0:00:02 > 0:00:05- It's flashing.- OK. Oh! - Once upon a time, there was a family
0:00:05 > 0:00:07and that family had a camera.
0:00:08 > 0:00:13- Wow.- They took snapshots to mark the rituals and milestones that shaped
0:00:13 > 0:00:16- their lives. - Even the word "snap", immediately,
0:00:16 > 0:00:18it's not like a real photograph, you know,
0:00:18 > 0:00:20it's kind of taken quickly,
0:00:20 > 0:00:23it's often not composed perhaps very carefully.
0:00:23 > 0:00:25But, nonetheless,
0:00:25 > 0:00:27they have this really precious importance to the families
0:00:27 > 0:00:32- that make them and share them. - 7,500 photographs.
0:00:34 > 0:00:36From babies' first steps
0:00:36 > 0:00:37to children growing up...
0:00:37 > 0:00:41- THEY SING: - # Happy birthday to you! #
0:00:41 > 0:00:43CHEERING
0:00:43 > 0:00:45..from romancing to wedding bells...
0:00:45 > 0:00:48Who are those two strange people with hair and lovely looks?
0:00:48 > 0:00:50Where have they gone to?
0:00:50 > 0:00:53..happy holidays to our twilight years...
0:00:54 > 0:00:56We put that photograph at his funeral, didn't we?
0:00:56 > 0:00:58On his coffin, yeah, in the church.
0:01:00 > 0:01:04..the humble family photo told a story about us all
0:01:04 > 0:01:09as each generation of camera turned us into a nation of photographers.
0:01:09 > 0:01:12We all had these cameras as teenage people.
0:01:12 > 0:01:14Very simple. Point and shoot.
0:01:14 > 0:01:15CAMERA CLICKS
0:01:15 > 0:01:20Capturing our joys and pleasures, upsets and embarrassments.
0:01:20 > 0:01:23It's about bringing pictures of different family members together
0:01:23 > 0:01:25in a place and about marking that togetherness.
0:01:26 > 0:01:28And now in the digital age, creating a new,
0:01:28 > 0:01:32more instant portrait of our changing lives.
0:01:32 > 0:01:33It's about evidence,
0:01:33 > 0:01:38it's about preservation and it's also confirming our place within
0:01:38 > 0:01:41- communities.- One, two, three.
0:01:41 > 0:01:43Boom! Well done.
0:01:52 > 0:01:56When photography was first introduced in the mid-19th century,
0:01:56 > 0:01:59the family photo was a middle-class luxury,
0:01:59 > 0:02:02a formal affair in a professional studio.
0:02:04 > 0:02:08For the first 50 or so years that photography was in existence,
0:02:08 > 0:02:11it was a complicated, expensive,
0:02:11 > 0:02:14difficult business that really only professionals or the wealthy
0:02:14 > 0:02:16could pursue.
0:02:16 > 0:02:19Long before today's carefree snapshot,
0:02:19 > 0:02:22the Victorian portrait was an important document,
0:02:22 > 0:02:24proof of your place in society.
0:02:25 > 0:02:28The portrait era is all about identity.
0:02:28 > 0:02:31It's posing, it's portraying,
0:02:31 > 0:02:34it's deliberately fabricating, if you like,
0:02:34 > 0:02:38the way you want other people to see you.
0:02:38 > 0:02:40But in 1902,
0:02:40 > 0:02:44George Eastman's Kodak company invented a cheap camera that took
0:02:44 > 0:02:48photography out the studio and into the hands of ordinary families.
0:02:49 > 0:02:52George Eastman realised that there was a huge market out there,
0:02:52 > 0:02:56people who wanted to take their own photographs if they were given
0:02:56 > 0:02:58the right equipment to allow them to do so.
0:03:00 > 0:03:02Through their advertising,
0:03:02 > 0:03:05Kodak also encouraged us to reimagine our lives.
0:03:05 > 0:03:10Having a camera and taking a good picture was suddenly a passport
0:03:10 > 0:03:15- to a new way of life. - "All outdoors invites your Kodak."
0:03:15 > 0:03:19Or even, "Snapshots don't grow old."
0:03:19 > 0:03:20"Photograph your children
0:03:20 > 0:03:24"and then they will always be young in your photographs."
0:03:24 > 0:03:28So, very powerful, emotional signals that people responded to,
0:03:28 > 0:03:30rather than, "Buy our cameras."
0:03:30 > 0:03:32"Don't buy our cameras, buy your memories."
0:03:34 > 0:03:38And those cherished memories start with the first baby pictures.
0:03:38 > 0:03:42Mum-of-four Joanne Jacobs started her family photo obsession
0:03:42 > 0:03:45with daughter Rebecca's baby album 22 years ago.
0:03:45 > 0:03:48Well, this is your baby album.
0:03:48 > 0:03:52And as you were the first, you got a really special one.
0:03:52 > 0:03:56White, with your date of birth and...
0:03:56 > 0:03:57Oh, I'm going for it there.
0:03:57 > 0:04:00Now, that is what I call a real screaming photo
0:04:00 > 0:04:03and I've got that resigned look on my face.
0:04:03 > 0:04:05You know, I'm smiling anyway.
0:04:05 > 0:04:08You showed me this photo when I turned 18.
0:04:08 > 0:04:09Yes, I loved that.
0:04:09 > 0:04:12That was in the back garden of our little house.
0:04:13 > 0:04:15Oh, I love this picture.
0:04:15 > 0:04:17That was at a wedding, wasn't it?
0:04:17 > 0:04:20Yes. I think you were about three months old there.
0:04:20 > 0:04:23And it was the first time you had to wear a dress and it's all up around
0:04:23 > 0:04:25your shoulders. I remember that really clearly.
0:04:25 > 0:04:28And you screamed a lot through the ceremony,
0:04:28 > 0:04:29so I had to keep coming in and out.
0:04:29 > 0:04:31That's your first birthday.
0:04:31 > 0:04:33Oh, cute balloon!
0:04:33 > 0:04:35I love your outfit.
0:04:35 > 0:04:37I hate it. Are those knickerbockers?
0:04:37 > 0:04:39No! It's a jumpsuit.
0:04:39 > 0:04:41I liked it anyway.
0:04:42 > 0:04:43A whole year of your life.
0:04:43 > 0:04:46I'm really touched that you made and this extra effort from me
0:04:46 > 0:04:48and not for the rest of them.
0:04:51 > 0:04:52Women tend to be the curators
0:04:52 > 0:04:55or the archivists of the family photo collection.
0:04:55 > 0:04:57There is something going on there that makes women want
0:04:57 > 0:04:59to make these narratives,
0:04:59 > 0:05:01these spectacles of their family's history
0:05:01 > 0:05:03and records of their children's growth,
0:05:03 > 0:05:05and I think that suggests that, you know,
0:05:05 > 0:05:10there is something valuable in the family photo collection for women.
0:05:10 > 0:05:15Traditionally, mastery of the new technology was Dad's domain,
0:05:15 > 0:05:17while Mum put the family album together.
0:05:17 > 0:05:20But one dad, more enthusiastic than most,
0:05:20 > 0:05:23has taken control of both camera and album.
0:05:28 > 0:05:31In total,
0:05:31 > 0:05:32there are...
0:05:33 > 0:05:36..7,500 photographs.
0:05:38 > 0:05:42In Harrogate, Ian McLeod has been taking pictures of his son
0:05:42 > 0:05:43since the day he was born.
0:05:43 > 0:05:46Corey's daily photos are the top two shelves.
0:05:49 > 0:05:51Erm... Number 24, let's try?
0:05:53 > 0:05:56Erm...
0:05:56 > 0:05:58Having your first child
0:05:58 > 0:06:01is something of a momentous occasion, I would say,
0:06:01 > 0:06:04and I just thought it might be a good idea to take one
0:06:04 > 0:06:06every day of his life.
0:06:06 > 0:06:10Right, we'll go for the last album, which is number 71.
0:06:12 > 0:06:15To begin with, I thought maybe I'd be able to do it for two years,
0:06:15 > 0:06:19something like that. But when the two years were up,
0:06:19 > 0:06:24I couldn't imagine myself giving it up, so it continued.
0:06:25 > 0:06:26Number one.
0:06:36 > 0:06:42He came into this world on Friday 13th September, 1991.
0:06:42 > 0:06:46And he must be about five minutes old in this photograph.
0:06:46 > 0:06:48Before he'd even been cleaned up.
0:06:48 > 0:06:50And...
0:06:51 > 0:06:55..here he's playing an invisible saxophone...
0:06:56 > 0:07:00..so he was obviously into his music at a very early stage.
0:07:00 > 0:07:01Three days old.
0:07:04 > 0:07:06There is a mischievous looking expression.
0:07:06 > 0:07:09At this stage, I hadn't really decided
0:07:09 > 0:07:12how I was going to take the photos, but then
0:07:12 > 0:07:18I thought the best thing is close-up portrait photographs.
0:07:18 > 0:07:21That looks like he should have a fag in his hand there.
0:07:21 > 0:07:25"Did I ever tell you the one about me dad taking me photo every day?"
0:07:28 > 0:07:32The one thing that constantly changes in a family is the children.
0:07:32 > 0:07:38The transition of a human being from a baby through to toddler,
0:07:38 > 0:07:41to going to school, to becoming an adult.
0:07:41 > 0:07:44Since they got their hands on their own personal cameras,
0:07:44 > 0:07:48parents have tirelessly documented their young children's lives.
0:07:48 > 0:07:50After all the baby snaps,
0:07:50 > 0:07:52the proudest picture in the album
0:07:52 > 0:07:53would often be the first day at school.
0:07:53 > 0:07:57Perhaps one of my favourite photographs from my childhood
0:07:57 > 0:08:00wasn't taken by my father, it was actually taken by my mother.
0:08:00 > 0:08:03I was dressed up in my brand-new grammar school uniform
0:08:03 > 0:08:05and she got me to stand on the back doorstep
0:08:05 > 0:08:07so she could take a photograph of me,
0:08:07 > 0:08:12but unfortunately she managed to cut my head off, and what she said was,
0:08:12 > 0:08:15"At the end of the day, I wanted to capture your new uniform
0:08:15 > 0:08:17"and the uniform's come out great."
0:08:23 > 0:08:27Embarrassing pictures in school uniform were just one of the rites
0:08:27 > 0:08:30of passage the family album was there to document.
0:08:34 > 0:08:37From 1900 to the 1960s,
0:08:37 > 0:08:41almost all of our family photos were taken on a variation of Kodak's
0:08:41 > 0:08:45relatively affordable and easy to use box Brownie.
0:08:45 > 0:08:48The Brownie really transformed photography
0:08:48 > 0:08:50into a popular pastime.
0:08:50 > 0:08:52The Brownie sold for just five shillings.
0:08:52 > 0:08:56Five shillings was cheap enough for practically every family to buy
0:08:56 > 0:09:00their own camera and make their own photographic record of their lives,
0:09:00 > 0:09:04their achievements, their holidays and so on.
0:09:04 > 0:09:08I used to love seeing this when I used to...
0:09:08 > 0:09:11Our love affair with photos began with the Brownie.
0:09:11 > 0:09:16Geoffrey Jenkins still has the model he bought in 1944.
0:09:16 > 0:09:18The film was on the inside.
0:09:18 > 0:09:20- I've saved it.- Aww.
0:09:20 > 0:09:23Geoffrey took many pictures with his box Brownie camera,
0:09:23 > 0:09:26but his primary subject was his family, and daughter Linda.
0:09:28 > 0:09:32This is the album that you made for me when I was little.
0:09:32 > 0:09:35She liked posing, you know?
0:09:35 > 0:09:36THEY CHUCKLE
0:09:36 > 0:09:39I think I was told to do it more than anything.
0:09:39 > 0:09:40- But I enjoyed it.- Yeah.
0:09:40 > 0:09:43Yeah. So, it became a way of life, didn't it, really?
0:09:43 > 0:09:44- That's right.- Yeah.
0:09:44 > 0:09:46- Christmas.- Christmas '64.
0:09:46 > 0:09:48- Yeah.- Butlin's, Bognor.
0:09:48 > 0:09:50- Yeah, Butlin's.- Butlin's, Bognor.
0:09:50 > 0:09:52Camber Sands.
0:09:52 > 0:09:54That was beautiful there.
0:09:56 > 0:09:57That's Brighton again.
0:09:58 > 0:10:00We went there a lot then, yeah!
0:10:01 > 0:10:03I won a prize on that.
0:10:03 > 0:10:05Oh, yeah.
0:10:05 > 0:10:08- Yeah.- I can remember you taking that photo, yeah.
0:10:08 > 0:10:12And you said to me you was going to enter it in a competition.
0:10:12 > 0:10:13- That's right, yeah.- Yeah.
0:10:13 > 0:10:15Geoffrey was a keen amateur,
0:10:15 > 0:10:20and from the 1950s to the 1970s was a member of the local camera club.
0:10:20 > 0:10:23It was an experiment in light.
0:10:23 > 0:10:26It was, erm, technical stuff.
0:10:26 > 0:10:27It was. I remember you saying to me,
0:10:27 > 0:10:30"You've got to sit really still," because you wasn't using a flash.
0:10:30 > 0:10:33- But...- And I was terrified I was going to move.
0:10:33 > 0:10:36Here's Dad with his camera, going...
0:10:36 > 0:10:37Yeah.
0:10:37 > 0:10:38Yeah.
0:10:38 > 0:10:41MUSIC: Magic Moments by Perry Como
0:10:43 > 0:10:46Whether they were enthusiastic hobbyists like Geoffrey,
0:10:46 > 0:10:49dark-room dabblers or casual family snappers,
0:10:49 > 0:10:51now everyone could have a go,
0:10:51 > 0:10:53as the Brownie democratised photography
0:10:53 > 0:10:57and gave birth to what we know as the snapshot.
0:10:57 > 0:10:59# Magic
0:10:59 > 0:11:02# Moments... #
0:11:02 > 0:11:06A snapshot is a photograph which is made without any commercial
0:11:06 > 0:11:08or artistic artifice.
0:11:08 > 0:11:11It's someone just trying to create a personal record.
0:11:11 > 0:11:14# The way that we hugged to try to keep warm... #
0:11:14 > 0:11:20Typically, snapshots are thought to be rather badly framed and composed,
0:11:20 > 0:11:23but I think that's to miss the point of what a snapshot is.
0:11:23 > 0:11:25I think a snapshot
0:11:25 > 0:11:27is a moment in time.
0:11:27 > 0:11:30If it's triggering that memory of the actual event,
0:11:30 > 0:11:31it's doing its job -
0:11:31 > 0:11:34not as a beautiful piece of art, but as a snapshot.
0:11:35 > 0:11:36In the '50s and '60s,
0:11:36 > 0:11:40British families enjoyed more and more leisure time together.
0:11:40 > 0:11:41Many now owned cameras, too,
0:11:41 > 0:11:44but films were expensive and had to last,
0:11:44 > 0:11:48so photos were kept for holidays and special occasions.
0:11:48 > 0:11:50Lovely times.
0:11:51 > 0:11:53Jenny Bowden now lives in Devon,
0:11:53 > 0:11:56but remembers her childhood through the family holiday snapshots
0:11:56 > 0:11:58taken in the north of England.
0:12:01 > 0:12:04Because we lived in the Midlands, there used to be the...
0:12:04 > 0:12:07the wakes week, where all, everything closed for...
0:12:07 > 0:12:09I mean, my dad was a factory worker,
0:12:09 > 0:12:13so the whole workforce went on holiday together.
0:12:13 > 0:12:17So here I am, aged about two, and my sister...
0:12:19 > 0:12:20..and my mum, and my dad.
0:12:22 > 0:12:24And so there is me,
0:12:24 > 0:12:26my mum and my sister.
0:12:26 > 0:12:29It looks like I was a cheeky little thing.
0:12:29 > 0:12:31SHE CHUCKLES
0:12:31 > 0:12:32We never went abroad.
0:12:32 > 0:12:34I mean, you didn't in those days.
0:12:34 > 0:12:37There was just the family car in those days.
0:12:37 > 0:12:40The father would drive it.
0:12:40 > 0:12:42My mother never learned to drive.
0:12:42 > 0:12:43It never occurred to her to learn to drive.
0:12:43 > 0:12:45My sister never learned to drive.
0:12:45 > 0:12:50So at weekends and holidays it was this vehicle that would take you
0:12:50 > 0:12:51wherever you wanted to go.
0:12:52 > 0:12:56Happy days. Yeah, happy days.
0:13:02 > 0:13:03The best conditions were, perhaps,
0:13:03 > 0:13:07a sunny day at the seaside, lots of light, not much movement,
0:13:07 > 0:13:10so those photographs have really reinforced the impression we get
0:13:10 > 0:13:14that in people's family albums the sun is always shining,
0:13:14 > 0:13:17because that was the time in which you could take the best photographs.
0:13:23 > 0:13:24So, it wasn't for nothing
0:13:24 > 0:13:26that we were told to take pictures on holiday.
0:13:31 > 0:13:34But, for some, the pictures on their walls and in their albums
0:13:34 > 0:13:36had a more important purpose.
0:13:39 > 0:13:40In the 1950s and '60s,
0:13:40 > 0:13:43with the arrival of immigrants from the Caribbean,
0:13:43 > 0:13:46photographs were often valuable proof that families
0:13:46 > 0:13:48were making a new life for themselves.
0:13:49 > 0:13:54Devon Thomas moved from Jamaica to London with his mother in 1956,
0:13:54 > 0:13:56when he was just seven years old.
0:13:57 > 0:14:00We moved up here to Brixton in 1959,
0:14:00 > 0:14:02just around the corner here.
0:14:02 > 0:14:07It became our family home, so after you'd been there for a while,
0:14:07 > 0:14:09the people here before you would help you to get a job.
0:14:09 > 0:14:12You'd save up and then you'd go through the process
0:14:12 > 0:14:14and get a house of your own.
0:14:15 > 0:14:17We've got... My father was a lodge man.
0:14:17 > 0:14:19He was a Mason,
0:14:19 > 0:14:21and it was a way of having a structure
0:14:21 > 0:14:25where they'd have position and have status, you know?
0:14:25 > 0:14:28And there, there's pictures of my mother.
0:14:28 > 0:14:31This is her in her regalia,
0:14:31 > 0:14:32as part of her lodge.
0:14:32 > 0:14:34They were very proud of being in their organisation
0:14:34 > 0:14:36and going to their functions, you know?
0:14:36 > 0:14:38And this was a tradition from back home.
0:14:38 > 0:14:40They didn't invent it when they came here.
0:14:40 > 0:14:41They brought it with them from home.
0:14:41 > 0:14:44People would commission photographers
0:14:44 > 0:14:47to take photographs of them in their...
0:14:47 > 0:14:50when you were well-dressed or in your uniform.
0:14:50 > 0:14:53You see pictures here of my cousin.
0:14:53 > 0:14:56She was a nurse and once you'd gotten your uniform,
0:14:56 > 0:14:59you would take a photo to send home to show people
0:14:59 > 0:15:03you had started on a new career and you were doing well.
0:15:05 > 0:15:07At that point in the 1950s, '60s,
0:15:07 > 0:15:09it was quite a tradition of dressing up
0:15:09 > 0:15:12and going to the local high-street photography studio
0:15:12 > 0:15:15and presenting a very successful image to the camera,
0:15:15 > 0:15:18and then sending that photograph back to family members,
0:15:18 > 0:15:21perhaps to reassure them that you were doing OK in this...
0:15:21 > 0:15:24in this place halfway across the world that you'd travelled to
0:15:24 > 0:15:26to start a new life.
0:15:26 > 0:15:30People couldn't afford to go home very regularly in those days,
0:15:30 > 0:15:33so photographs and letters were the only things
0:15:33 > 0:15:36that people had to remind them to keep in touch with people at home.
0:15:36 > 0:15:38I mean, I've been home since,
0:15:38 > 0:15:42and you're proudly displayed on people's walls, as, you know,
0:15:42 > 0:15:45as people "in England, gone a foreign".
0:15:57 > 0:15:59Whether it was the move to another country, a new job,
0:15:59 > 0:16:01or the sound of wedding bells,
0:16:01 > 0:16:05our family albums proudly displayed our changing status,
0:16:05 > 0:16:08and they tended to celebrate the happy moments.
0:16:08 > 0:16:10John and Sandra Dobson in Sussex
0:16:10 > 0:16:15have recorded theirs since the day they met.
0:16:15 > 0:16:20Can you possibly remember that, Sandra, 51 years ago?
0:16:20 > 0:16:21You can remember it, though, can't you?
0:16:21 > 0:16:24You can, but who are those two strange people
0:16:24 > 0:16:26with hair and lovely looks
0:16:26 > 0:16:27and charming features?
0:16:27 > 0:16:29- Where have they gone to? - I don't know, but you've written,
0:16:29 > 0:16:33"A solemn moment, John and Sandra signing the register,
0:16:33 > 0:16:37"3pm, Saturday June 19th, 1965."
0:16:37 > 0:16:40Yeah, yeah. And every year I say, "When's our wedding day?"
0:16:40 > 0:16:42- And she doesn't remember.- Yes, I do.
0:16:43 > 0:16:48John Dobson's pride and joy is his quite remarkable photo collection.
0:16:48 > 0:16:52He's made it his life's work to document his family.
0:16:52 > 0:16:56Well, I have 216 full-sized photograph albums
0:16:56 > 0:16:58with 20,000 photos,
0:16:58 > 0:17:0166 years of photos.
0:17:01 > 0:17:04Every photo in the whole lot has got the date on it,
0:17:04 > 0:17:07and what I've written on there.
0:17:07 > 0:17:09A bit like a diary of, erm,
0:17:09 > 0:17:11our start and our journey through
0:17:11 > 0:17:14- our lives together, aren't they, really?- Yeah.
0:17:16 > 0:17:20John and Sandra met on a blind date under Eastbourne clock tower.
0:17:22 > 0:17:24If you look at that photo of her, there, she always,
0:17:24 > 0:17:26for the first few years, had a bee...
0:17:26 > 0:17:30beehive hairstyle, which I always used to like.
0:17:30 > 0:17:3318 years old - look at that lovely figure.
0:17:33 > 0:17:37I mean, I couldn't believe it, that such a gorgeous person would arrive.
0:17:37 > 0:17:40I only hope I measured up a bit.
0:17:40 > 0:17:42Well, you were pretty handsome.
0:17:42 > 0:17:4419, there. I was a bit tasty.
0:17:44 > 0:17:47I can understand you grabbing me.
0:17:49 > 0:17:51That's one of my all-time favourite photos.
0:17:51 > 0:17:54That is a nice photo. It was a happy day, wasn't it, really?
0:17:54 > 0:17:56And we're young, and you're carefree, aren't you?
0:17:56 > 0:17:58That was a few weeks later,
0:17:58 > 0:18:01and by then you're feeling the water and thinking,
0:18:01 > 0:18:02"I wonder if she likes me."
0:18:04 > 0:18:05Like him she did,
0:18:05 > 0:18:07and soon, younger Dobsons in a family home
0:18:07 > 0:18:11made their first of many appearances in John's albums.
0:18:15 > 0:18:20That is about my top five favourite photographs out of 20,000.
0:18:20 > 0:18:24I love that one. And there is Melanie holding a little brolly.
0:18:24 > 0:18:29- It's snowing.- Melanie, two years, nine months, Joanne, six months.
0:18:29 > 0:18:30Lovely photos.
0:18:30 > 0:18:32They're brilliant. Sum up our life, really.
0:18:32 > 0:18:34- It's...- Yeah. Probably important to you, as well,
0:18:34 > 0:18:37because you'd never had a home, really, had you?
0:18:39 > 0:18:43Here's my mother, who, sadly, she was an alcoholic.
0:18:44 > 0:18:46You couldn't say I knew her very well,
0:18:46 > 0:18:48cos I left to go in the home when I was seven.
0:18:50 > 0:18:52When John's alcoholic parents couldn't cope,
0:18:52 > 0:18:55their children were taken into care by the authorities.
0:18:57 > 0:18:59I've got a sister and three brothers in that photo -
0:18:59 > 0:19:01five of us went in the home together.
0:19:01 > 0:19:02Look at how happy I am there.
0:19:02 > 0:19:05It doesn't seem a terrible place to be in,
0:19:05 > 0:19:09but I wasn't with my parents, but there it is, in black and white.
0:19:09 > 0:19:13Often I think about it or wonder if it actually happened, but it did.
0:19:16 > 0:19:19Family albums present a very selective vision of family life,
0:19:19 > 0:19:23so they're always holidays, you know, happy days, happy occasions.
0:19:23 > 0:19:26So, in that sense, I don't think they're lies exactly.
0:19:26 > 0:19:31I think they're actually quite carefully constructed stories.
0:19:31 > 0:19:33You know, even when things are not going particularly well,
0:19:33 > 0:19:36I think photographs are very powerful ways
0:19:36 > 0:19:39to enact that desire for... for a happy life.
0:19:41 > 0:19:43My favourite thing to say to people is,
0:19:43 > 0:19:46I would willingly do the first 22 again that weren't up to much,
0:19:46 > 0:19:48so I could have the 50 with Sandra.
0:19:51 > 0:19:52You want that in writing?
0:19:57 > 0:19:59In the '60s and '70s,
0:19:59 > 0:20:02a second wave of immigrants arrived from the Commonwealth,
0:20:02 > 0:20:05and for many families the changing experiences of each generation
0:20:05 > 0:20:08has been documented in photos.
0:20:08 > 0:20:11Aww! Who are they?
0:20:11 > 0:20:13Is that their first Eid or is it the second?
0:20:13 > 0:20:16- No, that was their second. - That was their second Eid, yeah.
0:20:16 > 0:20:19That's a... That's a beautiful picture. That's a beautiful picture.
0:20:19 > 0:20:21The Bahksh family now live in Glasgow,
0:20:21 > 0:20:23but when they first came to Scotland,
0:20:23 > 0:20:26they settled 100 miles further north in Fort William.
0:20:27 > 0:20:31Youngest son Navid wants to know what it was like settling the family
0:20:31 > 0:20:32into the Highland town.
0:20:34 > 0:20:38- Who's this?- This is Sophia, and there was a young woman -
0:20:38 > 0:20:42when she got married, she wanted Sophia to be a flower girl.
0:20:42 > 0:20:44- That's over here.- And that's there.
0:20:44 > 0:20:49That shows how much there was integration with the local people.
0:20:49 > 0:20:51Local community, yeah.
0:20:51 > 0:20:55And the local community really liked my children.
0:20:55 > 0:20:56You don't see that these days,
0:20:56 > 0:21:00Asian families, their kids getting involved with the white weddings,
0:21:00 > 0:21:06so this is totally news to me that this happened then.
0:21:07 > 0:21:09This is our shop, isn't it?
0:21:09 > 0:21:11Yes, this is the shop where I used to work.
0:21:11 > 0:21:13I think he bought the shop for me.
0:21:13 > 0:21:16- Oh, did he?- Because I was fed up in the house and...
0:21:16 > 0:21:21- OK.- ..I think he decided that I, because I can alter things,
0:21:21 > 0:21:24I can sew things, so that's his...
0:21:24 > 0:21:26- Yeah, it was his idea.- That's his...
0:21:26 > 0:21:28It was his idea, you know.
0:21:28 > 0:21:33So I started working in the shop, and it was really enjoyable,
0:21:33 > 0:21:38because I used to meet people, and I could communicate with them,
0:21:38 > 0:21:41and I learned their taste...
0:21:41 > 0:21:43- In fashion.- Their fashions.
0:21:43 > 0:21:47And I started working in the shop, so I have got to be fashionable.
0:21:47 > 0:21:49- Active woman.- Very active.
0:21:49 > 0:21:51Very... I never got tired.
0:21:51 > 0:21:54- Look at that, Mum.- That's another...
0:21:54 > 0:21:55Pretty one.
0:21:58 > 0:22:02If Kodak brought snapshots to many ordinary British families...
0:22:04 > 0:22:07..in 1963, their latest model, the Instamatic,
0:22:07 > 0:22:10became the camera of the new youthful revolution.
0:22:14 > 0:22:18We all had these cameras as teenage people.
0:22:18 > 0:22:20Yeah, very simple, point and shoot.
0:22:20 > 0:22:22CAMERA CLICKS
0:22:22 > 0:22:25And, yeah, it took a cartridge.
0:22:27 > 0:22:30Little cartridge film, which used to go in there,
0:22:30 > 0:22:34so there was no danger of, erm, anything being exposed.
0:22:35 > 0:22:36And just...
0:22:38 > 0:22:40MUSIC: My Generation by The Who
0:22:42 > 0:22:45Like many teenagers coming of age in the 1960s,
0:22:45 > 0:22:49Jenny Bowden had her own cheap and easy-to-use Instamatic.
0:22:52 > 0:22:54Jenny and her friends were also part
0:22:54 > 0:22:57of the new British youth music scene, the mods,
0:22:57 > 0:23:01and wherever they went, their modern cameras went with them.
0:23:06 > 0:23:11We'd set off and hitchhike to Torquay, a load of us girls,
0:23:11 > 0:23:14and of course, it was just the place to be.
0:23:16 > 0:23:18We all thought we looked super cool.
0:23:22 > 0:23:24Jenny's generation enjoyed new-found freedoms
0:23:24 > 0:23:27that her parents would never have dreamed of,
0:23:27 > 0:23:30and now they had the means to record their fun.
0:23:30 > 0:23:32All the boys had Lambrettas, of course -
0:23:32 > 0:23:34that was THE scooter to have...
0:23:36 > 0:23:37..and they wore parkas.
0:23:39 > 0:23:43And quite often, I mean, we used to go down there and we had...
0:23:43 > 0:23:45We didn't have the faintest idea where we were going to stay,
0:23:45 > 0:23:47but we'd meet somebody who had a caravan,
0:23:47 > 0:23:50and we'd all go back and sleep on the floor.
0:23:53 > 0:23:56And, I mean, you just wanted to work Monday to Friday and then go out
0:23:56 > 0:23:58and have a good time.
0:23:58 > 0:24:01And that was our life, really.
0:24:01 > 0:24:04SHE LAUGHS
0:24:04 > 0:24:07- ADVERT:- It's new. It's now.
0:24:07 > 0:24:10The hot new camera came with colour film, too.
0:24:10 > 0:24:13Four full-power flashes in one tiny cube.
0:24:13 > 0:24:15Flash cube.
0:24:15 > 0:24:18The Instamatic with added flash meant photos day or night,
0:24:18 > 0:24:21outside or in.
0:24:21 > 0:24:24It had a little flash cube that would sit on the top of there,
0:24:24 > 0:24:27with four, and as you took a flash photo,
0:24:27 > 0:24:31it would automatically turn around until all four were burnt.
0:24:31 > 0:24:34Pop it on.
0:24:34 > 0:24:36And a world of colour opened up for Jenny,
0:24:36 > 0:24:39as she did something else her parents' generation
0:24:39 > 0:24:42would never have dreamt of, and went on holiday abroad.
0:24:44 > 0:24:46We all used to carry it everywhere with us.
0:24:46 > 0:24:49These were the girls I went with.
0:24:49 > 0:24:53This was just strolling the seafront, dressed fashionably,
0:24:53 > 0:24:55as we were at the time.
0:24:55 > 0:24:58This was us working as chambermaids in...
0:24:58 > 0:25:01in the Hotel Europe, it was.
0:25:01 > 0:25:04We were just desperate each night to get our work done
0:25:04 > 0:25:05and just go out on the town.
0:25:06 > 0:25:09It takes me back to being there.
0:25:09 > 0:25:12We were so fashion-conscious.
0:25:12 > 0:25:14To be honest, I think we were slaves to fashion.
0:25:18 > 0:25:23And then at the end of August 15th, 1969,
0:25:23 > 0:25:26I met my husband, John.
0:25:30 > 0:25:34The Instamatic would dominate for decades, spawn many imitators,
0:25:34 > 0:25:37and become Kodak's most successful camera ever.
0:25:38 > 0:25:42These affordable automatic cameras with flash
0:25:42 > 0:25:44had brought the snapshot indoors.
0:25:44 > 0:25:48So you could take photographs of birthday parties indoors -
0:25:48 > 0:25:50people blowing out the candles.
0:25:50 > 0:25:53You could take photographs of the children around the Christmas tree
0:25:53 > 0:25:54opening their presents indoors.
0:25:54 > 0:25:58The time in which you could take amateur photographs and snapshots
0:25:58 > 0:26:01was extended and that revolutionised the sort of photographs
0:26:01 > 0:26:03you see in family albums.
0:26:04 > 0:26:07While our photographs mostly documented holidays
0:26:07 > 0:26:08and celebrations,
0:26:08 > 0:26:11some families had more fun at work than most,
0:26:11 > 0:26:14and had their cameras on hand to catch it.
0:26:14 > 0:26:17Grandad, he... He, erm, created this album.
0:26:17 > 0:26:21In the mid-'70s, the Slight family went into the pub trade,
0:26:21 > 0:26:22headed by Mark's late grandad,
0:26:22 > 0:26:26the far-from-slight East End bodybuilder-turned-landlord, Ron.
0:26:27 > 0:26:29Oh, there he is. Look at that.
0:26:29 > 0:26:32There we go. A great Greek god there, Nan.
0:26:32 > 0:26:34That's what you fell in love with.
0:26:34 > 0:26:36Most probably.
0:26:36 > 0:26:39This one is Mark
0:26:39 > 0:26:40when he was a day old.
0:26:40 > 0:26:42My dad had come up to visit him.
0:26:42 > 0:26:44He was the first grandchild.
0:26:44 > 0:26:46You can see the...
0:26:46 > 0:26:50by the fashion, with the moustache and the sideburns.
0:26:50 > 0:26:53Yeah, you can tell that's the '70s, can't you? '70s.
0:26:55 > 0:26:571979. This is the pavilion, isn't it?
0:26:57 > 0:27:01Yes, and that would have been our silver wedding anniversary.
0:27:01 > 0:27:03- Yeah?- With the snake lady, yes.
0:27:05 > 0:27:07What they do with snakes, I don't know.
0:27:07 > 0:27:11For decades, owning your own home had remained an unattainable dream
0:27:11 > 0:27:16for many, but the family managed to buy their own council house in 1983.
0:27:17 > 0:27:20We were so thrilled to bits that we'd bought this house,
0:27:20 > 0:27:23the first thing we did was build a drive,
0:27:23 > 0:27:27so my husband crazy-paved the front garden
0:27:27 > 0:27:29so we could bring our cars up.
0:27:29 > 0:27:32This was one of his cars, the Triumph Vitesse,
0:27:32 > 0:27:33what he always wanted,
0:27:33 > 0:27:35and there it is there with me on it.
0:27:35 > 0:27:38I'll bet the old man had to check it to make sure it wasn't dented on
0:27:38 > 0:27:42- the bonnet or anything like that. - She weren't all that big then.
0:27:42 > 0:27:45I had a Raleigh Burner, which was wicked.
0:27:45 > 0:27:50We bought stunt nuts and put the stunt nuts...
0:27:50 > 0:27:54- Yeah.- It's another thing, Nan. - I'll explain it to you later.
0:27:54 > 0:27:57From the latest bike Mark got for his birthday
0:27:57 > 0:27:59to Glenda's Ford Cortina,
0:27:59 > 0:28:02we used photos to revel in our changing status
0:28:02 > 0:28:06and show off our consumer goods with pride.
0:28:06 > 0:28:08Now, come on, smile, everybody, please, smile.
0:28:10 > 0:28:12Waste of time if you haven't taken a light reading.
0:28:12 > 0:28:14No, it's all right. This is completely automatic.
0:28:14 > 0:28:17Cameras were, of course, desirable goods themselves
0:28:17 > 0:28:21and with an ever-expanding market in the 1970s and '80s,
0:28:21 > 0:28:23the competition was fierce.
0:28:23 > 0:28:25- It's the lens.- No problem.
0:28:25 > 0:28:27It's a Zuiko lens. They use it on the Olympus OM1,
0:28:27 > 0:28:29one of the best cameras in the world.
0:28:29 > 0:28:31Well, I suppose they're all right for you boys.
0:28:31 > 0:28:34Having the right camera was a bit like male jewellery,
0:28:34 > 0:28:35so if you had the...
0:28:35 > 0:28:38the Canon or the Nikon camera round your neck,
0:28:38 > 0:28:42with the strap emblazoned with the brand name, then that showed
0:28:42 > 0:28:46that you were not just an amateur photographer, you had aspirations.
0:28:46 > 0:28:48- Do you know who that is?- Who?
0:28:48 > 0:28:50David Bailey.
0:28:50 > 0:28:53David Bailey? Who's he?
0:28:53 > 0:28:57- VOICEOVER:- The Olympus Trip - so simple, anyone can use it.
0:28:57 > 0:28:59And you have the beautiful SLR camera, which you took as well,
0:28:59 > 0:29:01and the strap. And he used to do, like,
0:29:01 > 0:29:04put it around his neck and then pretend to drop the camera, like,
0:29:04 > 0:29:05make everybody laugh in the picture.
0:29:05 > 0:29:07Everyone else thought it was hilarious.
0:29:07 > 0:29:09600th time, you were like...
0:29:09 > 0:29:12I'll tell you something, though, these girls haven't mentioned.
0:29:12 > 0:29:14Now we've got Facebook, what do we do?
0:29:14 > 0:29:17We go through them and have lovely snaps of everything in there.
0:29:17 > 0:29:19- We do.- So it paid off in the end.
0:29:19 > 0:29:21Stop moaning. She's always saying, "We have to pose."
0:29:21 > 0:29:25MUSIC: Daddy Cool by Boney M
0:29:29 > 0:29:30For 13 years,
0:29:30 > 0:29:33John Dobson entered the local Polegate Carnival
0:29:33 > 0:29:36costume competition and roped his family in for a laugh.
0:29:40 > 0:29:42You did the Polegate Carnival every year,
0:29:42 > 0:29:44and it was really big, actually. It was like Mardi Gras, wasn't it?
0:29:46 > 0:29:51Dad used to spend six months making amazing pieces of artwork
0:29:51 > 0:29:55- and engineering. - A bit of a local legend,
0:29:55 > 0:29:58John was renowned for his inventive outfits.
0:29:58 > 0:30:01That one, obviously Dad had some pipe dream about a crocodile.
0:30:01 > 0:30:03It needed four people, and there we are in there, me and Melanie, look,
0:30:03 > 0:30:05under sufferance, in the middle, as teenagers.
0:30:05 > 0:30:08- When we were teenagers, we didn't like it much, and we...- No.
0:30:08 > 0:30:11Yeah, there's a lot of pictures of us looking daggers at the camera.
0:30:11 > 0:30:13- Like that. - But now we make our kids, erm,
0:30:13 > 0:30:15line up and have pictures taken.
0:30:15 > 0:30:18# I have a picture
0:30:20 > 0:30:22# Pinned to my wall... #
0:30:22 > 0:30:27That picture is me, Melanie and Kerry in 1984, was it?
0:30:27 > 0:30:30Our first concert, the Brighton thing, to see the Thompson Twins,
0:30:30 > 0:30:31and Melanie had to come with us.
0:30:31 > 0:30:34She was the chaperone, aged 15, to go from Polegate to Brighton,
0:30:34 > 0:30:3625 miles on the train.
0:30:36 > 0:30:40# Whoa, warm my heart... #
0:30:40 > 0:30:43Well, you know, generally speaking, you can have troubles,
0:30:43 > 0:30:45the terrible teens and all that, but they were brilliant.
0:30:45 > 0:30:47There was no point rebelling,
0:30:47 > 0:30:49because if your dad's worn a moulded-breast-cup swimming costume
0:30:49 > 0:30:52in the pool, and roller-skated down Polegate High Street,
0:30:52 > 0:30:53what's the point?
0:30:53 > 0:30:55THEY LAUGH
0:30:55 > 0:30:58# Warm my heart... #
0:30:59 > 0:31:02With everybody taking snapshots and people hungrier
0:31:02 > 0:31:04for quick access to their prints,
0:31:04 > 0:31:07a rival company brought out a revolutionary new camera,
0:31:07 > 0:31:10with a unique selling point.
0:31:10 > 0:31:12- ADVERT:- That's it. Just press the button.
0:31:12 > 0:31:14There you are, in 90 seconds.
0:31:14 > 0:31:17Razor-sharp image and bright, lasting colours.
0:31:21 > 0:31:26In 1948, Polaroid invented the instant camera,
0:31:26 > 0:31:27but it wasn't until the 1970s
0:31:27 > 0:31:30that the Polaroid could eject the print as it developed,
0:31:30 > 0:31:32and the wider public took it up.
0:31:34 > 0:31:37When Polaroids came out, I got one,
0:31:37 > 0:31:40and this is a Polaroid of my mum when she was a bit older,
0:31:40 > 0:31:44in her front room with her floral wallpaper, having a cup of tea.
0:31:47 > 0:31:49That's Mark with his father.
0:31:49 > 0:31:51- That's me.- And that was when he was five days old.
0:31:51 > 0:31:55And this was on a Polaroid, when they first came out,
0:31:55 > 0:31:58the Polaroid cameras, you just used to click them, didn't you,
0:31:58 > 0:32:00- and they came out?- Mmm.
0:32:00 > 0:32:02That was a new thing in them days.
0:32:02 > 0:32:03Marvellous.
0:32:04 > 0:32:06If you were at a party, for instance,
0:32:06 > 0:32:08you could take a photograph and then hand it around
0:32:08 > 0:32:12and show people at the time, so it became part of the fun.
0:32:12 > 0:32:15RAUNCHY RAGTIME MUSIC
0:32:15 > 0:32:18Away from the prying eyes of the developer,
0:32:18 > 0:32:21people dared to take naughty pictures,
0:32:21 > 0:32:25as the Polaroid liberated people to capture more risque subject matter
0:32:25 > 0:32:27that had previously remained private.
0:32:31 > 0:32:35With the advent of cheap and plentiful flights to Europe,
0:32:35 > 0:32:38more and more of us took package holidays in the 1980s.
0:32:39 > 0:32:42As a 20-something working in advertising,
0:32:42 > 0:32:46Joanne Jacobs enjoyed holidays in the sun with her friends,
0:32:46 > 0:32:48and always packed her camera in her suitcase.
0:32:50 > 0:32:52We were lucky in that we were the generation that were told,
0:32:52 > 0:32:55"You don't have to get married young, so you can go out there,
0:32:55 > 0:32:58"you can have fun, you can party, you can be irresponsible."
0:32:58 > 0:33:01You could just all go to Majorca or Spain.
0:33:01 > 0:33:03Those were our favourite places. Corfu, as well.
0:33:03 > 0:33:07And I think I remember having a little Vivitar camera
0:33:07 > 0:33:09that I took everywhere with me,
0:33:09 > 0:33:11and I was always snapping, and I was always saying,
0:33:11 > 0:33:15"Come on, guys, we'll be glad if we take this photo, if we do it now."
0:33:15 > 0:33:17And they would go, "No, no..." "Come on, let's do it,
0:33:17 > 0:33:20"because you'll be glad after to have a memory from it."
0:33:20 > 0:33:23And I did used to enjoy waiting for my photos to come back.
0:33:23 > 0:33:25My issues used to be,
0:33:25 > 0:33:26you'd take loads of photos
0:33:26 > 0:33:29and then probably only get about two that were good.
0:33:32 > 0:33:35Snapshots were now part of the leisure experience,
0:33:35 > 0:33:38proof we really were having a good time.
0:33:41 > 0:33:43By the 1980s,
0:33:43 > 0:33:46photography had become even more popular in British households,
0:33:46 > 0:33:48but before we got those holiday snaps
0:33:48 > 0:33:52and cheeky party pictures back, we had to wait.
0:33:52 > 0:33:55These were the glory years for film processing,
0:33:55 > 0:33:57their labs working round the clock to keep up.
0:33:59 > 0:34:02Brian Holbrook has worked in the same high-street developing shop
0:34:02 > 0:34:06in Didsbury, Manchester, for 45 years.
0:34:06 > 0:34:10Mid-'80s, that was when everything really took off.
0:34:10 > 0:34:13Instead of people taking one roll of film on their holidays,
0:34:13 > 0:34:16there'd be about ten or 15, and that,
0:34:16 > 0:34:18coupled with the fact that more people were going abroad,
0:34:18 > 0:34:22so they would take more pictures anyway,
0:34:22 > 0:34:24accounted for the fact that we were busy.
0:34:24 > 0:34:28That was the boom period, I would say, and at five o'clock,
0:34:28 > 0:34:30all the doorways would be full of people
0:34:30 > 0:34:31who would pick their films up,
0:34:31 > 0:34:34and they were all laughing and giggling and joking
0:34:34 > 0:34:36with what they'd just picked up.
0:34:36 > 0:34:39Customers would tell me that, "It's crazy out there."
0:34:41 > 0:34:46The 1980s was a heyday for photographic processing,
0:34:46 > 0:34:50with people sending off their film to companies like Sunny Snaps
0:34:50 > 0:34:53and Truprint, waiting for the envelope to come back,
0:34:53 > 0:34:55and tearing the envelope open
0:34:55 > 0:34:57just to see what they'd managed to capture.
0:34:58 > 0:35:02The idea that the photograph was quite a precious thing,
0:35:02 > 0:35:05it actually cost money to take a photo,
0:35:05 > 0:35:07which people have forgotten nowadays.
0:35:07 > 0:35:11The 24 or the 36 exposures forced you to think carefully
0:35:11 > 0:35:12about the photos you took.
0:35:16 > 0:35:18We may have had more money in our pockets,
0:35:18 > 0:35:20but there was a limit to how many rolls of films
0:35:20 > 0:35:23people could afford to buy and develop.
0:35:23 > 0:35:27It's funny seeing all the outfits and, like, remembering.
0:35:27 > 0:35:29But in 1991,
0:35:29 > 0:35:32the Boorman family were selected by the Daily Telegraph to take part
0:35:32 > 0:35:34in a unique photographic experiment
0:35:34 > 0:35:37that anticipated the freedom of digital cameras,
0:35:37 > 0:35:41years before it would transform family photos.
0:35:41 > 0:35:44Instead of just taking photographs on high days and holidays,
0:35:44 > 0:35:48we would take photographs of us going to Sainsbury's.
0:35:49 > 0:35:52The supermarket...
0:35:52 > 0:35:55We took photographs of the contents of our fridge.
0:35:55 > 0:35:59We took photographs of meals that the children had eaten.
0:35:59 > 0:36:02There's pictures of Nick at the dentist.
0:36:03 > 0:36:07Each of the five members of the Boorman family got a camera,
0:36:07 > 0:36:11and as many films as they wanted, to capture their own snaps of the year.
0:36:11 > 0:36:14Astrid was just eight when they started the project.
0:36:14 > 0:36:17I mainly took photographs of my friends,
0:36:17 > 0:36:18my toys especially as well.
0:36:18 > 0:36:22It was nice to capture things that were important to me.
0:36:22 > 0:36:24Lots of my brothers out and about.
0:36:24 > 0:36:28Nick, in particular, enjoyed taking more unusual...
0:36:28 > 0:36:31Yeah, Dad did like more arty shots.
0:36:31 > 0:36:34And I took the more conventional photographs.
0:36:34 > 0:36:37I was more interested in them being well-framed and...
0:36:37 > 0:36:41I think just a hangover from not having much film -
0:36:41 > 0:36:46you had to be careful to get a good photo for the shot.
0:36:46 > 0:36:49While Mum and Dad started out with different styles,
0:36:49 > 0:36:51the project gave both parents the chance
0:36:51 > 0:36:54to develop their photographic eye.
0:36:54 > 0:36:56I took this one, and it is one of my favourites.
0:36:56 > 0:36:59- It's brilliant. - Because he's so happy.
0:36:59 > 0:37:02And he's flying.
0:37:02 > 0:37:06I was lying on the bed, and Maxwell was being thrown onto the bed,
0:37:06 > 0:37:09shrieking with pleasure, his arms and legs out,
0:37:09 > 0:37:13and then screaming to be picked up, to repeat the whole thing again.
0:37:14 > 0:37:16I just think it's a happy photograph,
0:37:16 > 0:37:20and not the kind of image you'd normally take, but it's family life.
0:37:20 > 0:37:21And I think, genuinely,
0:37:21 > 0:37:23my favourite photographs are pictures
0:37:23 > 0:37:25of the three of them together,
0:37:25 > 0:37:27- like a little tribe.- Over the year,
0:37:27 > 0:37:29Terry found the freedom to experiment
0:37:29 > 0:37:31with her unposed snapshot style,
0:37:31 > 0:37:34and took some of the family's most treasured pictures.
0:37:34 > 0:37:37What I'm doing is I'm just diving into the pool, jumping in,
0:37:37 > 0:37:39just having fun messing around,
0:37:39 > 0:37:42and my mum's managed to capture a bird's-eye shot
0:37:42 > 0:37:45of me jumping into the swimming pool.
0:37:45 > 0:37:48I just look like I'm really free and carefree.
0:37:48 > 0:37:49- I did want...- Having fun.
0:37:49 > 0:37:52I did want the shot. I knew what I wanted,
0:37:52 > 0:37:54and it took me at least a roll.
0:37:54 > 0:37:56It was only the freedom of having unlimited film
0:37:56 > 0:37:58that enabled me to take it.
0:37:58 > 0:38:03I was determined that I would get a good one, and I did.
0:38:03 > 0:38:04Well, I think I did.
0:38:04 > 0:38:07The Boormans' photographic experiment
0:38:07 > 0:38:10was an unforgettable experience that brought the family together.
0:38:10 > 0:38:14You realise what a strong family unit we are,
0:38:14 > 0:38:16looking back at the pictures and thinking, "Well,
0:38:16 > 0:38:20"there's five of us and no-one looks angry."
0:38:20 > 0:38:22They are all happy, nice shots.
0:38:22 > 0:38:25You can see, like, we're all having a good time.
0:38:25 > 0:38:2815 months and 16,000 photos later,
0:38:28 > 0:38:31some of the family's pictures were published
0:38:31 > 0:38:33in the Sunday Telegraph Magazine.
0:38:33 > 0:38:35These photographs were a period of my life
0:38:35 > 0:38:37when my children were growing up.
0:38:37 > 0:38:40They were happy times, and you've got it documented.
0:38:43 > 0:38:44Why do we take photographs?
0:38:44 > 0:38:47What is the role of photographs in the album?
0:38:47 > 0:38:51The memories are still there, but sometimes you need a trigger
0:38:51 > 0:38:55in order to bring that memory, in the way that taste or smell...
0:38:55 > 0:38:58Just seeing a photograph, in a sense, can conjure up all of those,
0:38:58 > 0:39:03and suddenly you're back as a child, opening your Christmas presents,
0:39:03 > 0:39:05or you're on a beach making a sandcastle.
0:39:05 > 0:39:07- You can almost... - HE INHALES
0:39:07 > 0:39:09..smell the salt.
0:39:09 > 0:39:11You can feel the sand between your toes,
0:39:11 > 0:39:13just by looking at the photograph.
0:39:13 > 0:39:15That's how powerful they are.
0:39:17 > 0:39:19Back in Southfields,
0:39:19 > 0:39:24Joanne Jacobs is dedicated to a lifelong photo project - her family.
0:39:25 > 0:39:28That's obviously just after you were born
0:39:28 > 0:39:30and that's the moving house photo
0:39:30 > 0:39:32that we all love, with the blue beret.
0:39:32 > 0:39:34Yeah, I really like that one.
0:39:34 > 0:39:39I like to mark occasions, so, for my children's 18th birthdays,
0:39:39 > 0:39:42it's become a custom now that I make them, as a special present,
0:39:42 > 0:39:44a large photo collage of their life.
0:39:44 > 0:39:47It means going back through the photos and choosing them,
0:39:47 > 0:39:51and then I tear them and I do it in the order of their life.
0:39:54 > 0:39:57As I pass in the corridor and I look at this,
0:39:57 > 0:40:00there are things I notice that I haven't noticed before each time,
0:40:00 > 0:40:02and it makes me so happy, because...
0:40:03 > 0:40:07..you see this and you... The scenes just come back to you,
0:40:07 > 0:40:10and happy memories and things that you would have forgotten if they
0:40:10 > 0:40:12weren't in front of you.
0:40:16 > 0:40:19When you look at the way photographs are displayed,
0:40:19 > 0:40:22they tend to be more in, kind of, shared, familial spaces
0:40:22 > 0:40:24in the house, like living rooms and hallways,
0:40:24 > 0:40:28or fridge doors with lots of photos on them, you know,
0:40:28 > 0:40:29pinned there under fridge magnets.
0:40:29 > 0:40:33It's about bringing pictures of different family members together
0:40:33 > 0:40:36in a place, and about kind of marking that togetherness.
0:40:36 > 0:40:39Joanne represents all members of the family in her collages,
0:40:39 > 0:40:42including youngest daughter Rachel.
0:40:42 > 0:40:45I really like this one, where I was rock climbing,
0:40:45 > 0:40:48and I was the only one who got right to the top,
0:40:48 > 0:40:51but I was one of the smallest, so it felt really good.
0:40:51 > 0:40:54Yeah. I like you in the helmet, as well.
0:40:54 > 0:40:57- Yeah, because the helmet was so big compared to my tiny head.- Yeah!
0:40:58 > 0:41:02Creating family photo displays are a way of really asserting
0:41:02 > 0:41:04a happy family and a successful family,
0:41:04 > 0:41:09and for mums who have done a lot of work to achieve those things,
0:41:09 > 0:41:11I think also, they are invested very much
0:41:11 > 0:41:13in creating these visual records
0:41:13 > 0:41:15of that kind of success.
0:41:15 > 0:41:18- ALL:- Hi! - Come in, come in!
0:41:18 > 0:41:20Happy birthday!
0:41:20 > 0:41:24Photo fanatic Joanne has invited her extended family round to celebrate
0:41:24 > 0:41:27her youngest niece's second birthday.
0:41:27 > 0:41:32- THEY SING:- # Happy birthday, dear Babette
0:41:32 > 0:41:37# Happy birthday to you. #
0:41:37 > 0:41:40- ALL:- Yay!
0:41:40 > 0:41:43While they are round, Joanne's getting the family
0:41:43 > 0:41:44to restage a group photo,
0:41:44 > 0:41:47and has asked her niece Maria to get behind the camera.
0:41:49 > 0:41:50Is it flashing?
0:41:50 > 0:41:52CAMERA SHUTTER CLICK
0:41:52 > 0:41:54Wow. That was a lot of flashes.
0:41:56 > 0:41:58Maria took the original photo,
0:41:58 > 0:42:01but today there is one person missing from the group -
0:42:01 > 0:42:04her father Shaun passed away three years ago.
0:42:06 > 0:42:11My dad was the photographer in the family and he was always, kind of,
0:42:11 > 0:42:12taking pictures of everything.
0:42:14 > 0:42:16In the last two days he was with us,
0:42:16 > 0:42:18he had his hospital bed in the dining room,
0:42:18 > 0:42:22and the camera was still right next to his bed,
0:42:22 > 0:42:27and he started to use his camera as kind of a diary, I think.
0:42:27 > 0:42:30But just after he died, we kind of thought, like,
0:42:30 > 0:42:32we've got this last memory card
0:42:32 > 0:42:35of all the things that he wanted to take pictures of.
0:42:35 > 0:42:38I just wanted to have the pictures printed somewhere,
0:42:38 > 0:42:43so we've got the car, the house, a guy up a tree...
0:42:44 > 0:42:46This is, I think,
0:42:46 > 0:42:48a side-effect of some of the treatment that he was having.
0:42:48 > 0:42:50It had a bit of an effect on his feet,
0:42:50 > 0:42:52so I think there's a lot of those.
0:42:52 > 0:42:55This is actually him looking at my photography.
0:42:55 > 0:42:58I was showing him the pictures that I'd taken,
0:42:58 > 0:43:00and I took the camera off him and took this one,
0:43:00 > 0:43:03and it was just, like, spending time in the garden.
0:43:06 > 0:43:08We don't just need to remember, like,
0:43:08 > 0:43:10the days where everything was perfect.
0:43:10 > 0:43:15People do get sick sometimes, and if we don't see pictures of it,
0:43:15 > 0:43:16it's quite shocking when it happens
0:43:16 > 0:43:18and we don't really know how to deal with it, but...
0:43:18 > 0:43:21And then if we don't hide them, I think it...
0:43:21 > 0:43:23It gets people talking about it,
0:43:23 > 0:43:26and we can kind of relate to each other a bit better.
0:43:29 > 0:43:32When maybe, you know, you're losing someone you love really dearly,
0:43:32 > 0:43:35it makes a huge difference emotionally
0:43:35 > 0:43:38to be able to go to a family album
0:43:38 > 0:43:41and look back at some of the lovely times that you have actually managed
0:43:41 > 0:43:45to share together, you know, maybe despite present difficulties.
0:43:45 > 0:43:47And that's why I think family photos
0:43:47 > 0:43:50are these massively important objects. Erm, partic...
0:43:50 > 0:43:54I think particularly the printed ones that you can hold and gaze on,
0:43:54 > 0:43:57touch... I think they help hold us together,
0:43:57 > 0:43:59and they help hold families together.
0:44:02 > 0:44:06So this photograph here was Nan and Grandad's...
0:44:06 > 0:44:09- 50th.- ..50th anniversary, wasn't it?
0:44:09 > 0:44:12And we had a big party over in the village hall.
0:44:12 > 0:44:14- That's right.- We put that photograph at his funeral, didn't we?
0:44:14 > 0:44:17On his coffin, yeah, in the church.
0:44:17 > 0:44:20Yeah, and it's a great photograph of Grandad, isn't it?
0:44:20 > 0:44:22Sort of... It, sort of, just portrays him
0:44:22 > 0:44:24with his gold, looking smart...
0:44:24 > 0:44:27- Oh, his gold chains. - That is a nice picture,
0:44:27 > 0:44:30and I like to remember him like that as well.
0:44:30 > 0:44:33You look back at the happy times, do you know what I mean?
0:44:33 > 0:44:35In his later life, he got... He weren't well, was he...
0:44:35 > 0:44:39- No.- ..for the last few years? But you don't look at that part.
0:44:39 > 0:44:42You look at the fun part and you look at the...
0:44:42 > 0:44:44You just remember the happy moments and the laughs.
0:44:46 > 0:44:48So it's nice and natural.
0:44:48 > 0:44:50You've got Mum looking and Nan looking there like that.
0:44:52 > 0:44:56Mark's interest in art led him to be the first in his family
0:44:56 > 0:44:58to leave the pub trade and go to university,
0:44:58 > 0:45:01but he didn't expect his photography degree
0:45:01 > 0:45:03to lead him back to his family so soon.
0:45:03 > 0:45:08What it did for me was it made me reflect on what I knew
0:45:08 > 0:45:12and what was me and what was my family.
0:45:12 > 0:45:15And I used my family as the subject matter.
0:45:18 > 0:45:20The good thing about doing your family is
0:45:20 > 0:45:22you take pictures of them so much, they get...
0:45:22 > 0:45:25They've already got the hump with you, like, a year ago...
0:45:25 > 0:45:28- Yeah.- So, from now on, you can just keep snapping and snapping.
0:45:28 > 0:45:31They know what you're doing. They've just forgot about you.
0:45:31 > 0:45:33I'm not interested in making people look good or, you know...
0:45:33 > 0:45:36- Well, you see that.- ..make them stand there smiling.
0:45:36 > 0:45:38Mark Newton's warts-and-all snapshots
0:45:38 > 0:45:41are happy memories that tell stories from his family's past.
0:45:43 > 0:45:44This is the one, then, isn't it, eh?
0:45:44 > 0:45:46- That's the one. - Oh, this one, we all like.
0:45:46 > 0:45:50Yeah, this is one of my favourite ever photographs, I think.
0:45:50 > 0:45:54- Yeah.- And this is one of them rare moments when both of my grandads
0:45:54 > 0:45:57are together, and this makes me laugh, this photo,
0:45:57 > 0:46:00because we've got Grandad and he's got
0:46:00 > 0:46:03a glass of whisky in his hand, and he got really drunk that night.
0:46:03 > 0:46:07And it was because me and Tommy were pouring him whiskies
0:46:07 > 0:46:09like they were like half pints of beer.
0:46:09 > 0:46:10And he was going, "Just a little one.
0:46:10 > 0:46:12"Just a little one, boys. Just a little one, boys."
0:46:12 > 0:46:14"Yeah, Grandad, just a little one."
0:46:14 > 0:46:17And we were putting it in there, and he got in trouble that night,
0:46:17 > 0:46:19- didn't he, by Nan? - Yeah, he did, yeah.
0:46:19 > 0:46:20Nan told him off cos he got drunk.
0:46:31 > 0:46:33In the 20th century,
0:46:33 > 0:46:35we learned to think of our photographs
0:46:35 > 0:46:36as memories taken on film.
0:46:38 > 0:46:40But in the 21st century,
0:46:40 > 0:46:42a brand-new technology came along
0:46:42 > 0:46:46that has revolutionised our photographic practice.
0:46:46 > 0:46:49Digital photography completely transformed
0:46:49 > 0:46:52the way in which we practise family photography today,
0:46:52 > 0:46:53and, as a consequence,
0:46:53 > 0:46:55I would say that in the digital era,
0:46:55 > 0:46:58photography is much more about the present moment.
0:46:58 > 0:47:01We don't necessarily think of the photographs we take
0:47:01 > 0:47:03as representations of the past,
0:47:03 > 0:47:06but rather as active participants in the present.
0:47:09 > 0:47:11In this rapidly changing market,
0:47:11 > 0:47:14digital cameras were quickly overtaken by smartphones,
0:47:14 > 0:47:17which now give us better quality images than ever.
0:47:19 > 0:47:22Increasingly, phones are sold as cameras with phones,
0:47:22 > 0:47:24rather than phones with cameras,
0:47:24 > 0:47:26so this importance of photographs more generally
0:47:26 > 0:47:27to the conducting of everyday life
0:47:27 > 0:47:30I think has really been embedded in the kind of objects that we
0:47:30 > 0:47:32carry around with ourselves every day.
0:47:32 > 0:47:34I can't smile.
0:47:34 > 0:47:37You can take as many images as you like, and it costs you nothing,
0:47:37 > 0:47:42so the idea of photographing, erm, your plate of food at dinner,
0:47:42 > 0:47:45something which just captures your eye on the street, you can do so.
0:47:45 > 0:47:49And, of course, now you can share it with someone immediately,
0:47:49 > 0:47:52so there's an immediacy about photography
0:47:52 > 0:47:54which perhaps is something new.
0:47:55 > 0:47:57It'll come out much better in that camera if you're in a row.
0:47:57 > 0:48:00- Can we get in a row? - In this digital age,
0:48:00 > 0:48:02photos are still a way to keep everyone close,
0:48:02 > 0:48:05and the Dobson family are as snap-happy as ever.
0:48:07 > 0:48:09We still take a lot of photographs,
0:48:09 > 0:48:11and I think that's because we've been brought up to.
0:48:11 > 0:48:13We do have that habit.
0:48:13 > 0:48:16Now they're digital, so you can take a lot more.
0:48:16 > 0:48:18Everybody takes hundreds of photos now, don't they?
0:48:18 > 0:48:20For us, it's a good connecting tool, isn't it?
0:48:21 > 0:48:25Younger daughter Joanne lives 100 miles away from Sussex,
0:48:25 > 0:48:27where her mum and sister still live.
0:48:27 > 0:48:30Joanne living in the New Forest, I can just, in the morning,
0:48:30 > 0:48:34click on to Instagram or Facebook or whatever,
0:48:34 > 0:48:36and just see what she's been up to over the weekend
0:48:36 > 0:48:39or over the last few days, make a comment on it and she comments back.
0:48:39 > 0:48:42It's like we're conversing with each other and it keeps you close,
0:48:42 > 0:48:47- doesn't it, really?- It makes you feel less...apart.- Yeah, yeah.
0:48:47 > 0:48:51The Dobsons use photos to keep in touch via social media,
0:48:51 > 0:48:55and typically share everything from recipes to days out and holidays.
0:48:55 > 0:48:58There's a nice one of Mum. You've got six comments on that, Mum.
0:48:58 > 0:49:03- My goodness. Do I really?- Very good. Probably from us.- Yeah!
0:49:03 > 0:49:04Oh, there's a nice one of Dad and I.
0:49:04 > 0:49:08Yeah. Mum and Dad's Christmas, erm...glamour shots.
0:49:08 > 0:49:09was them in...
0:49:09 > 0:49:12Where was that? Zanzibar, in their swimming trunks
0:49:12 > 0:49:14and swimming costume. Mum's got a better figure than me.
0:49:14 > 0:49:16- I was a bit fed up. - You do look lovely.
0:49:16 > 0:49:19Actually, on my Facebook, she got about 80 likes for that.
0:49:19 > 0:49:21No wonder you sent everyone that picture.
0:49:21 > 0:49:22Yeah! That's just showing off.
0:49:25 > 0:49:29Perhaps the best camera is the one that's always with you,
0:49:29 > 0:49:32and these days, every member of the family has one.
0:49:34 > 0:49:36Going to show Mummy?
0:49:36 > 0:49:39The Telegraph project gave Astrid Boorman a foretaste
0:49:39 > 0:49:43of unlimited photography as a child, but now, as a digital mum,
0:49:43 > 0:49:45she really can take as many as she likes.
0:49:45 > 0:49:47Dance, dance. Dance, dance.
0:49:47 > 0:49:49I think digital is priceless, really,
0:49:49 > 0:49:51because you've been given that medium to be able
0:49:51 > 0:49:54to take as many pictures as you want until you get the perfect shot.
0:49:54 > 0:49:56I like how instant everything is,
0:49:56 > 0:50:00and I can share his life with his relatives so quickly,
0:50:00 > 0:50:02and I can do that with the photos.
0:50:04 > 0:50:08If in the 20th century it was mainly the father's role to take pictures,
0:50:08 > 0:50:10I think that, especially in the digital era,
0:50:10 > 0:50:14we see more and more mothers owning their own cameras, and so mother,
0:50:14 > 0:50:19father, children, teenagers, they all have cameras on their phones.
0:50:19 > 0:50:23One could argue that photography has become much more democratic within
0:50:23 > 0:50:26the familial environment than ever before.
0:50:26 > 0:50:29- What have we got now?- Digital technology has also allowed mums
0:50:29 > 0:50:31and grannies like Jenny Bowden
0:50:31 > 0:50:34to try new ways of curating the family album.
0:50:34 > 0:50:40I thought, "Why don't I do a movie of our life together?"
0:50:40 > 0:50:43So I called it 1969 To Now.
0:50:43 > 0:50:46MUSIC: Memories Are Made Of This by Dean Martin
0:50:46 > 0:50:51Then, of course, Jenny always strings the music to it,
0:50:51 > 0:50:53which makes it extremely watchable.
0:50:57 > 0:50:59When Jenny's granddaughters come to visit,
0:50:59 > 0:51:02they love looking back at her photos.
0:51:04 > 0:51:07It's flashing in front of my eyes, my life.
0:51:10 > 0:51:12That's the day before your dad appeared.
0:51:12 > 0:51:14- There he is.- And there he is.
0:51:16 > 0:51:18It's really weird, seeing him as a baby.
0:51:18 > 0:51:19- I bet.- Yeah.
0:51:19 > 0:51:22Now I see him every day as a grown-up, it's just weird seeing...
0:51:22 > 0:51:24- Oh. Whoa! Go back.- Oh, my God.
0:51:24 > 0:51:27- You've got to go back to that.- Oh, my God!
0:51:28 > 0:51:31Hang on, this is the change.
0:51:31 > 0:51:34- Oh, my God.- Oh, we will embarrass him if we show this.
0:51:34 > 0:51:36GIRLS SHRIEK
0:51:37 > 0:51:40- When he gets bald... - What? He has now.
0:51:40 > 0:51:41"Gets bald!"
0:51:41 > 0:51:44We don't have a record of our childhood
0:51:44 > 0:51:46anything like our children.
0:51:46 > 0:51:51I mean, the amount of images, and moving images as well, and sound,
0:51:51 > 0:51:55that are available to them is truly amazing, really.
0:51:55 > 0:52:00I think it'll be lovely for when our grandchildren grow up and get older,
0:52:00 > 0:52:03to look back on. I mean, when we've gone on our way.
0:52:03 > 0:52:05That's Donald Trump's hair.
0:52:05 > 0:52:08THEY LAUGH
0:52:12 > 0:52:15If you come to see some of these photographs
0:52:15 > 0:52:17and you realise what emotions
0:52:17 > 0:52:22they can trigger, perhaps decades after they were taken,
0:52:22 > 0:52:25you realise that the strength of family photographs,
0:52:25 > 0:52:29and how important they are, and why people preserve them,
0:52:29 > 0:52:32why they keep them, and why often people would say,
0:52:32 > 0:52:33"If the house was on fire,
0:52:33 > 0:52:37"the one thing I would rush back in and save is the album."
0:52:39 > 0:52:4321st-century digital technology, coupled with the internet,
0:52:43 > 0:52:46has allowed us to make our private albums public.
0:52:49 > 0:52:54In 2012, Ian McLeod finally finished his birth-to-21 project,
0:52:54 > 0:52:57taking a photograph of son Corey every day of his life.
0:52:59 > 0:53:00And in the digital era,
0:53:00 > 0:53:04father and son realised they could make an entirely original video
0:53:04 > 0:53:05to share with the world online.
0:53:08 > 0:53:10I put it on YouTube and, erm..
0:53:12 > 0:53:17..suddenly we were getting lots of views.
0:53:17 > 0:53:20The vast majority were in the first few months, possibly five million,
0:53:20 > 0:53:21something like that.
0:53:22 > 0:53:25We're up to nearly six and a half million now.
0:53:30 > 0:53:35It's quite amazing that I am, I think, the only person to do...
0:53:35 > 0:53:39to have this project of them from birth, so it's quite special.
0:53:39 > 0:53:44I've had a lot of people commenting on the YouTube video as well,
0:53:44 > 0:53:46saying how lucky I am and stuff,
0:53:46 > 0:53:50so that also reminds me that I actually am.
0:53:50 > 0:53:53A lot of people have said that they wish they had a video of themselves,
0:53:53 > 0:53:56and a lot of parents have actually commented saying that they're going
0:53:56 > 0:53:58to start doing the project with their kids now.
0:54:00 > 0:54:04So, it just brought all these different things
0:54:04 > 0:54:08into our ordinary lives, you know. It...
0:54:08 > 0:54:09It was...
0:54:11 > 0:54:13No regrets. It was... It was a lovely thing.
0:54:15 > 0:54:17And that's it.
0:54:17 > 0:54:20A lot of people, even our friends and family, were saying,
0:54:20 > 0:54:24"You need to carry on. It'd be such a waste to just stop at 21."
0:54:24 > 0:54:28So, you know, we just thought, we have to carry on, really.
0:54:28 > 0:54:30Let's just click on one.
0:54:30 > 0:54:33Corey has decided to keep the project going,
0:54:33 > 0:54:35but now he's taking selfies,
0:54:35 > 0:54:37and, as he travels the world,
0:54:37 > 0:54:39he remembers to send Ian each day's photo,
0:54:39 > 0:54:42using his dad as an extra hard drive at home.
0:54:42 > 0:54:45I think he's on a camel.
0:54:45 > 0:54:46He mentioned something about a camel.
0:54:48 > 0:54:50Ooh.
0:54:50 > 0:54:53Ah. That must be Sri Lanka, then.
0:54:55 > 0:54:59So, how have you been getting on with your daily photos?
0:54:59 > 0:55:00Yeah, I've taken it every day.
0:55:00 > 0:55:03- I've not missed any days. - No.- Which is good news.
0:55:03 > 0:55:06- Neither have I.- Oh, you're not still doing that, are you?
0:55:06 > 0:55:09I am, yeah. You've got to do the last few, though.
0:55:09 > 0:55:15Ian has also been making his own selfie album, much closer to home.
0:55:15 > 0:55:18Before they close the coffin lid, yeah.
0:55:18 > 0:55:21Ian's asked Corey to help him finish his daily selfie project.
0:55:22 > 0:55:26Both father and son intend to take a selfie every day
0:55:26 > 0:55:28for the rest of their lives.
0:55:28 > 0:55:30CAMERA SHUTTER CLICKS
0:55:35 > 0:55:39Digital photography has enabled a new kind of storytelling.
0:55:39 > 0:55:41Sharing our family album online
0:55:41 > 0:55:44means it's not just about the pictures any more.
0:55:44 > 0:55:48The contemporary value of family photos is what it's always been.
0:55:48 > 0:55:49It is still...
0:55:50 > 0:55:52..a record of family life.
0:55:53 > 0:55:55But maybe differently today,
0:55:55 > 0:55:59it's something that will have been shared with many people already.
0:56:00 > 0:56:04I think people will realise later on, when they look back at those,
0:56:04 > 0:56:07how much else those records say about them
0:56:07 > 0:56:11and their family than simply the photo alone.
0:56:13 > 0:56:16When my kids will grow up, I will sit down with them
0:56:16 > 0:56:18and I'll explain to them, on that day, you did this.
0:56:18 > 0:56:19On this day, this is what we were doing.
0:56:19 > 0:56:23Then they'll be able to piece together all the jigsaw, and see,
0:56:23 > 0:56:27"OK, this is where we came from. This is what we did."
0:56:29 > 0:56:32You often hear people saying that digital photography
0:56:32 > 0:56:35or mobile phone photography has killed photography,
0:56:35 > 0:56:37but people were saying that in the 1880s.
0:56:37 > 0:56:40People were saying it in the 1920s.
0:56:40 > 0:56:41People are saying it now.
0:56:41 > 0:56:47- That's great.- Photography changes, but photography carries on.
0:56:48 > 0:56:51We all take more snapshots than ever.
0:56:52 > 0:56:54But what do they give us?
0:56:54 > 0:56:58I wanted to capture, from Grandad, through my photography,
0:56:58 > 0:57:00the good times through him.
0:57:00 > 0:57:02Like, him making people laugh.
0:57:02 > 0:57:06And you can only do that if you're snapping away in the moment.
0:57:06 > 0:57:08- And don't we know it!- Yeah!- Yeah!
0:57:08 > 0:57:10THEY CHUCKLE
0:57:10 > 0:57:12Well, you wouldn't have these stories otherwise,
0:57:12 > 0:57:14- would you, Nan?- No.- No. See?
0:57:14 > 0:57:16Maybe in this internet age,
0:57:16 > 0:57:19we need our family photos more than ever,
0:57:19 > 0:57:21to keep us close.
0:57:21 > 0:57:22- Are you with me?- Yeah.
0:57:22 > 0:57:25Let's go. One, two, three.
0:57:25 > 0:57:27Perfect.
0:57:29 > 0:57:33When times are tough, it makes a huge difference, emotionally,
0:57:33 > 0:57:35to be able to go to a family album
0:57:35 > 0:57:37and look back at some of the lovely times
0:57:37 > 0:57:40that you have actually managed to share.
0:57:43 > 0:57:46Eventually, when I die, they've got to cut these,
0:57:46 > 0:57:49they'll get a big circular saw, put two piles and saw them in half.
0:57:49 > 0:57:52- They'll go out on the lawn and set fire to the whole lot.- Yeah?
0:57:52 > 0:57:53Put you on top, Dad?
0:57:53 > 0:57:56THEY LAUGH