I took this shot in a greasy spoon cafe in the Old Kent Road, London, in the early 1980’s. Although I had no direct connection with the cafe I used to pop in for a sandwich whenever I was in the area. This was always early in the mornings, often when the cafe had just opened. I did several portraits of the owners and customers but this is the one that ended up being the shot I was always pleased that I had taken. Every time I went in, this woman would be sitting at the same table, dressed in the same clothes and always ordered the same thing, a cup of tea and a cheese roll.
I always like to engage with the people I photograph and although this person was a deaf mute she was no exception. Of course our conversations were limited, intimating good morning and how are you, but for me, personally, I think it’s important to create a rapport with the person I am going to photograph no matter who they are, rather than just shove a camera in their face. I find this approach makes people far more comfortable and therefore not threatened by my attention and quite simply I think it’s polite. I have never been the type of photographer who hides in a door way or behind a tree and shoots people unaware. Of course there are photographers who have specialised in this ‘candid’ approach and have become famous for it, but I have always felt uncomfortable. It’s probably something I learnt to respect from my early days while travelling on the back roads of Indian Country in the USA. There, on the reservations, signs would implore you not to take photographs, sketch and in some cases write, as it was thought this was, ‘stealing their soul’. Many a time, in the middle of nowhere, I would sit cross-legged; sharing a pipe or two with an Indian, while the rest of the world seemed light years away. Like the hippie I once was, this feeling and respect has never left me, even though some memorable portraits have slipped past my camera.
So having gained ‘Milk Lady’s’ confidence she finally agreed to me taking her portrait. There was very little I had to do because this is where she always used to sit. The background was perfect. First of all there was the fake window, which had been created by hanging some material, curtain fashion, to one side of a large poster. This depicted an outdoor scene of a river wilderness and imbibed a feeling of fresh air and pure water, which was at complete odds with the reality to be found on the other side of the wall. Here, the Old Kent Road was clogged permanently with traffic and the air was thick with exhaust fumes. It was as far from the ‘wilderness’ as you could get! To the left of this is ‘Poster Girl’ who is also pictured outdoors. Holding a glass of ‘cool fresh milk’ and in the background spume rising up from the crashing waves. It too portrayed the health and benefits of the outdoor life. ‘Poster Girl” depicts everything that was thought of as wholesome at this time. Blonde, with whiter than white teeth, slim but curvaceous. Could milk really have this effect on us all? Did ‘Milk Lady’ ever consider ‘Poster Girl’ or those wonderful outdoor environments? We will now never know, because shortly after I took this shot the owner died and the café closed down and ‘Milk Lady’ vanished forever. Besides this, so much else has changed. The cafe is now a ‘fast food’ establishment, with shiny, clean stainless steel surfaces and floor to ceiling ceramic tiles. Smoking and therefore cigarette ashtrays have long since disappeared from public places and even milk is now questionable as a healthy foodstuff.
‘Milk Lady’ never ever took her coat off and always positioned her rolled up newspaper in the same place on the table. I chose a viewpoint so that the table converged towards the background, drawing the eye to both her and the backdrop. They made the perfect juxtaposition and a little piece of history. There is a terrible irony in the isolation I have portrayed. “Milk Lady’ I assume had few choices in her life and was isolated at the table somewhat through her physical impediments. On the other hand the two posters in the background depict another type of isolation and it is one that many of us yearn to escape to!
This shot is available as a limited edition print. There will only be 50 copies. Each one will be signed and numbered by John Freeman and will be accompanied by a certificate of authentication together with a unique hologram on the reverse of the print. The overall paper size measures 483 X 329 mm in this edition. Each print is printed on 100% 308 gsm rag paper and is wood pulp and acid free and has archival permanence.
The cost of each print is £250.00. However, as the edition sells out the price increases i.e. after ten prints are sold the price will be £300.00 for numbers 11 – 20. For numbers 21 – 30 the price will be £375.00 per print. For numbers 31 – 40 the cost will be £475.00 per print. For numbers 41 – 50 the cost will be £650.00 per print. The next available print is 2/50.
I have always loved this shot. For me it represents so many aspects of the human condition but above all the passing of ‘ time’, real time and the aging process. Its extremely poetic as an image. On the surface it could be depressing but for me it conveys the multiple layers of experience.
Yes I think that this is a ‘favourite’ shot. It’s simple but the composition is very strong. The two ‘milk’ ladies, as you put it, are superbly juxtaposed and say much about women and their place in advertising.
Well-taken, is it one of your favorites? By the way, I see two “milk” ladies!