Kingston Carnival: On Sunday 2 September 2007 I went to Kingston to photograph the carnival.
Kingston is a town I’ve visited fairly often over the years, though mainly just going through it or changing buses to meet friends or go to meetings elsewhere, but I’ve never really got to know. Its an ancient town, where Saxon Kings were crowned and the street layout in its central pedestrianised areas still follows much of its complex medieval pattern. It includes several pubs worth a visit.
Kingston (officially Kingston-upon-Thames) also has a fine museum where I was pleased to be a part of a show, Another London, in January 2007 along with Mike Seaborne and Paul Baldesare – which you can still see online. Among my 26 pictures which featured in it were three made in Kingston including two from the 2006 Kingston Carnival, as well as two from adjoining Surbiton.
The museum also has a permanent exhibition of Kingston’s most famous son, photographer Eadweard Muybridge, (1830-1904) best known for his pioneering studies of animal movement beginning with pictures of the racehorse Occident owned by the former governor of California, Leland Stanford made in 1878 using a line of 12 cameras triggered by strings the horse ran through.
His work had been interrupted earlier in 1875 when he was on trial for murder after having shot his wife’s lover. His lawyer pleaded insanity presenting evidence that he had bouts of unstable behaviour caused by a severe head injury in a stagecoach accident in 1860 and the jury acquitted him recording a verdict of justifiable homicide.
The centenary of Muybridge’s death in 2004 was celebrated in Kingston including by my late friend photographer Terry King whose re-enactment of Muybridge’s work using twelve 10×8 cameras at Ham Polo Club. Modern ponies apparently refuse to run through strings thinking they are an electric fence and a different method had to be found to trigger the special shutters attached to the cameras.
Kingston’s 25th Carnival takes place on Sunday 7th September 2025, and I might just go along again, though I don’t think I’ve been to it since 2007.
I didn’t write a great deal about it in 2007, but here it is:
“This year’s Kingston Carnival was a much more exciting event than last year’s but there was still a large rent-a-carnival aspect to it. Kingston is an ethnically rich borough, and although there was plenty of home-grown talent on display, particularly in the performances by youth from the borough, the procession was still dominated by out of town talent.
“It’s great to encourage diversity, but I think a borough carnival has a duty to promote its local expression rather more, even if it might mean – at least until it built up more – a rather less flashy display.
“Of course it was good to see a greater diversity among the ‘foreign’ talent that paraded past the rather dazed looking shoppers along Kingston’s pedestrian streets, including even some clog dancers from Croydon, along with Caribbean groups.
“Beeraahaar Sweet Combination, based in Stamford Hill enlivened the main parade, and the elaborate larger costumes from Paddington Arts arrived later to play their part.”
Hayling Island Carnival: On Wednesday 3rd August 2005 I went to photograph the carnival on Hayling Island with a couple of friends. I’d been there for the carnival a couple of times in earlier years, though it wasn’t really my kind of thing.
Neptune’s court – he had plenty to keep him busy
Two of my friends had in earlier years got money from the Arts Council to record English Carnivals and had persuaded me to go with them in earlier years and I was with one of them again in 2005.
There is an odd fascination about English carnivals, bringing out the eccentricities of the English, something that had been exploited by earlier photographers, perhaps the first being Sir Benjamin Stone (1838 – 1914), who as Wikipedia states made “an invaluable record of the folk customs and traditions of the British Isles, which influenced later photographers of note“. Notable among these, and one who inspired many before his tragic early death was Tony Ray-Jones (1941-72) and the posthumous book ‘A Day Off: An English Journal‘ published in 1974 was certainly the most influential British photographic publication of that era.
I never met Ray-Jones, who died before I was deeply involved in photography, but I did later become friends and worked with his friend, the Brooklyn-born photographer John Benton-Harris who printed much of his work, including the prints for ‘A Day Off’ and had occasionally photographed with him. And those two photographers who first took me to Canvey were ex-students and close friends of John too.
I worked with John on producing the images for what would have been his masterwork, ‘Mad Hatters – a diary of a secret people… as seen through the looking glass of – John Benton Harris‘ still unpublished, though a few of us treasure copies printed by Blurb but never made public. In mine he thanks me for my ‘Valued Technical Help‘, though we also had many discussions and arguments on the sequencing and very occasionally the selection of images, many of which I made significant improvements by some judicious dodging and burning – though always subject to his approval.
The ladies from the Health centre were going on a booze cruise
Actually with John virtually every discussion was a bitter argument – we were once asked to leave an event in Borough Market after a shouting match over a review I had written of a book by Homer Sykes (another of those influenced by Stone.) Sadly ‘Mad Hatters’ remains unpublished. It’s a fine body of work but a book greatly in need of an editor – something John would never tolerate.
The Navy gets in on the act with HMS Hayling
Back to 2005, here is the text I wrote for My London Diary about the day:
I went to Hayling Island for the carnival with Paul and Michael, and it was a nice day. Paul drove us down - it isn't too long a drive from London, really a Londoner's day out. Hayling seems full of people from London on holiday, some with second homes there, others hiring them, often from family and friends.
A beach tableau, complete with seagullBack to the beaches
Despite a longer than usual hold-up at Haslemere, we arrived just in time for the official opening. Everything was happening on the day, and it started with the crowning of the Carnival Queen and her retinue, then on to the Fancy Dress.
Then came the Baby Show, after which we went down to the other end of the town, where the carnival formed up in previous years. It seemed dead there, with more housing and less shops than before, and nothing was happening. People up that end are apparently pretty fed up to lose the carnival, and we were sorry to miss another meeting with 'the King' whose playing had been a major feature of previous years.
We grabbed a meal at a restaurant and then made our way back for the Dog Show, After which it was time for the parade to form up near the sea front. There were more mermaids than you could ever imagine and everyone seemed to be having fun and I took a lot of pictures.
North Woolwich Photos: My account of my day on Friday 16 June 2006 is rather short – and manages to include a mis-spelling: “I took a trip to North Woolich and made some pictures there.” And the 45 pictures I posted had only the additional heading “North Woolwich, Thames, Royal Docks & Silvertown” but no captions. I think they deserve more, so I’ll correct that for a few of them in this post.
Woolwich Ferry, North Woolwich, 2006
The ferry is the James Newman, built in 1963 and named after a prominent local figure who was Mayor of Woolwich in 1923–25 and was taken out of service in 2018. But I hadn’t arrived on the ferry but had put my folding bike onto a Silverlink service on the North London Line which then ran from Richmond to North Woolwich Station (the section from Stratford to North Woolwich close at the end of 2006.)
The building in the background of the second image is North Woolwich Station, though it had by that date been abandoned by trains which stopped being used as a station in 1979, replaced by a considerably less grand and basic structure on its south side. For some years it was a museum and this fine 1854 building is now home to the New Covenant Church. My picture is taken from the riverside path.
Old Bargehouse Draw Dock and Causeway
Next came three pictures showing the reverside flats just past the Old Bargehouse Draw Dock and Causeway at the end of Bargehouse Road. Until the Woolwich Free Ferry was introduced in 1889 this was where ferries ran across the river to Woolwich. On this occasion I’d cycled past the remains of the Free Ferry without taking any pictures, probably because I had photographed them on several occasions before. You can see the other two pictures of the flats on My London Diary.
I took a few pictures looking across the River Thames most of which I didn’t post on My London Diary and then this one after I’d crossed the lock gates of the King George V Dock entrance and had come to the lock entrance to the Royal Albert Dock Basin. The building here has since been replaced by the flats of Lockside Way.
The riverside path – part of the Capital Way – continues north to an abrupt end close to Atlantis Avenue and this view from its end shows the remains of the jetty which brought coal to the Beckton Gas Works. I retraced my path, taking more pictures – some concrete pipe sections, a disused lock gate and a lorry park on My London Diary and then made my way to Woolwich Manor Way.
Royal Albert Dock
Here I could photograph across the dock. At the left are new flats built between the dock and University Way and in the foreground are two yellow towers carrying approach lights for the runway of London City Airport.
A plane takes off from London City Airport
The haze that you see in this picture, taken with a 300mm (equivalent) lens is a little more obvious than in the other pictures thanks to air pollution, which the airport contributes to.
I made some more photographs in North Woolwich – tthere was a Football World Cup taking place in Germany – England were eventually knocked out by Portugal in the quarter-finals.
London City Airport DLR station had opened in December 2005 and I was able to take photographs from there both of the Airport Terminal and of Tate & Lyle’s sugar refinery.
Thame Barrier Park
I took more pictures in Silvertown and Canning Town, some of which you can see on My London Diary, before making my way back to Central London. There I took some more pictures around Brick Lane, some of which I put on My London Diary in a seperate post. It had been a good day for me.
London’s Canal Walk: On Saturday 26th May 2007 I walked across London together with my wife and older son on canal towpaths from Mile End in the east to Old Oak Lane in the west, from where we made the short walk to Willesden Junction for a train towards home.
There is a great deal of new building next to the Regents canal
I’d walked and cycled along many shorter sections of these canals before, but this was the first time I’d done the whole roughly 12 miles in a single stretch. Most of the way we kept to the towpaths, but there are two tunnels around which we had to detour on roads, and a few places where walking along a road was more convenient than using the tow path, particularly around Little Venice.
The Hereford Union runs into the Regents Canal in Bethnal Green just beyone here
Probably the definitive book on English canals was written by a photographer, Eric de Maré, (1910 – 2002), one of a now largely forgotten generation of British photographers, and illustrated with many of his fine photographs, as well as some by others. He was one of the finest architectural photographers of the mid-20th century and also someone whose popular Penguin book ‘Photography’ published in 1957 introduced many of us to the history, techniques and aesthetics of the medium. Others since have looked better on the coffee table but have lacked his insight.
By Cambridge Heath Road, Empress Coaches and the gas holders
de Maré and his first wife lived on a canal boat for some years and travelled around 600 miles along them while writing and taking the pictures for the book ‘The Canals of England’ published by Architectural Press in 1950 which remains the definitive publication on our canals, though in some obvious ways outdated. The canals – which had played an important part in the war effort – had been nationalised under the National Transport Act on 1st January 1948 and part of the book is an impassioned plea for the UK’s transport policies to be revised to update the system and make fuller use of our great canal heritage.
But of course that didn’t happen, thanks to huge road transport lobby, and instead of canals similar to some in the continent we got motorways. The canals were encouraged to bring commercial traffic to an end, and with a few isolated examples most was finished by 1970 with the canals being given over to leisure use.
Not that de Maré was against leisure use and his work actively promoted this for many of England’s narrow and more rural canals as well as making an argument based on the commercial possibilities of schemes such as the ‘Cross or Four River Scheme’ proposed earlier by a 1906 Royal Commission for wide high volume commercial canals linking Bristol, Hull, Liverpool and London with the Midlands cities of Birmingham, Nottingham and Leicester.
The book came out in a second edition in 1987 and copies of both are available reasonably priced secondhand – my copy of the first edition with a handwritten dedication from de Maré was at some point marked by a bookseller’s pencil for 6d but I think I paid just a little more. I can find no individual website showing more than a small handful of his pictures – though you can see many by searching for his images online.
It’s still interesting to walk along by the canals in London, and easy to do in smaller sections – or to add a little at either end should you want to and perhaps walk from Limehouse to Southall or Brentford. I didn’t write much about the walk in 2007, but I’ll end with what I did write back then – with the usual corrections.
On Saturday I accompanied Linda and Sam on a walk along some of London’s canals, from Mile End on the Regent’s Canal and along that to join the Grand Union Paddington Branch at ‘Little Venice’, and west on that to Willesden Junction.
When I first walked along the Regents Canal I had to climb over gates and fences to access most of it. The towpath was closed to install high voltage lines below it, but even the parts that were still theoretically open were often hard to find and gates were often locked. The public were perhaps tolerated, but not encouraged to walk along them.
Now everybody walks along them and there are those heritage direction posts and information boards that I’ve rather come to hate. And from this weekend, you no longer even theoretically need a licence to cycle the paths – though mine is still in my wallet, several years since I was last asked to show it.
Now, as walkers, the constant cycle traffic on some sections has become a nuisance. And although most cyclists obey the rules, riding carefully, ringing bells and where necessary giving way, we did have to jump for safety as one group chased madly after each other, racing with total disregard for safety.
But for the rain – the occasional shower at first, later settling in to a dense fine constant downpour, it would have been a pleasant walk.
Vietnam – Who Took The Picture? Whenever you think or talk with anyone about the US war against the people of Vietnam back in the sixties and seventies the one image that is in everyone’s mind is of a nine-year-old girl, Phan Thi Kim Phuc, running naked down a road screaming after a napalm attack on her village by the South Vietnam Air Force following misleading US intelligence. She saved her life by stripping off her burning clothing and running but was badly burnt. And the photographer who made this iconic image also saved her life.
Although this image is in the public domain in the USA because of it’s date of publication, I think it is still in copyright in the UK, so I won’t post it here. If you need to look at it again it is widely on the web, including on Wikipedia. It’s title is ‘The Terror of War‘, though it is better known simply as ‘Napalm Girl’.
The picture was taken by and credited to a young Vietnamese photographer Nick Ut (Huynh Công Út) working for Associated Press, the US not-for-profit news agency based in New York, and Ut took the 8 films he had shot that day into AP’s Saigon agency – after he had rushed her to hospital – where the film was processed. This image stood out immediately but the AP staff were reluctant to send it to New York because of its full-frontal nudity. They called agency director Horst Fass back into the office and he saw the power and news value of the image and transmitted it to New York demanding they publish it despite the nudity. They did and it won the 1973 Pulitzer Prize for Spot News Photography and the 1973 World Press Photo of the Year.
As so often in covering events, Ut was not the only photographer at the scene, but his image was the most visceral and Fass who was a noted photographer and fighter for the right of photographers to be credited saw that Ut’s name was attached to the picture – and AP had very careful procedures to ensure that pictures were accurately credited. So we can be sure that this picture was the picture taken by Ut.
And we all were convinced until a rival agency, VII led by its co-founder Gary Knight, working largely on the stories of a disgruntled former AP employee challenged this a few years ago and set up a two-year investigation which culminated in the film “The Stringer” released this year. This argues that the picture was actually taken by another, much less well known, Vietnamese photographer, Nguyen Thanh Nghe, who also took his film from that day into AP.
The film puts forward some evidence – enough to convince some reviewers – but I think few actual photographers who have read the truly comprehensive report of the investigation by AP into circumstances will be left with any real doubt that the published picture was by Ut.
Of course many of those who could have given relevant evidence are now dead, and film negatives contain little of the evidence that would be available from digital metadata, though AP did conduct extensive testing of the two negatives that remain from the film. The only people who denied them access to evidence were the film makers, who demanded AP sign a non-disclosure agreement which would have prevented AP from disclosing anything it found – which would have defeated the purpose of the investigation. And both “Nguyen Thanh Nghe, who says he took the photo, and former AP photo editor Carl Robinson, who claims he was ordered to change the credit” declined to be interviewed, instead providing written statements.
The AP investigation which took more than a year points out a number of lies, deliberate misrepresentations, omissions and errors in the film and points to the failures of a report commissioned for “The Stringer” on material still available from the day’s events from the commercial company INDEX which has also so far failed to work with AP. AP carried out a similar but more comprehensive study with significantly different conclusions and shows that the film makes use of “a flawed graphic 3D render of the scene.“
As so much of the relevant evidence has disapppeared, AP are very circumspect in their conclusions. They conclude that Nick Ut could have taken the picture but there are some questions which it is impossible to be sure about largely because of the passage of time.
They say that they cannot now prove conclusively that Nick Ut took the photo, but the “no proof has been found that Nguyen took the picture” and also that there were other photographers who were in a position to have taken it.
And they conclude:
We applied AP’s photo standards to guide us to an outcome. AP’s standards say “a challenged credit would be removed only if definitive evidence … showed that the person who claimed to have taken the photo did not.”
All available evidence analyzed by AP does not clear that bar. Thus, the photo will remain attributed to Ut.
Some photographers have been very much clearer – including some of those who were invloved and gave evidence to AP and it seems almost certain that the accusations made in the film are both untrue and slanderous and that Ut took the picture used by AP which won him the Pulitzer.
I wasn’t in Vietnam and have no connection with either AP or VII or any of the photographers involved. But often I see published pictures of events or places I have photographed and cannot always decide if they are my work or that of another photographer. Particularly on Facebook, where most weeks I come across several of my pictures appearing without any attribution. I have to go back to my files to make sure if a picture is really mine or if someone else has taken a very similar picture. But usually when I have a suspicion a picture could be mine it is.
It seems to me quite likely that Nguyen took a similar but less powerful image on the roll that he claims went in to the AP office. He says AP paid him for bringing the picture in – something they often did even for pictures they could not use, though the records from the office show no record of any payment – and gave him back a print of his picture – but that later his wife threw that away. As the negatives no longer exist we cannot compare his picture with that by Ut. If his wife had kept that print I feel sure we would not now be having this controversy.
Ut deserves a grovelling apology and compensation from the film makers for questioning his integrity – as do many of the others involved. Of course they won’t get it.
Hanging on my living room wall (and there are copies on walls and at least one mug elsewhere) is a picture I made of a sculpture of a lion at Chatsworth. Years after taking it I opened a book by Fay Godwin – a photographer whose work I admired and who I knew personally – and found that very same lion staring out at me.
It’s part of the nature of photography that photographers can make very similar images to each other – and sometimes very minor differences or even chance can make one a masterpiece and another an also-ran – though in this case I think we both did pretty well. Her picture was taken from a position that must have been within an inch of where I had held the camera eight years earlier. Even though we were not there at the same time we saw the scene in the same way. More about this in my post Fay Godwin – Land Revisited.
Ray-Jones & London May Queen: The very first London May Queen event I photographed was on Saturday 14th May 2005. Previously I had thought that such events had died out years earlier. They had been recorded in the late 1960s and 1970s by photographers including the late Tony Ray-Jones whose work in his book ‘A Day Off‘ published posthumously in 1974 (and earlier publications in Creative Camera magazine and elsewhere) had a great influence on myself and other young photographers in the UK.
The Queen’s carriage is pulled by the Girls Brigade. All photographs here by Peter Marshall
Ray-Jones had won a scholarship to the USA to study design at Yale in 1961 and there he had been greatly influenced by the work of Robert Frank in his book ‘The Americans’ published in France in 1958 and in the USA the following year as well as the work of a younger generation of American photographers Frank’s work had inspired. After Yale Ray-Jones worked for several years in the USA and attended workshops with the legendary art directory Alexey Brodovitch.
He returned to the UK and as well as taking photographs promoted his US-acquired views on photography with an evangelistic fervour. In this he found an ally in the Bronx-born photographer John Benton-Harris, another ‘Brodovitch Boy’ who had settled in London – who I later became friends and worked with. After Ray-Jones died tragically young from Leukaemia in 1972 it was Benton-Harris who made the prints that were used in ‘A Day Off’, printed very much in the style of the time.
Among the several images in the ‘Summer Carnivals’ section of the book were several from May Queen festivals, including a large group photograph of over twenty young girls all wearing crowns in front a maypole. The caption ‘May Queen gathering, Sittingbourne, still used on the Getty site, 1968′ was incorrect (as were some others as the photographer was no longer alive and they were captioned by others.) Possibly the least characteristic image of the book it was actually from the crowning of the 1968 London May Queen on Hayes Common in the London Borough of Bromley.
From two of my close photographic friends following in the footsteps of Ray-Jones and Benton-Harris photographing English Carnivals with an Arts Council grant I found that these events were still taking place and I decided to find out more. It was hard to find information but I was finally able to find the date and time of the 2005 crowning.
I arrived at Hayes Common with some trepidation. Since Ray-Jones had taken his pictures there had been several decades of warnings from the government and media over “stranger danger” and panic over men pointing cameras at young girls was rife. Although this was a public event, before taking any pictures I went to find the organisers and explained what I hoped to do. I had for some years been part of a group of photographers, London Documentary Photographers, organised by Mike Seaborne at the Museum of London and had ID from them as well as a Press card which, unusually for me, wore visibly on my jacket for the event. This possibly wasn’t a good idea as the organisers were worried that some of the older girls taking part might be embarassed to have their pictures in the local press. They were less worried about me posting them on the web or elsewhere.
The children – many girls but with a few brothers among them – were almost all eager to have their pictures taken, and their mothers (and there were a few fathers too) were also happy to have a record of the day. From this first event I got requests to photograph other events in the London May Queen cycle the following year and for years later, though I was often busy elsewhere and unable to do so.
A few days after the event I put the pictures on-line with a long explanation about the event and an invitation to the mothers to ask me if I had other pictures of their children and for larger files they could use to make prints. I’d also given out copies of my business card to many of thembut made it clear I would be happy to provide digital images without charge.
Here – with minor corrections – is what I wrote in 2005.
Merrie England and London May Queen Festival Hayes Common and Hayes Village, Kent, 14 May 2005
The ‘Merrie England And London May Queen Festival’ was founded by a master at Dulwich School, Joseph Deedy in 1913, making this year’s festival the 93rd. [Later I was told he was from Whitelands College where John Ruskin had started a May Queen festival in 1881 – still continuing at Roehampton University as a May Monarch.]
The tradition of May Queens is much older, coming from pre-Christian times, as the Goddess Of The Spring, who the Romans called Flora. It was a traditional time for young women to come to the villages from the farms to find a husband, and the maypole is a symbol of virility.
Deedy’s folklorique version is rather different from this with an uplifting script, still read by the participants as a part of the festival. Some of the texts are on the back of the signs carried by the attendants of the London May Queen, the ‘Joy Bells Of Merrie England’ representing ‘Music’, ‘Company’, ‘Beauty’, ‘Light’…
The London May Queen is also attended by ‘The Prince Of Merrie England‘ (also female) along with the Fairy Queen, Bo-Peep and Robin Hood. The event is also attended by a couple of dozen ‘Realm Queens’ each also with her attendants: a Prince, Banner Bearer, Crown Bearer, Pages, Fairies and Flower Girls, from half a dozen to twenty or more girls, all dressed in the particular Realm Colours and with their own Realm Flower. At its peak in the 1920s and 1930s there were 120 realms with well over a thousand children taking part in the event on Hayes Common.
The various positions are decided entirely by seniority in the organisation – children can join when they are three and continue until their sixteenth birthday. Many of the mothers I talked to at this and later May Queen events had been May Queens or taken part in the ceremony in their childhood; one of the organisers was May Queen in 1932 and her grandchildren were taking part in 2005.
As well as the Hayes festival, there is another a week earlier in Beckenham, where most of the realm queens are crowned. The queens and realms also take part in other fêtes and carnivals, take flowers to the elderly and attend flower services in churches in their areas. Almost all the realms come from the surrounding areas in surburban Kent and Surrey (now mainly in Greater London.)
The children process, [in their realms in alphabetical order] from the Common to Hayes village, where there is a short ceremony, ‘Little Sanctum’ outside the village church.
The procession then continues around Hayes, returning to the Common. This is rather a long walk for some of the younger children.
Back at the Common there is a short ceremony using Mr Deedy’s words read by the Fairy Queen, Bo-Peep, Robin Hood and others, before the London May Queen is crowned by the Prince Of Merrie England. The realm queens are then presented to the London May Queen, and have their pictures taken as a group in front of the maypole [as in that Ray-Jones picture.]
The London May Queen then goes around the field with her main attendants as Flora, with baskets of flowers which she throws to the realm children.This is followed (after the rather lengthy raffle draw) by dancing round the maypole in a fairly energetic and undisciplined fashion.
1995 Colour – Part 1: The first of a series of posts on my colour work, mainly in London, from 1995, 35 years ago and when I’d been working extensively with colour negative film for ten years, though still continuing to work with black and white.
Car Wash, St Paul’s Cray, Bromley, 1995, 95c01-122
Although I’d always taken both colour and black and white photographs since I began in photography, black and white had dominated my work. It was still the serious side of photography in the 1970s; almost all gallery shows then were black and white, and most publications were still only printed in monochrome, including photographic magazines, although some occasionally had a few colour pages.
And back then, almost all professional colour was taken using colour slide film such as Ektachrome and Kodachrome. Films were mainly sold inclusive of processing and you sent away your exposed film and a few days later s box of slides came back through the post. Professionals might use Ektachrome and take it to a lab for processing, but that worked out more expensive, though you could get the results in an hour or so.
St Paul’s Cray, Bromley, 1995, 95c01-132
I was interested in colour but in the early years took far fewer colour images, largely because of the cost, though I did cut this down by buying colour film in bulk and home processing, though this needed much tighter control of time and temperature than black and white and the results were not always quite as they should have been.
Hi-Q, Tyres, Sevenoaks Way, St Paul’s Cray, Bromley, 1995, 95c01-133
Most photographers at the time felt that colour negative film was only for amateurs, but two things changed that for me. One was my frustration with transparency film which simply could not handle many of the high contrast scenes I was interested in, giving impenetrable shadows where I wanted detail and the second was seeing some prints produced by another photographer, printed on Fuji paper.
There was a clarity about the colours that this paper gave when compared with Kodak, Agfa and the others, but the other great advantage was that there was little or no colour shift with exposure. This meant that I could dodge and burn prints with a similar creative control to working with black and white.
Chinese Takeaway, Hoe St, Walthamstow, 1994, 95c01-155
Some time early in 1985 I made the decision to switch entirely from transparency to negative for all of my personal colour work.
Belvedere, Bexley, 1994, 95c01-161
This post is the first of a number which will show some of my colour images from 1995.
Belvedere, Bexley, 1994, 95c01-163
These pictures were all made in December 1994 or January 1995 with some 1994 images only being processed in January 1995.
War Memorial, Callender’s Cables, Church Manorway, Belvedere, Bexley, 1994, 95c01-165
I’ll publish more in later posts, perhaps also including some of the colour panoramas I made. There is much more of my colour work on film in a number of Flickr albums.
Jesse Jackson, Cuts & Paris • New York • London Opening: Wednesday 20th October 2010 was an unusual day for me. I don’t often photograph conferences, but I started at one where Jesse Jackson was speaking and then went to lobby my MP over tax justice. Kwasi Kwarteng was seldom seen in the constituency but later became notorious when he helped Liz Truss crash the economy. From there I used to cover people marching to Downing Street against the government spending cuts before leaving to go to the Shoreditch Gallery for the opening of a show by three photographers I had organised, ‘Paris – New York – London’ (I was Paris.)
Jesse Jackson & Christian Aid Lobby – Westminster
2,500 Christian Aid supporters including my wife had come to Westminster to lobby their MPs on 20.10.2010, asking them to press for transparency and fairness in the global tax system and for action on climate change.
According to campaigners for tax justice various forms of tax dodging by multinational companies was then robbing the global South of more than $160 billion a year. And our high dependence of fossil fuels had led to a climate crisis which impacts these countries far more severely despite their much lower per capita carbon footprints.
The rally took place in the vast Methodist Central Hall, opposite Westminster Abbey, and as we were reminded where the United Nations started. There was a huge ovation for US Civil Rights leader, activist and politician Jesse Jackson, a protégée of Martin Luther King president and founder of the Rainbow PUSH Coalition.
But there were also other distinguished speakers including the then new director of Christian Aid, Loretta Minghella, Suzanne Matale from Zambia and secretary of state for international development and MP for Sutton Coldfield, Rt. Hon Andrew Mitchell MP.
After the rally we met our local MP Kwasi Kwarteng and went with him into a pub opposite Parliament where he he listened to us and basically told us we didn’t understand global finance and climate change, before going outside to pose with for photographs.
Outside there was some street theatre by younger Christian Aid supporters as people queued to meet there MPs and I made a few pictures before rushing away to find people marching to protest against government cuts.
March Against Spending Cuts – Malet St & Lincolns Inn Fields
Earlier in the day the government had announced there would be considerable cuts in welfare benefits and the loss of many public sector jobs as services are cut following their comprehensive spending review.
The deficit left by New Labour had given the Tories in the Con-Dem coalition a perfect excuse to slash the public sector and privatise services in a way they would never have dared before. £83 billion to be cut from public services, in a move that the Coalition of Resistance pointed out will mean many workers with less to spend and cause a slump in the economy.
But as I commented “Big business must be rubbing its hands with glee at the thought of the profits it will be able to make in the health service, from so-called ‘free schools’ and elsewhere.”
But for the rest of us the prospect was bleak. More than a million jobs lost – and some would be replaced in the private sector with lower wages, fewer benefits, lower standards of delivery and safety and higher workloads. Profit will come before anything else in the kind of “efficiency” we’ve seen in hospital cleaning – where I found used needles and dressings under my hospital bed as cleaners were not allowed the time to do the job properly.
I went to photograph students setting off from outside the student union in Malet Street for the march to Downing Street, then went to Lincoln’s Inn Fields where trade unionists and more students gathering and there were speeches from an open top bus before they too set off.
But I went in the opposite direction to my opening at the Shoreditch Gallery.
John Benton Harris (1929-2023), one of the finest photographers to come out of New York, settled in London in 1965 but continued also to photograph his native city and elsewhere. He was long a personal friend and I worked with him on a number of his projects including his Café Royal Zines and his unpublished book on the English.
Paul Baldesare, another friend of mine with whom I’ve often shown pictures and a former student of John Benton-Harris showed work from one of his many projects on London, He is probably best known for his pictures on the tube.
And I was showing a selection of images made in Paris in 1988 from a book I had also then recently published on Blurb.
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.
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