Archive for February, 2013

Haka or Hospital Closure?

Wednesday, February 6th, 2013

I seldom travel outside of London to cover events, partly because there is so much to do inside. Greater London covers quite a large area, a little over 600 square miles and has a population of over 8 million, so there is no shortage of stories, and my own definition of London is a little wider than the official designation. I still consider myself a Londoner although because of a little gerrymandering in the 1960s the town where I live found itself left out in the cold, attached to an alien Surrey with which it felt little in common (and indeed an ancient rivalry, still fought keenly at Lords and the Oval.)

But London is one of the most cosmopolitan of cities, with a population including people from every country in the world, and – according to the 2011 census – populations of over 20,000 for some 27 of them, and pretty large numbers from quite a few more. One group that doesn’t make it into that top 27 are New Zealanders, but there are still quite a few of them, and on one day a year Kiwis come out on mass to celebrate Waitangi Day with a Circle Line pub crawl which culminates in a haka opposite the Houses of Parliament.

© 2008, Peter Marshall

I didn’t photograph them this year, partly because this year Transport for London had the neat idea of putting a damper on the occasion by closing down both the Circle Line and also that part of the District Line that which uses the same tracks. Undaunted the Kiwis (who’ve suffered from some part closures in previous years) would be following the same route on foot, staggering between the various pubs that mark out the route. But it wouldn’t be quite the same. Back in 2008 an alcohol ban came into force on the tube, which also must have had a slightly sobering effect on the event, although perhaps largely unenforceable for such a mass event. But I was pleased I had photographed the event a few months earlier.

© 2008, Peter Marshall

So I got as far as putting the list of pubs into my diary and working out some rough times and places to photograph, but in the end decided it wasn’t worth trying to cover, as I was unlikely to get anything as good as I did in 2008.

But the main reason I didn’t get to see the haka again was that there were other events I decided to cover and the times and places just didn’t seem to work out. I could just have caught the start of the event on my way to Enfield, but decided it wasn’t worth the detour.

Hospital closures are arousing a great deal of anger at the moment, and mass protests like that at Lewisham a week ago – though even 25,000 on the street for a local protest and the almost unanimous opposition on medical grounds as well as those who can add up pointing out the financial unreason of the proposals hasn’t yet managed to open the closed mind of the minister. But the fight continues, there and elsewhere, and another hospital affected by similar plans for downgrading is Enfield Chase, more or less at London’s northern extremity.

I knew the protest there would be much smaller than at Lewisham, and wasn’t disappointed to find a couple of hundred local people waiting for the start of the protest on a cold and windy area of grass in front of the war memorial with banners saying Save Chase Farm Hospital.

© 2013, Peter Marshall

I’d been given a time for the event but hadn’t realised that the march would not start until an hour later – and that there would really be nothing happening in that hour. It seemed rather a waste of time for the protesters, standing around and getting cold in a rather out of the way location, and it seemed a bit of a waste of my time too – and had I known I’d probably have gone and had a drink with the Kiwis in Notting Hill en route to Enfield.
© 2013, Peter Marshall

There always is something to photograph, but perhaps not a great deal. And I also had a decision to make, when I was told by one of the organisers that if I stayed with the marchers until they reached the hospital there might be a scoop for me. It wasn’t hard to work out what was likely to happen and there was a banner which read ‘Enfield Young Socialists Occupy Chase Farm‘ to help me if I had any doubts, but although it would have added to the story, a look around at those present told me that any occupation was likely to be a token one, a few hours before they were ejected by police.

© 2013, Peter Marshall

In the end I decided to stick to my plans for the day, which were to follow the march until it was time to take a train to another event I had said I would probably cover.

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My London Diary : Buildings of London : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated are by Peter Marshall and are available for reproduction or can be bought as prints.

To order prints or reproduce images

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London Dérives

Monday, February 4th, 2013

Just published today, after much gnashing of my few remaining teeth, is a book of pictures taken on my rather aimless wanderings around London in the late 1970s and early 1980s. Well, not exactly aimless, but mainly walked with no particular destination in mind.

In those days, before the Travelcard, most of my walks were circular in nature, starting and finishing at the same station, and these starting points were also largely determined by those places to which it was possible to book a ticket from my closest station. When I did venture further it was a matter of buying two or three  or more separate tickets in the course of the journey.

London Dérives (or as Blurb will have it, being a US based company ‘London Derives’) ISBN 978-1-909363-08-3 contains 73 of my black and white pictures and the best way to buy it is to download the PDF version which is currently only £4.00, less than my usual price. You can of course see the preview and at the moment a full preview is on-line, though I may cut down the number  of pages visible in a few days. Viewed full-screen it is almost as good as the PDF, although I hope some readers will download this as it does make a donation to keeping this site running as well as to Blurb – and they take Paypal as well as plastic.

For most of the 1960s I was a student, and very much involved in the events of 1968, although things were a little quieter in Manchester than in Paris. But among our bedside reading at that time was ‘The Society of the Spectacle‘, a translation of Guy Debord’s 1967 La Société du spectacle.  When a few years later I had the time and money to start taking photographs, this was one of my text books for how to approach contemporary life with a camera. Twelve years earlier Debord had written ‘Introduction a une critique de la geographie urbaine‘ and in the main text of London Dérives I quote from this and his Theory of the Dérive.

One problem with Debord is that his thought was very French, and translations into English often lose the struggle, ending up with something that is in English but make little sense. London Dérives has a new translation of one often quoted key passage from his ‘urban geography’ that talks about his idea of the dérive (it’s sometimes useful being married to a linguist, though any mistakes are almost certainly mine.)  Like the published works of the Situationists, this short translation (but certainly not the rest of the book) is issued with an ‘anti-copyright’ message – it can be shared freely and without any need to attribute. Here it is:

The sudden change of mood in a street over only a few metres;
the obvious division of a city into clear-cut areas of mental
climate; the steepest slope – in no way connected to the
contours – down which aimless strolling will be led; the
captivating or repellent nature of certain places, all this seems
to be neglected. Or at any rate never considered as depending
on reasons that can be brought to light by a thorough analysis
and turned to advantage. People are aware that there are
gloomy districts and others that are pleasant. But they usually
convince themselves that the elegant streets give a sense of
satisfaction and that the poor ones depress, hardly any more
nuanced than that. In fact, the variety of possible combinations
of moods, just like the solution of chemical substances
into an infinite number of mixtures, leads to feelings as diverse
and as complex as those brought on by any other type of
spectacle. And even the most basic objective scrutiny shows
the impossibility of formulating a qualitative or quantitative
distinction between the influences of the diverse built
environments in a city based solely on the period or style of
architecture, much less on the living conditions.

Introduction à une critique de la géographie urbaine
Guy Debord, 1955

It took many hours of work to get the pictures ready, with some images needing around an hour and a half of detailed retouching, thanks to my negative files having been infested by tiny insects some years ago. Too small to see clearly with the naked eye, the remains of these insects and  the tracks they left chewing up the gelatin are only too obvious in enlargements. Fortunately after retouching they are generally not visible in the images in the book. It was also an opportunity to remove some of the other oddities we often got with film, and in most cases the images in the book are the best I have ever made from these negatives.

In the period covered by this book I made approximately 30,000 negatives, mainly in London. Some of these were on projects which are the subject of other books – such as ‘Before the Olympics’ on the Lea Valley and forthcoming volumes on Docklands, the River Thames, post-industrial London etc, and I have not included pictures from these areas in this work. As well as the 73 images that made it to the book, there are roughly twice as many that I scanned but were not selected. I’m thinking about making a set of the best of these these available to purchasers of the book (print or PDF) as a low cost supplement.

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Short Stories…

Sunday, February 3rd, 2013

 © 2013, Peter Marshall

The February show in the 2013 Photographic Residency Project, SHORT STORIES FROM AN AUTONOMOUS SPACE,  curated by David Boulogne of 2012PICS and featuring contributors to that site is a set of ten black and white photographs with short texts featuring images from my ‘Before the Olympics’ project and book based on my Lea Valley web site.

The 10 pictures went up on the wall at Workshop Coffee Marylebone (75 Wigmore Street London W1U 1QD) and will be there for the rest of the month. I’m told the coffee there is the best in West London, and I’m sure unlike those shops selling second-rate coffee they pay their taxes.

David describes Short stories from an autonomous space as

“a unique partnership presenting monthly a rare photographic survey produced by artist photographers gathered under the 2012pics project. The mission of the collective is to create archives related to the change of the urban landscape in the East-End with the 2012 Olympic Games.
It is also a platform for contemporary documentary photography that reveals individual initiatives undertook in the last 30 years in a progressive fashion.”

In my statement about the work I wrote:

PETER MARSHALL
Before the Olympics

In 1981 I began a long-term photographic project in the Lea Valley from the source of the river to the Thames at Limehouse and Bow Creek, concentrating on the urban changes which were taking place and have continued. As a part of this project I photographed the busy industrial area of Stratford Marsh and around the Bow Back Rivers, returning in the 1990s and the early 2000s and again after the Olympic bid was announced and then won, recording as far as I could it’s transformation from a productive area to the urban wasteland with scattered monumental structures it is today. I hope to continue the project to record the legacy of the Olympics when the area will be hopefully be returned from behind its high security fences to more productive use as a part of a wider project on urban development in East London. A selection of work from this project was published as Before the Olympics: The Lea Valley 1981-2010; second edition 2011: ISBN 978-1-909363-00-7.

© 2013, Peter Marshall

The shows through the year will all use the same set of frames, with an image size of 23cms square, and all of my images were made on 35mm film with an aspect ratio of 1.5:1, leaving plenty of space for texts to accompany them. These tell something of the history of the area which counters the deliberately misleading statements about the area put out by the Olympic developers.

Of course the Olympics has come and very much left its giant footprint on the area, changing it almost beyond recognition. I hope something to benefit East London can be salvaged from its legacy and also that I will be able to continue to record the area as it is, at least in part, reopened to the public. You can see some of my latest pictures from the area in Olympic Area Slightly Open from a visit in December 2012.

________________________________________________________

My London Diary : Buildings of London : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated are by Peter Marshall and are available for reproduction or can be bought as prints.

To order prints or reproduce images

________________________________________________________

Paris 1914

Friday, February 1st, 2013

The Autochrome process was patented by the Lumière brothers in France in 1903 and sold from 1907. It was an ‘additive’ colour process, mixing light of the three primary colours like the image on a computer screen, rather than the later subtractive processes developed in the 1930s, including Kodachrome and Agfacolor. A tri-colour screen was incorporated onto the glass plate by squashing a single layer of a random mixture of dyed potato starch grains onto an adhesive coating, the gaps between the grains were blocked with lampblack and the screen varnished to preserve it, before being coated with a panchromatic black and white emulsion.

Public Domain image
Public domain image of a highly magnified autochrome screen – Wikimedia Commons

For practical reasons, probably due to the limitations of available dyes, the Lumières used orange-red, blue violet and green dyes rather than the conventional red, blue, green (RGB) set. As gaps between the starch grains were blocked by black lampblack, and the coloured starch grains also absorbed light, far less light reached the film than when making a black and white image. A strongly coloured orange filter was needed on the lens, partly to cut out all the UV, but also to correct for the higher sensitivity of the emulsion to the blue end of the spectrum – as panchromatic films of the era were still not very sensitive to red. They were also slow by modern standards, so exposures were length, made with the camera on a tripod – and avoiding subject movement.

The plate was developed in a normal developer to give a negative silver image. This was then chemically removed leaving the unexposed silver halide on the plate which could then be exposed overall to light and the plate developed a second time to give a positive image. These images were very dark but the colour could be extremely good. Particularly when enlarged, the results show a brightly ‘pointillist’ effect which can sometimes be annoying but often adds to their attraction.

On the Paris1914 site there are a good selection of coloured images of Paris taken between the introduction of the process and 1939, including some taken by  Léon Gimpel (1878-1948),  a well-known amateur photographer of the era whose work was celebrated in a show at the Musée d’Orsay in 2008. One of his pictures is of an exhibition in the Grand Palais in 1909, which perhaps looks a little more interesting than Paris Photo at the same location 103 years later.

© 2012, Peter Marshall
The Grand Palais in 2012 – with smaller balloons

The quality of the results is quite variable – one of my favourite images, ‘Une famille, rue du Pot-de-Fer, Paris, 24 juin 1914′ by Stéphane Passet, could almost have been taken using modern materials, while some of the others are extremely crude.

You can see more about the Albert Kahn collection – which included these among around 70,000 autochromes – in a presentation about La Mongolie, entre deux ères, 1912-1913, about the current show (until 31 march 2013) at the musée Albert-Kahn in Boulogne-Billancourt on the edge of Paris.

You can also see a more varied selection of work on an official French government site, Autochromes Lumière, a superbly detailed site full of historical information and of course images. I really can’t imagine anything similar being produced here. There is also more about Gimpel and other photographers who used the process on this site.

Perhaps if the UK had a real Arts Council rather than a Opera Council with crumbs for the rest we might get sites like this dealing with aspects of photography?