Profile – May Savage

Introduction
When I first telephoned May to suggest that she should be the next subject in this ‘Profile’ series, her immediate reaction was one of surprise. Why had I considered her, and what possible interest could an article on her be to our readers? I had to admit that my first priority was to include a female member in the series (to avoid any suggestion of bias!). However, I also thought that the little that I did know about her gave a good indication that her story would provide the basis for an interesting article. Fortunately she agreed to take part, and I think that the facts which emerge give an interesting insight into her life in general, as well as her involvement with photography.
Profile
A strong indication of May’s character and interests is gained immediately one walks into her house. In the hallway are stunning and beautifully framed black and white photographs, all taken by May. The lounge walls are largely covered with water-colour paintings, most of which have been obtained from artist friends. At the side of her easy chair sits a bag, containing a partially finished tapestry. Here we have a person passionately interested in many arts and crafts, not merely photography. But there are also clues to another aspect of her character. In the kitchen there are symbols of the Greenpeace movement, which give an indication of her strongly-held views about pacifism and matters of ecology.
The interests in art started at an early age, during the chaos of World War Two. May’s early schooling was disrupted by the bombing of London and its surroundings. In September 1939, at the outbreak of war, she and her two sisters were evacuated from their home in Peckham to Fittleworth in Suffolk. Later, when the bombing on London intensified, they went with their mother to Brixham in Devon. However, this close-nit family could not bear the thought of their father (continuing his work as a printer) facing the threat of Hitler’s bombing alone. As a result they returned home despite the continuing dangers. It was then that May enrolled at the Camberwell School of Art, where she attended life drawing classes on two evenings per week.
Upon leaving school she obtained work as a diagram artist for Weldons, who produced paper patterns for clothes making. Although this was artistically satisfactory to a degree May did not feel that she had the talents to excel in this job. She decided that a career change was required, and obtained an opportunity to carry out some unqualified teaching at Southwark. This confirmed in her mind that this was the path that she should follow. As a result she enrolled at St Peter’s Training College at Peterborough from 1947, where she studied history and art. In 1949 May started teaching at primary schools in the London area. Shortly afterwards she married Leslie. It should be noted that although Leslie was a keen photographer, this interest did not immediately rub off on May!
Her teaching career spanned about 40 years. Her involvement was totally with primary school teaching, and she recalls those years with affection. The ability to influence young minds, and to prepare them for the challenges ahead, was rewarding. Her own challenges started on the first day of school. As a totally ‘green’ teacher she faced a class of over 40 youngsters who were experiencing their own fears of the first day away from familiar home surroundings. (As an aside to May’s story, it was interesting to hear that large class sizes were not unusual. Heated debate on this topic in recent years has given the mistaken impression that this was a modern phenomenon) However, she survived her baptism of fire and, following teaching at schools in Peckham and Forest Hill, she finally moved to a Caterham school from which she retired in 1986.
Shortly before this, in 1985, she visited the Society’s annual exhibition, which was held in the old Town Hall. There she met Alan Ainsworth and Reg Seale, who were doing their sales pitch for new members. On the basis of an offer of a reduced membership fee for the coming season, May agreed to join in September of that year. (As an aside – this appears to have been a successful ploy, because the records show a number of notable names joining at the same time!) May is somewhat critical of the early days in the society, where she found the reception somewhat lukewarm. Fortunately she struck up friendships with other female members like Val Thompson and Mary Bellenie, and gradually became more widely accepted.
At that time May was using a compact camera and, generally, colour print film. She soon recognised the limitations of this equipment. Leslie suggested that she needed equipment that would give her more control, and better potential to produce the results that she desired. As a result he presented her with an Olympus OM10 SLR camera. It was this camera which May used for quite some time, until she went on the first of many week-long photographic courses which were run in Ilminster, Somerset. One of the other attendees had two Olympus OM1 cameras, and lent one to May for the duration of the course. May found this to be much more to her liking, and so she purchased this to replace her existing camera. At a later date she purchased another second-hand OM1, plus additional lenses, and she has continued to use these up to the present. All of her ‘serious’ photography is done with these cameras, although she has also acquired a compact Canon SureShot Z90W more recently for informal photography.
Over the years May has regularly attended photographic courses, not only in Somerset, but also at other locations which have enabled her to concentrate on aspects of photography which were of interest. Members will be aware of the superb black and white prints that she produces. Perhaps the most outstanding include her naturist studies, local architecture and landscapes (particularly coastal views).
When asked about the influence of well-known photographers on her work, she mentions Bill Brandt, Ansell Adams, and Julia Margaret Cameron. It has to be said that, for those familiar with their work, it is easy to recognise the similarities in the images which May produces.
The quality of the photographs is the result of meticulous attention to each phase of its creation. May tends to standardise on Ilford ISO 400 film (rated at ISO 200), with regular use of an orange filter, and with the camera tripod-mounted. I asked her about the reason for exposing her films at the non-standard rating. She explained that with exposures guided by the Ansell Adams zone system, and with suitable adjustment to development, she obtained the quality of negative that she liked. May prefers to work with natural light, and avoids the use of flash wherever possible. Certainly, her artistic eye and methodical approach to her photography produce memorable prints, and make her a formidable competitor in print competitions.
As an aside to her competition entry prints, it should be mentioned that the preparation of the immaculate mounts is the result of the work carried out by her husband, Leslie (when he is not indulging in his other interest of sailing!). To paraphrase – behind every great woman there is a great man!
Although her black and white prints are certainly the most remembered of the images that she produces, her colour photographs should not be forgotten. Some of these have resulted from the visits that she made to her family in Australia.
In addition to her regular participation in competitions, May has also been active on the organisational side of the society. Formal roles on the committee have included Syllabus Secretary, Publicity Secretary and general committee member. In addition, she has been involved in selection panels for inter-club competitions and provided support for competition secretaries dealing with internal competition entries.
Aside from photography, May has so many other interests. Quite apart from the artistic pursuits, such as tapestry, drawing, painting and pottery, she has been involved in archaeological digs in London and Surrey. She also enjoys walking, especially in the hills and mountains of Wales and Scotland. In addition, she is an active member of U3A. There are so many other facets to her life that it is difficult to know where to stop. However, for members of Reigate Photographic Society it is sufficient to be aware of the significant contributions that she makes. Her support in the running of the society (official and voluntary) is considerable. Her photographic work is inspirational. In a word, characters such as May are invaluable to the society’s ongoing success.
Postscript
I said at the beginning of this article that I wanted to include a female member in this Profile series. This was, in my mind at least, a wise decision. As well as providing an interesting insight into May’s character, it has confirmed the existence of a different approach to the way in which our art is expressed. There is a tendency for the men to get overly obsessed with new technology and techniques (sometimes referred to as the ‘boy’s toys’ syndrome!). The ladies tend to pay less regard to the technology. The equipment and materials used are more a means of achieving the end result.
May makes no secret of her lack of enthusiasm for digital photography. To some this may appear a Luddite attitude, but few would disagree that, for her, the traditional photographic methods are best. She is comfortable with them. They enable her to produce photographs that satisfy her, and gain the admiration of us all. Most of us aspire to that same level of satisfaction and success. The influence of the lady members, like May, is a valuable reminder that in success the ‘seeing eye’ is a more important factor than the technology.
Peter Flower
November 2004