Brian Shuel obituary

As the British folk revival expanded and developed through the 1960s and 70s, many of the leading performers were photographed by Brian Shuel, who has died aged 90. His early photographs were often taken indoors, in darkened folk clubs held in upstairs rooms in pubs, which required him to push the film to its limits, resulting in grainy but atmospheric images. He combined his artist's eye with often being in the right place at the right time. In December 1962, Brian was at the King & Queen folk club in central London to photograph Martin Carthy, but he also captured one of the floor singers – Bob Dylan on his first visit to Britain.
Three days later, he photographed him again at the Singers' Club, with the folk revival founding fathers Ewan MacColl and AL Lloyd in the audience.
In those early years, Brian photographed folk performers such as the Watersons, Fairport Convention, Shirley Collins and Pentangle, as well as visiting Americans including Pete Seeger and the Rev Gary Davis. In 1963, at the Edinburgh festival, he photographed the Dubliners when they were still known as the Ronnie Drew Ballad Group. He photographed performers both on and off stage, including those at the first Keele folk festivals in 1965 and 1966.
Brian was born in Dublin, to Beatrice (nee Oulton) and Ronald Shuel, who served in the colonial police in Nigeria. Brian was brought up by his mother's two unmarried sisters in County Wicklow. He was educated at the Royal School Armagh in Northern Ireland, and then, from 1954, at the Central School of Arts and Crafts in London. After completing his graphic design course, he did national service as a cartographer in Singapore; it was there that he bought his first camera.
On his return in 1958, Brian married Sally Boswell, whom he had met on his first day at college. His father-in-law, the illustrator and artist James Boswell, was editor of Sainsbury's in-house magazine and Brian became its designer, soon also photographing many aspects of Sainsbury's operations.
Through his leftwing activism, James Boswell became a director of Topic Records, Britain's pre-eminent folk record label, which had its origins in the Workers' Music Association. Boswell had illustrated many of their early record sleeves and in 1962, to learn more about the music, he and Brian embarked on a nationwide tour of folk clubs, travelling as far as Aberdeen, Edinburgh, Newcastle and the Spinners' club in Liverpool.
Brian's photographs featured on Topic record sleeves and the quality of his work spread his reputation among the still-developing folk scene. He told Nathan Joseph of Transatlantic Records that he did not think much of their sleeve designs and was challenged to prove he could do better. A hundred or so sleeves followed, including the early records of Ralph McTell, Billy Connolly (with Gerry Rafferty as the Humblebums) and Mike and Sally Oldfield as the Sallyangie. Many of the sleeves featured Brian's photographs; he also designed the label's logo, as well as sleeves for American reissues on Transatlantic's Xtra label.
Brian's photographs brought him into contact with the English Folk Dance and Song Society, whose librarian, Ruth Noyes, encouraged him to photograph the Bampton Morris Dancers from west Oxfordshire on their traditional Whit Monday tour. The visual attraction of such seasonal customs was obvious, and Brian set about a nationwide pilgrimage to photograph them: the Abbots Bromley Horn Dancers, Padstow's Obby Oss, Ashbourne Shrovetide football – more than 200 in total. In 1972, he was the adviser for a BBC film by Barrie Gavin, The Passing of the Year.
In the 80s, Brian revisited many of the customs for a book, The National Trust Guide to Traditional Customs of Britain, which was published to critical acclaim by Webb and Bower in 1985. He also wrote descriptions of the customs: unlike many similar books, Brian had actually visited all the events featured. His approach was to capture the fun, sheer enjoyment and pride of the participants, whose confidence he quickly gained.
The full extent of Brian's archive of folk musicians and customs was revealed only when he digitised hundreds of images and uploaded them onto his Collections Picture Library and personal websites. His photographs continue to be admired and eagerly sought after.
Brian's assessment that his pictures were 'simple, straightforward, honest and well designed' was typically modest.
Although best known for his folk music and customs photographs, Brian also built considerable portfolios of images of bridges and London. His freelance photography work for Sainsbury's continued, and other commissions came from, among others, British Steel, Daily Mirror, the prison system (he photographed in more than 40 prisons), Kodak and the Central Office of Information. From 1985, Brian edited the journal of the British Association of Picture Libraries and Agencies (Bapla). His wife Sal was Bapla's administrator, as well as a freelance illustrator.
Brian is survived by Sal, their two sons, Simon and Ben, and grandson, James.
Brian Courtenay Oulton Shuel, photographer and designer, born 4 March 1935; died 12 June 2025

Try Our AI Features

Explore what Daily8 AI can do for you:

Learn with AIFact CheckingText to SpeechAI Summary

Related Articles

Daily Mail​

an hour ago

• Daily Mail​

King Charles teams up with Netflix for new documentary starring Idris Elba - after Prince Harry and Meghan's £80billion mega-deal 'flopped'

His son's offerings for the streaming giant have almost universally flopped. But that hasn't stopped Netflix signing up another member of the Royal Family - none other than the King himself. The firm today announced a 'major new partnership' between King Charles and Hollywood star Idris Elba for a new documentary film exploring the impact of The King's Trust as it celebrates its 50th anniversary. As a young man, Idris Elba was the beneficiary of a grant from the Trust, then known as The Prince's Trust, which the actor openly says changed his life and enabled him to study acting. Idris will accompany The King as he offers 'rare access and insights' into his support for the Trust - which he set up in 1976 with his modest naval pension to change the lives of disadvantaged young people - over the past five decades. At its heart will be the 'compelling' stories of some of the one million young people the charity has gone on to help around the world. The documentary begins filming next week and will launch on Netflix in Autumn 2026. It is produced by 22 Summers, a production company founded by Idris Elba and Diene Petterle. The director is the BAFTA award-winning Ashley Francis-Roy and boasts executive producers including Eva Omaghom, who previously worked for the king for many years including as his 'diversity tzar'. The production team will include young people supported by the Trust to build experience in film and television. Elba said: 'The King's Trust gave me an opportunity that changed my life. At a time when I didn't have the resources to pursue my ambitions, they offered real, practical support - including financial help - that helped me take those first steps to advance my career. 'Today, through the Elba Hope Foundation, I'm focused on creating those same opportunities for young people who are full of potential but lacking access. Around the world, millions are still waiting for that one door to open. 'This documentary is about shining a light on what's possible when it does — and why the work of The King's Trust remains so important.' The King will not give an interview to the documentary crew but will, it is understood, be filmed 'in conversation' with other participants. Harry and Meghan's fortunes have plummeted, with documentaries on the Invictus Games and Polo sinking without a trace. Pictured at the Royal Salute Polo Challenge to benefit Sentebale in April 2024 A Palace aide said: 'The King is pleased for The Trust to have this wonderful opportunity to showcase their work to a global audience, sharing the compelling stories of some of the more than one million young people it has helped in Britain and internationally over the past 50 years.' Harry and Meghan signed their own deal with Netflix back in 2020 when they acrimoniously left the royal family in pursuit of their fortunes in the US. They hit the ground running with a tell-all documentary, Harry and Meghan, about their brief lives together as working royals which included several controversial attacks on the Royal Family. But since then their fortunes have plummeted, with documentaries on the Invictus Games and Polo sinking without a trace. Meghan's own lifestyle and cookery show, With Love, Meghan, has done somewhat better but received a critical panning - and was noted for its lack of high profile guests, as was her recent podcast series. Jonathan Townsend, UK Chief Executive of The King's Trust added of the King's new project: 'At its heart, this is a documentary about the power of believing in young people. Now the King is set to be Netflix's new documentary star. Pictured in 2014 'It's about an idea, driven by a young Prince who was determined to make a positive difference, that when young people are supported to succeed, we all succeed. 'Almost 50 years on, the momentum behind this idea has seen more than 1.3 million young people supported in over 20 countries around the world, including more than a million in the UK alone, through the work of The King's Trust. 'Nobody understands the impact of this work better than those who have experienced the support we offer first hand. 'As a long-term supporter and former beneficiary of The Trust himself, Idris will undoubtedly bring a unique perspective to this groundbreaking documentary as he peels back the layers of our story and shows how our life-changing work is as relevant today as it has ever been.'

The Guardian

an hour ago

• The Guardian

The magical make-believe of eating at the Ritz

I have been going to the Ritz for so long that my first lunch there cost three guineas (There's nothing else like it': the Ritz is crowned best restaurant in the UK, 14 June). The visitor from San Francisco who remarked that it is 'a place where people want to put on airs' is right: and I rejoice that it is so. I want to dress formally, be in the company of others who have been obliged to make a sartorial effort and be served by waiters impeccably turned out, who treat me as if I were someone of importance. It is theatre. Of course it is. How dull life would be without such magical make-believe. The Ritz has lifted my spirits regularly for 60 years. I hope to be sipping Earl Grey in its exquisite palm court until the time comes for me to go to that great hostelry in the sky – which I am just hoping will be as grand as the BownLondon Have an opinion on anything you've read in the Guardian today? Please email us your letter and it will be considered for publication in our letters section.

The Guardian

an hour ago

• The Guardian

Research confirms that Samson and Delilah is a Rubens

Re your report (A £2.5m dud? Fresh doubt cast on authenticity of National Gallery Rubens, 15 June), I'd like to draw readers' attention to the recent publication of detailed art-historical and technical research on the National Gallery's website confirming the attribution of Samson and Delilah to Peter Paul Rubens. This extensive study, conducted by our curatorial and scientific teams using the latest imaging and analytical techniques, provides compelling evidence in support of the painting's authorship. It offers transparency around our research process and contributes meaningfully to the wider field of art-historical scholarship. Given the interest and debate this painting has attracted over the years, we hope this publication will be of value to scholars and the public FinaldiDirector, the National Gallery Have an opinion on anything you've read in the Guardian today? Please email us your letter and it will be considered for publication in our letters section.