The Beginning
Born in 1946, John Hooton left home for London aged just 17, to study photography by working as a photographer's assistant. Commencing as a messenger boy in an artwork photo copy studio, he soon found a better position as a messenger in a Fashion, Food and Advertising Studio. This studio employed top photographers, including Barry Lategan who took the first photos of Twiggy, and Ian Williams who was a master technician when using large format cameras to shoot food ads. Eric Mandel, a former photography teacher at London Polytechnic, was the senior advertising photographer and taught John, now an assistant, all about the finer points of black and white printing and the importance of overall technical quality required in professional work.
In December 1966, he was assisting John Cowan in Milan on a shoot for Italian Vogue and decided to stay in order to establish his career as a photographer. He began by shooting model composites while learning the language. In 1967 he shot his first magazine cover aged just 21. He worked in Milan until 1970 when he returned to try and get back in to the London fashion scene. Alas a gap of four years proved too much and he found it impossible to start where he had left off. He returned to his home roots in Sussex, taking whatever local photographic work he could find and working part time as a freelance feature photographer for the Evening Argus. After his marriage to Denise in 1975, he began to look for work outside photography.
In December 1966, he was assisting John Cowan in Milan on a shoot for Italian Vogue and decided to stay in order to establish his career as a photographer. He began by shooting model composites while learning the language. In 1967 he shot his first magazine cover aged just 21. He worked in Milan until 1970 when he returned to try and get back in to the London fashion scene. Alas a gap of four years proved too much and he found it impossible to start where he had left off. He returned to his home roots in Sussex, taking whatever local photographic work he could find and working part time as a freelance feature photographer for the Evening Argus. After his marriage to Denise in 1975, he began to look for work outside photography.
The Cowan Years
In 1965, John approached top fashion photographer John Cowan. J.C. already had an assistant at the time, but was impressed enough by John's enthusiasm and print quality to offer him a casual position as darkroom technician and second assistant. John worked for J.C. most days but also freelanced as an assistant to other photographers and studios. This work included photography for car brochures shot on location and room set photography for mail order catalogues. all this work involved large 10 x 8 format cameras where the work had to be of the highest technical quality.
John Cowan was a generous sort and allowed John to use the studio in the evenings to shoot test shots and composites for aspiring models and build up his own portfolio. This generosity even extended to allowing John to draw from the studio film stock and printing paper. A welcome supplement to an assistants low pay!
To learn more about this fascinating fashion period during the 60's, why not buy 'Through The Light Barrier', the story of John Cowan who sadly died from cancer in 1979 aged only 50. Many of the images were printed by John Hooton and the book is available through Amazon.
This is a quote from the jacket of the book.... Six feet four and described by Terence Donovan as a “Guildford version of the Marlboro man”, it seems entirely fitting that Cowan’s studio and images should have provided the location for Antonioni’s classic sixties film “Blow-Up”. Conversely Cowan himself seems to have been equally influenced by the cinema: using stylistic devices from the cult James Bond films of the time and for a period driving his own Aston Martin. Garner however, in producing a rounded biography of Cowan’s career, does his duty to the full in giving equal regard to the imperfections within his character. Fashion, a fickle bedfellow at the best of times, was sponsor, passport and nemesis for this tragic hero, although a cruel irony can be found in the fact that it was cancer, rather than his acts of daring do, that eventually put an end to this roman candle career. A fascinating and important book for all interested in the rise of the medium in this country and a worthy epitaph to a fine, much overlooked, photographer.
John Cowan was a generous sort and allowed John to use the studio in the evenings to shoot test shots and composites for aspiring models and build up his own portfolio. This generosity even extended to allowing John to draw from the studio film stock and printing paper. A welcome supplement to an assistants low pay!
To learn more about this fascinating fashion period during the 60's, why not buy 'Through The Light Barrier', the story of John Cowan who sadly died from cancer in 1979 aged only 50. Many of the images were printed by John Hooton and the book is available through Amazon.
This is a quote from the jacket of the book.... Six feet four and described by Terence Donovan as a “Guildford version of the Marlboro man”, it seems entirely fitting that Cowan’s studio and images should have provided the location for Antonioni’s classic sixties film “Blow-Up”. Conversely Cowan himself seems to have been equally influenced by the cinema: using stylistic devices from the cult James Bond films of the time and for a period driving his own Aston Martin. Garner however, in producing a rounded biography of Cowan’s career, does his duty to the full in giving equal regard to the imperfections within his character. Fashion, a fickle bedfellow at the best of times, was sponsor, passport and nemesis for this tragic hero, although a cruel irony can be found in the fact that it was cancer, rather than his acts of daring do, that eventually put an end to this roman candle career. A fascinating and important book for all interested in the rise of the medium in this country and a worthy epitaph to a fine, much overlooked, photographer.
Blow-Up Poster
In 1966, Michelangelo Antonioni was looking for a location to shoot his cult Cannes festival award winning film starring David Hemmings, Vanessa Redgrave and Sarah Miles, Blow Up. He was introduced to John Cowan by Terence Donovan at J.C’s studio. The studio was originally a barn for horse feed and had a unique atmosphere of excitement. There was a flat at one end of the studio with a huge screen that overlooked it. Antonioni knew immediately that this was what he wanted. A deal was done and he rented the premises for three months. J.C. set up his own office outside on the street in a mobile home, and we used locations for most of the fashion shoots during this period. By the way, the studio was at 39 Princes Place just off Princedale Rd, off Holland Park Avenue, W11 - Notting Hill area. Just thought I'd put the record straight as I have seen this misquoted in some of the Blow-Up location references.
The studio darkroom was not used in the film, set builders built a fake one at the other end of a catwalk which Antonioni also added high up along the wall . This meant that John Hooton could still operate the darkroom under the flat, for John Cowan’s processing and printing during the rental.
The studio darkroom was not used in the film, set builders built a fake one at the other end of a catwalk which Antonioni also added high up along the wall . This meant that John Hooton could still operate the darkroom under the flat, for John Cowan’s processing and printing during the rental.
John Hooton
John married Denise in 1975 and in order to pay the bills, gave up photography for a while. He took a course in electronics and established himself as an electronics repair technician. In 1987 John and Denise moved back to London with their two children, Adam and Emma.
In 1988 John became in-house equipment repair/maintenance man and technical trouble-shooter for South Bank Studios. The studios specialised in hiring space and equipment, including electronic flash, to car photographers and pop video production companies.
In 1992 John left South Bank and began writing computer code for his own horse racing software, Speedmaster. The software won awards and became the best selling horse race analysis program.
In 2004 he sold the rights of the program and assisted in establishing the software as an online product as opposed to a desktop download. It is still running today.
Although semi retired, John still takes a keen interest in photography, now favouring digital techniques. If you are a model looking for test shots for your portfolio, or you have a business you want to publicise, don't be afraid to ask. Just use the Contact link and drop him a line. He'll be delighted to get back to you.
In 1988 John became in-house equipment repair/maintenance man and technical trouble-shooter for South Bank Studios. The studios specialised in hiring space and equipment, including electronic flash, to car photographers and pop video production companies.
In 1992 John left South Bank and began writing computer code for his own horse racing software, Speedmaster. The software won awards and became the best selling horse race analysis program.
In 2004 he sold the rights of the program and assisted in establishing the software as an online product as opposed to a desktop download. It is still running today.
Although semi retired, John still takes a keen interest in photography, now favouring digital techniques. If you are a model looking for test shots for your portfolio, or you have a business you want to publicise, don't be afraid to ask. Just use the Contact link and drop him a line. He'll be delighted to get back to you.