Module 3

Stars in their eyes

Reading (Paper 1 Part 7)

Gapped text 1 Read the title o f the text and the i n t r o d u c t o r y sentence. W h a t do y o u
think the text w i l l be about?

2 Read the m a i n text quickly a n d answer the questions.

1 W h a t does Martin do?
2 W h a t different things does Martin collect?
3 W h i c h of his collections is most ¡mportant?
4 W h a t has he written?

3a R e a d t h e task a n d t h e p a r a g r a p h b e f o r e g a p 1. W h a t t y p e o f
p h o t o g r a p h y is it t a l k i n g a b o u t ? W h i c h o f t h e o p t i o n s is a b o u t t h i s
type of photography?

b N o w r e a d t h e p a r a g r a p h after g a p 1. W h a t d o y o u t h i n k here i n l i n e 8
refers to?
W h i c h o p t i o n i n t r o d u c e s t h i s idea?

4 D o t h e rest o f t h e task.

HELP
You are going to read a magazine articíe. Six paragraphs have been removed
> Q 2 The text before the gap ¡s
from the article. Choose from the paragraphs A-G the one which fits each
describing m o v e m e n t . W h i c h
gap (1-6). There is one extra paragraph which you do not need to use.
o p t i o n picks up o n this?
> Q 3 Look at the p r o n o u n their after
A Having said that, he is the first to a d m i t that his collection is
the gap (line 24). W h o might
not comprehensive. 'I get sent a lot o f books. I get sent a lot of
this be referring to?
bad books,' he says. 'If I don't w a n t a book, l'll give it away. But
> Q 5 The text before the gap ends occasionally, s o m e t h i n g really fantastic turns up.'
w i t h a question. W h i c h o p t i o n
picks up o n this? B He doesn't deny this but reminds m e that he's looking for things
before anyone else is looking for t h e m . 'That's what's happened in
China. W h e n people see w h a t we've c o m e across in China, they are
EXPERT STRATEGY 1 absolutely bog-eyed.'
Read the text before and after
C He's been a d d i n g to it ever since his first acquisitions as a student
each gap, marking key w o r d s and
in Manchester but only became really h o o k e d o n c e he'd started
checking all reference words. D o the
earning. 'You probably have t o be an obsessive person to collect, if
same in the o p t i o n s A - G .
you're going to d o it seriously and thoroughly, w h i c h I attempt to do.'

D Since then, the selective listings have encouraged an insider market

EXPERT LANGUAGE
Look back at the m a m text. Find
1 to emerge amongst collectors, publishers and photographers.
examples o f c o m p o u n d nouns and
adjectives, where t w o w o r d s are
j o i n e d by a h y p h e n .
Inclusión bhngs kudos to both the publisher and to a photographer's
reputation, and almost guarantees an eventual rise in the resale valué.
E To find an example of this g r o u n d b r e a k i n g work, w e need look no
further than the Japanese p h o t o b o o k . Until the 1980s, this was a
specialist área, reserved for a few maverick enthusiasts, historians
and collectors.

EXPERT W O R D CHECK F Using s o m e t h i n g a little m o r e sophisticated, l'm trying to capture

bull market candió enduring legacy m y o w n image o f the man at his h o m e in Bristol, surrounded by
insider market kudos maverick his b o o k collection. Surprisingly, he's not an easy subject; partly
overspill provenance public domain because he looks so sceptical; partly because he keeps o p e n i n g
research tool tea caddies books up o n the floor t o show me things and so I have to keep
asking h i m t o stand up.

5 W e eventually arrive in a small r o o m stacked w i t h boxes and lined

w i t h shelves o f books. 'China and Latin America are d o w n here,'
he says, 'Well, some of China ...and Latin America overspill.' It's t o o
tight for t w o , so w e go next door, where a cabinet holds some o f his
novelty watch collection - another o f his passions.

From Selfie to
photography art
leet the British photographer
on a mission to revise the history
rphotography.
V l a r t m Parr is one o f the b e s t - k n o w n p h o t o g r a p h e r s i n
the U K . H i s r e p u t a t i o n d e r i v e s f r o m h i s c a n d i d p i c t u r e s
• :r.er>, b u t he is also a dedicated exponent of the
seíñe - he m a y even h a v e i n v e n t e d t h e t e r m . H i s series
r-portraits, t a k e n i n p h o t o b o o t h s a l l a r o u n d t h e
* : r . d , began l o n g before t h e m o b i l e p h o n e camera
» ±5 i n v e n t e d .
•Ve are here t o t a l k a b o u t h i s books b u t Parr collects
r r e r t v m u c h e v e r y t h i n g , f r o m Chinese tea caddies t o
- _~: a ture televisions, c o m m e m o r a t i v e plates t o cigarette
esees decorated w i t h Russian space-dogs: 'Yes, L a i k a ,
> r e l k a a n d Belka, t h e y ' r e t h e three m o s t f a m o u s . ' That's
r t r o r e v o u get t o h i s p h o t o g r a p h i c p r i n t s , some o f w h i c h
se to a d m i r e o n the w a l l s of the s t a i r w e l l as h e leads
- - r ••. av to t h e basement.
G B
Parr is i n h i s early 60s a n d , alongside h i s r e p u t a t i o n
3¿ a p h o t o g r a p h e r , his m o s t e n d u r i n g legacy is l i k e l y
*o be the 12,000 p h o t o g r a p h y b o o k s h e has collected
:he past 35 years. W h a t began as a h o b b y has
i e v e l o p e d i n t o a m i s s i o n t o change t h e w a y t h e h i s t o r y
; : p h o t o g r a p h y is d e f i n e d a n d u n d e r s t o o d . A s a collector,
he has d i s c o v e r e d , d o c u m e n t e d a n d p r o m o t e d p r e v i o u s l y
u n k n o w n áreas o f p h o t o g r a p h i c b o o k m a k i n g .
E
Parr is q u i c k t o a c k n o w l e d g e their c o n t r i b u t i o n b u t once
he discovered w h a t w a s there, i t w a s h i s o w n e n t h u s i a s m
that b r o u g h t those b o o k s t o t h e fore. ' T h e m a i n t h i n g
. e learnt,' h e says, 'is h o w l a z y a n d n a r r o w - m i n d e d
o u r histories o f p h o t o g r a p h y have been a n d h o w , w i t h
- me i n v e s t m e n t a n d some a p p l i c a t i o n , there is so m u c h
to discover.' W h e n I ask i f h e has estimated t h e v a l u é o f
the collection, h e says, T h a v e n ' t . B u t I k n o w i t w o u l d be
¿ubstantial.'
3
Module 3
Stars in t h e i r eyes
C
H i s critics are q u i c k t o p o i n t o u t , h o w e v e r , t h a t i n b e i n g
one o f its generators, he has also been one o f the chief
35 beneficiaries o f the g r o w i n g interest i n p h o t o g r a p h y
b o o k s a n d t h e steep rise i n prices. I s n ' t he n o w
c o m p e t i n g i n a b u l l m a r k e t he has h e l p e d t o créate?
I n 2004, Parr p u b l i s h e d t h e first v o l u m e o f T h e
P h o t o b o o k : A H i s t o r y , a n e d i t e d selection o f h i s
4o c o l l e c t i o n , i l l u s t r a t e d w i t h l a y o u t s f r o m each
v o l u m e , w r i t t e n b y h i s f r i e n d a n d collaborator, t h e
p h o t o - h i s t o r i a n G e r r y Badger. I n i t i a l l y p o r e d over
solely b y p h o t o g r a p h y fans, dealers a n d collectors,
the w o r k q u i c k l y became indispensable f o r a u c t i o n
45 houses, w h i c h often h a d l i t t l e else t o q u o t e b y w a y o f
provenance for a photographer's w o r k .
D
So w h a t w o u l d he l i k e t o see h a p p e n t o this v a l u a b l e
collection? ' E v e n t u a l l y , I w a n t i t t o g o i n t o a p u b l i c
collection, t o be l o o k e d after a n d be used as a research
so t o o l , ' he replies. ' T h a t ' s t h e w h o l e p o i n t , really. There
is n o p a r t i c u l a r l y g o o d p h o t o g r a p h i c b o o k collection
i n the p u b l i c d o m a i n i n the U K . T h e Tate M u s e u m i n
L o n d o n is m y p r e f e r r e d v e n u e . l ' m i n discussion w i t h
t h e m b u t n o t h i n g has been d e t e r m i n e d . '

From Selfie to
photography art
leet the British photographer
on a mission to revise the history
rphotography.
V l a r t m Parr is one o f the b e s t - k n o w n p h o t o g r a p h e r s i n
the U K . H i s r e p u t a t i o n d e r i v e s f r o m h i s c a n d i d p i c t u r e s
• :r.er>, b u t he is also a dedicated exponent of the
seíñe - he m a y even h a v e i n v e n t e d t h e t e r m . H i s series
r-portraits, t a k e n i n p h o t o b o o t h s a l l a r o u n d t h e
* : r . d , began l o n g before t h e m o b i l e p h o n e camera
» ±5 i n v e n t e d .
•Ve are here t o t a l k a b o u t h i s books b u t Parr collects
r r e r t v m u c h e v e r y t h i n g , f r o m Chinese tea caddies t o
- _~: a ture televisions, c o m m e m o r a t i v e plates t o cigarette
esees decorated w i t h Russian space-dogs: 'Yes, L a i k a ,
> r e l k a a n d Belka, t h e y ' r e t h e three m o s t f a m o u s . ' That's
r t r o r e v o u get t o h i s p h o t o g r a p h i c p r i n t s , some o f w h i c h
se to a d m i r e o n the w a l l s of the s t a i r w e l l as h e leads
- - r ••. av to t h e basement.
Parr is i n h i s early 60s a n d , alongside h i s r e p u t a t i o n
3¿ a p h o t o g r a p h e r , his m o s t e n d u r i n g legacy is l i k e l y
*o be the 12,000 p h o t o g r a p h y b o o k s h e has collected
:he past 35 years. W h a t began as a h o b b y has
i e v e l o p e d i n t o a m i s s i o n t o change t h e w a y t h e h i s t o r y
; : p h o t o g r a p h y is d e f i n e d a n d u n d e r s t o o d . A s a collector,
he has d i s c o v e r e d , d o c u m e n t e d a n d p r o m o t e d p r e v i o u s l y
u n k n o w n áreas o f p h o t o g r a p h i c b o o k m a k i n g .
Parr is q u i c k t o a c k n o w l e d g e their c o n t r i b u t i o n b u t once
he discovered w h a t w a s there, i t w a s h i s o w n e n t h u s i a s m
that b r o u g h t those b o o k s t o t h e fore. ' T h e m a i n t h i n g
. e learnt,' h e says, 'is h o w l a z y a n d n a r r o w - m i n d e d
o u r histories o f p h o t o g r a p h y have been a n d h o w , w i t h
- me i n v e s t m e n t a n d some a p p l i c a t i o n , there is so m u c h
to discover.' W h e n I ask i f h e has estimated t h e v a l u é o f
the collection, h e says, T h a v e n ' t . B u t I k n o w i t w o u l d be
¿ubstantial.'
3
Module 3
Stars in t h e i r eyes
H i s critics are q u i c k t o p o i n t o u t , h o w e v e r , t h a t i n b e i n g
one o f its generators, he has also been one o f the chief
35 beneficiaries o f the g r o w i n g interest i n p h o t o g r a p h y
b o o k s a n d t h e steep rise i n prices. I s n ' t he n o w
c o m p e t i n g i n a b u l l m a r k e t he has h e l p e d t o créate?
I n 2004, Parr p u b l i s h e d t h e first v o l u m e o f T h e
P h o t o b o o k : A H i s t o r y , a n e d i t e d selection o f h i s
4o c o l l e c t i o n , i l l u s t r a t e d w i t h l a y o u t s f r o m each
v o l u m e , w r i t t e n b y h i s f r i e n d a n d collaborator, t h e
p h o t o - h i s t o r i a n G e r r y Badger. I n i t i a l l y p o r e d over
solely b y p h o t o g r a p h y fans, dealers a n d collectors,
the w o r k q u i c k l y became indispensable f o r a u c t i o n
45 houses, w h i c h often h a d l i t t l e else t o q u o t e b y w a y o f
provenance for a photographer's w o r k .
So w h a t w o u l d he l i k e t o see h a p p e n t o this v a l u a b l e
collection? ' E v e n t u a l l y , I w a n t i t t o g o i n t o a p u b l i c
collection, t o be l o o k e d after a n d be used as a research
so t o o l , ' he replies. ' T h a t ' s t h e w h o l e p o i n t , really. There
is n o p a r t i c u l a r l y g o o d p h o t o g r a p h i c b o o k collection
i n the p u b l i c d o m a i n i n the U K . T h e Tate M u s e u m i n
L o n d o n is m y p r e f e r r e d v e n u e . l ' m i n discussion w i t h
t h e m b u t n o t h i n g has been d e t e r m i n e d . '