Walking the Olympic Area – Unless my memory has failed me (which it often does these days) the two day course I ran on Saturday 21st April 2012 and Sunday 22nd was my last formal teaching session. I think I have turned down a few requests to run workshops since as they are rather tiring.
I can’t remember exactly how the course came about, but the venue was the View Tube, now run by Poplar HARCA for the local community, which had opened on the Greenway overlooking the London Olympic site in 2010, as a cafe and education centre. A set of bright yellow boxes it then had an upper floor viewing area overlooking the building site.
I’d been photographing the area on and off since 1982 – and you can see many of the pictures I took on a web site, The Lea Valley. I think the course will have begun with me showing some of those pictures and talking about them before taking the participants out for some fairly short walks around Stratford and Stratford Marsh, or at least those areas still open to the public. The pictures here are all from the two days of the course.
Travelling across London to the area I had to give myself plenty of time in case there were any travel delays, so I arrived well before the course was due to start on both days and was able to walk around and make a few pictures then.
While leading the students around the area I was mainly involved with facilitating them making images, but did manage to make a few for myself, and I think I also stayed on a little after the day finished for some more.
On the Saturday we went along the southern edge of the site and into Stratford Westfield and up to the John Lewis viewing area before returning for a lunch break for the students when I made some panoramas close to the View Tube while eating my sandwiches. Parts of the area were quite crowded with others who had come to view the site. Fortunately there were considerably fewer on the workshop than in this picture.
After lunch I took everyone along the Greenway, into Fish Island, across Old Ford lock, down the towpath to Bow Flyover and then to Pudding Mill Lane station.
We met again on Sunday morning at Pudding Mill Lane station. Again I’d arrived early and had already made some pictures before the walk began up the Greenway to Hackney Wick, through Fish Island to White Posts Lane before returning over Old Ford Lock to the View Tube.
I had requested those taking part to work with digital images – and I think almost all had done so. Lunchtime gave them a chance to review the pictures they had made and we then were able to see and discuss the work, though unfortunately we could only see the pictures rather dimly as the teaching area, although it had a nice large touch screen, had no blinds on its windows.
You can see more of the pictures I made on the two days on My London Diary, including some of the panoramic images. All my pictures were taken on a Nikon D700 camera, I think all with the laser-sharp Nikon 16-35 f4.0 lens. The panoramas were made with the same lens, taking a series of 5-10 exposures and digitally stitching these together using PTGui software, probably the most powerful and flexible photo stitching application available. Photoshop now does a decent job with simple panoramas but has fewer options.
Panoramic images don’t display well on this blog, so apart from the one at the top of the post showing the View Tube you will need to go to My London Diary to see more. Most of those I took showing the actual Olympic site on these two days are panoramic. Olympic Course Day 1 Olympic Course Day 2
Thames Path: Buscot to Cricklade: Together with my wife and elder son I had on Saturdays spread over several years walked much of the Thames path. We’d walked it chunks of around 8-12 miles a day between places which could be reached by public transport but had come to a halt at Shifford, near Hinton Waldrist, 9 miles to the southwest of Oxford from which, at least back around 2012 it was still possible to take a bus. Thanks to cuts I think the bus service is now too infrequent to be of use.
The room next to ours at Buscot had a four poster bed
But further upstream there was little or no public transport – and what little there was didn’t go in useful directions for us. So my son had booked us into a couple of hotels to bridge the gap, giving three longish days of walking. We travelled fairly light with just essentials in rucksacks – and of course for me a small camera bag, but it was still fairly taxing – and something I couldn’t repeat now, 11 years later.
I’d kept my photography equipment minimal too, taking just one camera, a Fuji X-Pro1 and I think two lenses. One was the Fujifilm XF18-55mmF2.8-4 R LM OIS, a mouthful almost larger than the lens itself, Fuji’s 18-55mm kit lens. It’s a fairly small and light lens but a remarkably good one. Fuji has since brought out zooms with wider focal length ranges, wider apertures (and higher prices) and I have some, but within its limitations I think this remains my favourite.
Halfpenny Bridge – the toll house at right – Lechlade
I don’t think I then owned a wider Fuji lens than the zoom with the 18mm being equivalent to 27mm on a full-frame camera, rather a moderated wide-angle for me, but for those scenes where I felt a need for a wider view I also took my Nikon DX 10.5mm fisheye with a Fuji adaptor. Compact and lightweight, this worked well but was a little fiddly to use. I’ve never found using lenses with adaptors quite as satisfactory as those in the actually camera fitting. I don’t think any of the pictures I put online for this section of the walk were made with this, though some for both other days are.
The entrance to the Thames and Severn Canal across the Thames
The Buscot to Cricklade section of the walk was a little shorter than the first day when we probably walked a total of sixteen or seventeen miles, but includes some of the best and some of the worst parts of the route. There are some delightful sections of riverside walking and Lechlade is certainly a town worth visiting, as we did, although a diversion from the Thames Path itself.
The next mile or so is arguably the most interesting section of the Thames Path, at least in its upper reaches, with the start of the Thames and Severn Canal. It’s also here that the Thames towpath begins – or for us ends.
And a short distance further on is the remarkable St John the Baptist Church at Inglesham, saved and restored by William Morris and his his pre-Raphaelite friends founded the Society for the Protection of Ancient Buildings (SPAB) or ‘Anti-Scrape’ to oppose the gothicisation of buildings such as these.
But then comes a long trek over a mile beside a busy A361 followed by a longer one along along paths and lanes with hardly a sniff of a the river until you reach Castle Eaton, a village which seemed closed (and its pub certainly was.)
From there the path does follow the river all the way into Cricklade, though as I noted “going every direction except a straight line to there“. Finally we arrived at the White Hart, supposedly the poshest and oldest principal coaching inn at Cricklade since the time of Elizabeth 1 but bought by Arkells Brewery in 1973. Our rooms in a more modern part of the building were comfortable enough but rather less impressive than those on the previous night at Buscot.
Hands Off Iraq, George Galloway & Tony Benn – Saturday 2nd March 2002 saw a huge protest against Britain becoming involved in the US plans to invade Iraq and depose Sadam Hussein.
It’s hard to know how many marched that day, though I think there may have been around half a million of us on the streets of London,but it was certainly a very large march though not quite on the scale of that on 16th February 2003. Unfortunately I had to miss that one as I had only come out of hospital the previous day and could only walk a few yards.
George Galloway, then Labour MP for Glasgow Kelvin, has come back into the news recently by winning the Rochdale by-election. He along with Tony Benn and others was one of the founders of Stop The War following the US invasion of Afghanisatan and the coalition organised this and other protests against the invasions of Iraq then being prepared by the US Miitary. Galloway was and still is a flamboyant figure and a powerful speaker, though I was rather more attracted to others in the movement such as Tony Benn, who appears in more of my pictures.
But then as now, I wasn’t at the protest to photograph celebrities, but to tell the story of the event, mainly through photographs of the ordinary people taking part. Of course my pictures concentrate on those who caught my attention, sometimes by their expressions and actions, but more often through their banners and placards which link them to the cause they were marching for.
Although I’d been photographing protests for some years – occasionally since the 1970s and more intensively since the 1990s, my pictures had simply gone into picture libraries and a few exhibitions and few had been used in the mass media.
Shortly after Indymedia, a global network of independent news media was set up in 1999 I began publishing work on the UK site – and some of it may be still be available on the now archived site. This was of course entirely non-commercial, and had a very limited readership on the left, among anarchists and the security services.
But I also set up a new web site of my own, My London Diary, which is still available online, though its now several years since I have added new work. Although I have unlimited web space there is a limit to the number of files my web server can handle, and I was very close to this. Covid also played its part in various ways.
In the early years of My London Diary I was still working with film and only had a black and white flatbed scanner. So the pictures for Hands Off Iraq online were all in black and white, though I will also have taken some in colour, but so far I’ve digitised few colour images from these years. The 24 black and white images on My London Diary will have been made from 8×10″ black and white press prints submitted to a picture library and scanned on a flatbed scanner. In 2002 although many magazines were printed in colour the main sales for news images were still black and white, though things were rapidly changing, and I was soon to begin moving to working mainly in digital colour.
Here, with a few corrections is the text I put on line back in 2022 with these pictures:
The Stop the War, Hands off Iraq demonstration on 2 march was a large sign of public opinion. people were still leaving Hyde Park at the start of the march when Trafalgar Square was full to overflowing two and a half hours later.
Police estimates of the number were risible as usual – and can only reflect an attempt to marginalise the significant body of opinion opposed to the war or a complete mathematical inability on behalf of the police.
Tony Benn told me and other photographers it wasn’t worth taking his picture – “it won’t get in the papers unless I go and kick a policeman” but he didn’t and he was quite right.
Hull Revisited December 2005: Usually I sit down to write these posts and tell some kind of story about the events or places that I photographed on a particular day or walk or project. And the pictures in this article were all taken on 17-19th December during a short visit to Hull.
But when I looked at them they didn’t look as you see them now, and my first thought was about the colour and quality of the 49 images that I’d posted to the web back in 2005, and rather than writing about them I decided to try and improve them a little. Going back to the original RAW images taken on a Nikon D200 would have been the best way to do this, but would have been very time-consuming and instead I simply worked on the 600×400 pixel jpeg images that I’d put on-line.
Back in 2005 the RAW conversion software available was pretty much in its infancy and often required considerable judgement to get anything like the most from the images. Using the current version of Lightroom would have enabled me to improve the images considerably.
But time was short, and instead I spent perhaps 30 seconds on each image, bringing them into Photoshop in batches and then using its auto-color and and auto curve correction on each. On a few I had to modify the auto settings, fading the correction or tweaking the curve a little, but most were done fully automatically, and the improvements in some cases were dramatic.
We’d gone to Hull mainly to celebrate the 60th birthday of an old friend, and stayed at the large and architecturally interesting home of another friend, as well as to visit my mother-in-law in her nursing home. But I found some time to get out and photograph parts of the city I’d first photographed in the 1970s and 1980s as well as find some new scenes to photograph. Here I’ll post a few of them, but you can see more on My London Diary.
Back in 1989 I was still pretty pressed for cash, still buying film in bulk 100 ft lengths and loading it into cassettes myself in total darkness.
Over the years I’d perfected my method. Two nails on the back of my darkroom door, hang one of the sprocket holes at the end of the roll of film on the top one, unroll it down to the second, cut across, replace film in can. Pick up first spool from a waiting row on the bench, already with a short length of masking tape on it, attach to the bottom end of the hanging length of film, carefully roll it up to the top, remove from nail, pick up cassette body, insert spool with film end though velvet light trap, pick up end cap and pinch cassette to push it into place. Repeat another 18 times until the film roll is finished. Turn on light, trim film ends to fit cameras and put into plastic pots to go into camera bag.
Slow, tedious but then less than half the cost of buying film in 26 exposure cassettes, though I did ocasoinally treat myself – and if I bought Ilford film rather than Kodak I could reuse the cassettes with bulk film. Kodak had crimped on ends which had to be removed with a bottle cap remover destroying them.
I had learnt to be very careful with film in this project to photograph London, working with 35mm cameras much as I would have done with large format camera, carefully considering various viewpoints before deciding on an exposure. But when working with people I had to respond rather more quickly, and seeing these two men in front of the white church door my response was immediate.
After that rather snatched image I continued with photographing the two shops which had attracted my interest here, making first a vertical image and then moving back across the road for a wider view. In this (below) you can see the notice for the Celestial Church of Christ and the alley leading to this.
As well as these black and white images I also took a couple in colour which you can see in another album. I had two Olympus OM bodies with me and only brought the one with colour negative film out of my bag occasionally, while the black and white camera was usually on a strap around my neck. When I was intending to photograph people rather than buildings I usually went out with a Leica M2 instead.
Coldharbour Lane leads from Camberwell to Brixton and got a very bad reputation after the 1981 clashes between police and locals in Brixton. In 2003 it was called in an article in the London Evening Standard the most dangerous street in the most dangerous borough in London, but that was lagely rabid tabloid journalism. Wikipedia gives several theories about its name none of which seem entirely convincing, but the name seems often to have been associated with the ruins of Roman or Romano-British settlements, The area we know usually call Loughborough Junction around the station on early maps was called Cold Harbour. Coldharbour Lane was then known as Camberwell Lane.
The S&J Corner Café was on the corner with Wellfit Street, close to Loughborough Junction station. The railway line here is just south of the station. A second bridge can be seen going above this and the cafe which is the line from Brixton to Denmark Hill, now used by London Overground services.
Another picture I took on the spur of the moment as I saw a cyclist coming towards me under the bridges on Hinton Road. I was standing on the pavement beside the cafe in the previous image, and the cyclist is on the pavement, rather safer than roads like this in London. At the end of the row of shops on the left are the traffic lights and Coldharbour Lane whch I had just begun to walk towards.
Hinton Rd, Camberwell, Lambeth, 1989 89-4j-52
The pub at right of this picture is The Green Man on the corner with Coldharbour Lane. According to a post on the Brixton Buzz, this had been on the site since 1881, but that is the date of the current building which replaced an earlier pub on the site important enough to be marked on Stanford’s 1862 map. The Buzz says it was closed in 2003 because of drug dealing and crime, and it quotes from the Urban75 blog that it was “was frequented by dealers (crack, heroin you name it), prosi’s and general madhatters.“
The buildings at the left date from around the same time as the area was developed around the railways, and number 6 at left has a barely legible road name ‘Hinton Terrace‘ and I think at the top the illegible name of a builder and decorator whose sign presumably once hung on the bracket beside the street name.
I walked up past Loughborough Junction and made my next picture on Lilford Road at the corner of Minet Road, returning to the area I had been earlier on this walk, the Minet Estate around Myatt’s Fields. This is on the corner of a terrace with basement flats with an entrance here under the steps which extends along both streets and this grand entrance is actually for two adjoining houses above the flats, one on each street. The Grade II listing calls these “Early-mid C19″ and describes this a “double prostyle composite porch with fluted composite columns.”
William Minet founded this Grade II listed community hall, architect George Hubbard, which opened in 1889, as well as the Minet library opposite which was destroyed by bombing and rebuilt in 1956 in what Pevsner described as ‘a meek replacement’. The Library was a memorial for his late wife. The Hall is still in use for various community activities including three church congregations and from 1969 -1975 was the base of Britain’s first Black Theatre Company, ‘Dark And Light’, recently marked by a Blue Plaque. It was Grade II listed in 1979 and is now run by a charity, The Longfield Hall Trust.
My walk made on on Sunday 9th April 1989 will finish in a later post. The first part from it is at Peckham and East Dulwich 1989.
As a photographer I’ve long been interested in the difference between how we experience the world around us and how the camera records it. Some of those differences are obvious but others less so, and some we are seldom aware of.
The camera records an image produced by its lens which follows strict optical rules which I learnt about long ago in my physics lessons, though real lenses deviate slightly from those ideal and perfect specimens in those science texts.
The camera holds a film or sensor to record that image – and again does so following strict physical (and chemical for film) processes which may fail to record significant features and distort others to produce an essentially flat two-dimensional image. It may not even record colours but if it does they always to some extent arbitrary, as too are the tones.
Those of us who grew up on film are perhaps more aware of this than the digital generations. We had to be aware of the differences in recording of, for example Ilford’s Pan F and Kodak’s Tri-X, and how these were affected by processing and printing, and of the rather unreal but different colour renditions of Kodachrome, Kodacolor, Ektachrome, Agfa, Ferraniacolor and the other colour film films, each with its own qualities. Though perhaps if we ever used Orwo film quality was not the right word for its purplish nature.
Of course there are differences in the way digital cameras record colour, but these are rather smaller, and we can make use of software to make them match more closely or exaggerate the difference. Lightroom and Photoshop can make my Fuji files look very similar in terms of colour rendition to those from Nikon.
But our experience of a scene is very different, combining inputs from all of our senses, and it would be impossible to over-emphasise the subjective aspects. But even just visually it is still very different. While the lens cuts out all but a small rectangle in front of us, our eyes send information to the brain from a much wider field, much of it except from a small central section lacking in sharpness. Most of us have binocular vision, gathering this data from two eyes a short but significant distance apart, enabling us to see in depth. And our view is always dynamic, our eyes moving around, and as we swing our head around or up and down we have the sensation of moving through a static universe. Doing the same with a camera has a very different effect.
A standard lens – around 40 to 50mm on a full frame digital or 35mm film camera gives a similar idea of depth in its flat images to that we normally experience. With longer lens the effect of depth is reduced and by the time we get to really long lenses the images become flat patterns rather than appearing to represent a three dimensional scene. But what interested me more was what happened when the camera tried to represent a much wider angle of view than the standard, when the rectilinear rendering of normal lenses becomes impossible.
On Monday 14th of March I went for a walk with a painter friend who had brought her sketch book to introduce her to an area I thought she might find interesting. And I wanted to further explore some of the different ways of rendering very wide angles of view with digital cameras. I’d brought two Nikons with me, one fitted with a conventional wide-angle zoom which I used mainly at 16mm, close to the limit for such lenses (and I do have a wider lens which demonstrates this) and the other with a 16mm full-frame fisheye which fills the frame with an image which is 180 degrees across the diagonal.
While my friend stopped to make sketches I had time to make a series of images from similar locations. I kept warmer as I was moving around, but she fairly soon got cold, which was a good excuse to visit the pub which appears in some of these pictures, after which I took her back to the station where we had met and went back to take some more pictures on my own.
Back home I uploaded the images. Those from the conventional wide-angle zoom I’ve use as they were taken, with just the normal adjustments in Lightroom. But the fish-eye images I worked on with my panorama stitching software, PtGui, not to join images but to take the raw image data and process it it various different ways to produce cylindrical projections. If the camera was upright when the picture was taken, this will produce straight vertical lines for all upright elements. There are many different approaches to this which produce visually different results, some of which are common in mapping, such as Mercator.
Those I’ve found most useful are the equirectangular, Vedutismo and Transverse Vedutismo projections used in these examples.
On Sunday 13th 2005, 17 years ago, London was celebrating the Chinese New Year of the Rooster which started the previous Wednesday – it was 4072.
Chinese New Year in Soho is something I’ve avoided in more recent years – as I wrote in 2005: “I used to enjoy the rather anarchic celebrations in Chinatown, but it’s now more of an ordeal, with far too many people coming in to watch and too much organisation.”
Trying to photograph in such crowded situations was a problem, and one I confronted in two main ways in 2005, something reflected in the two pictures above. At the top is a picture taken standing back some distance with a telephoto lens, while the lower picture is taken with a fisheye lens, both on a Nikon D70 DX camera.
De-fished version
Usually now when I use the a fisheye lens like this, I would convert the perspective to give straight verticals – as in the above image. But back in 2005 I didn’t have a good plug-in to do this conversion, and although it was possible with various programmes I was using for making panoramas it was a rather time-consuming process.
For this particular event I rather liked the fisheye effect, at least in some pictures. Although it does clearly misrepresent those faces close to the edges of the picture, for me it pulls the eye towards the centre of the picture and perhaps gives a greater impression of the crowding I was working in.
A small problem is that the image you see in the viewfinder is the fisheye one, and not that in the ‘de-fished’ version. But as you can see, the fisheye image which you see has the same horizontal limits at the centre of both the horizontal and vertical sides, with just a little of the image towards the four corners being lost. It’s still possible to frame accurately when working.
It’s not I think correct to call the effect of the fisheye lens ‘distortion’. It is simply a different way of recording the subject on a flat rectangle. Most fisheyes I’ve used (and I own four different examples, for DX and full-frame Nikon, for Fuji and for micro 4/3) seem actually to have rather less actual distortion than my ultra-wide rectilinear (i.e. ‘normal’) lenses.
In the de-fished image you can see that as well as the verticals of the building being straight, people at the edges of the picture are also shown naturally, unlike in the fisheye version. I was also taking some pictures with an ultra-wide 12-24mm lens (equivalent to 18-36mm full-frame) and with that at its widest faces at the edge would have been rendered a little stretched out horizontally.
I’m not sure what some major agencies would make of conversions using software like this, whether they would regard it as an unacceptable alteration of the image. For me its just one of many acceptable corrections of the image, but clearly it does alter the image as recorded by the camera. It would be possible to design a specialised wide-angle camera which carried out the correction in firmware but the market for this would probably be small. Rather it could be provided into normal digital cameras as an option – far more useful than all those special effects which clutter the menus on many cameras now.
More pictures on My London Diary – scroll down a little from the top of the page.
Digital Panoramas on the Thames Path I’ve long had an interest in panoramic photographs, both in taking them and also appreciating the work of well-known photographers who have made panoramic images. From the earliest days some photographers wanted to make pictures with a wider field of view than was possible with a normal camera and lenses, and the first patent for a specialised panoramic camera was filed in Austria in 1843, using a curved Daguerreotype plate and rotating lens.
The earliest existing panoramic photographs appear to be those by Friedrich von Martens made in the early 1840s – such as this example on Wikimedia dated from 1846. There are also paper prints from the same era, presumably made from calotype negatives. As well as making single exposures with an angle of view of around 150°, von Martens and others made panoramas using multiple exposures, often with normal lenses. Martens produced what was probably the first 360° panorama using three curved Daguerreotype plates.
Normally we use cameras with rectilinear lenses to render straight lines in the subject as straight lines in the picture. But as the distance from the lens centre to the film or sensor gets longer towards the edges and corners, the image magnification also increases. This begins to be noticeable with extreme wideangle lenses, although more of a problem with some subject matter than others.
Although I’ve worked with a full-frame lens at 12mm, I’ve found that for general purposes a practical limit is around 15-16mm with 18mm generally more useful, corresponding to an horizontal angle of view of 90°. Beyond that the image stretching usually becomes too noticeable.
The first really popular specialised panoramic film cameras were the 1899 #4 Kodak Panoram and the Circut, patented in 1904 and produced in a range of sizes until 1945. Some were still in use until recently for producing long roll photographs of perhaps 800 pupils sitting in rows on the school field. They rotated slowly enough for some students to run around the back of the group and appear at both ends. Cameras of this type were used to great effect by photographers including Josef Sudek.
Having made several multi-image panoramas and found the process limiting I bought my first rather more modest panoramic camera, a Japanese Widelux taking images on 35mm film in 1991. Later I bought a Russian Horizon which gave similar results, and a 120 format Chinese model. I still have these along with a Hasselblad X-Pan, not really a true panoramic camera, but using a panoramic format – with the standard lens it only gives a similar angle of view to a 28mm lens, and even with the 30mmm wideangle I mainly used only around a 90° angle of view.
These cameras were the main reason I continued using some film after going digital in 2002. But some years later I found a way of working with digital cameras to make panoramic images, using a fisheye lens and then ‘defishing’ this with software to give a similar image to those made with the swing lens cameras.
These pictures were taken seven years ago on a short walk along one of my favourite sections of the Thames Path in London, from Vauxhall to Wandsworth on Sunday 5th January 2014.
I took images handheld with a Nikon D800E using a Nikon 16mm f2.8 fisheye lens, and later converted them using an Equirectangular projection in PTGui software. I now generally use the more convenient Lightroom Export plug-in https://www.imadio.com/products/prodpage_hemi.aspx ‘Fisheye-Hemi’ from Imadio.
You can see larger images and many more from the walk at Thames Path Panoramas on My London Diary.
At the end of 1991 I finally bought my first panoramic camera, a Japanese Widelux F8 which I couldn’t really afford. It was a camera that took around 21 pictures on a 36 exposure film, with the film curved around a part of a cylindrical path with the lens pivoting around the centre of the cylinder.
The lens is a 26mm f2.8, though it needs to be stopped down to around f8 for most pictures as the camera is fixed focus at around 6 ft and only gets sharp at infinity when stopped down. Winding on the film winds up a clockwork motor and returns the lens to its starting position. On pressing the shutter the lens swings around through about 140 degrees, exposing the film through a slit at its back which swings across close to the film. It has 3 shutter speeds, 1/15, 1/125, and 1/250th, but even at the fastest speed it still takes rather longer to actually complete the exposure.
The design keeps lens to film distant constant – at around 26mm – right to the edge of the film across a negative 24mm x 56mm. If this was flat, the distance to the corner would be more like 40mm and so objects at the edges get stretched to around 1.5 times actual size. This camera eliminates this distortion, but at the expense of introducing its own which you can see in these pictures. This becomes particularly noticeable in the curvature of most straight non-vertical lines.
In particular, horizons become curved unless the camera is kept absolutely level. The pictures of Bow Creek were made with the camera on a sturdy tripod and with the help of a spirit level. There is one on the top plate of the camera, but I found a larger separate one more useful.
Although the angle of view is often stated as 140 degrees this is perhaps misleading and I think probably is the angle across the diagonal. Rather more useful is the horizontal angle of view, which I think is just slightly over 120 degrees. Theoretically it would be possible to create a full 360 degree view in three exposures, but practically it needed four, though I don’t think I ever succeeded on the few occasions I tried to make one.
Later I made many more panoramas here and around London, particularly with a similar Russian camera, the Horizon or Horizont which was rather more convenient to use, as well as a few with a much larger medium format version. I also used a Hassleblad X-Pan, a nice camera which was panoramic only in format, with a similar negative size, 58x24mm, but using rectilinear lenses which can’t acheive a really wide angle of view.
Some time last Saturday (19th December 2020) the total number of views of my photographs on Flickr passed the two million mark. Of course I have rather a lot of pictures on show, precisely 11,236 at the moment, so that’s only an average of around 178 views per picture if my arithmetic is correct.
Most of those 2 million views have been this year. Until the start of December 2019 I only had a free Flickr account which I had been required to set up to join a web forum, with a total of about 100 pictures on it. I set up a paid account and began uploading pictures seriously on December 3rd 2019, wanting to find a better way to share pictures with a wider public than my various web sites.
I looked at several alternatives, including Instagram before deciding to go with Flickr. I think Instagram would probably have provided greater visibility for my work, but I couldn’t find an easy way to upload large numbers of images. Flickr certainly isn’t perfect, and in particular those 2m views have largely been by other Flickr users rather than a more general public. But if you are thinking of using Flickr for showing pictures taken on film you may find my workflow described below useful.
It’s still taken considerable time to put over 10,000 images onto Flickr, but most of that time is in the digitisation of the negatives – now mainly using a Nikon D810 and a 60mm macro lens with the Nikon ES-2 adaptor which is far quicker than scanning – and their preparation.
Currently I import the photographs of the negatives into Lightroom, where I roughly crop off the borders and rotate them as necessary, rename them to my negative file numbers and use Negative Lab Pro to batch invert them to positives. I don’t really need NLP for black and white negatives, but it’s convenient and does a good job needing very little user intervention.
From LR I then export the original files to Photoshop for accurate rotation and cropping, and of course dust removal. Generally I’m finding that images digitised using the camera require less retouching than scanned images and except for some old negatives that are badly damaged this seldom takes more than a minute; using a cheap XP-PEN stylus and tablet makes this far easier and faster than a mouse. A Photoshop action does a little edge-burning to correct slight light fall-off at the edges, and to convert black and white images from 64bit colour to 16bit grey and I make any necessary slight adjustments to black and white points, curves etc before saving back as 16bit Tiff files to LR. These then become my master images and I remove the RAW files from LR, keeping them as a backup.
It’s taken me almost a year to work out the best way to add the Titles, Description and Tags for Flikr is to do this in LR – and you then have them available for other uses. The answer is of course metadata.
The keywords you put into LR are picked up by Flickr as ‘Tags’;
The IPTC Headline becomes the image title on Flickr (if the IPTC field is blank this defaults to the filename);
The IPTC Description becomes the Description on Flickr.
Some of my descriptions are several hundred words, but so far I’ve not come across any limits on either IPTC or Flickr. It’s better to enter the data in LR, partly because it is a little easier to do, but mainly because you have a copy safely on your computer. The Flickr web uploader does occasionally freeze or crash and lose data which can be very annoying if you have spent several hours on getting a large batch ready. The only things I need to do in the uploader is to drag in the files, select them all and chose an album for them to go in. I also usually drag the files around into the order I want them to appear in the album (or rather its reverse as Flickr seems to do things back to front.)
Entering the data in LR also has the advantage that I have it with the pictures on my computer for when Flickr’s life comes to an end or changes in such a way that I no longer wish to use it.
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.
