¹ Mayne did 1,400 photographs in twenty-seven visits to the street between 1956 and 1961. See “100 Years of Great Press Photographs,” Guardian, 11 October 2009.

² At Tate Britain in 2007 and the Museum of London in 2011, respectively. See Williams, Val and Bright, Susan, How We Are: Photographing Britain from the 1840s to the Present (London, 2007)Google Scholar; Seaborne, Mike and Sparham, Anna, London Street Photography, 1860–2010 (Stockport, 2011)Google Scholar; see also Harrison, Martin, Young Meteors: British Photojournalism, 1957–1965 (London, 1998)Google Scholar.

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⁴ Quoted in ibid., 76.

⁵ Colin Ward, “Beginners' Street, W. 10,” New Society, 21 March 1986.

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²⁵ As suggested above, the photographs were made during twenty-seven visits over a period of five years. Guardian, 11 October 2009.

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²⁹ Sheppard, Survey of London, 334.

³⁰ Charles Booth, B359, 82–83; http://booth.lse.ac.uk/notebooks/b359/jpg/83.html (accessed 31 January 2013).

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³² Ibid.

³³ Quoted in Glass, Ruth, London's Newcomers (Cambridge, MA, 1961), 52Google Scholar.

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⁴² Kennetta Hammond Perry, “Black Migrants, Citizenship and the Transnational Politics of Race in Postwar Britain” (unpublished PhD dissertation, Michigan State University, 2007), 179; Phillips, Notting Hill in the Sixties, 57–58.

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⁵¹ Quoted in Haworth-Booth, “Roger Mayne's Southam Street,” 64.

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⁵⁴ See Haworth-Booth, “Roger Mayne's Southam Street,” 63ff.

⁵⁵ Roger Mayne to author, 2 March 2012.

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⁵⁷ Mayne also took pictures in nearby and, in some cases, now-disappeared streets such as Waverly Walk, St. Stephen's Gardens, and Brindley Road, Paddington, Clarendon Crescent, and Princedale Road, near Holland Park.

⁵⁸ Roger Mayne to author, 2 March 2012.

⁵⁹ Mayne, Roger, “Photography and Realism: A Statement,” Universities and Left Review 6 (Spring 1959): 43Google Scholar.

⁶⁰ Ibid., 44.

⁶¹ Ibid., 43.

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⁶⁴ Highmore, Ben, “Hopscotch Modernism: On Everyday Life and the Blurring of Art and Social Science,” Modernist Cultures 2, no. 1 (2006): 70–79CrossRefGoogle Scholar.

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⁶⁷ On this, see Brooke, Stephen, “‘Slumming’ in Swinging London? Class, Gender and the Postwar City in Nell Dunn's Up the Junction (1963),” Cultural and Social History 9, no. 3 (2012): 429–50CrossRefGoogle Scholar. It is important to distinguish this tradition from that of working-class writing in the same period. On this, see Hilliard, Christopher, To Exercise Our Talents (Cambridge, MA, 2006)CrossRefGoogle Scholar, chap. 8; Laing, Representations of Working Class Life, chap. 3; Russell, Dave, Looking North: Northern England and the National Imagination (Manchester, 2004)Google Scholar, chap. 3. For an earlier period, see Koven, Seth, Slumming: Sexual and Social Politics in Victorian Britain (Princeton, 2004)CrossRefGoogle Scholar.

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⁷³ Roger Mayne to author, 2 March 2012.

⁷⁴ Ibid., James, Peter and Sadler, Richard, Homes Fit for Heroes: Photographs by Bill Brandt, 1939–1943 (Stockport, 2004)Google Scholar. To look further afield, see Walker Evans's images for Let Us Now Praise Famous Men (New York, 1941)Google Scholar; Siskind, Aaron, Harlem Document Photographs, 1932–40 (New York, 1981)Google Scholar; de Carava, Roy, The Sweet Flypaper of Life (New York, 1955)Google Scholar.

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⁷⁶ Carolyn Steedman, “State-Sponsored Autobiography,” in Moments of Modernity, 50.

⁷⁷ See Armstrong, Fiction in the Age of Photography, 107–18; Pultz, John, The Body and the Lens (New York, 1995), 17–18Google Scholar.

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⁸³ Langhamer, “Meanings of Home.”

⁸⁴ Highmore, Ben, Ordinary Lives: Studies in the Everyday (London, 2011), 45Google Scholar.

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⁹⁴ Gosling, introduction, 7, 11.

⁹⁵ Seabrook, Jeremy, Working-Class Childhood (London, 1982), 33, 47Google Scholar.

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¹⁰⁸ Macinnes, Absolute Beginners, 62, 63.

¹⁰⁹ Jepthcott, A Troubled Area, 24.

¹¹⁰ Suschitzky, Wolf, Charing Cross in the Thirties (London, 1988), 4, 13Google Scholar.

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¹¹² A striking example of the connection between images of the child and ideas of poverty was Alan Bartram's The World of the Child, published for Oxfam by Penguin in 1969, which juxtaposed photographs of poor children playing on the street in St. Stephen's Gardens (taken by Bartram)—also a favored location for Mayne and now a gentrified neighborhood—with shots of children in great deprivation in Biafra and South America.

¹¹³ See, again, Mort's discussion of the resonance between Victorian and 1950s London in “Scandalous Events: Metropolitan Culture and Moral Change in Post–Second World War London.”

¹¹⁴ Mayne, “Photography and Realism,” 43.

¹¹⁵ Colin MacInnes, “The Photographer as Artist,” The Times (London), 13 July 1956.

¹¹⁶ See Steedman, Strange Dislocations, chap. 7.

¹¹⁷ Britain does not have a tradition of “rubble” cinema as one sees in postwar Germany, but films such as Hue and Cry (1947), Passport to Pimlico (1949), The Blue Lamp (1950), and Innocent Sinners (1958) all feature scenes of children playing in bomb sites and bombed-out houses.

¹¹⁸ For an American version of this from the same period, see Leavitt, Helen, A Way of Seeing: Photographs of New York (New York, 1965)Google Scholar.

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