Continuing the one kilometre wide strip of London TQ30 north from Westminster leads to Covent Garden, which by the time I took these pictures around 1989 had already become a tourist Mecca. The market had closed and moved to Nine Elms a dozen years earlier in 1974 and many trendy businesses had moved into the area.
Among them were many clubs and eateries joining those that there already in an area of theatres and of course the Opera House. Opposite that was Bow Street Magistrate’s Court, still in business (it closed in 2006), one of London’s best-known legal landmarks, where many famous and infamous had come to trial.
Just to its north is a wide alley, Broad Court, with a fine row of red telephone boxes and a statue of a young dancer, though I’m not sure why facing the Opera House was thought to be an appropriate position for her.
Elvis was not far away, in Great Queen St. It was had to tell from many of the shop windows exactly what business they were in, but one of the strangest was in Betterton St – The Albanian Shop, where you could buy the thoughts and probably a bust of ‘The Iron Fist of Albania’ and which doubled as ‘The Gramophone Exchange’. It is alas no longer with us.
Doubtless there is still much of interest in Covent Garden, if in normal times you can see any of it for the hordes of tourists. It’s an area of London I now tend to avoid, but back then was always an interesting and often surreal experience.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
I photographed some slogans in Russian on fences – left I understand from the making of a film, supposedly set in Russia, but actually filmed here.
Wapping High Street never failed to interest me back then, though it has now lost a great deal of the old atmosphere. The doorway at the right of this picture now leads to the Captain Kidd pub, converted from an old warehouse which used to store various goods including coffee, edible gums, dried fruit and wool from Australia. Sam Smith’s have done some excellent conversions of a number of historic properties and this is now a pleasant place to sit on a terrace overlooking the river and enjoy a pint of Old Brewery Bitter in a pub blessedly without TV or canned music.
After making some pictures there I walked back to Tower Bridge and crossed it to wander around a little of Bermondsey and Southwark as I made my way back to Waterloo station. The view towards Guy’s Hospital from Tower Bridge is rather different now, with City Hall and More London almost hiding the hospital tower and a wide walkway along the river bank.
As in Wapping, many of these pictures south of the river show evidence of the great deal of building work then taking place, with many buildings being reduced to street-facing facades. For many buildings keeping the facades is probably the only possible way – if done sympathetically – of retaining some of the atmosphere of the areas, though when done badly a complete modern replacement would be preferable; not all buildings deserve to be kept. Mostly I avoided people in making these pictures, but some were desperate to be photographed.
Another day in August I went with my two young sons, both keen railway enthusiasts and members of a British Rail kids group ‘Railriders’ to an event taking place at Cannon St station, with vintage Southern Railway electric trains and a steam engine.
The trains didn’t greatly interest me, but I took a few pictures before we left and went over Southwark Bridge for a walk around Southwark, again on our way to Waterloo. Bankside Power Station is now Tate Modern, but I think Skin Market Place and its council depot has disappeared without trace.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
Back in 1986 I began a serious attempt to photograph London. Serious but not entirely credible I set out the photograph the whole of the city. Of course I never thought I could photograph everything, but set out a number of principles or themes that would govern my project, or rather a series of projects that I continued to work on for the next ten or 15 years.
The larger part of this work was in black and white, and concentrated on buildings and streets, the physical infrastructure of London, with the goal of photographing every built structure I thought significant, as well as representatives of the typical across the city. You can see a little of this on Flickr in the album 1986 London Photographs, which contains over 1300 photographs, perhaps a third of those I took in the first six or seven months of the project.
In colour I was largely concerned with a more intimate level, or how individuals arranged their surroundings and how this reflected their differing social and cultural values. Some of the more obvious reflections of this came in small businesses with the face they displayed toward the public, particularly in shop windows and interiors, which feature strongly in this work.
The previous year I had abandoned colour transparency and moved to working with colour negative film which provided much greater flexibility. For some years this was entirely trade-processed, and to cut costs (I had a young family to support) I used cheap processing companies aimed for the amateur market. Technically these were rather variable (even from the same company) and the prints I received back, usually 6×4″ ‘enprints’, were extremely variable in quality.
As the stack of fat envelopes containing the negative strips and prints grew I wondered how to make some order of them, and came up with the idea of a traverse of the city with pictures filed together representing a number of ‘vertical’ north-south 1km wide strips of London based around the National Grid.
Prints from negatives that interested me were then filed in a series of A4 files, labelled with the first 4 digits of the six figure grid reference which I had begun to mark on the prints. The pictures in this post are all from ‘TQ30’, and the 1km wide strip starts at Streatham and goes north from there. I started scrap book style, pasting the prints onto cartridge paper, but soon moved to using plastic file pages which held four prints on each side, arranging the prints roughly in order of their ‘northings’ in kilometre squares.
From these albums – a longish row of A4 files on my shelves – I was able to select images that were worth printing larger, keeping costs down by printing and processing in my own home darkroom. I’d discovered that Fuji colour paper not only gave cleaner looking prints but enabled the kind of dodging and burning that I’d become used to in black and white without the unwelcome colour shifts of other papers. I’ve had one set of prints from a show in the mid-80s framed on the wall beside the stairs since that show. They are out of direct sun and 35 years later show little of no sign of fading.
I began putting images from this project on Flickr several months ago, and at the start tried to replicate the layout of the albums – and the vagaries of the prints in terms of colour balance, exposure, saturation etc. Having done several 1km strips like this I’ve decided it doesn’t really work to well, and although I’m still scanning the prints in their sheets of four have separated them into individual images – still roughly in the same order – for TQ30. And while some of the defects of those trade-processed prints are still evident (and occasionally rather a lot of dust on the plastic sleeves) I’ve tried to improve the colour balance etc where necessary. But they are still showing enprints enlarged on screen and this makes some problems more visible.
So far I’ve put just over 100 prints into the album TQ30, from Streatham to Westminster, with another 250 or more to follow, taking the ‘slice’ north to Hornsey. You can view them on Flickr.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
The pictures on page 6 of my 1986 London Photographs were all taken in the City of London or close to its edges in Tower Hamlets and Finsbury and include a few of its better known buildings but are mainly less well-known streets and aspects that caught my attention.
There is still a Beaufort House on St Botolph St, but it isn’t the same building. This one, dating from the 1950s with a nautical feel, was built as offices for the P & O shipping company. As I turned the corner and it hove into site it always gave me the impression of a huge liner with many deck levels that had somehow been marooned in the city.
Shortly after I took this and the other pictures on Page 6 it was demolished, with construction starting later in the year and completed in 1988 to an overblown postmodern design by RHWL Architects, a “distinctive office building” which many find hideous. In 2016 Amazon took around 47,000 square ft of its space in one of the largest office deals of that year.
While many of these buildings are still there, often they have changed a little. Permutt Fashion Stores are no longer there at 11 Wentworth St in Petticoat Lane market, which is now ‘Queen of Textile’s’ with a rather curious apostrophe but without the advertising on the upper floors – though the rectangle above the first floor window with the name C PERMUTT when I took my picture is still there, but empty. A Permutt’s at number 13 is now a nameless Dry Cleaners and Tailors. The café at No. 9 is still a café and looks very similar but is now called Simply Tasty rather than being named for the Italian city of Vernasca, though it still appears to offer home-cooked food at reasonable prices.
Searching for more about A Permutt on the web reveals little other than that in 1934 there were bankruptcy proceedings at Carey St against an Abraham Permutt, trading as A Permutt & Co, a timber merchant in nearby Brick Lane. I don’t know if there was any connection with the A Permutt whose shop was in Wentworth St.
The NatWest Tower is still there, though now longer called that, now known as Tower 42. Completed in 1980, it was the first skyscraper in the City, and still one of its taller buildings at 600ft. It has 47 floors, with 42 of them cantilevered out from a central core, and was renamed Tower 42 in 1995. The tower was extensively damaged by the IRA bomb in Bishopsgate in 1993 and required several years of work and after the refurb NatWest decided to sell it rather than move back in.
The picture shows two of the cantilevered sections. There are several walkways around the base of the building but all are private property and after I had taken several pictures I was approached by a very polite security officer who told me that photography was not permitted, showing me exactly where the boundary of the property was on the pavement and saying I could take as many pictures as I liked from there.
Although much of the area has been destroyed, this fine row of properties on Worship St remains. The street was once called Hog Lane and there are at least two suggestions for the name change. One says it got its new name from a merchant tailor, John Worshop, who owned several acres of land in the area, while others suggest it was because the first houses on the street were built with stone from the old church of St Mary Islington.
This row of artisans workshops with living accommodation above replaced older slum properties on the site, possibly dating from before 1680. The area was owned from around 1740 by the Gillum Family and in 1862 Lieutenant-Colonel William Gillum commissioned leading Arts and Crafts architect Phillip Webb in 1862 to design this block as affordable properties for craftsmen in line with the ideas of honest handwork advanced by Webb and his colleague and friend William Morris. At the right of the row you can just see the V-shaped porch over a water fountain he incorporated into the design.
13 Sun Street is now a part of the One Crown Place development which claims to have retained “the elegant row of Georgian terraces on Sun Street” as a boutique hotel and members’ club. It will perhaps have kept some elements of the facade, but I doubt if the diary will be recognisable. The whole length of the terrace which had been boarded up for years was covered with scaffolding in 2018.
Some London Dairies actually had cows in their backyards, but I think this one seems unlikely to have done so. More likely the milk would have come in churns from farms in the countryside, perhaps to the nearby Liverpool St station, on early morning milk trains.
Close to Mansion House station at the bottom of Garlick Hill is Skinners Lane. Skinners and their trade were important in London and the Worshipful Company of Skinners who have a hall in Dowgate Hill were one of the 12 great livery companies, getting their charter from Edward III in 1327. Back in 1986 there were still a number of fur companies still trading in the area, particularly in Great St Thomas Apostle, including Montreal Furs, just a few doors down from Queen St. Presumably its name indicates it was trading in fur skins from Canada, where trappers still operate cruelly supplying companies such as Canada Goose.
You can still see its rather finely decorated shopfront, now a part of Wagamama.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
The previous post Page 5 of my London 1986 pictures looked at some from Hoxton and Islington and there were many more in the album that in my post, including a number form Shoreditch. Later in July I returned to Wapping, Shadwell, Limehouse and the West India Docks with a few other images from Greenwich, Finsbury and the City.
New Crane Wharf, Wapping
Gun Wharves, Wapping
Rotherhithe from Wapping
Limehouse Dock entrance
Limehouse Dock
West India Docks
These are just a few of my favourite pictures from the 100 on page 5 of my Flickr album of pictures I made in London in 1986. Clicking on any image will take you to a larger version on Flickr.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
The Merriam-Webster dictionary lists Micawber as a word meaning “one who is poor but lives in optimistic expectation of better fortune“, derived of course from the clerk in Charles Dicken’s David Copperfield famous for his belief that “something will turn up” and the principle he expounds:
“Annual income twenty pounds, annual expenditure nineteen nineteen and six, result happiness. Annual income twenty pounds, annual expenditure twenty pounds ought and six, result misery.”
Wilkins Micawber is said to have been based on Dicken’s father who also spent time in a debtors prison. In the novel Micawber gives his address as Windsor Terrace, City Road, and in the 1930s this street is in Hoxton, close to the Islington border in north London which runs across the north end of Windsor Terrace, previously Edward St was renamed after him.
It seemed a suitable location for a bookie’s shop, (and there is a pub opposite) but it had clearly gone out of business. The building is still standing though rather altered, at the end of a row of Victorian housing but the area has changed considerably. As well as modern developments since I took this picture, parts had already been rebuilt after the Blitz with what was left of Windsor Terrace being redeveloped in the 1950s, and the Wenlock Brewery on Micawber St, site of a terrible wartime tragedy when bombing caused a leak of ammonia gas into its basement which was used as a local air raid shelter was demolished shortly after. That site is now the home of the Child Poverty Action Group.
Micawber St runs across the south end of the Wenlock Basin on the Regent’s Canal, but I don’t think there is anywhere where the basin is visible from the street.
Another nearby building, erected in 1896 by St Luke’s Vestry. You can see these and other pictures on Page 5 of my Flickr album 1986 London Photographs.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
1986 was the year I began to photograph London in depth, and the album reflects this, with 1370 black and white photographs, a fraction of the number I took that year. The hundred on page 4 are from the boroughs of Hackney and Tower Hamlets and include pictures from Dalston, Shoreditch, Hackney, Bethnal Green, Wapping, Shadwell, Limehouse, Whitechapel and other parts east of the city. There is just the odd image from elsewhere in London.
Cyprus St, Bethnal Green
Unlike in some earlier years the routes for my walks around the area were carefully planned, with research from a number of published sources, though information was much less readily available than now before the days of the world wide web. Of course I didn’t always stick to my planned routes, but I did carry a notebook to write down where I actually went and even sometimes some details of what I was photographing.
Hessel St, Whitechapel
One of my major resources was of course maps, both new and old, not just for the streets but also for the other information included on them. Some marked industrial areas in brown, most showed churches and public buildings and some gave names of various features. The invaluable series of reprints of old 1:2500 OS maps was begun by Alan Godfrey in 1983, but few were available in 1986. I now have a very large collection.
Kingsland Basin
My aim was to not to walk along every street (as the woman who produced the London A-Z was sometimes said to have done) but at least to look down nearly all of them, and to photograph all buildings of interest as well as other things I found on my journeys. Later when I had bought a scanner I produced enlarged versions of the A-Z pages, printing them on a black and white laser printer and used highlighter pen after I came home to mark where I had walked. These both showed me any areas I had missed and helped me, together with the notebooks, to mark on the contact sheets where the pictures were taken.
Nuttal St, Hackney
I mostly travelled by train or underground so often several walks started from a particular station, and perhaps along the same streets close to them. There were also some areas that particularly interested me, either for simple visual reasons or because they were obviously changing, to which I returned.
I’ve posted some of the pictures on this page previously on >Re:PHOTO and I’ve tried to find others to put on this post. You can see all of the pictures – 100 on page 4 – on Flickr – where you can view them larger than on here – by clicking on the link or the image below.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
Images in this post are embedded from Flickr where you can view them at a large size by clicking on the image. You will need to use your browser back button to return to this post. Or you can right-click and select ‘Open link in new tab’.
My album 1986 London Photographs is now complete on Flickr, and this is the second of a short series of posts pointing out a few of my favourite images from the year.
Several things come out strongly to me as I look through these pictures, mostly taken around Brick Lane and other areas of Whitechapel. One of the major themes that has run through much of my photography is the writing on the wall, whether graffiti or signs and posters. Language is such an important aspect of our social interactions and its inclusion in these images makes them into a record of how people lived and thought.
In 1984 London was rapidly becoming the multicultural city we now know, though of course it had been so on a lesser scale for many years if not centuries. Spitalfields where some of these pictures were made had long been a home for new communities moving to London and there was still abundant evidence of its Jewish population as well as the Bangladeshis who had by then largely replaced them.
Housing, then as now, was an important issue in London in particular, and some of these pictures reflect this and other issues such as racism. Although I think some of these pictures are well-composed and even attractive compositionally, I’ve always considered the formal aspects – line, shape, tone, texture, form etc to be the means to communicate a message rather than an end in themselves. I aimed to make photography that had something to say and said it well rather than to produce well composed, attractive or even striking or popular images.
There are another 95 pictures on the second page of the album, all with a location, taken from the usually rather incomplete information I recorded on the contact sheets. I’ve tried to check these before posting, but corrections and other comments are always welcome. I’m happy for these pictures – with suitable attribution – to be shared on social media, but they remain copyright and any commercial or editorial use requires a licence from me.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, please share on social media. And small donations via Paypal – perhaps the cost of a beer – would be appreciated.
Images in this post are embedded from Flickr where you can view them at a large size by clicking on the image. You will need to use your browser back button to return to this post. Or you can right-click and select ‘Open link in new tab’.
My album 1986 London Photographs is now complete on Flickr, and this is the first of a short series of posts pointing out a few of my favourite images from the year.
Of course the 1370 pictures in the album are not all I took that year, but perhaps about a quarter or a fifth. Quite a lot more than I would have selected or shown back in 1986, but the content has aged well, even if sometimes the actual physical negatives have deteriorated. Images that might have seemed a little mundane when I first saw them on the contact sheets have often gained considerably in interest as historical records.
There is a little redundancy in those 1370, and I’ve sometimes included several pictures of the same subject, where I’ve tried different ways to approach it. But the great majority of subjects were treated to only a single frame.
Many of those not included still have interest and value as historical records, but preparing them to go on line is tedious and time-consuming, particular as some need quite extensive digital retouching after the ‘scanning’ stage – mostly done by photographing the negatives with a Nikon D810 and Nikon 60mm macro lens. Some of my negatives were damaged by minute insects in search of gelatine, leaving their track as they chewed their way across them and depositing their frass and occasional body parts and complete restoration isn’t always possible.
I’ve also been having problems in getting even lighting at the negative edges. This isn’t a problem with mounted slides, where the image is cropped, but I want the whole image, and possibly the problem is with light diffusing from the clear film edges. But it does mean every frame needs correction in Photoshop – rather like the little bit of edge-burning we used to do under the enlarger.
I was working on a number of themes at the time and as well as recording buildings that interested me was particularly interest in sculptures, shopfronts, shop window displays and trees in the city. The first page of pictures on Flickr (100 images) includes work mainly from Southwark, the City of London and Spitalfields.
I took very few pictures of people at this time, partly because I was rather shy, but more that I had been affected by some feelings being strongly expressed by some at the time about privacy and arguments that it was wrong to photograph people without first seeking their permission. I was never convinced by these, but they were off-putting, and I was sometimes shouted at when taking pictures. Perhaps more importantly I wanted to direct attention to the things being photographed, and was aware that people almost always steal the frame.
There are another 95 pictures on the first page of the album, all with a location, taken from the usually rather incomplete information I recorded on the contact sheets. I’ve tried to check these before posting, but corrections and other comments are always welcome. I’m happy for these pictures – with suitable attribution – to be shared on social media, but they remain copyright and any commercial or editorial use requires a licence from me.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, please share on social media. And small donations via Paypal – perhaps the cost of a beer – would be appreciated.
They all fall on the National Grid in the vertical column TQ34, and there are more pictures from all of them in the albums of colour enprints I put together from 1986 to 1992 as a project with the rather tentative title ‘Cross-section’. TQ34 is just one km wide and I have a row of A4 files covering around 20 such columns across the city, though those at the outer edges have fewer images.
The roughly A4 album pages could each hold four 6″ x 4″ enprints. I started by gluing the prints in place on scrap cartridge paper (unused from A level Art exams and cut down to size) but though that worked well it became tedious, and I moved on to purpose-designed plastic filing sheets, at first transparent and later black.
I tried at first to keep all four prints on any page either landscape or portrait format and from the same kilometre grid square, but as you will see on Flickr there are a few exceptions. The album TQ34 includes just over 70 pages and is shown on Flickr as in the album with most images having four prints.
These enprints were all trade processed and I sent the films off to various cheap consumer labs. The different colour casts they produced for each roll of 35mm film I felt added to the project, and I accepted some packets of pictures where I really should have demanded a reprint. A few of the worst I have done a little colour correction before posting online.
I finished – or rather abandoned – this project around 1992 when I installed a print processing line in my own darkroom and going over to bulk loading and home processing of my colour negative film. Producing enprints was too slow and fiddly, but I was able to make larger prints, and a small selection of these images where exhibited and sold over the years.
