0:00:07 > 0:00:19# I am the day, and the sunshine
0:00:37 > 0:00:41and the first of the new.
0:00:45 > 0:00:53the full extent of Marzaroli's after he took his first photo,
0:00:53 > 0:01:01has created such a vast and varied photographer
0:01:06 > 0:01:08all the time.
0:01:08 > 0:01:16And every time I met him he had a camera round his neck.
0:01:16 > 0:01:20or was going to.
0:01:20 > 0:01:27this big six foot man with this part of the whole being,
0:01:27 > 0:01:30not big and showy,
0:01:38 > 0:01:40he kept returning
0:01:42 > 0:01:47until his death in 1988,
0:01:47 > 0:01:50of the city
0:01:50 > 0:01:56I think describing Oscar Marzaroli
0:01:56 > 0:01:59in residence is completely apt.
0:02:01 > 0:02:08that insider-outsider grasp. As someone who had an Italian
0:02:08 > 0:02:12both inside and outside,
0:02:12 > 0:02:18a documentary record of a city.
0:02:47 > 0:02:51and this is how he worked.
0:02:51 > 0:02:56my father's gone into an event,
0:02:56 > 0:02:58for very long,
0:02:58 > 0:03:01the event itself
0:03:01 > 0:03:05watching, the crowd,
0:03:05 > 0:03:07the whole spirit of it.
0:03:07 > 0:03:09what their views are as such,
0:03:09 > 0:03:23He doesn't have hundreds they're together.
0:03:28 > 0:03:32of the Industrial Revolution.
0:03:32 > 0:03:57created great wealth to a city of over a million
0:03:57 > 0:04:00Even though,
0:04:00 > 0:04:24if you like, and people and become one of the group,
0:04:24 > 0:04:32And it - you know, he just caught them on the move.
0:04:32 > 0:04:36that discretion -
0:04:36 > 0:04:40to his photography.
0:04:40 > 0:04:47and he was a little bit shy and widely read
0:04:47 > 0:05:13but he quickly revealed to them that he was the one
0:05:13 > 0:05:26wasn't taking any chances three children to ill health,
0:05:26 > 0:05:31well at his Jesuit-run school,
0:05:31 > 0:05:33and his older brother Louis
0:05:38 > 0:05:42school of hard knocks,
0:05:42 > 0:05:44that World War II
0:05:44 > 0:05:49When Oscar was seven,
0:05:49 > 0:05:53boxing gloves for Christmas.
0:05:53 > 0:06:03I'm not saying they were tough guys learned to box a bit, you know,
0:06:03 > 0:06:06sort of bitterness about that.
0:06:06 > 0:06:12Oscar's battle with ill health just to carry on.
0:06:12 > 0:06:17at Glasgow College of Printing.
0:06:17 > 0:06:22Oscar contracted TB
0:06:22 > 0:06:32His parents had retired to Italy where he spent a life-changing year.
0:06:32 > 0:06:36three months between them.
0:06:51 > 0:06:54gave Oscar time to recuperate
0:06:58 > 0:07:03He also picked up his camera
0:07:03 > 0:07:11taking pictures of staff for the first time,
0:07:11 > 0:07:17He'd already had a wee brief taking photographs.
0:07:17 > 0:07:23because then after that, really was the turning point
0:07:23 > 0:07:35in a kind of when he started taking pictures,
0:07:35 > 0:07:39spells in London and Stockholm,
0:07:39 > 0:07:43stint as a fashion photographer.
0:07:43 > 0:07:52He was an egalitarian, of Glasgow were calling him home.
0:07:59 > 0:08:05the city was alive in 1959
0:08:08 > 0:08:12You had the poems of Edwin Morgan,
0:08:12 > 0:08:19A burgeoning folk scene, which were kind of similar.
0:08:19 > 0:08:21and I think he said himself,
0:08:24 > 0:08:28who worked from everyday life,
0:08:28 > 0:08:31Cartier-Bresson
0:08:45 > 0:08:57Joan Eardley died in 1963,
0:08:57 > 0:09:00the same again,
0:09:00 > 0:09:07to document the changes.
0:09:07 > 0:09:11I live in a tenement
0:09:11 > 0:09:16biggest slums
0:09:16 > 0:09:31# By those mansion-dwelling and so we've been telt to move
0:09:31 > 0:09:36to greenbelts, trees and floo'ers
0:09:36 > 0:09:41and we daily tell them so
0:09:41 > 0:09:46the building next tae oors. #
0:09:47 > 0:09:51densely populated cities in Europe.
0:09:51 > 0:09:54the problem,
0:09:54 > 0:09:58the tenements and replace them
0:09:58 > 0:10:02and out-of-town housing schemes.
0:10:02 > 0:10:06had been destroyed.
0:10:06 > 0:10:10to feel the shock of this change
0:10:15 > 0:10:18of community spirit.
0:10:18 > 0:10:25some of his best-loved photos.
0:10:25 > 0:10:30asking them what they wanted to be that I remember very well,
0:10:30 > 0:10:34they wanted to be demolishers.
0:10:34 > 0:10:36got the contract
0:10:36 > 0:10:42high flats in the Gorbals,
0:10:42 > 0:10:45I think, to open the first one?
0:10:45 > 0:10:48rise like a phoenix from the ashes.
0:10:48 > 0:10:51in the ashes.
0:10:51 > 0:10:53in the Gorbals
0:10:55 > 0:10:58done in the Gorbals
0:10:58 > 0:11:01was to a certain extent
0:11:01 > 0:11:08and in the Western world.
0:11:10 > 0:11:13to give a message.
0:11:13 > 0:11:15record reality.
0:11:15 > 0:11:22As it was.
0:11:41 > 0:11:47There's a sense of vigour of ordinary people.
0:11:47 > 0:11:50the kind of dilapidation
0:11:50 > 0:11:54that you see.
0:11:54 > 0:11:58look heroic.
0:11:58 > 0:12:01to live in circumstances
0:12:01 > 0:12:03just to survive.
0:12:03 > 0:12:07was never there for him,
0:12:07 > 0:12:10like the Gorbals,
0:12:13 > 0:12:15this microcosm of people
0:12:15 > 0:12:18for something better.
0:12:18 > 0:12:20as a deprived place.
0:12:33 > 0:12:36At Sandyfaulds Street,
0:12:36 > 0:12:38to your street? That's right.
0:12:38 > 0:12:40I stayed...
0:12:40 > 0:12:43right facing the Star.
0:12:43 > 0:12:46Mind the fish shop, the Star?
0:12:49 > 0:12:52all my life, 92 year,
0:12:54 > 0:12:56anything about them.
0:12:56 > 0:12:59saying they're bad -
0:12:59 > 0:13:02Good and bad everywhere.
0:13:02 > 0:13:06I'll be carried in a box out of it.
0:13:10 > 0:13:14We are strong and proud
0:13:14 > 0:13:20We will sing out loud
0:13:20 > 0:13:23and making friends... #
0:13:23 > 0:13:26began taking photographs,
0:13:26 > 0:13:29beyond recognition.
0:13:29 > 0:13:32its third regeneration,
0:13:35 > 0:13:38of Glasgow's sense of itself,
0:13:40 > 0:13:44the photographers of today.
0:13:44 > 0:13:47is documenting the area
0:13:47 > 0:13:50at the Citizens Theatre.
0:13:50 > 0:13:54the same streets that Oscar walked,
0:13:54 > 0:13:56in the Gorbals photographing people,
0:13:56 > 0:14:00was photographing in the Gorbals
0:14:00 > 0:14:04children trying on shoes -
0:14:04 > 0:14:06in the streets,
0:14:06 > 0:14:09really see that at all any more.
0:14:09 > 0:14:11now in the Gorbals
0:14:11 > 0:14:13be met with some suspicion,
0:14:13 > 0:14:17get so much of back then.
0:14:17 > 0:14:19is quite sad really
0:14:19 > 0:14:22that are growing up just now,
0:14:22 > 0:14:24photographs of them
0:14:24 > 0:14:27in the '60s, '70s,
0:14:27 > 0:14:29when I was growing up.
0:14:31 > 0:14:33phone photography,
0:14:33 > 0:14:35to take pictures
0:14:35 > 0:14:38street photographers like Oscar
0:14:38 > 0:14:41out in the street.
0:14:41 > 0:14:44playing in groups
0:14:44 > 0:14:47want to sort of
0:14:47 > 0:14:50he would be away from that.
0:14:50 > 0:14:52maybe take a picture, go.
0:14:52 > 0:14:54in that play,
0:14:54 > 0:14:57they're unaware that he's there.
0:14:57 > 0:15:00something.
0:15:00 > 0:15:03and a pause and a click,
0:15:03 > 0:15:05an indiscriminate sort of
0:15:05 > 0:15:09and hundreds - until you get one.
0:15:09 > 0:15:12# Oh, you cannae shove yer granny
0:15:13 > 0:15:17aff a bus
0:15:22 > 0:15:33# You can shove yer other granny aff a bus
0:15:41 > 0:15:47and its industrial heritage, with all its tenements
0:15:57 > 0:16:01was very dark and defined.
0:16:01 > 0:16:08the Pinkston canal, in a couple of Oscar's pictures of
0:16:08 > 0:16:20and in the distance the different of the four lads and the signal,
0:16:23 > 0:16:27is that he wasn't interested in
0:16:27 > 0:16:30the people he was photographing.
0:16:30 > 0:16:42As a result, we have no idea who and move on.
0:16:42 > 0:17:00She doesn't look lost or anything
0:17:00 > 0:17:04but nowadays, if you got chalk
0:17:04 > 0:17:29The "Golden Haired Lass" you'd get into trouble.
0:17:29 > 0:17:36what had happened to these children you know, that impulse to find out
0:17:36 > 0:17:53I basically made posters
0:17:53 > 0:17:59We'd just come off the cross-country my brother."
0:18:05 > 0:18:24and I was doing this... They had really lost touch when he took the photograph.
0:18:50 > 0:19:32All of them, which we weren't part of.
0:19:32 > 0:19:46And he said,
0:19:50 > 0:19:53photographic achievements
0:19:58 > 0:20:14In the early 1960s, he started
0:20:49 > 0:21:04"a great idea to have a human in it "storks in the sky, and it would be
0:21:27 > 0:21:36'But Glasgow's future is planned
0:21:36 > 0:21:38representatives.
0:21:45 > 0:21:47you were tied down to having to have
0:21:47 > 0:21:51in it, which was a bit restrictive.
0:21:51 > 0:22:01because he felt that he hadn't to was always with the stills camera
0:22:01 > 0:22:04and it was, it was just him
0:22:04 > 0:22:19out there that he wanted to record.
0:22:19 > 0:22:31made it clear where his true passion the publisher Jenny Renton, Oscar
0:22:31 > 0:22:53"With the stills camera hanging "how you might be affecting things.
0:22:53 > 0:23:01some beautiful images from or stills, Oscar managed to create
0:23:01 > 0:23:20There are echoes here aluminium smelter in Invergordon.
0:23:20 > 0:23:24a large number of documentaries
0:23:24 > 0:23:28and Islands Development Board.
0:23:28 > 0:23:30his time on location wisely,
0:23:40 > 0:23:43Slate, sea and sky.
0:23:47 > 0:23:51slate, sea and sky
0:24:10 > 0:24:13Ballachulish for the weekend
0:24:13 > 0:24:30And it was a beautiful day, along Rannoch Moor.
0:24:30 > 0:24:40And then he'd stop and get back
0:24:47 > 0:24:55And he said, and I said, "Why are you stopping?"
0:25:00 > 0:25:10the first to be published in more of Oscar's most recent book,
0:25:10 > 0:25:14photos than printing them.
0:25:14 > 0:25:20He was fairly modest about it
0:25:31 > 0:25:43In 1984, a quarter of a century going in the Third Eye Centre.
0:25:43 > 0:25:54a major retrospective leading publishers released
0:25:54 > 0:26:06and really he shouldn't have ill for a couple of years,
0:26:06 > 0:26:09But we all worked together,
0:26:09 > 0:26:23We had a big launch at what out as soon as possible.
0:26:50 > 0:26:53posthumously, but, um,
0:26:53 > 0:26:56happen with him.
0:26:56 > 0:26:59I wanted to keep his name alive.
0:26:59 > 0:27:06Even now, even 25 years later,
0:27:06 > 0:27:08in Scotland,
0:27:08 > 0:27:10that he has,
0:27:10 > 0:27:13understand his work.
0:27:13 > 0:27:25We have about 50,000 negs there. not just people from the art world."
0:27:29 > 0:27:36Oscar's photographs
0:27:36 > 0:27:56THEY have become for his family.
0:27:56 > 0:28:18Like I can see what kind of a man making jokes and laughing.