TThe characters bend over a ship rifle that is busy with a network and their bright yellow oil cins in a brilliant contrast to the Tinky Night. A seagull disc, incredibly spectral in the camera blitz, Rasert from the upcoming catch, flap and bike in a gap that is so black that the sea and sky are one. When the back is turned, it is unclear what the characters do, but their striving shapes and the intensity of the scene indicate a quick, coordinated action.
In contrast to the quiet serenity that characterizes many other photographs in this series, which were made by the photographer Jon Tonks born in Birmingham in Cornwall, this picture reflects a precarious and occasional dangerous life entertainment.
“If you are on the boat, you don't believe that you are in a dangerous situation, but you can see how quickly everything could go wrong,” says Tonks, whose project called Julie named Julie the result of 18 months on the coast and at sea between Neuly, which Isles is from Scilly, Mausloch and Cadgwith. “If you push over, have gone overboard or caught your foot in a line, it could be really dangerous.”
Fortunately, Tonks avoided such misfortune during his time at sea, whereby his serious injury to long distances enabled his middle format camera in the air. “Sometimes it felt strange to be on a fishing boat that rolls around in the dark and tries to change a film role or get my lightning to run. And of course with a Hasselblad – it's a mirror, so what I see is the other way around. It is amazing that I did not make seasick … “
The project, which can be seen at the Martin Parr Foundation in Bristol next month, is part of WE Feed Great Britain, a nationwide campaign for storytelling for the GAIA Foundation of Bioculture, which has raised the GAIA Foundation, the photographers and poets, to sharpen the awareness of sustainable food producers on the ground, sowing, seed. From August 2023, Tonks made more than a dozen visits to the coast of his house in Bath.
“Fischer are really difficult to do,” says the 44-year-old with an ironic smile. “It is not an e -mail situation, it is a recording in the port situation.” Tonks was based on word of mouth and personal recommendations and quickly discovered a community that was ready to work together. “At first I went down and had a really good meeting with some people in the sustainable fishing world to discuss what is considered sustainable,” says Tonks. “Some of the early conversations were about the size of the boat – people suggested that sustainability affect a boat at under 10 meters.”
The networks look wider and focus more closely and focus on smaller boats intentionally to avoid large trawlers – which can stay at sea for longer with their superior size, workers and technology for longer. However, these ships delivered less than 15% of all fish that landed in Cornish ports in 2021, but are a more sustainable alternative. Their size not only prescribes that they consider more attention to the elements, so that fish stocks can be resumed in bad weather, but with their ability to switch quickly between fishing equipment – from networks via lines, excavators and fall more and more sustainable Fang.
“Fishing in Cornwall is like a metaphor for life,” explains Tonks. “I love the idea that Fischer is completely ruled by what sun and wind do, what is in the season and what kind of boat they work out.” Working in harmony with the seasons and the weather gives the series the rhythm. All-action recordings at sea contrast to quieter moments on land; Fischer chew the fat; Christmas lights in the mouse hole to Tom Bawcocks Eva, the annual festival, which celebrated a fisherman, defied the stormy seas to alleviate the hunger of his village.
This causal relationship between the environment and culture has stood the heart of Tonk's practice since his master's degree at London College of Communication. During his studies, Tonks Ascension Island, the area managed by British, visited British, about as large as Disney World, in the middle of the South Atlantic. This trip became a catalyst for RichHis 2013 book, in which the traces of British colonialism are researched on four remote islands. Tonk's second book, The men who would be king (2021) saw him again examined the legacy of imperialism on the traditional belief systems and the assimilation of Anglo-American ideals at the Archipelago Nation Vanuatu in the South Pacific.
Although in comparison locally, A fish named Julie Represents a similar dialogue between the landscape and community, a place where “you wake up in the morning, open your curtains and look at what the sea does”. In fact, the title of the project comes from this immediate vicinity: “I had observed these boys all day long, and there was a box with two seaside bar with a label with the inscription” Julie “. It only made me laugh, ”explains Tonks. “I don't know who Julie is – it could be the name of a boat – but it let me think that the fish was asked for someone Julie, who asked:” If you have a seabar, I'll take it. “
This emphasis on local, seasonal fishing and seasonal consumption represents the urgent policy that the industry requires to secure its durability. “We should not be able to go to our local supermarket and say:” What do I like today? “, Says Tonks,” you should ask: “What do you have?” We are prepared for everything we want, whenever we want it. “
Despite the prevailing customer habits, which Tonks will change with increasing awareness, the past 18 months have given the photographers to be worried with more reasons. “Many of the younger people I was with are really aware of the durability,” says Tonks. “You are very careful not to catch something because they know that it takes time to replenish again. “
“I really didn't want this that this was a number of weathered fishermen. Of course there are a few weathered boys in it, but there are also signs that young people get through. I think it is important for people in the 20s to see that it is a practical career option, and there is enough information and energy for a good future. “
A fish named Julie by Jon Tonk