Profile – Jack Thomas

Introduction

The choice of Jack as the next subject in this ‘Profile’ series was, for me, an obvious one. He has a long and distinguished association with the society. He holds the distinction of being the oldest member of the club – not in his age, he will be thankful to say, but in terms of membership. In fact, he joined the society on 27 February 1950, at which time he paid the handsome sum of ten shillings and sixpence for the privilege of membership. (For the benefit of our younger members, that equates to 52.5 pence in decimal! Interestingly, four years later, inflation had pushed annual membership fees up to fifteen shillings). However, concerns of monetary inflation do not concern Jack any more. In more recent times (1971), as a recognition of his long-term services to the society, he was elected a life member. Having been a member over such a long period of time, it was to be anticipated that Jack would be an excellent source of information about the development of the society. It is all too easy to forget that, at the time of his joining, the country was still recovering slowly from the after-affects of WW2, with severe constraints on the availability of quality camera equipment. The research for this profile would provide an interesting insight into Jack’s character, set against the background of changing times for the society and photography in general.

Profile

The main purpose of these profiles is to provide information about their photographic interests, how they got started in photography, their involvement in the society, and their other interests. However, it is important that this is set in the context of their life generally.

In Jack’s case, this dates back to his birth in the Twenties. His father was in the Army. His mother was French (living in Belgium until the outset of WW1).

Due to his father’s military service, involving constant postings and the non-availability of married quarters, Jack spent some of his early years in the care of an aunt. It was she who called him Jack (his first name is actually John) and this name stayed with him. It was his mother who first gave him an interest in photography, when (in 1937) she bought him an Ensign All-Distance “Twenty” roll film camera. This took 2 ¼ x 3 ¼” inch pictures on 120-size film. Jack still has this camera. (Photographs of it appear in the gallery)

Jack’s early years involved a fair amount of moving around, and schooling at various locations. After schooling he took a number of jobs in engineering. Engineering, and all things mechanical, were to become a constant thread running through Jack’s life, as will become evident from the number of photographic devices which he made in later years! Ironically, his second job was obtained by accident. His mother wrote an application on his behalf in answer to an advertisement, but sent it to the wrong company. When Jack went for interview he impressed them sufficiently to be awarded engineering training at the company in Vauxhall Bridge Road, London. From then on he became totally immersed in engineering. In 1938 he moved to Gatton Park, and the following year started work at Monotype. This company was involved in the manufacture of printing presses and associated equipment.

With the commencement of World War 2 there was a requirement for precision engineering to be concentrated on the production of armaments, and Monotype was one of many companies that switched much of its machinery to manufacture of equipment for the war effort. As a skilled engineer Jack became one of the people classified as being in a 'reserved occupation', and thus not called up for military service. Monotype was involved in the production of Bren guns and Vickers machine guns. Because of the pressures to maximise factory output there was working around the clock. The pressures of constant shift working finally took their toll on Jack's health and he became ill due to overwork in 1943. He returned to his aunt in Wales to recuperate for a while. Having recovered, he attempted to return to day working at Monotype, but this could not be provided. He applied to join the Navy, but was failed on medical grounds. As a result he joined another engineering company as a toolmaker at Gatwick, where he remained until the end of the war.

In November 1945, and until 1947, he was called up for service in the army, originally with the Royal Artillery, and then later with R.E.M.E. Initially he was based in the U.K. where he was involved in driving and maintenance of heavy military vehicles, including Valentine tanks. He recalls one occasion, when driving one of these tanks in a northern town. The tank had steel tracks, and the road surface consisted of highly-polished cobbles. This made steering control extremely difficult and resulted in some very close shaves with civilians walking on the pavements. As Jack intimated, “This was very worrying”. (although the phrase he actually used was much more graphic!) He then transferred to North Africa, where he gave tuition on Bren Gun Carriers. Jack has a photograph of a Bren Gun Carrier apparently bogged down in deep sand. Jack refuses to say who was driving at the time!

Whilst in North Africa he bought his second camera, an Etui folding plate camera (taking 3 ½ x 2 ½ inch glass plates), in an Arab market. This was a very compact camera, despite the very extensive bellows extension and rising front capabilities. The camera was available with an optional roll film holder, but Jack’s engineering skills enabled him to make his own fitment for this purpose. At Tripoli he had access to a darkroom. Due to the heat development times were very short, and an essential piece of equipment was the cockroach trap! Unfortunately, this contraption was a hazard as well as an aid, as proved on one occasion when Jack mistook the contents of the jar containing this liquid for developer!

On his return to England he continued his photographic interests, interrupted only by his marriage to Grace in 1949, and the birth of five daughters between 1951 and 1962. Jack is immensely proud of them all, now grown up, and has numerous albums crammed with monochrome images of their formative years. More recent times are recorded in colour prints, but sadly (as was quite common) these have deteriorated with the passing years.

Further photographic engineering projects followed. The first was a home made horizontal enlarger (incorporating a camera for the bellows and lens). Another involved the modification of a Reflex-Korrelle 2 ¼ inch square single lens reflex camera to fit an Aero Ektar f/2.5 7 inch lens. Unfortunately he polished off the ‘bloom’, which was in fact an early form of lens coating! He also made his own exposure meter and a slide projector.

In 1950, Jack was persuaded by the then President Roland Sammes to join the Society. (Roland Sammes was the father of Michael Sammes, best known as the leader of the Mike Sammes Singers) Shortly after joining, Jack’s first competition entry was a small monochrome print of people walking in the park. (Photograph in the gallery) By February 1952 his expertise had obviously developed considerably, and he created a much larger print entitled ‘The Artist’, which was displayed at the exhibition of that year. This showed an artist drawing an idyllic village scene. The judge commented that it was so good to be able to actually see the pencil drawing on the artist’s paper. Little did he know that, in fact, the pencil marks were real ones, added by Jack after the print was made! (Refer to the gallery)

Over the years Jack took an increasingly active part in the society’s affairs, serving on the committee for a very long time. In 1963 he played a major role in preparing the photographic exhibition 'This Is Reigate' that tied-in with the Borough Centenary Celebrations. Over 3000 photographs were taken of people and places in Reigate and Redhill. These had to be whittled down to a reasonable number for the exhibition. Jack was involved in this process, as well as many other activities, including fabrication of many display screens required.

Over the years he acquired more modern camera equipment. The list includes, Rolleicord; an old Leica (circa 1927), which he traded in for a Pentax K1000 (which he still owns); Pentax SFXn and Canon EOS 3000 (actually won by Grace in a raffle). More recently he made the transition to digital photography with a Canon G5, and has just purchased a Canon EOS 350D digital SLR camera.

Aside from photography, Jack had a number of other interests. In about 1965 he turned to shooting of another kind, namely pistol shooting. In 1970 he joined Crawley Mariners sailing club, at Feldbridge. As his experience increased he took up sailing instruction at Weir Wood Sailing Club, and is now Senior Instructor.

Around 1986 he joined Reg Seale and the late John Carless in wood turning. I recall them producing some beautiful wood-bodied pens. Since then Jack has proceeded onto a wide range of projects, producing an amazingly varied quantity of beautiful wooden objects. These include wooden bowls, candlesticks, bobbins for lace-making, puzzles, 'Chinese balls' (where one or more ornately carved hollow balls are contained within an outer one – see the sample photographs in the gallery), and table lamps. A delicate round table that is currently in his lounge and other smaller objects, together with a photograph album of items that he has given to family and friends over many years, is evidence of the quality of his work. Even more impressive is the fact that Jack's engineering skills were used to modify the turning lathe and produce many of the metal components required for the wood turning process.

It will be evident that Jack is a person who continues to enjoy an active life, filled with different interests. In a quiet and unassuming way he continues to lend support to the activities of our Society. His good humour is very much in evidence, as will have been indicated by some of the anecdotes in this article. Although he has grown up with what we now call 'conventional photography' he has adapted to the digital era. He has tackled the challenges with determination, and continues to enjoy what is, to him, just one of his many hobbies.

Summing up, he is surviving the passing years better than his old colour photographs!



Peter Flower

May 2006.