{"id":81010,"date":"2016-07-15T15:47:12","date_gmt":"2016-07-15T14:47:12","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=81010"},"modified":"2016-07-14T15:48:13","modified_gmt":"2016-07-14T14:48:13","slug":"view-from-the-frontline","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/view-from-the-frontline\/","title":{"rendered":"View from the frontline at the Somme"},"content":{"rendered":"\t\t
\n\t\t\t\"\t\t\t

Exhausted officers of the 9th Rifle Brigade, August 1916<\/p>\n\t\t<\/div>\n\t\t\n

Perhaps a recurring theme across most war photography is the fact that much of it is captured by outsiders. So often the images we see are taken by journalists or freelancers who have taken themselves to the conflict in order to bring back images to display to the rest of the world. However, it\u2019s not often that we see images actually captured by individuals directly involved in the conflict. Such pictures must surely offer a unique perspective.<\/p>\n

This year marks the 100th anniversary of the Battle of the Somme in France \u2013 one of the bloodiest and deadliest battles in human history. Unofficial photographs taken during the battle are rare, but offer a fascinating insight into life on the Western Front. Someone who has spent time getting to grips with this insight is First World War historian Richard Van Emden. He has produced a book examining photographs taken by soldiers during the five-month-long battle that resulted in more than one million casualties.<\/p>\n\t\t

\n\t\t\t\"Trench\t\t\t

Two men passing with apparent urgency along a trench at Beaumont Hamel, which was one of the fortress villages just behind German lines on 1 July 1916<\/p>\n\t\t<\/div>\n\t\t\n

At the start of the war in 1914, there were no restrictions on the use of cameras or photography, as Richard explains: \u2018I\u2019m sure the Army\u2019s attitude wouldn\u2019t have been entirely positive towards photography, but at that time they were far more excited by what was going on, and the threat of Germany, to worry about cameras.\u2019<\/p>\n

What may seem odd, at least to modern sensibilities, is that there were no official photographers sent over to cover the action.<\/p>\n

\u2018It didn\u2019t even occur to them that photography and propaganda in the Great War would be useful,\u2019 says Richard. \u2018So there were no images for the British press.\u2019<\/p>\n

To satisfy their readers\u2019 desire for imagery, newspapers started to offer money directly to soldiers who had taken their own cameras. The vast majority would have been officers, because of the high cost of camera equipment and film. It soon became clear that good photos could be worth vast sums of money.<\/p>\n

\u2018Most photographs weren\u2019t worth that much, but if you got an extraordinary one, it could be worth a small fortune,\u2019 says Richard.<\/p>\n

\u2018An everyday picture of Tommies at the front would get you a few shillings or a couple of pounds. However, if you got a photograph of men under fire, for example, it could be worth a lot: up to \u00a3600-\u00a3700 per photograph, or \u00a350,000-\u00a3100,000 in today\u2019s money.<\/p>\n

\u2018These pictures started to appear in the British press \u2013 uncensored \u2013 but the military authorities started to notice. They got extremely upset that there was a lack of control. I think they also felt that men were possibly loading, aiming and shooting their cameras as opposed to their revolvers and rifles.\u2019<\/p>\n\t\t

\n\t\t\t\"Major\t\t\t

Major Beauchamp Magrath, 8th East Lancashire Regiment in a communication trench, winter 1915<\/p>\n\t\t<\/div>\n\t\t\n

Photo embargo<\/h2>\n

Eventually, a ban on cameras came via a General Routine Order (GRO) just before Christmas 1914.<\/p>\n

\u2018The problem was that a GRO wasn\u2019t relayed to the men who were about to go to France \u2013 only the men already in the field,\u2019 says Richard. \u2018You had thousands, or even tens of thousands, of men coming over from Britain with cameras unaware of this order.\u2019<\/p>\n

The result was that in 1915, a more serious ban, a War Office Instruction, was put into place, over a year before the Battle of the Somme began. Initially, some men still flouted the ban, but as the war progressed it became harder to avoid.<\/p>\n

\u2018In September 2015 we have the Battle of Loos, which is the first really major allied offensive\u2019 says Richard. \u2018There was a huge crackdown on cameras.\u2019<\/p>\n

\u2018Anybody caught with a camera faced a court martial. For an officer, that could mean being kicked out of the Army and being dishonourably discharged. For another rank, it could mean months of hard labour.<\/p>\n

\u2018As a result, images from the Battle of the Somme are much rarer than photographs from 1914 and 1915, when there were in fact far fewer men. There were up to two million men on the Western Front in 1916, but there are fewer photographs than when there were half a million men in 1915. Fortunately for posterity, enough of them kept cameras.\u2019<\/p>\n\t\t

\n\t\t\t\"Somme\t\t\t

The squalid conditions on the Somme battlefield are obvious. Note the rifle used as a makeshift tent peg<\/p>\n\t\t<\/div>\n\t\t\n

Treasure hunt<\/h2>\n

Finding their pictures takes time, effort and, crucially, a large bank balance.<\/p>\n

\u2018The albums can go for well over \u00a31,000 each, if they\u2019re good,\u2019 says Richard. \u2018In fact, one album that I bid for recently, because it was very, very good, I lost when the bidding went over \u00a32,500. I\u2019ve bought a lot of albums for between \u00a3800 and \u00a31,200, and I\u2019m pretty pleased if I get them for less than \u00a3500.\u2019<\/p>\n

As you would expect, their price depends on the quality of the images they contain.<\/p>\n

\u2018If they\u2019re not very good, you can get them cheaply, but then you probably won\u2019t use the images,\u2019 says Richard. \u2018You are really looking for quality photographs that haven\u2019t suffered from silvering or deterioration. Also, the quality of the camera is critical. The better the quality, the better are the pictures.<\/p>\n

\u2018Having said that, you can get amazing pictures with cheap cameras if the guy was a good photographer and knew how to fix the camera, and how to expose.\u2019<\/p>\n

Unlike some other wartime collectibles, Richard says it\u2019s relatively easy to establish authenticity in photography.<\/p>\n

\u2018You can\u2019t build yourself a trench system and line it with men. Well, you could, but it would be expensive, so photographs tend to be genuine.<\/p>\n

\u2018Now, you don\u2019t know that they\u2019re not copied \u2013 an officer might make prints for other men. One of the reasons I ducked out of the \u00a32,500 album is that I knew someone who had that album in their collection and had it replicated.\u2019<\/p>\n

To place and date the photos, Richard employs a variety of techniques.<\/p>\n

\u2018If you\u2019re lucky, the man who took the photograph has got the picture in an album and has written the date and location underneath it,\u2019 says Richard. \u2018If they\u2019ve written nothing, which happens about 50% of the time, you can tell the date from the kit they\u2019re wearing.<\/p>\n

\u2018You can also tell the likely date by the style of the trench, or the location from its geology. On top of that, you\u2019ve got landmarks in the background.\u2019<\/p>\n\t\t

\n\t\t\t\"A\t\t\t

A Mark I tank ditched in a former German trench to the west of the village of Flers<\/p>\n\t\t<\/div>\n\t\t\n

War photography<\/h2>\n

By 1916, the government had realised that official photography was necessary, but sent just two photographers to the Western Front. Their images aren\u2019t as realistic as unofficial sources.<\/p>\n

\u2018Although they took fantastic photographs, many of their pictures were staged,\u2019 says Richard. \u2018It wasn\u2019t that these men weren\u2019t in a frontline trench, but they would go along and say, \u201cOK lads, can you pretend to be cleaning your gun?\u201d and they\u2019d all stand around and make a pose.<\/p>\n

\u2018These men didn\u2019t look like they felt comfortable with an official photographer taking a picture. When you see photographs taken by soldiers themselves, the men are much more comfortable and much more relaxed.<\/p>\n

\u2018You\u2019ve only got two photographers on the Somme. They would have to be very lucky to capture extraordinary moments, whereas if you\u2019ve got enough men with cameras, you will get instances where shell bursts will be right over the top of the trench as one of them clicks his camera.<\/p>\n

\u2018Crucially, the official photographer doesn\u2019t name people, either. The photographers were there to take an impression of the Western Front, of the fighting on the Somme; they were not interested in identifying mere individuals.\u2019<\/p>\n\t\t

\n\t\t\t\"Trenches\t\t\t

A German sentry lies dead in the trenches at Thiepval, the day after capture. Above him, top right, is a trench periscope still in position while lower down two German stick grenades sit in a box<\/p>\n\t\t<\/div>\n\t\t\n

Taking risks<\/h2>\n

After the bans, some soldiers continued to risk taking their own pictures. Richard has discovered several accounts of soldiers being punished for taking them.<\/p>\n

\u2018One officer was sent home; someone from another rank got three months hard labour; and another got Field Punishment Number One, which is being spreadeagled on a gun carriage in front of all your mates,\u2019 he explains. \u2018It isn\u2019t painful, just humiliating. The punishment you received depended on the commanding officer.\u2019<\/p>\n

In order to avoid being caught, soldiers came up with various tactics to conceal cameras and film.<\/p>\n

\u2018If they were caught with a roll of film, they would automatically lose your leave, so if they took pictures home they were very careful about doing so,\u2019 says Richard. \u2018They relied on film being sent out from home, or from friends who had been out on leave. If you needed another roll, you would have a secret message that you could agree with a family member. For example, \u201cIt\u2019s a very indifferent day today\u201d, which they would know meant, \u201cSend me a roll of film.\u201d<\/p>\n

\u2018An interesting story is a guy who was just a private but must have had the cooperation of his commanding officer, because he actually took a camera out there with developing solutions and all sorts of stuff, and his photographs are extraordinarily detailed. He must have transported his equipment in a wagon. I\u2019m intrigued by the fact that he was able to do that and nobody seemed to stop him.\u2019<\/p>\n

Of course, the soldiers who took photographs faced other technical challenges, as Richard explains: \u2018Most of the soldiers used the Vest Pocket Kodak, which was marketed directly to soldiers just prior and during the early months of the Great War. It was something with retractable bellows, which [you] would store in your jacket pocket or your haversack, and was easy to use.<\/p>\n

\u2018It also had rollfilm, so you could just put in the rollfilm and take your photographs. These cameras were small and portable, so that was what most men used.<\/p>\n

\u2018With a VPK, you had to look down on the viewfinder. For you to take a picture of men going over the top, or in action, you\u2019d have to expose half your body to get the shot. You could literally just lift the camera above the trench top, but you risked the picture being shaky, or taking a picture of the sky. So, the pictures where you actually see men in action, where you see extremely dangerous situations are very rare.\u2019<\/p>\n\t\t

\n\t\t\t\"Dugout\"\t\t\t

Lieutenant Richard Hawkins, 11th Royal Fusiliers (left) in a dugout with Lieutenant Richard Vaughan-Thompson<\/p>\n\t\t<\/div>\n\t\t\n

Tailing off<\/h2>\n

As the Battle of the Somme continued, the number of images taken by soldiers dwindled.<\/p>\n

\u2018I think part of the reason they lost cameras is not just because of the attitude of the authorities, but also people were starting to get sick of it. Sick of fighting and sick of death. They decided it wasn\u2019t fun any more, or something they would want to remember after the war.<\/p>\n

\u2018I\u2019ve seen lots of albums taken on the frontline where the number of dead in those pictures, given how many there must have been around, are very few. In one album I borrowed, there was a caption that said something like, \u201cThis person being carried down, he died shortly afterwards\u201d, but the picture had been removed.<\/p>\n

\u2018Objectively, you could say that was probably one of the most interesting ones he took, but at some point he decided, \u201cI don\u2019t want anyone else to see this; I shouldn\u2019t have taken it.\u201d\u2019<\/p>\n

Until now, the public has never seen most of the photos in Richard\u2019s book. It\u2019s for this reason that Richard became interested in showcasing forgotten shots.<\/p>\n

\u2018I\u2019m so keen because nobody else has bothered with these images. They are incredibly rare and often stunningly taken, but totally forgotten about. I\u2019ve really made it my business to bring something entirely new to the public.<\/p>\n

\u2018When I write about the Great War, I\u2019m not interested in generals, or tactics particularly; I\u2019m interested in writing about things about which people might say, \u201cI cannot believe that happened.\u201d<\/p>\n

\u2018With these photographs I want to bring something fresh to the story instead of repeating the same stuff over and over again.\u2019<\/p>\n\t\t

\n\t\t\t\"7th\t\t\t

About 3:30pm: men of the 7th Queen\u2019s (Royal West Surrey Regiment) and 7th Buffs (East Kent Regiment) take cover along a road, on the way to their objective, Montauban Alley<\/p>\n\t\t<\/div>\n\t\t\n\t\t

\n\t\t\t\"The\t\t\t

You can see more extraordinary photographs and read more about the battle in The Somme: The Epic Battle in the Soldiers\u2019 Own Words and Photographs by Richard Van Emden, published by Pen & Military, price \u00a325<\/p>\n\t\t<\/div>\n\t\t\n\n","protected":false},"excerpt":{"rendered":"

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