Back The Woman in the Photograph
Chapters (65)
  1. Cover
  2. Praise for the previous work of
  3. Dedication
  4. Epigraph
  5. 24 April 2018
  6. Part 1: Subject
  7. 15 June 1968
  8. 20 June 1968
  9. July 1968
  10. 2 February 2018
  11. Part 2: Light
  12. 20 November 1970
  13. 20 November 1970
  14. 21 November 1970
  15. November 1970
  16. 19 February 2018
  17. Part 3: Focus
  18. 15 April 1977
  19. 18 April 1977
  20. 15 May 1977
  21. July 1977
  22. 26 February 2018
  23. 8 March 2018
  24. 8 March 2018
  25. Part 4: Distance
  26. 15 May 1979
  27. 15 May 1979
  28. 16 May 1979
  29. June 1979
  30. 29 March 2018
  31. 29 March 2018
  32. 27 March 2018
  33. Part 5: Movement
  34. 18 October 1981
  35. 10 April 2018
  36. 18 October 1981
  37. 10 April 2018
  38. 18 October 1981
  39. 10 April 2018
  40. 18 October 1981
  41. 10 April 2018
  42. 10 April 2018
  43. 18 October 1981
  44. 10 April 2018
  45. October 1981
  46. Part 6: Exposure
  47. July 1984
  48. 5 September 1984
  49. 24 April 2018
  50. 25 April 2018
  51. Part 7: Developing
  52. 26 April 2018
  53. Vee, in the lost place, 1984
  54. 26 April 2018
  55. Epilogue
  56. 5 February 2019
  57. Author’s Note
  58. Acknowledgements
  59. Letter from Author
  60. Stephanie Butland’s Readers’ Club
  61. For your Reading Group
  62. For discussion
  63. Select bibliography
  64. About the author
  65. Also by Stephanie Butland

Maybe she wants to be remembered. She’s been invited to one too many retrospectives, book launches and exhibitions of the male photographers who were her contemporaries. She has never gone. Why would she? Why spend an evening standing to one side with a warm glass of wine, knowing that even if she hasn’t done anything to speak of since 1984, she’s achieved easily as much as the men being admired left, right and centre? More. Taking photographs in a war zone is too easy. Point and click and you’ll get something. The same with photographing beauty, or fashion. The work is done for you. Stylists, makeup, studio lighting, a digital camera that will take thousands of shots in an hour – any fool can shoot a Vogue cover. Natural light, real film, real people – that’s where you see real skill.

And she had skill. Maybe has it, still, if she wasn’t too afraid to pick up a camera.

Erica had been very clear in her proposal: she would manage everything, she would seek other permissions, track down materials, negotiate with the gallery. All that Vee would need to do would be to give written agreement for her images to be used, and clarify any areas where Erica might have questions.

So she had said yes to the exhibition of her work. Not recklessly. She’d read Erica’s email and studied the attached CV. Erica had a doctorate in social history, and had lectured at several universities. Overall, she had seemed credible. She was Leonie’s niece: that fact woke a protectiveness, a sense of duty, almost, in Vee that she could neither explain nor dismiss. And she wanted to exhibit Vee’s work. She wanted to excavate the box of cuttings, prints and magazine portraits that Leonie had, apparently, kept, and turn them into an exhibition. At the point Vee was approached by Erica, she hadn’t put herself in the public eye for more than thirty years. She had been retired from lecturing for fifteen. So the thought of fading into nothingness – the possibility that seemed so achingly desirable for so long – was becoming a reality. At the time her career ended, Vee was too absorbed by other griefs to care about how she and her work would be remembered. She wanted to be forgotten. But in the years since, she has wondered at the way her career was stopped rather than having the chance to end her way.