The CV

ex-army shop on Chatsworth Road in Hackney. Ex-army stores originally sold second-hand uniforms, boots and other surplus army supplies, but the availability of this stuff diminished in the post-war years, so they extended their stock to anything surplus. I went to buy a pair of army boots (a fashion statement at that time) and noticed some large, round cans that looked like something you would store film in – the type of film you’d see on a cinema projector. I asked the fellow what was in the cans and he told me he’d bought a job lot of unexposed Ilford FP3 film, as used by film studios for the making of black-and-white movies. FP3 was also sold in photographic stores as black-and-white transparency film for around 5s 1d for a 20-exposure roll and 6s 10d for a 36-exposure roll. Now here I was in the ex-army store, with reels and reels of this stuff, each reel with hundreds of yards of film on it, the very same film you could buy in the photographic shops, but in bulk. The vision of the empty 35mm cartridges came out of my memory bank and I asked the man how much he wanted for a reel.
    ‘What are you going to do with it?’ he asked. ‘Who do you think you are – Hitchcock?’
    ‘Never mind that, mate, how much for a reel?’ I persisted.
    He was bright, because before he gave a price, he wanted to know what I had in mind for it, in case he was missing a trick. There must have been fifty cans there, so who knows how much he paid for them. I bet he bought them for the scrap value of the metal cans.
    ‘How much do you want to pay?’ he said.
    I looked at the can. The label indicated 500 yards of film inside. I knew from watching the process at the development factory that a 36-exposure film, out of its cartridge, was about two yards long. If I sold the film to the punters and undercut the shops by, say, 50 per cent, it would mean that I’d have to charge about three bob for a 36-exposure film. I quickly worked out that 250 x 3s came to £37 10s.
    ‘I’ll give you five quid for one can,’ I said. After a bit of haggling, the bloke accepted. He was intrigued about what I was going to do with it. Now I had to set up a production line. Although I’d converted my dad’s workshop into a darkroom, there was still light coming around the edges of the blanket over the window and around the door frame. This was good enough for developing prints on photographic paper, but not good enough for playing with unexposed film.
    My second darkroom was my bed. Under the bedcovers, I’d open the developing tank, take the undeveloped exposed film out of its cartridge, thread the film on to the tank spool and then put the lid on the tank, ready for the developer fluid to be poured in. I went back under the covers for this bulk film operation. With a pair of scissors and the wooden yardstick my dad used for tailoring, I measured off and cut the film into two-yard lengths from the bulk reel. The whole operation was risky because if any light got in, I could expose the whole spool and that’d be a fiver down the drain. Once cut, I loaded the film into one of the discarded empty 35mm cartridges. I tried to be selective and take only those that had an original Ilford FP3 label on them, but I had to accept what was available. If I loaded the film into a cartridge with an FP3 label, it would be an easier sell; if I had to use an empty Kodak cartridge, you can imagine it would take a bit of explaining as to why the film inside was FP3.
    In those days there were no inkjet printers or photocopiers to run off labels. Instead, I got some kid at school to use the library typewriter to type out ‘ILFORD FP3 36 EXP’ over and over on a sheet of A4 paper, cut the words out and glue them on to the non-Ilford cartridges using LePages glue. In exchange, I gave him some film, so he was happy as Larry.
    Word spread like wildfire at school: ‘Hey, Sugar’s got 36 EXP FP3 for three bob!’ At first, I had to overcome the suspicion that they’d fallen off the back of a lorry, a rumour put about by the posh tosser. That was easy to dispel because when you looked at the end product you could see it wasn’t packaged in the same way as retail film. I was soon getting orders from the kids, the kids’ parents and the teachers. Like all products, it was accepted with scepticism at first, but eventually they realised it was okay. In fact, my generous length of two yards gave them forty-odd exposures.
    The posh tosser didn’t give up. After his