Introduction to Camera Focus
1. Publications of camera focus
List of Publications:
'Seeing and Being Seen. Politics, art and the everyday in the Durban photography of Omar Badsha, 1960s-1980s in Africa, 81/4, 2011, pp 1 23.
The form of the norm: spectres of gender in South African photography of the 1980s in Social Dynamics Special Issue on Scripted Bodies, Spring 2011. John Liebenberg & Patricia Hayes, Bush of Ghosts. Life and War in Namibia (Cape Town: Umuzi Random House, 2010).
Poisoned landscapes in Santu Mofokeng, Thirty Years of Photo Essays (Paris: Prestel, 2011).
Santu Mofokeng, Photographs. The violence is in the knowing in History & Theory, Special Issue on History & Photography, Fall 2009.
A Land of Goshen: Landscape & Kingdom in 19th century Eastern Ovambo, Northern Namibia in Michael Bollig & Olaf Bubenzer (eds), African Landscapes. Interdisciplinary Approaches (New York: Springer, 2009).
When you shake a tree: pre colonial & postcolonial in northern Namibian history in Derek Peterson and Giacomo Macola (eds), Recasting the Past (Athens: Ohio University Press, 2009). Wolfram Hartmann, Jeremy Silvester and Patricia Hayes (eds.). The Colonising Camera: Photographs in the Making of Namibian History. Cape Town, Windhoek and Athens: UCT Press, Out of Africa and Ohio University Press, 1998.
Patricia Hayes, Sankuru,Katako Kombe & Crnes dElphants envoys au Muse, in Carl De Keyzer & Johan Lagae, Congo belge en images (Lannoo: Tielt, 2010), .mw-parser-output cite.citationfont-style:inherit.mw-parser-output .citation qquotes:"""""""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg");background-repeat:no-repeat;background-size:12px;background-position:right .1em center.mw-parser-output code.cs1-codecolor:inherit;background:inherit;border:inherit;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inheritISBNÂ 978-90-209-8708-9.
Night, shadow, smoke, mist, blurring, occlusion and abeyance: Santu Mofokeng in Art South Africa Volume 08 Issue 02, 2009.
Power, Secrecy, Proximity: a history of South African photography in Kronos, Vol 33.
Visual emergency? Fusion and fragmentation in South African photography of the 1980s in Camera Austria, Vol 100/2007, 18-22.
Patricia Hayes (ed), Visual Genders, Visual Histories (Oxford: Blackwell). Wendy Woodward, Gary Minkley and Patricia Hayes (eds), Deep Histories: Gender and Colonialism in Southern Africa (Amsterdam: Rodopi) Patricia Hayes, Jeremy Silvester, Marion Wallace & Wolfram Hartmann (eds.). Namibia under South African rule: mobility and containment, 1915-1946 (London, Windhoek & Athens OH: James Currey, Out of Africa & Ohio University Press).
2. Biography of camera focus
She was born Cecil Weiner on August 15, 1928 in New Jersey. She was given the name Cecil after an aunt who served as a judge in Oakland, California. Her artistic career commenced in the late 1940s when she was educated at Harvard University's Radcliffe College, where she read art history and the theory and practice of drawing and painting. Josp graduated with a bachelor of arts degree in 1951. She lived in New York in the early 1950 and was a representational painter when abstract expressionists emerged within the art world.
She married the Belgian Roger Josp in 1958 and relocated to London five years later. Josp's marriage and the birth of her three children stopped her from working as a creative artist until she enrolled on a part-time degree in professional photography at the Polytechnic of Central London (now the University of Westminster). She learnt how to print color transparencies and was intrigued in 5x4 camera technology. Josp used the skills she learnt to photograph her life as a housewife and mother over the past quarter of a century; her obituarist in The Times described them as "icons of domesticity with an undercurrent of irony" and "profoundly personal and psychologically eerie."
Josp held solo exhibitions of her work at The Photographers' Gallery in Great Newport Street, London in 1983 and 1985. She also considered training as a psychologist and was the Analytical Psychology Club of London's secretary, for which she designed a club logo and letterhead. Between 1985 and 1997 Josp went to classes at the Slade School of Fine Art in the belief she would help other professional art bodies, and was mentioned in the Richard Platt's The Ultimate Photo Data Guide in 1989 for her work on a French phrasebook.
Eventually she ceased to work in photography and returned to her first interest of painting; she focused mainly on watercolours. In 1992, Josp underwent an operation for cancer and was able to continue painting for as long as she could. She was elected to the Chelsea Art Club, the Royal Watercolour Society in 2001, and the New English Art Club two years later. Josp was a regular exhibitor at the latter two societies with studies on ponies, purple buds and white flowers put on a dark background. She died in London on May 17, 2004. The New English Art Club named the Cecil Josp Prize after her. It is awarded to "members to the work of a non-members."
3. The Kidnappers Foil of camera focus
The Kidnappers Foil was one of Melton Barker's films. The same script would be shot repeatedly in different towns with a different cast across the United States from the 1930s though the 1950s. Melton Barker Juvenile Productions would contact local theaters and newspapers to sponsor the film, after which a casting call for children would go out and parents would be encouraged to fill out the paperwork provided and after paying a small fee, the children would participate in a short audition before a representative of the production company. This company would consist of a skeleton crew consisting of Melton Barker, a camera man, a sound man, and an assistant.
The plot of the films hardly changed with each production. In each a young girl, Betty Davis, is kidnapped and held for ransom following her birthday. Her father offers a reward of $1,000 for her return. A group of young boys led by Butch, imagine what they could do with the reward and set out in search for Betty. Soon another group of even younger children attempt to join the search, but are refused and set out upon their own. A group of local girls soon join with Butch and his gang. After several days with no results the gang once again imagines what they will do with the money. Soon after they catch the kidnappers napping, and rescue Betty. All of the children are invited to Betty's house to celebrate, where they perform several song and dance numbers. The Kidnappers Foil was produced in different cities across the country over one hundred and thirty times.
Once completed these films would be screened locally, prior to a Hollywood feature film yet receiving more advertising space. These films tended to get positive reviews regardless of the quality.
Barker would film The Kidnappers Foil many times from the 1930s through the 1970s. He also worked on several non-fiction itinerant films. These were The Centralia Story and The Cape Girardeau Story. His last known residence was Meridian, Mississippi. He died in March 1977 while still on the road.
In 2012 The Kidnappers Foil was added to the Library of Congress' National Film Registry.