NANNY – my paternal grandmother – gave me £15 for Christmas 1962; I was thirteen. She and Uncle Laurie were living in a retirement flat in Recorder Road in Norwich. Uncle Laurie was her second husband, her first husband, my grandfather, had died before I was born. Quite why she decided to be so generous I don’t know; fifteen pounds was a king’s ransom in 1962 – at least £250 in today’s prices. I believe she preferred to give me my inheritance while she was still alive; certainly there was nothing for me in her will when she died three years later, but that was fine. I rather doubt if she had intended me to spulge it all at once; no doubt she would have preferred me to squirrel it away in a bank account.
However this gift enabled me to buy an 8mm movie camera. ‘Super Eight’ had not then come available, and in retrospect I believe the old ‘Standard Eight’ (as 8mm was thereafter called) equipment was being sold off at a discount to make way for the new models. Although Super Eight was promoted as far superior, the main difference was that the four minutes of film did not require turning over half way through. The 16mm film had to be split when it was sent off for processing (which had already been paid for as part of the purchase price). You had to send off your Kodachrome film to the lab and then wait for the postman to call. At least the pictures were in colour by 1962; the previous generation would have had no film at all (it was wartime), and before that it was all black and white. Movie cameras were powered by clockwork, so no batteries were required.
Gregory’s camera shop in Lower Goat Lane had a Paillard Bolex camera going cheap, and this Swiss make was very good. I had hankered after it as soon as I saw it in the window, and thanks to Nanny I was able to afford it. I must have written her an effusive thank you letter, but I am sure I did not reveal my purchase to her. Inflation was soon to gather pace, and soon the £15 would only have bought the family a good meal at a restaurant, so in retrospect it was a wise decision.
Although still cameras were quite plentiful among my school acquaintances, none had a movie camera. They were not common in the 1960s; many of my peers came from much wealthier families than I did. Their fathers were directors of national organisations like Norwich Union, and could easily have afforded a movie camera for their offspring had they wished to indulge them. I’m glad that I had the imagination to make my purchase; I took full advantage of my new toy, and my first film was used photographing the severe winter of 1963. There is a view of us youngsters building an igloo on the snowy wastes of what should have been the junior school football pitch.
I was also able to capture some of the last of the steam engines on East Anglian railways. Diesels had already taken over in Norfolk and steam had vanished from the Norwich shed, but the steam depot at March was still operational. On January 1st 1964 my cousin David Anderson (aged 32) organised a trip to the Cambridgeshire station, where we were conducted on a tour round the extensive sheds by a member of British Railways’ staff . The party consisted of David, my father and me, plus a young train spotter who had been jotting down numbers at March station and who tagged along. David’s children were unfortunately too young to join us.
No longer being cared for, the steam engines were all extremely dirty, but at least those in steam still possessed their nameplates; many of those that stood cold and abandoned had already had their identification plates removed. Even then a brass number was being avidly sought out by collectors. A Jubilee class (Barham) steamed past us, and is recorded on film. The Britannia class Oliver Cromwell stood cold and out of commission but under cover. She would undoubted have gone to the scrap yard like Barham, which succumbed to the blow torch in 1965; however Britannia herself, which had been destined for preservation, was subsequently vandalised. Oliver Cromwell was therefore substituted for preservation instead. As things turned out both locomotives were eventually preserved, Oliver Cromwell as part of the national collection.
I also took pictures of my canoe, Red Squirrel, taking to the river Blyth at Southwold and the sea at Snettisham. Two people could sit in the cockpit, and both my cousins Jill and Tony Sansom went out in her with their father Uncle Arthur. We explored the river Waveney at Bungay. It’s all captured on film. Picnics and picking primroses also feature among my early movies, as does the visit of my sister from Canada with her young family. My cine camera was a marvellous purchase, and fifty years later I am so glad to have this moving record of times long past.
Compared to modern videos the 8mm camera was basic. The definition was not great and you could only shoot very brief scenes; the film was expensive. Now you can record hours and hours on-line or on DVD for virtually nothing, and sound is included. Once exposed the film had to be sent away for processing, so there was no possibility of checking what you had photographed – no instant rewind in those distant days. It was a matter of guess-work. Should it be f 16 or f 22? It depended on how bright the weather was. These arcane terms all passed out of use and out of memory many decades ago. Now you can whip out your smartphone and get a much better sequence than you could ever have done with a 8mm camera; but now that anyone can take a movie, what’s the point? When I was recording my teenage years my ciné camera was a real novelty.