12 Days of Christmas -some of my favourite pictures from those I made in December 2025.
Various minor problems prevented me from working much in December and with other committments all these pictures are from a single day, 13th December.
London, UK. 13th Dec 2025. Hundreds of riders took part in the 11th BMX Life Santa Cruise London dressed as Santas (with a few elves, snowmen, Christmas trees and reindeer), a charity ride to raise money for the Evelina Children’s Heart Organisation. So far BMX Life have raised over £200,000 through their rides. They stopped for lunch on Horse Guards Parade. Peter Marshall.London, UK. 13th Dec 2025. Anti-racist campaigners came to Downing Street in a protest called by Stand up to Racism and Care 4 Calais to oppose Tommy Robinson and his extreme right supporters and remind us at Christmas that Jesus was a refugee and state that we are one community of love against hate and will not let the far right divide us. They say Jesus preached love not hate. Peter MarshallLondon, UK. 13th Dec 2025. People sang and some danced. Anti-racist campaigners came to Downing Street in a protest called by Stand up to Racism and Care 4 Calais to oppose Tommy Robinson and his extreme right supporters and remind us at Christmas that Jesus was a refugee and state that we are one community of love against hate and will not let the far right divide us. They say Jesus preached love not hate. Peter MarshallLondon, UK. 13th Dec 2025. You can’t be a good Christian IF… Anti-racist campaigners came to Downing Street in a protest called by Stand up to Racism and Care 4 Calais to oppose Tommy Robinson and his extreme right supporters and remind us at Christmas that Jesus was a refugee and state that we are one community of love against hate and will not let the far right divide us. They say Jesus preached love not hate. Peter MarshallLondon, UK. 13 Dec 2025. A large rally in Whitehall opposes the current government’s intention to introduce digital ID. People from across the whole political spectrum say it is an attack on our rights and our autonomy, and that it could be used as an Orwellian system of total control. It would turn us into a highly controlled checkpoint society, would be open to abuse by hackers and foreign powers and discriminate against those with less access to online services. Peter MarshallLondon, UK. 13 Dec 2025. A large rally in Whitehall opposes the current government’s intention to introduce digital ID. People from across the whole political spectrum say it is an attack on our rights and our autonomy, and that it could be used as an Orwellian system of total control. It would turn us into a highly controlled checkpoint society, would be open to abuse by hackers and foreign powers and discriminate against those with less access to online services. Peter MarshallLondon, UK. 13 Dec 2025. A large rally in Whitehall opposes the current government’s intention to introduce digital ID. People from across the whole political spectrum say it is an attack on our rights and our autonomy, and that it could be used as an Orwellian system of total control. It would turn us into a highly controlled checkpoint society, would be open to abuse by hackers and foreign powers and discriminate against those with less access to online services. Peter Marshall
So this is the end of a little look at my photographs from 2025. If I went though them again I would quite likely come up with many difference choices. I’ve made this selection entirely from the events I’ve covered to submit work to an agency and there are also some interesting images from outings with friends and family.
All of those featured were made with either Fuji-X or an Olympus OM-D E-M5 Mark III camera. I like the Fuji-X system, but every now and then get frustrated with the cameras which seem to develop random faults. Mostly this year I’ve gone back to using the Fujifilm X-T1 rather than the XT-30, usually with the Fuji 12-24mm. If I need anything wider I do have a fisheye in my bag, but it’s become a little tricky to de-fish images since Fisheye-Hemi went out of business and their plugin no longer works.
You can still do the job – converting from a circular perspective to a Panini (Vedutismo) one – and its even possible but rather tricky event in Photograph, but it lacks the one-click simplicity of the old plugin.
24mm on the Fuji is equivalent to 36mm on full-frame. The reason for carrying the Olympus is the 14-150mm Olympus lens – equvalent to a 28-300 on full frame. It’s a remarkably small and light lens for its specifications and while not wide aperture (f4.6-5) it’s good enough when you can work digitally at higher ISO.
I seldom use very long lenses but hen I first got this lens I was about to go on a job where I knew I neede at least a 300mm. I tested this against a Nikkor lens more than twices a big and probably three times as heavy – and would give me 450mm in DX mode. Rather to my surprise it gave sharper and more detailed results than the Nikkor, and since then as been my choice for longer focal lengths.
The Olympus OM-D E-M5 Mark III camera is also perhaps the best camera I’ve ever used. It came out in 2019 and I bought it to replace the very similar Mark II which had suffered an unfortunate impact with a pavement putting it beyond economic repair. I was going to buy a secondhand version, but found a grey import cheaper than the local secondhand price. They are still sold secondhad for only a little less than I paid.
It’s also my holiday camera – with a few other lenses to go with it, depending on exactly how light I want to travel.
Isle of Dogs and Poor Doors: On Wednesday 3rd September 2014 the weather was fine with blue skies and clouds and I decided to spend the afternoon photographing in the Isle of Dogs before meeting with Class War for one of their ongoing series of protests against separate entrances for the wealthy and social housing residents of a tower block in Aldgate.
Isle of Dogs Panoramas – Island Gardens to South Quay
The main purpose of my visit to the Isle of Dogs was to make panoramas of scenes which I had photographed more conventionally over the years, including the black and white images that I included in my book ‘City to Blackwall‘ and more of them are now in my albums on Flickr.
I had gone back so make some panoramas in the area in the 1990s and early 2000s, using various panoramic film cameras, but the switch to digital had made creating panoramic images much simpler for me.
Perhaps the most important change was in accurate viewfinding – with my first panoramic film camera the most accurate way to see the extent of my pictures was by viewing along two arrows on the top of the body – much more reliable than its viewfinder. But of course digital also gave a wider range of shutter speeds and ISO.
And to do this, the camera needed to be firmly mounted on a tripod – and I carried a rather heavy Manfrotto around with me. This also enabled me – with the aid of a spirit level – to ensure that the camera was level. The Nikon I used for these panoramas had level indicators in the viewfinder and was easy to use handheld.
However to make these on digital I needed to use a fisheye lens – the 16mm Nikon fisheye. Not the kind that gives a circular image, but a full-frame fisheye where the image circle goes through the corners of the frame. This gives a 180 degree image across the frame diagonal, but rather less horizontally and vertical, with considerable curvature of straight lines.
Software – I then used PTGUi for these – than comes to the rescue, converting the spherical perspective into a cylindrical one which rendered verticals upright (there are several ways this can be done with slightly different results.) Later I moved to simpler software.
With the 36Mp Nikon D800E there were far more pixels than necessary even after this stretching and this was no longer a problem. I could work with single exposures rather than stitching together several images as I had done earlier with digital cameras.
Although I had mainly gone to make panoramas I also took a Nikon D700 body and made pictures with a 16-35mm Nikon zoom. Not everything is best suited by the panoramic treatment.
Again there are many more pictures at Isle of Dogs.
Class War ‘Poor Doors’ picket Week 6 – Aldgate
A police officer watches as people walk down the alley leading to the ‘poor door’ of the luxury development
Class War and friends held their sixth weekly protest outside 1 Commercial St in Aldgate and it was a relatively uneventful one.
As the protesters arrived, two police officers came out from the building and talked with the protesters making clear that they expected the protesters not to block the doorway for people entering or leaving the building. More officers soon arrived to police the event.
There were a few heated arguments between protesters and police but nothing of any consequence. The protesters held their banner well in front of the door.
They talked and handed out leaflets to people leaving and entering the ‘rich door’ as well as to people walking past – and to at least one cyclist stopped at the traffic lights.
After keeping up the picket for an hour as intended, Class War packed up and left – until the next week.
More Colour From New Charlton: I think all of these pictures were taken in May 1995, the panoramic examples being made using a swing lens panoramic camera, probably the Horizon 202 from the Krasnogorsky Mechanicheskiy Zavod (KMZ) factory in Krasnogorsk near Moscow. This uses clockwork to rotate a 28mm f2.8 lens around a little over 120 degrees, keeping the lens to film distance constant by having the film in a curve around the axis of rotation. The camera made negatives 58mm long and 24mm tall on normal 35mm film, giving around 20 exposures from a normal ’36 exposure’ cassette.
Willoughby Way, New Charlton, Greenwich, 1995, 95p5-671
The film was exposed though a rotating slit behind the lens and different shutter speeds were obtained by altering the slit width. There were only two rotation speeds and for the faster speeds – 1/60 s, 1/125 s, and 1/250 s – the rotation took around a thirtieth of a second, enabling me to use the camera without a tripod.
Thames Path, Lombard Wall, New Charlton, Greenwich, 1995, 95p5-662
The lens focus was fixed and I think I usually worked at f8 which meant everything from a few metres away to infinity was sharp. The camera had a spirit level as by keeping the camera level vertical lines were rendered straight in the image. Horizontal lines away from the centre of the image become curved as you can see in some of these images, and care in composition was needed to stop these effects dominating the pictures.
Mudlarks Way, New Charlton, Greenwich, 1995, 95p7-161
The image quality was much the same as that from my several times more expensive Japanese Widelux f8 swing lens camera, but the Horizon had a useable viewfinder and was easier to use handheld. Though I think for most of my walks back in 1995 I was still carrying a rather large, heavy and solid Manfrotto tripod. I liked it because it could hold the camera absolutely steady at my eye level – and unless there was good reason not to do so I always preferred to view from that height.
Andrews Sykes, New Charlton, Greenwich, 1995, 95c5-832
But I was also photographing with more conventional cameras, and usually had two Olympus OM4 bodies, one with black and white and the other with colour negative film. Although I had a fairly full range of lenses, the great majority of the pictures were made using an Olympus 35mm shift lens.
Bugsby’s Way, New Charlton, Greenwich, 1995, 95-5o-66, 1995, 95c5-825
In particular this allowed me to place the horizon in the images below or above the centre of the frame without tilting the camera which would have resulted in converging or diverging verticals. As well as shifting the optical elements up and down the lens mount allowed the lens to move to either side which also gave more control over framing.
Works, Mudlarks Way, New Charlton, Greenwich, 1995, 95c5-823
This area beside the Thames was then almost entirely industrial with aggregate wharves and some commercial premises. On other occasions I took more pictures along the riverside path which in the following year became a part of the Thames Path.
Thames Path Panoramas: Back in January 2013 I had photographed and taken part in a rather less bloody re-enactment of the Epiphany bloody armed insurrection by Thomas Venner and fellow Fifth Monarchists against the re-imposition of the monarchy in 1661 being performed by Class War for film director Suzy Gillett. I’d tried hard to avoid getting in the way of the camera but do appear for a few seconds as the insurrection made its way to seize St Paul’s Cathedral.
On Sunday 5th January, a year less a day later I and others involved were invited to a private afternoon screening of the film at the Cinema Museum close to the Elephant & Castle. As it was a fine day I went up some hours earlier to walk and photograph a little nearby section of the Thames Path.
I’d been making panoramic photographs since the 1980s, at first by cutting and mounting together a few prints from black and white images. Back in 1991 I’d bought my first panoramic camera, a Japanese Widelux F8 with a lens that swings around while making a picture on 35mm film, held in a curve so that the centre of the lens remains at a constant distance from the film. Later I bought several more similar but much cheaper cameras made in Russia and a Chinese beast taking 120 film.
These cameras all produced a very wide angle of view – around 120 or 130 degrees – but with a different perspective to “normal” cameras, with some characteristic curvature of objects. The normal rectilinear view stretches out objects at the edges of the frame and is only really usable up to around a 90 degree angle of view. Later I did work with a Hassleblad X-Pan camera and with a 30mm lens which gives a 94 degree horizontal view – around the maximum usable for a rectilinear view.
Digital methods changed the game. At first I used a film scanner and software that enabled me to merge several scanned images. Then things became even easier when I shifted to a digital camera. For projects such as ‘The Secret Gardens of St John’s Wood‘ I combined up to around 8 different 12.3Mp digital images form a Nikon D300 to make very large prints with wide angles of view.
But by 2014 I was working with a Nikon D800E and it had occurred to me that there was a simpler solution with its 36.3Mp images. I could use the 16mm Nikon fisheye which gives 180 degree diagonal coverage filling the frame and then convert these images digitally from their fisheye projection to the more friendly cylindrical projection of my panoramic cameras.
I could now make panoramas almost as easily as taking any other images, capturing moving as well as static scenes with ease. For most panoramic images it is important to have the camera level, and the D800E had nice clear indicators that could be displayed in the viewfinder to ensure this, and with an f2.8 lens tripods became a thing of the past.
For these images I used the incredibly flexible PTGui software, but later found the simpler Fish-Eye Hemi plugin for Lightroom more convenient, though PTGui allows some interesting options. Unfortunately this plugin is no longer available, though I hope it or a similar plugin will be made available again. Using it you transform the images without any loss of image at the centres of both horizontal and vertical sides so you can visualise what will be in your final image when looking at the viewfinder while taking images.
Our Lady of Mount Carmel: I think it was in 1992 that I first photographed the Procession in Honour of Our Lady of Mount Carmel which has taken place at St Peter’s Italian Church in Clerkenwell since 1883. You can find around 50 of my photographs from that year in my Flickr album 1992 London Photos which you can access by clicking on this, the first picture in the set:
1992
I went back the following year, and I think the pictures from 1993 are generally better.
1993
And I’ve been there most years since when I’ve been in London at the right time in July, though I’m not sure if I will go this year, when The liturgical feast of Our Lady of Mount Carmel is celebrated on 16th July and the procession takes place on a Sunday close to that – the 2024 Procession is on the afternoon of Sunday 21st July.
It’s London’s most colourful Christian procession and the celebrations around it have an Italian liveliness – and most years I’ve gone together with a fellow photographer of Italian origin and we have enjoyed a few glasses of cheap Italian wine together. But we are getting older and the wine is getting more expensive…
And while its still a fine event to attend, in recent years it has perhaps lost a little, and like most events become a little more formalised and a little less spontaneous, harder to take the kind of informal images I like and which I hope reflect more the atmosphere of the event.
All of the colour pictures here are from Sunday 12th July 2009 which I think was for me a fairly typical year, with one exception. At the centre of the event for me photographically has been the release of doves, usually by three of the clergy. The doves fly unpredictably and extremely rapidly when released, and capturing them in flight is a challenge. In 2009 I got lucky.
Back in 2009 I was working with a Nikon D700 and made this picture with the focal length set to 24mm. That camera could take pictures at 5 frames per second, though I probably relied on pressing the button at the right time. Fortunately I’d decided to set a small aperture, f16, to try to keep clergy, background and doves in focus, although working at ISO400 this meant a slightly slow shutter speed, 1/250s.
Nikon’s autofocus kept up with the pigeon as it flew directly towards me, and its feathers and claws are the sharpest part of the image, with the background remaining only slightly out of focus thanks to the small aperture. The wingspan of a pigeon is around 30 inches and a little elementary maths tells me the bird must have been just over 2 feet from the camera. I certainly felt the breeze as it passed inches over my hair.
You can read more about the 2009 event, including the lively Italian festival – the Sagra – with various stalls food, drink, dancing and more in a street below the church, as well as the procession itself with its various floats and walking groups including the first communicants and others who carry the statues of saints on My London Diary.
The clergy join the procession in front of the last float, which carries the statue of Our Lady of Mount Carmel, and a large crowd of parishioners follows after it as it goes around the local area before returning to the church.
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.
