1 / 5       Teddy Bambam and his henchman Rocky outside The Beauchamp pub. © Jocelyn Bain Hogg.

2 / 5       Mitch Pyle in a limo with friends on his birthday. © Jocelyn Bain Hogg.

3 / 5       Dave Thirston at Dave Courtney's Sunday Party. © Jocelyn Bain Hogg.

4 / 5       During the visit to the exhibition The Family by Jocelyn Bain Hogg. © Stefania Biamonti/FPmag.

5 / 5       During the visit to the exhibition The Family by Jocelyn Bain Hogg. © Stefania Biamonti/FPmag.

The Family: underworld in London

Freddie Foreman, Tony Lambrianou, Roy Pretty Boy Shaw, Bruce Reynolds, Reggie Kray and Big Joey Pyle. Names that to the majority do not say much, but that identify some of the most prominent characters of the London underworld of the Sixties and Seventies. A world documented a decade ago by Jocelyn Bain Hogg in his photographic book The Firm. Joey Pyle, in particular, dominated the London-based environment for about thirty years. He died in 2007 and Bain Hogg’s work The Family is exhibited in Lodi, it begins precisely with a picture of Joey Pyle’s headstone. Determined to make sure that the empire he had built up would not be lost, Joey Pyle had raised his only son, Joe, so as to allow him, one day, to take his place. However, in the event that something should happen to him, he had also chosen three trustworthy men (Warren, Alan and Mitch), each with skills expressed in different fields, adopting them as sons shortly before he died.
Around their life and the concept of loyalty revolves Bain Hogg’s work, which had the undeniable ability to penetrate inside places that are certainly not within the reach of any old photographer or journalist. Indeed it is inevitable that this has led to considerable constraints on freedom of action and documentation. Constraints that have often ended up turning into a concrete repetitiveness expressed at both a compositional level and also to the situations photographed. In fact, to emerge in many cases is the profession of Bain Hogg, organising the chaos in front of the lens, he manages to save images that otherwise would not have much to say. However, if the individual images, while leaning with class at fairly stereotyped vision of that world that would like to tell, they can pay tribute to the photographer and to the Photography, overall everything looks considerably cumbersome, and only the boredom which soon assails the viewer manages to make us forget the useless sadness that only certain sequel films can arouse. [ S. I. ]

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by Jocelyn Bain Hogg
Gruppo Fotografico Progetto Immagine | 10-11 / 17-18 / 24-25 October 2015
admission fee: 10,00 € (valid for the visit to all other exhibitions)

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FFE2015 on FPmag

The Family
In-depth analysis area
Festival of Ethical Photography
Jocelyn Bain Hogg

published on 2015-10-26 in NEWS / EXHIBITIONS

FFE FFE2015 JocelynBainHogg SandroIovine


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