Martin Stern and I went to Juan-Les-Pins together for a summer holiday, when I had a new MGB convertible - I did the driving and we had quite a time with girls we met, best not to say anymore!  Many years later, I learned that Martin so enjoyed being in the South of France that he bought a place in Antibes and once retired spends a lot of time there.

So, I remained happily, a confirmed bachelor for so many years, getting married at 29 was considered rather late in those days. 

Award-Winning Photography

I was having a incredibly enjoyable time, there were quite a few special girlfriends, and I met some very attractive girls through my photography too. 

I met lots of people, by giving talks about my photography to various photographic societies. 

No one knew how I was achieving my photographs on Kodachrome.  I had the idea to photograph projected images, and I experimented by projecting images on to other objects, instead of a screen, then sometimes projecting more than one image with extra projectors to blend images.  No one had done this before, but by using my technique it was not difficult to have a negative and a positive image on the same emulsion, which was considered impossible. 

Of course, now with digital images and software like Photoshop anything can be done, but I was creating my pictures in the 1960's and using Kodachrome film, as I preferred to show them by projecting them on a large screen.  Each time I finished a roll of film I had to wait about a week for the processing before I could see the transparencies!  

Things got extremely exciting, when I won the International London Salon Trophy, which led to Kodak promoting one-man exhibitions and later to invite me to go to New York for an exhibition of my photography at Grand Central Station all at their cost.

Thanks to E. J. Fancey (a film producer and distributor) who had seen my photography and wanted to know if my technique could be used with filming movies. 

I knew him well and I explained why I could not guarantee it would work, as I was concerned about synchronizing the projector with the movie camera shutter.  He arranged that I could use a studio, together with a 35mm projector and a camera for a day in London.  I did a series of tests and found it worked quite easily.  Later the early James Bond films used my method to create the film credits.    

Sir George Pollock

Sir George contacted me, telling me he was fascinated with my photography and asked if we could meet up in London (this was after I won The London Salon Trophy), which we did, and we soon became friends. 

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