Having studied fine art, photojournalism and assisted such photographers as David Montgomery and Terry O’Neil, Jane Hodson realised that this photography lark was something that she could really do herself. Discovering an innate talent for telling a story through images - capturing the personality and mood of her subjects and placing them firmly within their own context - Jane is probably best known for her series of images of powerful women, including Cherie Blair, Mo Mowlem and Eliza Manningham-Buller, which made up her, “Women in Work” exhibition.

Steal-Life caught up with Jane to chat about her new body of work entitled, ‘Mama Tried…’ shot at the Viva Las Vegas Rockabilly weekender.

It seems quite a leap in subject matter from the Women series to Rockabillies, how did you come to shoot the Viva Las Vegas meet?
“I like exploring sub-cultures because I have the view that everyone is pretty much the same, just their interests and tastes are different. The whole culture of Rockabilly was something I thought I knew about but didn’t at all, and the more I looked into it the more interesting it became. Viva Las Vegas is the biggest get together weekend in the Rockabilly calendar and I thought it would be good fun to go out there, meet really fab people to shoot, who are very into the way they look and very up for being photographed.”

“I contacted a magazine with the idea of documenting the event and it turned out they were sending a journalist out there already because she is a Rockabilly and therefore close to the subject matter. When we got out there, she immediately disappeared off into a drunken nirvana of rockabillydom and so I had free reign to shoot what and who I fancied. On the Saturday, I went up onto the roof where the cars were on show, along with scores of Rockabillies decked out in their splendour, showing off their manicured looks. With a backdrop taped against the wall by the door, there was a constant flow of people and those up for it came to have their picture taken. It was one of my most enjoyable day’s shooting: the sun was shining, everyone was in buoyant mood and excited to be there, there were no constraints on the shooting and people simply came and went as they liked. It was a fun-for-all.”

Did you find it more difficult to shoot in a setting where you couldn’t control the environment so much?
“I prefer to shoot like that – with available light and a little bouncing of that light. I’m not that keen on using flash, it just gives a different feel.”

So just how different were your subjects when shooting the Rockabillies or the Women series?
“It’s difficult to generalise one lot from the other really – it’s very personal. Some people are happy to have their photographs taken, some people are very aware of the way they look and some people are not that confident; although they may be very important in their work capacity. They might be very powerful but may not be confident having their photo taken, you never really know until you turn up.”

“I once had a shoot when I had this ENORMOUS city boy - rugby player type - who was so nervous that his mouth was drying out and he was sweating profusely. I had to take him outside, walk him around and try to calm him down. He’d worked himself into such an uncontrollable state at the very idea of having the photograph taken that it was almost impossible to make a decent image of him.”

So composition-wise, how did you shoot your subjects, to really capture their identity?
“I chose those people who were the most extreme representatives of the genre and approach the image-making process from a more documentary focus. When shooting portraits, I try to click with the subject – when you’re on the same level of understanding, people tend to relax and trust you. It’s then that they reveal their true nature. As for the reportage images, it’s a mixture of seeing people interact and capturing specific details – the idea, I suppose, is to compose a picture story making sure you have all the different elements you need to tell the story properly.”

“Each photographer will be different in their approach and in what catches their eye; I photograph the things that I notice and then put them all together and hopefully they work.”

Why did you choose Rockabilly as a theme to shoot – what is it about this genre that keeps it alive and relevant?
“Rockabilly is coming back in a big way – I’ve noticed it in the market stalls, on the high streets; plus it is being included in high fashion – there was recently a magazine feature about John Galliano releasing a Rockabilly range. There are the blunt fringes that we’re seeing everywhere; the whole ‘50’s look is back. As a passing fashion trend I realise it’s not pure Rockabilly - to true Rockabillies it is a lifestyle.”

“You know, there were some people I spoke to, for whom Rockabilly is their entire life - their houses are Meccas to all things American and 1950’s; they have the cookers, the radios, the TV and even the newspapers - it’s really living a dream of yesteryear. At the same time though many of these same people, of course, have mobile phones, which makes life kinda tricky for the purists who want to live a time gone past, but find themselves living now, in the fast and furious present.”

The whole image kind of epitomises an era that can’t have lasted for more than a few years and existed in a specific geographic region. Is the modern scene reflective of this?
“Not really, no. For example, Rockabilly is huge in Japan as you can image – such a strong visual cult image and there were quite a few Japanese at Viva Las Vegas. For some it’s about a rollicking good time and a chance to dress up and slap on the make-up and hang around looking cool. For others Rockabilly presents a forum to explore a youth identity. And for the rest it’s an authentic and chosen life style.”

“Originally, the scene was one of rebellion against the idea of the clean and shiny 1950’s American ideal – it was one of cars and beer and cigarettes and chicks and boys: a disconsolate youth, unemployed and creating their own identity, the underdog snarling at the ankles of a government-prescribed status quo.”

“Either way, it engenders a great passion, played out in the music, in the dancing and in the peacock-preening of the clothes and style. Rockabilly is intoxicating – infectious. Rockabilly rocks – big time.”

Keep watching Steal-Life for news of Jane Hodson’s forthcoming exhibition ‘Mama Tried…’