Spontaneous Images

I’ve little idea exactly how many protests I’ve photographed about the continuing shame of Guantanamo, and of the incarceration and torture there of innocent prisoners, particularly of London charity worker Shaker Aamer, held there since its early days over 13 years ago. At the moment we are hearing encouraging rumours about his possible release, but there have been hopes before that have come to nothing. Both US and UK security services are thought to be hoping he dies in captivity rather than emerges to give evidence that would severely embarrass them about his own torture and that of others, and he is still being subjected to regular beatings and other mistreatment.

The London Guantanamo campaign have been holding a monthly protest at the US Embassy for over 8 years, and although try to attend any special protests they and other groups arrange, I only cover these regular protests if I’m going to be in the area for other reasons. They are generally rather small events, just a handful of people, with perhaps one or two in orange jumpsuits and black hoods, with a few posters, but mainly that there is little to photograph that I haven’t already done and done again. It’s a very worthy cause, but one that it is hard to make news.

As you can see from the small set of pictures at Shut Guantánamo! I didn’t stay long at the April protest, and didn’t find a great deal to photograph. I do rather like the one at the top of this post, because it presents the major elements that were present – the Obama mask, the Obama quote ‘We tortured some fo..’ (I hope most people will supply the missing ‘lks‘) and another poster about rendition with images and text ‘No Impunity for Torturers‘, and I think it does so in a lively way, with an extra hand at right holding out a card and at first glance Obama almost looking convincing.

Of course it isn’t a great photograph. There are a few things I would like to have been just a little different (including that hand which obscures the ‘lks’). If I’d been directing a scene the second take would probably have had the messages on the cards visible too. But this has a spontaneity that would be lost in posing.

The second protest I was on my way to was a short walk away outside the offices of Annington Homes, the company that is evicting people from Sweets Way in North London. The company hopes to make millions from these ex-military properties it bought on the cheap by knocking them down and redeveloping the site. It’s something that is happening all over London, cheap housing, often social housing being redeveloped into ‘luxury’ flats, usually with little or no regard for the people who live there either from developers or the local councils.

The great shortage of housing in London has led to huge increases in house prices and market rents. We need a huge growth in council housing to house the people we need to keep London running who can no longer afford even the so-called ‘affordable’ rents, but instead what is getting built are expensive properties for the wealthy, including many who will not even live in them, but own them as investments, cashing in on the ever increasing prices.

Again this is a picture I like for its spontaneity. The gestures and expression of the man holding the banner (and of course the child at the other end.) The deliberate cutting off of the cyclist at left. Taken at 16mm I was very close to the bike. You can see at Sweets Way at Annington Homes a few of the series of pictures that led up to this one.

It was a protest I enjoyed photographing, with plenty of movement and different situations, although the street had enough traffic on it to make it difficult to always be at the right place without getting knocked down.

The pavements are fairly narrow, and most pictures that I took required me to be standing in the road. Fortunately in these fairly narrow streets the traffic was normally slow-moving, and I was in little danger.

This was a long and busy day for me, and I’ll perhaps write about some of the rest of it later, after I get back from taking some more pictures.

Continue reading Spontaneous Images

Celebrating Magna Carta

This weekend, everyone in Britain and quite a few others around the world are celebrating Magna Carta. I’m not quite sure why, unless you happen to be a Baron, as it was really only a couple of years later in 1217 with the Charter of the Forest that ordinary people had much to celebrate, and even that applied only for Freemen, not to the serfs from which most of us are descended.

Of course, over the years, some of those rights awarded to the wealthy and powerful have kind of trickled down to the rest of us in countries like the US and the UK, though there is still very much one law for the rich and another for the poor.

One group that wanted to celebrate Magna Carta were the residents of the Runnymede Eco Village, founded three years ago this week when they set up camp on a long-disused area of woodland overlooking the area where Magna Carta was signed.


Diggers meet at the Runnymede Memorial and agree to celebrate Magna Carta in 3 years time

I sat with them on 16th June 2012 at the Runnymede Memorial erected by the US Bar Council as they discussed their land occupation and the idea of them hosting a celebration of the 2015 anniversary was put forward and agreed with enthusiasm. That’s my camera bag and coat in the foreground left there as I moved back slightly to frame the circle.


The first camp at Runnymede Eco Village in June 2012

I hadn’t really expected the Runnymede Eco Village still to be there three years later, but it is, and greatly expanded from the few tents that were there then, with many residents having built low impact off-grid homes in a variety of styles from materials mainly recycled from skips and demolition sites. Various court proceedings have meant it having to move a few yards down the hill to a wooded area on the slopes of Cooper’s Hill (incidentally the view from which inspired the first British poem about landscape, by Sir John Denham in 1642.).

The Eco Village has enjoyed good relations with its neighbours with many supporters in the neighbouring ‘village’ of Englefield Green. That one of the first things they did was to clear several skip loads of illegally fly-tipped rubbish from the area got them off to a good start.


Luke (right) a trained forester, stands in front of the home he built almost entirely from material in skips and demolition sites

Yesterday I arrived at the Runnymede site for the first day of a four day festival celebrating Magna Carta and three years of settlement by the Eco Village, and was warmly welcomed and shown round. As well as various musicians, the festival events included poetry, workshops and a number of distinguished visiting speakers who were to talk and lead discussions.  The Festival For Democracy should have been starting in earnest today, and continuing until Monday.

Unfortunately our authorities seem to have decided to do their worst and not to allow it. They started by pressuring the owners of the site to try and get the occupiers evicted, but an attempt to steamroller this through the courts was blocked by a judge who decided that the occupiers seemed to have some kind of agreement with the owners to occupy the area and adjourned the case to give the Eco Village more time to prepare their case.

It is unlikely to be a co-incidence that a few days ago the date for the court appearance was set as this Monday, 16 June, the last day of their festival and when the official celebrations at Runnymede (two miles away according to the BBC, but for those who can walk rather than drive, around half a mile distant) reach their peak.

A woman plays guitar for the TV crew to use in their film and others listen around the fire outside the Long House at the Runnymede Eco Village.
Police and some residents stand at the main entrance, where police are refusing entry to somee. Across the road Phoenix negotiates with police to let the Festival For Democracy – Land, Freedom & Community continue.

But apparently that wasn’t enough for the political taskmasters of the police, and a little after noon small groups of officers appeared around each of the entrances to the site, and began to stop people entering. They claimed to be allowing the site residents to enter and leave freely, but were stopping others. A couple of weeks previously a rumour had been put out that there would be an illegal rave taking place on the rugby field adjoining the Eco Village, and this was being used as a pretext to issue an order under Section 63 of the The Criminal Justice and Public Order Act 1994  which allows police power to restrict access, remove people and issue exclusion orders.

There appears to be no real evidence of any actual attempt to hold a ‘rave’, and the programme for the Eco Village’s festival clearly demonstrates that it would not be in breach of Section 63 (which applies only to ‘amplified music’ played during the night.)  The rumours are suggested by some to have been promoted by the authorities to justify the draconian police action.

As I wrote yesterday:

As I left it was unclear if the free festival, with its long and distinguished line up of speakers, poets, singers and performers will be able to continue and in what form. It would indeed seem a travesty if  at a time when we are celebrating 800 years of freedom under the law against the arbitrary power of the state achieved at Runnymede, the authorities should abuse the law by using those arbitrary powers to prevent a people’s celebration of freedom.

Perhaps rather than celebrating Magna Carta we should all now be out on the streets and demanding a new charter for the freedoms we thought had been won 800 years ago.


More pictures from inside the Runnymede Eco Village in my feature from yesterday on Demotix, Magna Carta celebration at Runnymede threatened by police. And from the initial gathering at the Magna Carta Memorial on My London Diary. That meeting was attended by just one friendly police officer.
Continue reading Celebrating Magna Carta

Murdoch Moloch

We may not actually be sacrificing children to Rupert Murdoch and the like, but I think there is a good case to be made that we are sacrificing our culture to him and a few others, with “5 billionaires owning 80% of the media” as the protesters at’Occupy Murdoch‘ pointed out.

Of course this is not unique to the UK, although the spectacular increase in inequality we have seen here over the past 35 years  (a particularly steep rise from 1979-1991, with a slower growth until a slight hiccough in 2008 from which it has now recovered) have transformed us into one of the most unequal societies among the wealthier countries.

I grew up in a period where our society was much more equal, and a welfare state provided at least a basic support for those on low incomes or out of work, and government saw its role as supporting the people who needed it rather than penalising them.

It’s The Sun Wot Won It” was the triumphant headline after the 1992 election victory of John Major, having ended a long campaign of putting the boot into Labour with the election day headline “If Kinnock wins today will the last person to leave Britain please turn out the lights.” And equally, at the next election, it was again the Sun who claimed the the role of king-maker for Tony Blair, having managed to turn the Labour party into a vehicle for its own political views.

Of course it wasn’t just The Sun. There was also The Times, The Telegraph, The Daily Express, The Daily Mail… all together setting a cultural and political agenda, increasingly helped by the BBC as well as commercial broadcasters largely owned by the same small group of people as the newspapers.

But while I have a great deal of sympathy and agreement with the case that ‘Occupy Rupert Murdoch’ were making, it wasn’t an easy event to photograph, not least because the the fairly low level of support actually on the ground. Starting a protest at 10.30am on a Monday morning is probably not a good idea to attract large numbers of politically active people, most of whom, contrary to the myths put about by the press, actually have jobs to go to. So while many expressed support, most were unable to be there. Though there was a rather fine main banner with a portrait of Murdoch, and a rather less promising Sun. Along with a very well drawn large cartoon and an impressive four page newspaper, ‘The Occupied Sun’.

By the time that the marchers set off on the short walk to present the people’s warrant for the arrest of Rupert Murdoch (listing just a few of his areas of offending – war crimes, phone hacking, political blackmail, tax avoidance and environmental destruction) there was a small but respectable group, although the warrant was a little disappointing for photographers, a replacement having to be drawn up on the spot with a whiteboard pen on a large brown sheet of corrugated cardboard as the more carefully prepared version failed to arrive on time due to travel problems. But it was handed over to one of Murdoch’s employees who – perhaps rather sportingly – came out to receive it at a remarkably civilised ceremony, shaking hands with the organiser, environmental campaigner Donnachadh McCarthy, though keeping his gloves on to do so. There was a cold wind.

It was an event where it was difficult to anticipate exactly what would happen, and where there were around as many photographers as protesters. As the group carrying the arrest warrant made their way towards the barrier outside the News International building I left the group of photographers crowding around them and tried to envisage where the handover would take place and chose exactly where to stand to get the picture I wanted. It seemed important to get the ‘News’ sign in the image. As the rest of the press gathered around, I had to move in a little closer to keep them out of the frame, and also zoom in slightly from 16mm to 20mm, but essentially was able to take the image I wanted.

After the delivery of the warrant, the group moved to occupy a part of the plaza in front of News International, though some temporary building works blocked its view of the door. I was rather taken by surprise when Donnachadh picked up a token tent and it sprang out, but caught the moment if not in a very well-composed fashion. I had rather ‘taken my eye off the ball’ photographing and talking with some of the other protesters.

The protest was to last for a whole week, and much of the time when I dropped by there was very little happening, and I didn’t always stop to take pictures. Things got busy every evening, with various events and more people arriving after work but I had other things to do and couldn’t stay, but I promised to come back on Saturday for the mock trial of Murdoch.

More pictures at Arrest Warrant for Rupert Murdoch and Occupy Rupert Murdoch. I’ll perhaps write about the trial later.

Continue reading Murdoch Moloch

April at Last


The arrest of Class War’s candidate for Chingford, Lisa Mckenzie

A little behind the time (as usual) I have at last finished upload my pictures from April 2015 on to My London Dairy.

April may only have 30 days, but it was a long month for me, with 45 stories on My London Diary and getting it all on-line has certainly dragged out. And out. Partly it was extra busy because of the coming election, and also I’m still feeling a sense of despondency over the election result which has made it hard at times to get down to work. Not that I think for a moment life would have been entirely rosy under a Labour majority or minority government, but that it would certainly have been a little more promising.

As we move to celebrating (perhaps incorrectly) the signing of Magna Carta as a milestone if not the foundation of democracy, it’s ironic that we also go into a new government elected on a vote of 37% under what must be the least democratic election system in the free world.

We are fortunate in the UK to live under a relatively benign rule, where – at least within certain limits – protest is allowed, and Magna Carta was certainly important in establishing the basis of the rule of law – at least for barons.


Site stats

In April 2015, this site, http://re-photo.co.uk had 240,151 page views (8000 per day), with the average visitor spending 1.5 minutes on the site and looking at 2.16 pages. Site analysis for My London Diary is harder as its pages can be accessed under several domains, but taking the three I think are most popular it got 133,859 page views (just under 3,900 per day.) My other photography sites, some of which also have work by other photographers got around 110,000 views.

Continue reading April at Last

Another Massive Saving

If your are a Leica addict, I can save you a small fortune by letting you into a secret. I’ve just been reading When Leica announced the M60 By Kristian Dowling on Steve Huff Photo.com, an article spun on his “about an hour with the camera” on loan from one of his friends.

The big difference between the M60 and the M640, apart from the $18,500 price tag (the M240 on which it is based is a mere $6,380) is that it has no LCD on the back. It’s also made with stainless steel outer metal parts, and includes a newly designed stainless steel bodied Summulux-M 35mm f1.4 lens and a special carrying case – they designed it without strap lugs too.

The camera is a curious mixture of the practical, stripped to the basics, and the cosmetic, and as the edition of only 600 (and a few prototypes including the one that Dowling was loaned) and price indicates is clearly meant for collectors rather actual photographers.

The price difference isn’t quite as large as the figures above (based on Leica store Miami prices) would suggest, as the M240 comes without a lens, and a 35mm f1.4 will set you back $4,532 – and I suspect the lens-hood is an expensive extra. The 35mm f1.4 has never been a cheap lens – when I bought mine second-hand back around 1980 it cost the best part of a month’s wages, and the new lens-hood I finally bought last year for it (not a genuine Leica part, as they gave up making the correct fitting many years ago) cost me I think £70.

But even allowing for these, the price differential between the M60 and the M240 seems to work out at around $7,700 – or around £5000. It seems to me a lot to pay for not having a LCD screen on the back of the camera.

As a photographer who seldom looks at the LCD screen when working, I’ve never experienced the insecurity that Dowling claims to have developed, “derived from digital technology, allowing me to view images immediately after pressing the shutter button. This insecurity has led to many missed opportunities, missed moments, and ultimately – missed shots, and this results in a form of failure.”

If anything I suffer from the opposite, kicking myself at times for not having looked, for example when I find I’ve mistakenly left the exposure on manual and taken a whole hour of pictures around 6 stops under (fortunately I was rescued by having used two cameras and one of them was on P.) And there are certain situations – like the blinking problem I wrote about a few days ago – where the LCD review is so useful that I’d find my work suffered without it.

But Dowling is right to suggest that excessive viewing of images – ‘chimping’ – while working is a mistake. It breaks the vital involvement with the subject. But just because you can do it doesn’t mean that you have to and it’s a habit you can learn to avoid. I suppose when I first got a digital camera (a fat cigarette-pack sized Fuji that took not very sharp 2.2Mp images) back in 1999, I did do a lot of looking at them on the screen, but I wasn’t working with that camera, though I did take it out with me as well as the Leica on New Year’s Eve for the year-early Millennium celebrations. When I did buy a digital camera to do serious work with (a Nikon D100 in 2002) I used it more or less the same as the film cameras I was using alongside it. Mostly the first I saw the images on the camera back was when sitting on the train going home. It’s still the same now.


Fuji MX-2700 7.60mm ISO120, 1/30 f3.2 London 31/12/1999

The MX-2700 had a viewfinder, but with many digital cameras the only view is on the camera back. Optical viewfinders and the EVFs that are replacing them in many cameras leave you viewing your subject through the camera – even with a good EVF, like that on the Fuji X-T1 it still gives you the same feeling of connection with the subject. You look through a viewfinder, whereas with cameras without a viewfinder – and phones and tablets – you are always looking at something in your hand. It seems to me a very different experience, and one that – like chimping – breaks the link between you and what you are photographing.

I sometimes think of taking pictures – particularly of events – as like dancing along the street with the subject. If you keep breaking step you lose connection, lose the rhythm, lose concentration, and it will show in your images. So I’m sympathetic to an extent to the idea behind the M60, though I think it unnecessary to physically remove the LCD, and a camera without a LCD should surely cost less rather than more than twice as much.

So the short way to save that $7,700 is simply to stop yourself looking at the camera back. But if you want to ensure that you get that M60 experience (or know you are weak-willed), you can cut a rectangle of black card to the size of the LCD on your camera back, and fix it firmly in place with four strips of black masking tape. The same tape we used to use on Leicas before Leica finally realised that most photographers don’t want shiny cameras (even if this one is stainless.) It will look almost as good as the M60 and will save you enough to buy at least one more lens, even at Leica prices.

The Eyes Have It

It’s stating the obvious to say that the eyes are the most important part of any portrait, though like all such ‘rules’ there are brilliant examples to show it untrue. But it remains a good working basis – and we can’t be brilliant all the time :-), and making the kind of run-of-the-mill images of people that I do, particularly of the speakers at protests such as the Stand Up to Racism Rally certainly the first rule is to look at the eyes – and to focus on them.

Some people blink more than others, and some often speak, especially in bright sun, with their eyes closed.  Others, particularly those who read their speeches or have copious notes, spend much of their time looking down. It’s often a matter of watching them and catching the moment when they do look up, sometimes fleetingly.

I usually, but not always, photograph with my right eye. When others photograph me at work, my left eye is often screwed tight shut as I concentrate on the viewfinder with the other. But while photographing people speaking, especially when using a DSLR where only the actual image area is seen in the viewfinder, I usually keep that left eye open, so I can see the speaker as a whole. It makes it easier to catch gestures, and easier to anticipate when people might look up and open their eyes. Using the 18-105mm DX lens on the FX D800E  when you see a considerable area outside the image frame is also a help.

One great help on all digital cameras is the ability to see immediately if you have taken a picture with the subject’s eyes open. Even those with the steadiest of gazes do occasionally blink, and sometimes cameras seem to have a built in capacity to capture this. On the Nikon D700 I use Custom setting f2 to set the ‘Multi Selector Center Button’ in Playback Mode to Zoom on, High Magnification. If you have taken a picture focussing on the eyes, a simple press will show a highly magnified image centred on the focus area.

I seldom ‘chimp’ when working – for me it disrupts the flow of my work. Sometimes I find I’ve worked a whole day without looking at an image on the camera back, occasionally with unfortunate results. But photographing speakers is a something I make an exception for, checking regularly to see if I those eyes were open, as well as for the gestures and expressions I had hoped to catch. Unlike much of what I do, it is worth checking because if you have missed what you were trying to photograph, people usually repeat similar gestures and characteristic expressions.

Eyes are also often in shadow, set into the face below the forehead. With people who wear hats the problem is often worse.  Mentally we compensate for this and usually fail to notice what the camera faithfully records.  Back in the black and white darkroom days we did it with waving small cards or lumps of Blutak on thin wires above the print, or sometimes with a little ferricyanide bleach and other tricks.

I’m not sure if Reuters or the World Press Photo would approve, but I often find a little extra brightness and contrast with the Adjustment Brush in Lightroom (and sometimes some of that mysterious clarity) produces an image that seems more true to life. Occasionally it’s something I overdo.

Looking through my images from the Stand Up to Racism Rally it is the eyes that stand out, rather more than usual in my sets of pictures. But even in other sets, such as the images in Britain First Protests anti-Racist March the eyes are important, and I think play an important part  in how we read the images of these racists in their forest of Union flags. Somehow it seemed appropriate that they were standing in front of Lilywhites.

Continue reading The Eyes Have It

Stand Up to Racism

How do I – and other photographers – decide what to photograph? It’s a question I often ask myself when covering events, and although there is no list of rules, there are certainly some things that I bear in mind.

Foremost is that I will only photograph things that interest me. I’m in the fortunate position never to have to take a photograph simply because I think it will sell.

Not that I’m rich and don’t need money, but in the past I earned enough to live on from teaching and now I could get by on my pension (and my wife’s) and my needs are relatively small, having long since paid off my mortgage.  So I don’t need to cover the kind of events – or take the kind of pictures – that are most likely to sell. I’m happy to leave those to colleagues who might enjoy them more and who need the money more than me.

This affects both which events I chose to attend, and also often the type of pictures that I take.  Although I’ve taken some reasonable images of fairly well-known people that have been published, I don’t go out of my way to photograph celebrities. There are quite a few I don’t recognise in any case, and when I’m standing around talking with other photographers and they name one, I’ve often never heard of them.

At protests, there are some people who stand out for various reasons. Turquoise hair might well be one of them, but for me it’s important to relate them to the event. I would have been happier with the image above if I could read more of the placard the woman in it was holding.

Having taken the first image using a short telephoto (99mm equiv) from a little distance through a crowd I realised immediately it wasn’t quite what I wanted. Although I don’t pose people, I often like them to be aware that I’m taking their picture and with the 16mm I was quite close, and they have posed for me, with two placards that clearly spell out the main issues of the protest.

I could perhaps have framed a little more tightly, but I liked having a recognisable part of All Souls Langham Place in the background, a church with close connections to the neighbouring BBC, though how many people would recognise it is perhaps debatable.

As well as taking pictures that relate to the event, its also important to me to try and give a fair and accurate representation of the event. Although it’s usually important to photograph what is at the front of a march, I always try to work my way through the whole of it (though a few are too large to allow this.)

I seldom photograph banners and groups head on from the centre. I find such pictures rather boring, and always prefer to work from some way to the side unless there is a good reason to do otherwise. I’d also prefer the people to be actually marching, but sometimes this isn’t possible – and here they are standing still. I wanted to get the iconic Broadcasting House in the background, and would have liked to take this picture from rather further back with a longer lens to make it seem larger, but unfortunately there were probably at least 50 people taking pictures in the way.

Unfortunately the stewarding on many marches make it difficult to photograph the front of the march once it is moving, but things are usually easier a little way back. Though if a march is tightly packed it is often hard to get enough clear space to photograph banners. Again an approach from the side is usually easier, though it may make it hard to read the banners.

The start of the march is a ‘key moment’ and one I usually try to photograph along with other key moments in the event. There is I think an important difference between key moments and the kind of pictures that make the news; key moments are those that tell the story, while news images are often quite peripheral. Five thousand people may march peacefully but if one idiot attacks a policeman, for most newspapers that is the story and the picture they want. If I see something sensational in this way I’ll usually photograph it, but that isn’t what I’m looking for (and sometimes I have decided not to photograph such things or not to file them where I felt they misrepresented the event.)

This event was called ‘Stand Up To Racism’ and for me it was important to show the wide range of people taking part, including many from London’s many ethnic communities. As well as those key moments I’m also trying to build up a picture of the event, to tell its story.

Part of that story is the people who are taking part, and I try to show the whole range, though those that look in some way more interesting in some way are more likely to appear in my pictures. As too are any well-known people taking part, who in this case included Peter Tatchell and several others.

And for many events, placards, posters and banners are vital, and it’s important to frame them so that they are legible. Occasionally I’ll deliberately cut one off part way across, though if so I try to leave enough to make it possible for the reader to work out the text. More often I’ll carefully position the frame and zoom to leave them ending close to the edges – as in the image of Peter Tatchell.

Apologies for rambling on, partly because I wrote this over a busy couple of days. But as you look at the pictures in Stand Up to Racism March I hope it helps to make clear why I took them as they are.

Continue reading Stand Up to Racism

Fuji Sense

I like Fuji cameras, and have four of them. Five if you count the film-using Hasselblad X-Pan they made, though this is pretty much in retirement, waiting for me to finish the film I loaded into it Northfleet on Jan 1st 2013.  But I also currently own a Fuji X100, X-Pro1, X-E1 and X-T1, though its mainly the last two that I now use. All have their strong points and their weaknesses, but the X-T1 is my favourite.

I’ve never been good at selling cameras. Sometimes the amount they fetch compared with what you paid seems derisory, but more its because I become attached to them and feel one day I might just want to use them again, pick up that X-Pan and go out to take pictures. Though I know I probably won’t.

But although I’m a Fuji fan, I’m also a Fuji critic. And I hope a Fuji realist. And I get quite fed up with the posts on my Facebook feed by people who enthuse about the special quality of images from their Fuji cameras, about how much better they are than those from Canon or Nikon. People who claim the images are sharper, have higher resolution, better colour etc. It just isn’t so, and though I’d be hard put to prove it, the images from my Nikon D800E and even the smaller D700 files have a slight edge. Though a difference that is seldom if ever of practical consequence.

So I was pleased to read a huge chunk of information and common-sense from ,  about the Fuji System, starting with his recent Fuji X-System, A Clarification which I think has a great summary of their strengths and defects- the major strength being that “in the glass department no other manufacturer comes close.”

Although I wrote almost 15 years ago about EVFs as the viewfinder of the future, the future is not quite with us yet. The X-T1 viewfinder is the first I’ve used that I really like most of the time, but sometimes it’s too slow to update and gets wiped out by rapid and extreme light changes. Optical viewfinders update at the speed of light, and my eyes respond pretty rapidly to light changes. EVF still have a little catching up to do, but I’m a little happier with it than Boyer.

About the other problems – the lack of responsiveness and battery life, I agree entirely, though the X-T1 does have a mode where the EVF only turns on when you put your eye to the eyepiece, which surely ought to enable battery life to be improved?

Boyer also comments on the lack of real changes in various model releases, and it is very hard to disagree. But perhaps to be fair to Fuji they have greatly improved the cameras by firmware updates, making hardware upgrades largely unnecessary for existing users. I’m still hoping that the Version 4.0 Firmware promised for late June is going to make the autofocus noticeably faster in low light.

Also worth reading, written over a year ago in his X100S Vs. Nikon Urban Myths (and I’m sure much more.) There he concludes that the main differences in colour between different cameras (quite a few of which use the same basic sensor as the Fujis) are a matter of white balance. Fuji cameras, as he also shows, interpret ISO differently, and my own simple tests agree.  If I meter a typical subject with my Fuji X-T1 set at ISO3200 I find get the same shutter speed and aperture as with the D700 set at ISO1600. Taking pictures at the same shutter speed and aperture produces files that need rather different exposure adjustment, with the Fuji images despite the nominally higher ISO generally a little darker until adjusted in Lightroom.

I generally prefer the colour from Nikon. I seem to have more problems with colour and the Fujis, particularly with greens. Fuji images often seem to be just a little pink while Nikons are just sometimes a little yellow. Bright orange and red seem a pain with both, but then they were with film too.

New Homes for the Rich


Class War’s Chingford candidate Lisa McKenzie holds a poster on the window of the Rich Door. D800E, ISO3200, 18mm (27mm), Flash, 1/40 f8

Class War’s protest on March 19th was livelier than usual, partly because the Texas millionaire owner of the block at One Commercial St was thought to be actually in the building, but also because there was a rather larger group present than most weeks. But perhaps the main reason was that there were no uniformed officers present for the first twenty minutes of the protest.


D700, ISO 3200, 16mm, 1/60 f4

The event was more congested than usual as both building works on the front of One Commercial St and pavement replacement works were taking up much of the usual space. It made it harder than usual to get in  the right place to take pictures.

Class War had prepared for Taylor McWilliams‘ presence, producing a ‘Wanted’ sticker with his picture calling for information on him: ‘Dirt? Gossip? Dodgy Deals? Sex? Drugs? Money?‘ They had also brought with them a number of copies of one of their best-known posters, based on a classic Class War magazine cover from over 30 years ago. An image of a giant cemetery with wooden crosses stretching to the horizon, it has the Class War logo and the message ‘We Have Found New Homes For The Rich.’

It may be an image in bad taste, but it is hard to see it as illegal, and I’ve previously photographed it at a number of public events where no action was taken. But one of the charges which police have now made against Lisa McKenzie is of displaying this poster ‘with intent to cause Taylor McWilliams harassment, alarm or distress contrary to Section 4A(1) and (5) of the Public Order Act 1986.‘ You can see from the pictures that the poster was not being displayed to those inside the building – presumably including McWilliams – but to the other protesters outside.


D800E ISO3200 18mm(27mm) Flash 1/40 f9

While clearly McKenzie was displaying the poster at the protest, another of the contentions in the charges is clearly false. She is charged with placing stickers on the building to the value of £50.00. From both from my photographs and my observation of her during the event I am clear that she put no stickers on the glass herself, but was simply holding the posters to the glass, with both hands occupied in doing so. It’s also evident that removing a sticker from the glass surface should take more than a minute’s work and perhaps a scraper and a damp cloth and would hardly justify a cost of 50p, let alone £50.

Of course I did see people put stickers on the glass and metal of the building, but McKenzie didn’t, and I was watching her closely because of her candidature in Chingford. Others were also as my pictures show displaying the poster, and certainly others were also saying similar things to her at the protest, but for some reason police only arrested and charged her.

Could it be because she was standing against a government minister in the coming general election? It seems clear that the arrest and charges against her are simply a matter of harassment – as was the arrest last November of another prominent Class War protester Jane Nicholl, and the seizing of the Class War banner with the accompanying arrest – which I understand has not yet been followed by any charge, although the police have not returned the banner.


D700 ISO3200 16mm 1/50 f4

McKenzie wasn’t arrested until two weeks later, but another protester was arrested after plastic road-works barriers were put across the main road. The arrest was made by two plain clothes officers who had earlier been standing around on the edge of the protest, too far away to see what was then going on.


D700 ISO3200 16mm 1/100 f5

The protest started ten minutes before sunset, and the light rapidly faded. But for virtually the whole hour of the protest I was photographing with the D700 without flash at ISO 3200 with the 16-35mm f4 lens wide open, and shutter speeds between 1/13 and 1/80th. Quite a few were a little blurred either due to camera shake or subject movement.  In some I added a little light with a Neewer CN-216 LED hand-held light source.

After taking a few frames with the D800E and 18-105mm without flash, I put the SB80 flash into the hot-shoe, still working at ISO3200 and using a shutter speed of 1/40th to get plenty of exposure by ambient light. Often using a slow shutter speed with flash on subjects where there is quite a lot of movement gives some interesting blur along with the sharp core image from the flash. The effect is sometimes rather hard to see in the web-size images.


D700 ISO3200 16mm 1/100 f4

Photographing the arrest was made a little tricky by the car headlights, which illuminated a rather narrow band of the subject and made some frames unusable with burnt out highlights. But I was able to burn in some where the exposure was not too extreme. And the flaming torches also pose some problems, which often call for some fairly extreme reduction of the highlights using the Lightroom slider or local adjustment.

You can see more pictures at Poor Doors blocks Rich Door.

Continue reading New Homes for the Rich

Class War in Chingford

It seems a long time now since the General Election on May 7, and the shock of waking up the morning after to find the Conservatives were in power. Not that I have any great faith in Labour, but anything would have been better than a Tory majority.

Of course there was no chance that Class War would sweep to power. They were only standing in seven seats and when party leader Ian Bone talked at the party’s election launch about hoping to get into double figures he was talking about votes, not seats. And even for rather more serious parties – like the Greens – getting more than a million votes doesn’t give you proper representation, still just the one seat won by Caroline Lucas in Brighton. And if Labour had put the kind of effort they put into trying to unseat her into their fight against the Conservatives, the election might well have had a different outcome, though the dirty tricks would have generated considerable negative publicity.

We don’t have a fair electoral system. Attempts to reform it were voted out by the major parties who both thought they would prefer to continue to benefit from its unfairness, though I think Labour made the wrong call, failing to take Scotland into account – and going on to shoot themselves in the foot before and again after the referendum there.

But back to Chingford, the seat of Iain Duncan Smith, IDS, architect of dramatic changes to our welfare system, and a man caught out in lying and failures so many times, truly the man who launched a thousand food banks or more. And truly impregnable as the Conservative candidate in a true blue constituency like Chingford and Woodford Green. Any of the other candidates would have been a better choice, but none stood a chance.


Queen Elizabeth’s Hunting Lodge on a sunnier day in 2009

Chingford is on the end of the line, and not a place that sane Londoners would ever visit, except perhaps as a start or finish point for walks in Epping Forest. I’ve been there when walking the ‘London Loop’ path around the edges of Greater London, and also to Pole Hill, which has an obelisk marking the Greenwich Meridian when I did a project on that virtual line back in pre-Millennium days. I wasn’t surprised to find myself the only photographer who had come to record Class War’s second visit to to the place, along with a couple of people making a video about Class War for Vice.

I arrived half an hour or so early, and took the short walk up the hill in faint drizzle to Queen Elizabeth’s Hunting Lodge, built for Henry VIII in 1543, but given a makeover and a new name by his daughter in 1589, hurrying back down the hill in time to greet the Chingford candidate Lisa Mckenzie as she walked down the platform, wearing a bright red coat, something that has become a trademark of the ‘Class War Womens Death Brigade‘ since Jane Nicholl was picked on by police and arrested while wearing on at the Bonfire Night Poor Doors protest (see Poor Doors Guy Fawkes burn Boris.)


Class War Candidate for Chingford & Woodford Green arrives in the constituency


Jane Nicholl is arrested at the bonfire night protest for setting light to an effigy of Boris Johnson

The one piece of good news on Election Day was about Jane’s case, which came to court on that morning. Probably because of political pressure from on high heels in the Conservative Party, the police attempted to raise the seriousness of the charges, to a level where she could have been banged up for life, but almost hilariously failed to come up with any believable evidence. It was yet another case where the police were obviously committing perjury, clearly lying in the efforts to get a conviction, though as usual no action was taken against them.

In the end it became so ridiculous that the prosecution lawyer withdrew the case. The court also was of the opinion that burning an effigy of the London Mayor was a legitimate political protest and it was clear to all who had been present at the event that there was no danger to anyone caused by it. While our policing is often highly politicized, the courts do at least at time stand for a more neutral justice.


Lisa McKenzie and the Lucy Parsons banner opposite the Conservative HQ

Back in Chingford, it was not the most exciting of events to photograph, a small group of people moving down a fairly empty shopping street with a megaphone and a banner. If Chingford has a centre I’ve yet to find it, and nor did Class War. Some among the few constituents we met took the flyers and shared some very negative views of IDS, while others shrunk away in horror as if the gates of hell had opened.  I tried but failed to capture some of their expressions, but they turned away or fled at the sight of my camera. Though I did just manage to catch one old man on a passing bus scowling and making an angry ‘V’ sign.

The Metropolitan Police had clearly expected trouble and the group was provided with a police guard, a van following their progress a few yards behind as they walked down the street. Their senior officer provided the major interest in visual terms when he came to threaten one of the protesters with arrest if he continued to display a poster with a photograph of David Cameron and the word ‘Wanker’, which he said was offensive. As he walked back across the road, that protester folded the poster so that the the part he felt was offensive – Cameron’s face – was no longer visible and continued to display it.

The officer continued to stand across the road watching the protesters from beside the van full of police officers, as the rest of the protesters continued to display the Cameron poster and Ian Bone parodied the officer’s action and his stance as he stood sternly watching. The police took no further action, but continued to follow all of the Class War group until they finally got on the train and it pulled out of Chingford station.


Lisa puts a leaflet through the letterbox at Chingford Conservative HQ

After a number of speeches heard by only a few passing Chingfordians, Class War decided it was time to go to the pub, stopping briefly on the way for a photo opportunity outside the closed office of the Conservative Association.


NIKON D800: 18.0-105.0 mm at 26mm (39mm), 1/60s, f/4.5, ISO 6,400

Class War have serious political views, but believe that politics and protest should be fun as well as making their point. Given that the UK is now the most unequal of Western societies (equal worst with Russia) and that things are getting even worse since the financial crash their class-based analysis makes increasing sense. In part it harks back to the immediate post-war sense of purpose and community that gave us the NHS and the welfare state and opposes the selfishness and greed that Thatcher brought to the centre of politics – and which was perhaps the determining factor in our recent election  – and behind the odd Tory pledge to extend ‘right to buy’ to housing association tenants.  But Class War have no prospect of power, and standing a few candidates in the election isn’t about trying to gain seats, but about trying to raise issues – and in this case the issues around social class, welfare and benefits.

At what I tongue-in-cheek headlined ‘Class War party discuss tactics for Chingford General Election seat‘  and hoped I had made clear in the media summary ‘After a march and street rally in Station Rd, Chingford, Class War cadres adjourned with their candidate Lisa Mckenzie, who is opposing controversial Tory minister Iain Duncan Smith, to discus their forthcoming election campaign in the constituency’ there certainly was some talk of politics, but it was a rather more relaxed occasion, with a deal of hilarity over the Iain Duncan Smith masks that were brought out there.  It would perhaps have made for some more interesting images had some people worn those during the protest.

The picture above is one where I like the ‘red-eye’ effect from the mask held in front of Lisa’s red coat.  Perhaps I should have zoomed in to make it stand out more. Red-eye is of course often a nuisance in flash pictures, but here I was working with available light, though not a great deal was available in the dimly lit pub interior.

It was the first time that I remember using ISO6400. Matrix metering did a reasonable job of exposure despite the window light and the lens is wide open at 1/60s – any slower speed and there would almost certainly have been blurring due to subject movement.  Looked at closely – at 1:1 – the image lacks fine detail but is about as sharp as possible, with a noise (after suitable noise reduction) that has much of the feel of a ‘fast’ ISO400 colour film. The colour quality too is perhaps a little more filmic than when using digital at more moderate speeds.

It wasn’t a posed image. The two women are talking with a third just out of frame to my right, and I made several frames.  It’s the kind of situation where the noisy Nikon might have been a distraction, and the silent Fuji would have made working easier, but they had got used to be using a camera around them and were ignoring my presence.

Standing there, perhaps it was the presence of the gambling machine that made me think of this image as being rather like a fruit machine display, with the ‘Look £100 Jackpot’ standing in for the third result.  It would perhaps have been nice to read the full message on the t-shirt at left, but I rather like the hint of an ‘FU’ at the top left of it, and the ‘THE RICH’ below the IDS mask which blocks out the ‘CK FOOD BANKS’ on the top line and the word ‘EAT’ below.  It’s a very ‘Class War’ statement, and one like most of their slogans not intended to be taken literally.

More pictures from the street rally at Class War Chingford Election Launch, from the pub at Class War celebrate Election Launch, and from my journey from Chingford across London and into the occupation on the Aylesbury Estate with a few people from Class War at Class War go to Aylesbury Estate.

Continue reading Class War in Chingford