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Daniel Meadows (born 1952) is an English photographer turned maker of digital stories, and a teacher of photography turned teacher of participatory media. ==Life and career as photographer== Meadows was born in Great Washbourne, Gloucestershire, "in the middle of nowhere on the edge of the Cotswolds", on 28 January 1952. Both of his parents had Suffolk origins; his father was a land agent for the Dumbleton Estate, in which the family lived; his mother developed multiple sclerosis when Daniel was young and this gradually became more acute. He spent his early years without television.〔''The Bus,'' 63–67; Meadows' description of Great Washbourne is on p.65.〕 With Peter Fraser, Brian Griffin, Charlie Meecham and Martin Parr, Meadows studied at Manchester Polytechnic.〔, PARC Projects, Photography and the Archive Research Centre.〕 (Meadows' 1972 series ''June Street'' was a collaboration with Parr.〔Phil Coomes, "(Daniel Meadows on digital literacy )", BBC News in Pictures, 15 November 2011. Accessed 2 May 2012.〕) While a student he was particularly inspired by a lecture by Bill Jay (editor of ''Creative Camera'' and ''Album'') and an exhibition at the Hayward Gallery of work by Bill Brandt.〔 Meadows was living in the Moss Side area of Manchester during termtime, and was aware of its impending demolition. With its many small shops, Moss Side might, he thought, support a "picture shop", so he rented a barber's on Greame Street from January 1972, inviting people to come into the Free Photographic Shop to have their photographs taken for no charge.〔 Two months later he had run out of money and had to close but had gained useful experience.〔Daniel Meadows, ''Living Like This,'' pp. 9–10.〕 Inspired by what Bill Jay had said about Benjamin Stone's travel around Britain by horse-drawn caravan, Meadows thought of a mobile version of the Greame Street studio; the Cliff Richard film ''Summer Holiday'' suggested a solution.〔 He worked at Butlin's Holiday Camp at Filey during summer 1972 to pay for the publicity materials with which he hoped to get Arts Council and other funding for the purchase and one year's use of a double-decker bus.〔Meadows, ''Living Like This,'' p.12.〕〔David Allan Mellor, ''No Such Thing as Society: Photography in Britain 1967–87: From the British Council and the Arts Council Collection'' (London: Hayward, 2007), p.32.〕 He succeeded and for 14 months from September 1973 travelled around England in the Free Photographic Omnibus,〔 a 1947 Leyland PD1 bus whose seats had been removed to make space for a darkroom and living quarters: its windows were used as the gallery.〔Meadows, ''Living Like This,'' pp. 14, 16.〕〔The bus survives, in the possession of The Transport Museum, Wythall. In April 2014 it was described as "being renovated and restored" ("(Daniel Meadows: Early Photographic Works )", Royal Photographic Society). The Transport Museum shows the bus (here ) ("From Our Collection: Barton JRR 404"), describing it as built in 1948.〕 Meadows took this to twenty or more towns.〔 Some of this work was published in Meadows' first book, ''Living Like This'' (1975), which combined Meadows' photographs and text with first-person accounts of those he had talked with.〔 Among the photographs of this series is ''Portsmouth: John Payne, aged 12, with two friends and his pigeon, Chequer, 26 April 1974.''〔The title has been given in various forms; this is how it appears on the copyright page and p.32 of ''No Such Thing as Society'' (2007).〕 Payne, holding his pigeon in the centre of the photograph, told Meadows that he caught and bred pigeons.〔''British Image 1,'' p.40 (the photograph appears opposite, and is titled ''John Payne from Portsmouth, aged 12''); ''Living Like This,'' p.61 (the photograph appears on the same page, and, like many in the book, is not given a title).〕 Paul Cabuts writes that: The photograph, like many other photographs in the exhibition (Such Thing as Society'' ), offers a window on a lost world, one that is difficult to perceive without considerable culturally-specific contextualisation. Meadows' photograph is however a masterstroke in providing clues about the life and times of those recorded through his lens. The boys became the subject, although the pigeon had been the vehicle for this particular engagement. In offering up their pigeon (the photograph was taken at their request), we enter a world of friendship and pride, the social activities on a working class housing estate. . . .〔Paul Cabuts, "Three boys and a pigeon: Photography in Wales", ''Planet'' 196. Reproduced (here ) on Cabuts' site. Accessed 3 November 2010.〕 With its echo of Ken Loach's film ''Kes,'' the photograph was widely reproduced.〔David Alan Mellor, ''No Such Thing as Society,'' p.32.〕 It was the cover photograph of the 1975 Arts Council anthology ''British Image 1'' and the photograph on the poster for and catalogue of the 2008 travelling Hayward exhibition ''No Such Thing as Society.'' Meadows went on to photograph the northwest of England and Factory Records in the 1970s and in the 1980s to study the people of a middle-class London suburb (Bromley,〔Val Williams, ''Daniel Meadows: Edited Photographs from the 70s and 80s'' (Brighton: Photoworks, 2011), 220, 221, 224.〕 although not specified at the time), the latter published as ''Nattering in Paradise.''〔 His photographic archive is in the process of being acquired by the Library of Birmingham. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Daniel Meadows」の詳細全文を読む スポンサード リンク
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