So why has his method of working, and
the images he produced ensured longevity
of influence and interest? His research on
chosen events was meticulous, and he was,
apparently, a prolific user of the English
National Tourist Board telephone enquiry
line. His notebooks confirm this research
and also show many more ideas for
projects, sadly unrealised. The people he
photographed were as geographically and
socially diverse as, for example, the
‘Bacup Coconut Dancers’ in Lancashire
and patrons of the Glyndebourne Festival
in Sussex. An important point to
remember is that the work was always
people, rather than event, centred.
The images represent a time long gone yet
remain interesting, and relevant today as
an historically important archive. This
was a time before cheap flights made
holidays abroad affordable for most
people, so the traditional resorts were still
popular. They show an aspect of England
which is now almost extinct. Some images
show activities which would be frowned
upon in today’s ‘politically correct’ world
but these should be judged by the social
and political mores of the day. They were
judged a harmless pastime, not seeking to
knowingly ridicule or demean back then.
It is the detail and narrative in the images
however, which hold the viewer’s
attention. There are often subjects in the
image who gaze outside the frame and one
is left wondering what it is that is so
interesting, out of shot. Inside the frame
too are subjects whose actions interest the
viewer. It is the measure of his skill that
Tony Ray Jones was able to capture all
these subjects and behaviour so precisely
that our perceptions of their thoughts and
actions intrigue us.
In 1969 Tony Ray Jones had his first
major exhibition ‘The English Seen’ at the
Institute of Contemporary Arts in London,
where he exhibited with, amongst others,
Don McCullin. It was at this time that he
put together a rough draft of what he
hoped would be his first book, “England
by the Sea”. Unable to interest publishers,
and somewhat disillusioned, he returned to
the U.S.A. as a visiting lecturer at the San
Francisco Art Institute. In 1972 he was
diagnosed with a terminal illness and died,
in England, on 10th March that year.
Ironically, the book he was unable to
garner interest in was eventually published
as ‘A Day Off: An English Journal’ in
1974. There have been a few books of
Tony Ray Jones’ work, most notably
‘Tony Ray Jones’ by Russell Roberts, but
all are now out of print. However many of
his images may be found in the collectors
section at www.scienceandsociety.co.uk
and websites such as
www.weepingash.co.uk provide more
detail of his life.
All Tony Ray Jones archive material is
held at the National Media Museum,
[email protected]
To close it is fitting to quote Tony Ray
Jones on his own ethos:
‘I have tried to show the sadness and
humour in a gentle madness that prevails
in people. The situations are sometimes
ambiguous and unreal, and the
juxtapositions of elements seemingly
unrelated and yet the people are real. This
I hope helps create an element of fantasy.
Photography can be a mirror and reflect
life as it is, but I also like to think it is
possible to walk, like Alice, through the
looking glass and find another kind of
world with the camera.’