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This is a 1920s/early 1930s Photomaton branded postcard of a French photobooth photo. I wish I had the original image to show you, as it would’ve been of a much finer quality.

Our fashion conscious model is shown in one of the guided poses, from a prescribed list used by the Photomaton Corporation. In the early days of photobooth photography, the machines were installed in photography studios and operated by a trained supervisor who made sure you got that perfect shot. The original strips were of eight images. I will share one complete, uncut strip with you soon, that is, if I can find it!

On first glance this young woman looks to be on the pulse of between-the-wars fashion. She has a sharp cut bob and a cloche hat, both so typically stylish and indicative of the era. Yet there is something wrong. This is a fashion fail foto! Nothing matches. There are too many different patterns – geometric, floral, leafy. The large floppy bow is demure and feminine. To me, it works poorly with the tailored jacket and masculine collar of her shirt. Perhaps, without the addition of an artificial flower, she might’ve made this ensemble work?

I love the individual elements she has chosen. The pattern on the bow is chic and the buckle on her hat, a wonderful art deco, stylised, laurel wreath design. But again, there is no blending or matching of her accessories. Less is more, beautiful femme française. Less is more.

I was attracted to this photo as there is a medieval princess look to this young woman’s hat. I’m very fond of portrait paintings from that era. The cone shaped hennin of the period, says royalty above all else and the demure expression on her very attractive face, gives her a regal bearing.

Closer inspection of the image suggests she is wearing a marching girl uniform of some sort, rather than a carnival or party costume. The insignia on the hat certainly suggests she is a member of an organisation or team of some sort.

This is an undated photobooth photo from France. It dates to around the 1940s. Perhaps, if you are more familiar with French culture than I, you might recognise this outfit? Let me know in the comments, if you do.

It is Anzac Day here in Australia, in beautiful New Zealand, the Cook Islands, Niue, Pitcairn Islands, and Tonga. It is also commemorated in Papua New Guinea and Samoa. Anzac Day is a national day of remembrance that commemorates all from those places “who served and died in all wars, conflicts, and peacekeeping operations” and “the contribution and suffering of all those who have served”.

Today a new centre to honour our contribution to campaigns on the Western Front was opened by our Prime Minister Malcolm Turnbull. The Centre is named after General Sir John Monash, “who led the Australian Corps with outstanding success on the Western Front in 1918, including the famous 4 July 1918 victory at Le Hamel”. It is located at the Australian National Memorial near Villers-Bretonneux in France.

Having a laugh, France 1944

I do not have any photobooth photos of Australian soldiers in France but I want to share some to represent all the people who fought far from home in any war, at any time. I feel very privileged to own this group of World War 2 era photos, taken by American soldiers somewhere in France in 1944 and 1945. They evoke very melancholy emotions, which are at once full of admiration at the sacrifices made and the courage it must’ve taken to fight, while at the same time they stir a deep, deep sadness and dismay that we are still fighting senseless wars and killing our fellow men, women and children.

Above is handsome Lawler. Both images are dated 1944 and were taken on different days in France.

This is Brice or Bruce. 1945 France.

Above are two more from the same group, also probably taken in France. I know nothing about the uniforms or even if they are all in uniform. I don’t know what the pin on the lapel of one soldier indicates or if the hat Lawler is wearing indicates his rank. I hope some of the details will be filled in for me, by you.

From a French Seller

With that grimace and those watery eyes, this boy seems to still be suffering the agonies he experienced in the tattooist’s chair. What a face! I imagine this was his attempt at trying to look like a tough guy. I think he needs more time to perfect his mannerisms for that role, don’t you?

His tattoo is a panther, I think. Or some other type of big cat. Given the heights of tattoo art these days, this is a rather underwhelming effort. I wonder if he added to it or even had work done over it?

photoboothSerbiansParis

I purchased this half strip of photobooth photos from an online seller based in Serbia. On the back is written Paris 17.12.66.

I was particularly attracted to this strip due to the broad, mirthful smiles on all three sitters but particularly by the  lady on the left’s expressions. I love the way her glance moves towards her friend in the second shot. There is something so cheeky and appealing in her two poses. I love her!

Once again, I also find some sadness in the fact that these photos have been lost to their owner. Death, broken relationships or accidental loss could account for it. The vicissitudes of life sadly toss us about and of course, it is no different for photos.

photoboothJollyHockeySticksFrance

Jolly hockey sticks is a humorous British expression used to describe a woman or girl of a high social class who is enthusiastic in a way that annoys most people.

Some further explanations –

Used as an exclamation
(In imitations of speech associated with a type of upper-class English schoolgirl) used to express boisterous enthusiasm or excitement.
“Hurrah and jolly hockey sticks! The Royals are once again out in force for another season of one-day events”

Used as an adjective
Denoting or relating to a woman or girl having a boisterous or hearty manner regarded as characteristic of a type of upper-class English schoolgirl
“I know she’s dreadfully jolly hockey sticks, but she does mean well”

Isn’t she just the epitome of this expression? Can’t you just imagine her off for the hunt with a pip-pip, toodle-ooh, or toodle-pip? She looks to be a terribly, terribly British upper-crust old gel, don’t you know? But by George, by golly and by gosh, it is beastly that this good egg isn’t a Brit at all. Poppycock, I hear you exclaim! And alas it is true. This photo and the sitter come from France.

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In the above photos, the sitter looks as glamorous as a silent movie star. As her headdress doesn’t fit with her outfit, I am guessing she is trying out a bridal accessory, possibly to see how it worked in a photograph? Below, without the intricate head-piece, she looks less of a star but very much an elegant woman of the twenties.

These photos were taken on 25 November 1929 at a Photomaton studio in Paris. They came in their original folder which shows the prices you would’ve paid if you had chosen to make enlargements. There is only one photo missing from the strip of six, which would have been cut at the studio, in order that one would stand upright to fit the paper frame.

I cannot work out what the numbers beside the listed countries represent, as they cannot be the price in local currency. Taking Les États-Unis (USA) as an example, the equivalent set of photos in the 1920s would have cost ten cents, not $2.25 or 225 cents. France is listed on the back with 72 beside it, while the price on the front is marked as 6 francs.

The name of the shop or department store that is stamped in purple at the bottom front of the folder, I am unable to make out. I can find no record of anything other than a, now defunct, café at 26, Boulevard des Italiens.

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Outside of folder.

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Inside of open folder.

1929

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Cover of the book, Les Matons

056-057
On 19 June 1988 in a photobooth at a Barcelona railway station, ​​artists Hélène Fabre and Christian Bonifas made a series of souvenir photos without thinking further than the pleasure of the moment.

Once home in Nîmes, having been amused by their holiday mementos, they sought out another station hall booth. So began their long infatuation with automatic photography.
008-009

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After twenty-five years and more than 1500 portraits they still haunt these mini studios to capture their moods, movements and ideas.

Since 1989, under the pseudonym Les Matons they have exhibited these portraits as enlarged color photocopies.

In 2007, they published their first book, a self-titled paperback showcasing a selection of one hundred booth photographs in black & white and colour. (See cover and sample images from the book, above). With accompanying texts by Clotilde Augot, Rémy Leboissetier, Christine Rodes and Bertrand Guery and a song by Frederic Inigo, it is an ode to the Photomaton machine and the variety of creative uses to which it can be put.

Over 136 pages Hélène and Christian dress-up for, laugh, grimace, writhe and twist through fun and surprising poses that are delightfully entrancing. The artistic perspective of these two performers fills every frame.

In 2013, they released a new book, “Small Nature” which presents sixty-four new photobooth pictures. I will write more about Les Matons and show you some images from that book in a later post.

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