extraordinary thing about this is
the adrenaline.

502
00:28:23,580 --> 00:28:25,260
OK!

503
00:28:25,260 --> 00:28:27,020
When you look through this

504
00:28:27,020 --> 00:28:29,500
you're almost immune. You are not
aware of the danger.

505
00:28:29,500 --> 00:28:31,460
You are sort of removed from it.

506
00:28:34,700 --> 00:28:36,380
It's all happening so quickly

507
00:28:36,380 --> 00:28:39,460
and you never know if you are
in the right place at the right time.

508
00:28:39,460 --> 00:28:41,220
You never know if you've got
anything.

509
00:28:41,220 --> 00:28:43,180
(GUNFIRE AND SHOUTING)

510
00:28:44,180 --> 00:28:46,140
I've got to change film.

511
00:28:47,420 --> 00:28:49,380
Keep calm.

512
00:28:49,780 --> 00:28:51,780
Agh. I just lost the film!

513
00:28:52,700 --> 00:28:54,660
I have just lost this film.

514
00:28:54,660 --> 00:28:57,300
I've opened the back and I thought
it was wound on.

515
00:29:00,340 --> 00:29:02,340
Oh, my goodness me.

516
00:29:04,820 --> 00:29:08,460
The language Jimmy might have used to
describe my performance under fire

517
00:29:08,460 --> 00:29:10,620
I suspect would not get past the
censor.

518
00:29:11,340 --> 00:29:13,700
Even though this wasn't a real fight

519
00:29:13,700 --> 00:29:18,660
I can tell you it's incredibly hard
to operate a camera with gunfire
raging about you.

520
00:29:18,660 --> 00:29:23,260
It only gives me even more respect
for Jimmy and all war photographers

521
00:29:23,260 --> 00:29:25,220
who really do go into battle.

522
00:29:27,980 --> 00:29:29,980
# THE LAST POST

523
00:29:41,180 --> 00:29:44,060
Jimmy took an historic photograph
here at the Cenotaph

524
00:29:44,060 --> 00:29:46,060
in November 1937.

525
00:29:46,300 --> 00:29:49,300
During the two-minute silence a man
ran out screaming.

526
00:29:49,740 --> 00:29:52,540
And as the police pounced on him and
wrestled him to the ground

527
00:29:52,540 --> 00:29:54,500
just yards from the King,

528
00:29:54,620 --> 00:29:56,620
Jimmy got the shot.

529
00:30:00,580 --> 00:30:02,540
But, look, no-one turns a hair.

530
00:30:03,540 --> 00:30:05,580
We've got Atlee, Chamberlain.

531
00:30:05,580 --> 00:30:07,540
Yes.

532
00:30:07,540 --> 00:30:12,180
And that was a stolen photograph
because you're not allowed to take
pictures at that point.

533
00:30:12,180 --> 00:30:15,340
And that appeared in The Weekly
Illustrated.

534
00:30:15,340 --> 00:30:19,580
Yeah. I had no idea there was an
incident of that sort of nature.

535
00:30:44,300 --> 00:30:46,180
Jimmy's theatre photographs

536
00:30:46,180 --> 00:30:48,540
are a striking contrast to
his images of war.

537
00:30:48,820 --> 00:30:51,140
I find these pictures particularly
fascinating.

538
00:30:52,620 --> 00:30:56,740
I'm heading backstage to photograph
the cast of the West End musical
Wicked.

539
00:30:58,500 --> 00:31:01,820
As an actor, I know only too well how
it feels to be photographed.

540
00:31:01,820 --> 00:31:05,020
For me, it's all about the trust and
intimacy established

541
00:31:05,020 --> 00:31:06,980
between photographer and sitter.

542
00:31:08,420 --> 00:31:10,180
# The boys watch the girls

543
00:31:10,180 --> 00:31:13,140
# While the girls watch the boys who
watch the girls go by

544
00:31:15,020 --> 00:31:16,980
# Eye to eye

545
00:31:17,380 --> 00:31:19,860
# They solemnly convene
to make the scene

546
00:31:20,780 --> 00:31:23,780
# Which is the name of the game,
watch a guy, watch a dame

547
00:31:23,780 --> 00:31:25,740
# On any street and town

548
00:31:27,380 --> 00:31:29,340
# Up and down

549
00:31:29,580 --> 00:31:32,940
# And over and across, romance is
boss

550
00:31:32,940 --> 00:31:34,900
# Guys talk, girls talk

551
00:31:36,380 --> 00:31:38,340
# It happens everywhere

552
00:31:39,660 --> 00:31:41,620
# Eyes watch, girls walk...#

553
00:31:42,980 --> 00:31:47,060
Jimmy took these colour images of a
London show called The Lilac Domino

554
00:31:47,060 --> 00:31:49,020
in 1944.

555
00:31:50,780 --> 00:31:53,300
I'm curious to know what a pro
feels about them.

556
00:31:53,500 --> 00:31:55,460
Where is the light source?

557
00:31:55,980 --> 00:31:58,820
Terry O'Neil, famous for his movie
start portraits,

558
00:31:58,820 --> 00:32:01,980
began as a press photographer
on the same London paper as Jimmy.

559
00:32:03,180 --> 00:32:05,140
It's like a painting, isn't it?
It is.

560
00:32:05,980 --> 00:32:07,940
Sharp as a tack.

561
00:32:08,340 --> 00:32:11,740
I mean, you couldn't beat that
today.

562
00:32:12,020 --> 00:32:13,860
Look at that. Is that cheeky?

563
00:32:13,860 --> 00:32:15,540
Yes.

564
00:32:15,540 --> 00:32:17,220
That was very risque at the time.

565
00:32:17,220 --> 00:32:20,540
Wasn't it? I mean, how do you bring
out your subjects when you...

566
00:32:20,540 --> 00:32:23,580
Well, I mean, I prefer to be totally
ignored.

567
00:32:23,580 --> 00:32:25,780
Literally, just sort of...
Just be invisible.

568
00:32:25,780 --> 00:32:29,460
That's the best thing. What is the
most difficult portrait
you've ever had to take?

569
00:32:29,460 --> 00:32:31,420
Oh, God. Ageing sex symbols.

570
00:32:32,060 --> 00:32:34,140
Ageing sex symbols?
Yeah. As they get older.

571
00:32:34,140 --> 00:32:36,060
Seriously?
Yeah.

572
00:32:36,220 --> 00:32:38,820
I mean, Raquel Welsh, she happens to
be a friend of mine.

573
00:32:38,820 --> 00:32:41,860
But in the begining she'd be half an
hour.

574
00:32:41,860 --> 00:32:44,020
When she was 30, she'd be an hour.

575
00:32:44,020 --> 00:32:45,740
40 - two hours

576
00:32:45,740 --> 00:32:48,700
And 50 - three hours, and so on.

577
00:32:48,700 --> 00:32:50,660
I mean, they are a nightmare.

578
00:32:51,020 --> 00:32:53,460
They think they'd let people down.

579
00:32:53,460 --> 00:32:57,580
Which in a sense they do but you
can't defy nature, can you?

580
00:32:57,580 --> 00:32:59,500
No.
No.

581
00:32:59,620 --> 00:33:01,660
And that's great as well.

582
00:33:01,660 --> 00:33:03,620
I'd love to have met him.

583
00:33:07,820 --> 00:33:11,140
Jimmy was always very comfortable
photographing Hollywood glamour.

584
00:33:12,460 --> 00:33:15,300
And more importantly he made them
feel comfortable.

585
00:33:25,260 --> 00:33:27,060
Just like that.

586
00:33:27,060 --> 00:33:28,860
I'm just going to just focus,
darling.

587
00:33:35,980 --> 00:33:38,420
Making a portrait of a performer is
one thing.

588
00:33:38,780 --> 00:33:41,780
Shooting a performance in motion is
another skill altogether.

589
00:33:41,780 --> 00:33:44,940
# When the moon hit your eyes

590
00:33:44,940 --> 00:33:47,140
# Like a big pizza pie

591
00:33:47,140 --> 00:33:49,460
# That's amore

592
00:33:51,820 --> 00:33:54,420
# When the world seems to shine

593
00:33:54,420 --> 00:33:56,380
# Like you've had too much wine

594
00:33:56,380 --> 00:33:58,180
# That's amore...

595
00:33:58,180 --> 00:34:00,140
That's fantastic.

596
00:34:01,100 --> 00:34:04,420
# Bells will
ring, ding-a-ling, a-ling

597
00:34:04,420 --> 00:34:06,340
OK, continue that.

598
00:34:06,340 --> 00:34:08,500
Great.

599
00:34:08,500 --> 00:34:10,460
Great.

600
00:34:11,100 --> 00:34:13,140
# Hearts a-play, tippy-tippy tay

601
00:34:13,140 --> 00:34:14,900
# Tippy-tippy tay

602
00:34:14,900 --> 00:34:17,460
# Like a gay tarantella

603
00:34:18,860 --> 00:34:20,620
Oh, great, this is fantastic.

604
00:34:20,620 --> 00:34:22,740
I don't know how I'm going to get
anything at all.

605
00:34:43,060 --> 00:34:44,700
Yoo-hoo!

606
00:34:44,700 --> 00:34:46,660
Bravo!

607
00:34:47,020 --> 00:34:49,820
I've literally been looking at the
world through Jimmy's lens

608
00:34:49,820 --> 00:34:51,460
these past few weeks.

609
00:34:51,460 --> 00:34:53,220
While on the same sort of assignments

610
00:34:53,220 --> 00:34:55,220
that his editor might have sent him
on.

611
00:34:55,220 --> 00:34:57,660
But I'd still love to be able to
photograph someone

612
00:34:57,660 --> 00:34:59,380
that Jimmy actually photographed.

613
00:35:00,580 --> 00:35:02,660
Amazingly, I've managed to find them.

614
00:35:02,900 --> 00:35:05,620
And remarkably, they are still doing
the same job.

615
00:35:07,620 --> 00:35:09,420
Jimmy said that in his early days

616
00:35:09,420 --> 00:35:11,580
if you could get within 30 yards
of royalty,

617
00:35:11,580 --> 00:35:13,580
you were a first class photographer.

618
00:35:13,860 --> 00:35:15,820
To him, it was all about access.

619
00:35:19,980 --> 00:35:23,300
Jimmy photographed the Queen even
before she became queen.

620
00:35:23,300 --> 00:35:25,420
He photographed her at her
coronation.

621
00:35:26,180 --> 00:35:28,140
And many times afterwards too.

622
00:35:29,380 --> 00:35:30,940
During his lifetime

623
00:35:31,460 --> 00:35:34,340
he saw the formal relationship
between the press and the palace

624
00:35:34,340 --> 00:35:36,300
relax enormously.

625
00:35:36,740 --> 00:35:38,700
But to be up so close

626
00:35:38,700 --> 00:35:42,540
photographing the Queen with Jimmy's
old Leica is really momentous for me.

627
00:35:42,540 --> 00:35:44,500
I can hear him on my shoulder.

628
00:35:44,780 --> 00:35:46,740
'In there, boy. Keep it steady.

629
00:35:47,020 --> 00:35:48,780
Keep it sharp. Get the shot.'

630
00:35:56,660 --> 00:36:00,700
Any decent press photographer must
have what it takes to get the scoop.

631
00:36:00,700 --> 00:36:04,860
They probably need a pretty thick
skin and very often the gift of the
gab

632
00:36:04,860 --> 00:36:07,980
to get behind the closed doors of
powerful institutions.

633
00:36:09,140 --> 00:36:13,300
On many occasions, Jimmy managed to
gain incredibly privileged access

634
00:36:13,300 --> 00:36:17,140
to capture intimate, behind the
scenes moments with Prime Ministers.

635
00:36:18,140 --> 00:36:21,020
Labour Prime Minister Clement Attlee
at home in Stanmore.

636
00:36:22,060 --> 00:36:25,180
Liberal Prime Minister David Lloyd
George in Churt.

637
00:36:25,180 --> 00:36:28,420
And Conservative Prime Minister
Winston Churchill.

638
00:36:29,460 --> 00:36:32,180
It's amazing to me that Jimmy managed
to achieve

639
00:36:32,180 --> 00:36:35,060
such relaxed cooperation with these
past leaders.

640
00:36:35,060 --> 00:36:37,540
His is a pretty hard act to follow.

641
00:36:38,780 --> 00:36:41,820
But now it's my moment to see what I
can pull out of the bag.

642
00:36:44,740 --> 00:36:46,780
Prime Minister.
David, welcome.

643
00:36:46,780 --> 00:36:48,740
Thank you.
Great to have you here.

644
00:36:48,740 --> 00:36:52,700
This is a fantastic picture. This is
the Karsh picture of Churchill.

645
00:36:52,700 --> 00:36:55,380
Apparently he took ages trying to
get the right shot.

646
00:36:55,380 --> 00:36:58,460
Churchill was puffing this cigar all
the way through.

647
00:36:58,460 --> 00:37:03,540
The moment he got the shot was he
pulled the cigar out of his mouth
and Churchill made this angry face.

648
00:37:03,540 --> 00:37:07,380
That was the bulldog picture that
helped to inspire the nation.

649
00:37:07,380 --> 00:37:10,100
It's a great picture, isn't it?
Great picture.

650
00:37:10,100 --> 00:37:13,860
Jimmy got this one. It was the
victory picture.

651
00:37:13,860 --> 00:37:17,380
That's fantastic. And actually,
amazingly, that looks clear.

652
00:37:17,380 --> 00:37:19,460
That's not the brandy you'd expect.

653
00:37:19,460 --> 00:37:21,500
(LAUGHS)
That's quite interesting.

654
00:37:22,340 --> 00:37:24,820
But it's a very good picture.

655
00:37:24,820 --> 00:37:27,940
We'll wander up the stairs and I'll
show you some of the others.

656
00:37:27,940 --> 00:37:31,140
This is a great place to come and
see Prime Ministerial pictures.

657
00:37:31,140 --> 00:37:34,380
They don't put your picture up till
you've gone, that's the only...

658
00:37:34,380 --> 00:37:37,820
You've been photographed thousands
of times. What's it like?

659
00:37:37,820 --> 00:37:40,940
Are you ever worried about what they
might catch or not catch?

660
00:37:40,940 --> 00:37:44,580
When you walk under the sign saying
exit or...

661
00:37:44,580 --> 00:37:47,980
Sometimes there's suddenly a flurry
of clicks

662
00:37:47,980 --> 00:37:50,860
and you think, 'What was it behind
me?' and you have a look.

663
00:37:50,860 --> 00:37:54,420
But I had one great moment where I
got one over the photographers

664
00:37:54,420 --> 00:37:57,140
where I was in the underground in
Delhi.

665
00:37:57,140 --> 00:37:59,860
I was standing in front of a model
of the drill...

666
00:37:59,860 --> 00:38:02,740
that had helped to drill out the
Delhi underground.

667
00:38:02,740 --> 00:38:04,780
The sign in front of the drill said,

668
00:38:04,780 --> 00:38:07,340
'this is the international boring
machine'.

669
00:38:07,340 --> 00:38:09,740
But that was on my side, not the
press side.

670
00:38:09,740 --> 00:38:13,780
So I said, this is what you're
missing out on! You'll never get
that picture!

671
00:38:13,780 --> 00:38:15,460
(LAUGHS)
That was great!

672
00:38:15,460 --> 00:38:17,460
So these are the last...
Oh, look!

673
00:38:17,460 --> 00:38:19,540
So this is the last few.

674
00:38:19,540 --> 00:38:23,860
Apparently Jim Callaghan did put up
when he left a colour picture...

675
00:38:23,860 --> 00:38:26,260
because he wanted to start a new
trend. Here?

676
00:38:26,260 --> 00:38:29,620
He put up a colour picture and then
Margaret Thatcher said,

677
00:38:29,620 --> 00:38:34,460
'We're not having any of that,' so
the colour picture went and this one
went up instead.

678
00:38:34,460 --> 00:38:36,420
Perfect. And now right to me.

679
00:38:48,260 --> 00:38:51,700
I'm heading across London to Robin
Bell's photographic lab,

680
00:38:51,700 --> 00:38:54,660
where everything's still done the
traditional way.

681
00:38:54,660 --> 00:38:57,580
With all the nerves of an expectant
parent,

682
00:38:57,580 --> 00:39:02,380
I'm anxious to see how the
photographs I've taken these past few
weeks have turned out.

683
00:39:02,380 --> 00:39:05,980
I'm not sure what the chronology of
it all is.

684
00:39:05,980 --> 00:39:08,060
It doesn't matter.

685
00:39:08,060 --> 00:39:10,420
Go through them and see what you
think.

686
00:39:10,420 --> 00:39:12,500
Have a first impression.

687
00:39:12,500 --> 00:39:15,260
Oh, they're all exposed right!
They are.

688
00:39:15,260 --> 00:39:18,340
They're technically really, really
good, honestly.

689
00:39:18,340 --> 00:39:22,620
The mining ones are fantastic. I've
had a look through. They're really
strong.

690
00:39:24,460 --> 00:39:26,500
Oh, I love... I really do like that
one.

691
00:39:27,860 --> 00:39:32,140
Is this a recreation...? That's a
recreation of Jimmy's picture.

692
00:39:32,140 --> 00:39:34,100
Oh, my God!

693
00:39:35,300 --> 00:39:37,260
I really can't believe it and...

694
00:39:38,100 --> 00:39:40,140
It's quite a moment, isn't it?

695
00:39:40,140 --> 00:39:42,500
Why should I find it so emotional?

696
00:39:43,700 --> 00:39:45,700
Cos you did it. You did it.

697
00:39:45,700 --> 00:39:48,180
You cracked it, everything you set
out to do.

698
00:39:48,180 --> 00:39:50,140
Have a look at some more.

699
00:39:51,300 --> 00:39:53,340
Have a look at some more.

700
00:39:53,340 --> 00:39:55,420
That's super.

701
00:39:55,420 --> 00:39:58,340
I'm sure this is beginner's luck. I'm
sure of it.

702
00:39:59,300 --> 00:40:03,020
I think Jimmy was on my shoulder. I
think he did these for me.

703
00:40:03,020 --> 00:40:04,980
I don't think it's anything to do
with me.

704
00:40:06,820 --> 00:40:08,900
Back at The Sunday Times Magazine,

705
00:40:08,900 --> 00:40:12,620
John Jones casts an experienced
editor's eye over my photographs.

706
00:40:15,660 --> 00:40:18,580
Lot of space up here.
Yes. That's for your caption.

707
00:40:18,580 --> 00:40:22,180
OK, so the cover lines and all that
kind of stuff all go on there, OK.

708
00:40:27,140 --> 00:40:29,580
Not sure it works lying down like
that. No.

709
00:40:34,180 --> 00:40:36,140
That was shot in 1931.

710
00:40:37,580 --> 00:40:40,700
This is the modern equivalent but the
past is still there.

711
00:40:40,700 --> 00:40:42,780
Yeah, I know, it's fantastic.

712
00:40:42,780 --> 00:40:46,300
I think these then and now are
always a nice idea.

713
00:40:46,300 --> 00:40:48,940
Especially with the connection that
you have.

714
00:40:48,940 --> 00:40:50,860
Like that.
Thank you.

715
00:40:55,620 --> 00:40:57,980
That's really nice. Like that.

716
00:40:59,220 --> 00:41:01,820
Would you use any?
I would use that.

717
00:41:01,820 --> 00:41:04,980
Would you?
I think if we were doing a...

718
00:41:04,980 --> 00:41:07,060
an interview with him...

719
00:41:07,060 --> 00:41:09,500
I think it's an accomplished
portrait of him.

720
00:41:10,820 --> 00:41:14,340
That The Sunday Times might even
publish one of my photographs

721
00:41:14,340 --> 00:41:17,260
isn't something I'd ever imagined
before now.

722
00:41:17,260 --> 00:41:20,100
I'm sure that, while Jimmy would keep
me in my place,

723
00:41:20,100 --> 00:41:22,860
he too would be secretly chuffed for
his grandson.

724
00:41:24,780 --> 00:41:27,180
I think that by re-examining Jimmy's
work

725
00:41:27,180 --> 00:41:30,660
and taking his camera out of its case
these past couple of weeks,

726
00:41:30,660 --> 00:41:33,780
I've somehow learnt an enormous
amount from him again.

727
00:41:33,780 --> 00:41:37,980
I've always loved his images. Of
course I have - I'm biased.

728
00:41:37,980 --> 00:41:41,100
But I'm really keen to know how the
experts view him today.

729
00:41:42,620 --> 00:41:45,060
Armed with a folio of Jimmy's
photographs,

730
00:41:45,060 --> 00:41:48,020
I'm on my way to the Michael Hoppen
Gallery in Chelsea

731
00:41:48,020 --> 00:41:51,740
to meet four people who are top
players in the world of photography.

732
00:41:51,740 --> 00:41:54,740
Curators Sue Bucklow and Colin Ford,

733
00:41:54,740 --> 00:41:57,940
former Sunday Times art director
Michael Rand,

734
00:41:57,940 --> 00:42:00,180
and gallery owner Michael Hoppen.

735
00:42:01,260 --> 00:42:03,820
There's a very, very tender eye,
isn't there?

736
00:42:03,820 --> 00:42:06,540
Well, I think this contrast between
the miners -

737
00:42:06,540 --> 00:42:09,740
and look how young one of them is -
the blackness of their faces.

738
00:42:09,740 --> 00:42:13,020
There's a picture by Bill Brandt,
great 20th-century name,

739
00:42:13,020 --> 00:42:15,540
who's very, very similar to this.

740
00:42:15,540 --> 00:42:18,420
But because he had this sort of arty
reputation,

741
00:42:18,420 --> 00:42:21,020
we know the Brandt and we don't know
the Jarche.

742
00:42:21,020 --> 00:42:24,300
It's just as good, isn't it?
SUE: Yeah, it is, definitely.

743
00:42:24,300 --> 00:42:27,700
All the elements of the picture are
in exactly the right place.

744
00:42:27,700 --> 00:42:29,900
If I was Jimmy and coming to your
paper,

745
00:42:29,900 --> 00:42:32,380
and I said I think I've got a front
page...

746
00:42:32,380 --> 00:42:35,060
and I showed you this...

747
00:42:38,940 --> 00:42:41,540
Golly, I'd forgotten that was his
photograph.

748
00:42:41,540 --> 00:42:43,660
That's interesting, that photograph.

749
00:42:43,660 --> 00:42:46,380
If it was 1937, I'd say thanks very
much.

750
00:42:47,220 --> 00:42:50,180
'Who's that bird with the Prince of
Wales?' you know.

751
00:42:50,180 --> 00:42:53,700
But that's the genuine paparazzi
scoop of the day.

752
00:42:53,700 --> 00:42:57,860
But did that not make his name? It
would today, yes, absolutely.

753
00:42:57,860 --> 00:42:59,940
Well, we're in the days of celeb now

754
00:42:59,940 --> 00:43:02,300
and I think if I'd have taken that
picture,

755
00:43:02,300 --> 00:43:05,220
I would have probably been known
quicker as a photographer

756
00:43:05,220 --> 00:43:07,340
than I was as an actor at a younger
age.

757
00:43:07,340 --> 00:43:09,660
I think I would have been credited
with that.

758
00:43:09,660 --> 00:43:12,340
I think it's a different...
You'd earn a lot more.

759
00:43:12,340 --> 00:43:14,700
I'd a learn a lot more, wouldn't I!
(LAUGHTER)

760
00:43:14,700 --> 00:43:16,740
Thank you very much, Michael!

761
00:43:16,740 --> 00:43:18,820
But when Fergie was caught on...

762
00:43:18,820 --> 00:43:22,180
That photographer got a million
dollars for that picture.

763
00:43:22,180 --> 00:43:25,820
I'm not saying he hadn't been up the
tree for a day but that's serious
money.

764
00:43:25,820 --> 00:43:28,780
That I think is my favourite.
I've not seen that one.

765
00:43:28,780 --> 00:43:32,540
That is absolutely brilliant.
That's a contemporary work of art.

766
00:43:32,540 --> 00:43:36,260
Absolutely amazing. If we were
selecting things for the gallery,

767
00:43:36,260 --> 00:43:38,300
we'd go for that one.
Really?

768
00:43:38,300 --> 00:43:41,740
Yeah. It makes me think of Brassai
and people when I look at that.

769
00:43:41,900 --> 00:43:43,740
It's fantastic.

770
00:43:43,740 --> 00:43:46,820
I'm both terrified and excited by
what I've seen,

771
00:43:46,820 --> 00:43:48,900
because the fact is, of course,

772
00:43:48,900 --> 00:43:52,340
we have a pantheon of the great
20th-century photographers.

773
00:43:52,340 --> 00:43:56,300
The Cartier Bressons, the Kerteszs,
the Capras, the people like that.

774
00:43:56,300 --> 00:44:00,580
And whereas I'm not sure that I'm
ready to put Jarche in that pantheon
yet,

775
00:44:00,580 --> 00:44:02,820
but suddenly looking at these I
think wow!

776
00:44:03,940 --> 00:44:06,340
I've spent most of my career
curating shows

777
00:44:06,340 --> 00:44:08,420
of great photographic artists.

778
00:44:08,420 --> 00:44:10,540
Why haven't I looked at this man
before?

779
00:44:11,820 --> 00:44:16,180
To hear him praised by you as a
photographer...

780
00:44:17,580 --> 00:44:22,260
What you have found by looking at his
work is...

781
00:44:23,460 --> 00:44:25,980
..the man. The man I knew.

782
00:44:26,900 --> 00:44:29,660
And that's incredibly moving for me.

783
00:44:30,700 --> 00:44:33,340
I was just thinking now if he was
there...

784
00:44:33,340 --> 00:44:35,380
listening to this...

785
00:44:35,380 --> 00:44:39,140
I think Jimmy will have gone...

786
00:44:39,140 --> 00:44:41,020
Well...

787
00:44:41,020 --> 00:44:43,820
He was a big man, don't forget. He
would have gone...

788
00:44:45,340 --> 00:44:48,260
'Thank you very much. I really didn't
expect that.'

789
00:44:48,260 --> 00:44:51,860
And if he'd met me at the bottom of
the stairs, he'd probably go, 'Yes!'

790
00:45:02,180 --> 00:45:05,180
Two weeks after we'd completed our
main filming,

791
00:45:05,180 --> 00:45:08,100
Jimmy's work was up on the walls of a
London gallery -

792
00:45:08,100 --> 00:45:11,020
a place it had not been seen for more
than 30 years.

793
00:45:11,540 --> 00:45:13,620
(GASPS)

794
00:45:13,620 --> 00:45:16,340
Forgotten images that had languished
in archives

795
00:45:16,340 --> 00:45:19,020
and many that had never before seen
the light of day

796
00:45:19,020 --> 00:45:22,620
had been printed up and were now on
show for the first time.

797
00:45:35,700 --> 00:45:39,940
The range and quality of Jimmy's work
was a genuine discovery -

798
00:45:39,940 --> 00:45:44,100
not only for me, it seems, but for
many photographic enthusiasts,

799
00:45:44,100 --> 00:45:46,060
and experts, too.

800
00:45:46,740 --> 00:45:49,660
Jimmy's photography was alive again.

801
00:46:26,300 --> 00:46:28,340
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