Archive for November, 2013

Legal Aid Road Block

Monday, November 11th, 2013


Police talks to a woman they have decided is in charge of the protest

The British legal system isn’t perfect, but in many ways is the best in the world, despite its faults. There are plenty of miscarriages of justice, some of which eventually are recognised, though many of these arise not from the legal system, but from corrupt policing, something that has been getting much public attention recently over a high profile and very minor cases such as ‘Plebgate’, but also over far more serious cases such as the inquests into the killing of Sean Rigg, Ian Tomlinson and Mark Duggan.

Of course many of us have been aware for a long time that our police at times embroidered the truth, planted evidence or simply told lies. It happened to some of my mates when I was still at school, to my friends at university and, years later a pair of officers threatened to fit me up when I argued with them over taking photographs.

One of the cornerstones of our legal system is legal aid. Again it isn’t perfect, but it goes some way to levelling the playing field, making it possible for those without means to fight their case. The law is still unequal, still ‘One law for the rich, and another for the poor‘ or even those on moderate incomes, but Legal Aid at least does something too redress that imbalance.

One banner on the protest read ‘Without Legal Aid, Institutional Racism would still be a Conspiracy Theory‘ and it is true that Legal Aid has done much to help challenge various inequalities. Which is perhaps why our current coalition government has set out to largely destroy the current system, wanting to replace it with a cut-price provision which will put many of the current providers out of business. It’s one of a whole batch of measures designed to reduce the possibilities of justice and of opposition to government plans being pushed through.

The details of the protest, organised by DPAC and UK Uncut were not made public in advance, with just a meeting place specified for the protest. That meeting place was the Central Criminal Court, the Old Bailey in the City of London. On a Saturday morning this is a largely deserted area, and it was clear that the protest was not going to take place there where it would affect and be seen by no one.

When I arrived it was also clear to me that few of the DPAC activists who I knew would be involved were present. I decided to look for them and thought of likely places in the vicinity and took a walk around, guessing that little would happen for at least half an hour.

At first I followed a protester in a wheelchair who was heading east, but it turned out they were just lost, and soon turned back towards the Old Bailey. Perhaps because it was fairly early on a Saturday morning I wasn’t thinking too clearly, and I was also misled again when one of the UK Uncut activists I know cycled past heading north.


The march from the Old Bailey included a judge and a samba band

So I returned to the Old Bailey and joined the others waiting there, and before long we set off, going south, and then west. I took some pictures and then rushed ahead to the next point where I thought a protest was possible – but again there was no one there.

As the march started to go up Fleet St, my mind finally clicked back into gear, and having taken one or two pictures, I started to walk fast. One other photographer who had noticed me looking around earlier was with me, and we arrived just in time (well, 30 seconds earlier would have been a little better, but I didn’t want to run) to photograph the protesters bringing their wheelchairs onto the pedestrian crossing in front of the Royal Courts of Justice.


Wheelchairs move to block the road at the Royal Courts of Justice

The Strand isn’t the busiest of roads in London on a Saturday lunchtime, but has a significant amount of traffic both in cars and on foot, so the protest would be noticed, but it was obviously a very significant location for a protest about Legal Aid – and one that I kicked myself for not having realised earlier. But the two of us were still there well over a minute before the other photographers with the march realised what was happening. Thinking ahead really does give you and advantage.


An able-bodied supporter gets locked on to one of the wheelchairs in the road block

I’d met the judge earlier at the Old Bailey, and outside the RCJ the rest of the legal team for the trial of ‘Ian Duncan Smith’ arrived, together with the defendant with the dock tied around his waist. He was duly tried with all those present being invited to be members of the jury. There was a break for a little entertainment before the trial ended with the unsurprising verdict and he was taken away, though only to the pub and not the prison he richly deserves.


A protester replies to police who are trying to bring the protest to an end

Thinking ahead helped again later, when a police officer came to talk to a woman who he felt was in charge of the protest (though I’m not sure why he thought that, but police seem unable to think in non-heirarchical terms, perhaps because of the nature of their own organisation.)

Though this time it was only a matter of seconds, and as I saw him coming over and knew that something was likely to occur, I moved into the right place for when it did. I was just a little closer than I would have preferred, but in the middle of a crowd like this you don’t have any choice.

I don’t always get things right when I try to think ahead and anticipate what will happen next, but it often works out. It’s all too easy to get completely absorbed in what is happening now, and miss the start of the next phase of an event.


An officer reads his script to the wheelchair protesters

The police had been getting increasingly restive. Disabled protesters present them with something of a challenge, at least while the press are around, getting physical with them would certainly hit the front pages and be very bad publicity. And many police certainly sympathise with protests such as this, and are concerned to uphold the right to protest. They tried hard to persuade people who were sitting on the road to move, telling them they were breaking the law by obstructing the highway, and making threats of arrest. Eventually they came and read the same script to those in wheelchairs, and, after a short further protest and discussion, the disabled protesters came to the decision that they had made their point and it was time to go.


The protesters celebrate their success before leaving the road

After a final short celebration everyone left the road together after just over an hour and a half. You can see the rest of my images from the protest at UK Uncut Road Block for Legal Aid.

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September Complete

Sunday, November 10th, 2013


Romanians protest in Trafalgar Square against cyanide mining that would destroy heritage site Rosia Montana and threaten massive cyanide pollution of the Danube and Black Sea.

I seem to be getting further and further behind in posting my work on My London Diary, and further still in posting about it here.  There are various reasons, for this, some personal which I won’t bore you with, but mainly because there have simply been so many events for me to cover in the last couple of months.  The pace of protest seems too have ratcheted up and I’ve had many more messages inviting me to cover events. Of course I can’t be everywhere, but I do my best to cover the things I have a particular interest in,  and the 30 or so events listed here for September kept me busy.

I work differently from the typical press photographer, as readers of some of my posts will know. Often when I’m covering an protest I’ll be there as the protesters arrive and set up, and will stay as long as I can while things are still happening, telling the story of the event through a series of images – which you can see in my edited version (sometimes too loosely edited) on My London Diary. Eventually.

Of course a newspaper or magazine generally only wants a single image, seldom the text about the story and never the story in a set of pictures.  At an event where I spend several hours taking pictures, it isn’t unusual for a press photographer to arrive, spend five minutes arranging a group picture, and leave, or sit down in a corner, get out a notebook and file his or her pictures.  I try to get my pictures to the agency – selected and properly adjusted where necessary, captioned and key-worded – along with the story, by the end of the day. Though sometimes the day ends around 1 or 2am, and the story follows the pictures the following morning.

Their way of working reflects a different kind of interest, and one that is far more closely geared to the market.  I don’t mean it as a criticism when I talk about the difference, and in some respects I admire their professionalism, but we have different motives. At times they take pictures that I look and and think that I wish I had thought to approach the subject in that way, though more often I find them rather formulaic. Some of my pictures are like that too, and I often find that the images in a set that to me are least interesting are those that my editors at Demotix like to promote, and which are used by the press.

I like to write here more about the photography of many of the events, which delays me more.  Some events go entirely smoothly, with no photographic or other issues and unless I have something particular to say about them I don’t write about them on >Re:PHOTO, but quite often there is a story to tell – if only about how I messed things up.

There are other photographic items of photographic news and opinion that I like to share with my friends – around 3000 visitors a day – on this site;  the occasional review, links to photography in the press, in galleries and on the web and my own thoughts and prejudices. Thanks for your interest.

September 2013

Save Rosia Montana – No Cyanide Mining


Sudanese Call for Regime Change
10,000 Cuts – Deaths After Atos Tests


Express Stop Sponging Off Migrants
Hizb ut-Tahrir Women March for Syria
Paddington Basin
Druids Celebrate Autumn Equinox
World Peace Day
Save Whipps Cross Hospital
National Gallery Human Chain over Arts Cuts
Iran ‘Release Sunnis, Don’t Hang Them’
Aurora tells Shell – Stop Arctic Drilling
Malta Day Procession
Secular Europe Protest
Lewisham Hospital Victory Parade
Arms Trade Die-In at Parliament
9/11 Protest at US Embassy


Occupation at DSEi Arms Fair Continues
Wreath for Victims of London Arms Fair
Occupy vs the Arms Fair
Silvertown


Musical Protest against Arms Fair
Tower Hamlets United Against the EDL


Anti-Fascists Oppose EDL
EDL March returns to Tower Hamlets
DPAC take Pants to IDS
End UK Caste Discrimination Now
DPAC Picket Ministries


Hands off Syria
Love Russia, Hate Homophobia
DPAC at BBC – Tell The Truth

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Darkroom Nostalgia

Saturday, November 9th, 2013

Whether you are someone who  has never made a print in a darkroom or one of us who paid our dues in that respect, you will almost certainly find the post Magnum and the Dying Art of Darkroom Printing by Sarah Coleman on her The Literate Lens blog of interest, in showing a little of how a master printer – in this case Pablo Inirio of Magnum in New York – thinks and works. And my thanks to Petapixel for commenting on and linking to her post.

What I find a little disturbing is not the post itself, but some of the comments that it has provoked, although Coleman did perhaps set them up when she wrote:

“Over the last fifteen years, almost every photographer I’ve interviewed has waxed poetic about that “magical” experience of seeing an image develop in chemicals for the first time. You have to wonder whether today’s young photographers will rhapsodize as much about the first time they color-calibrated their monitors.”

Digital has of course removed some of the mystique. No longer do we have the quasi-masonic initiation into the dark arts that used to be necessary, and digital comes without those smells (for which I say thank goodness, as taking some of that toxic chemistry out of our lives must be a good thing.) But I still feel there is something magical about pressing a button and then seeing a miniature image on the back of the camera, and even more being able to show it and zoom into it on a large screen on the computer.  But colour-calibrating your monitor is perhaps equally exciting as measuring out 10ml of Rodinal or learning to keep the developer temperature constant at 20 degrees.

Coleman’s is an entirely false comparison. What was important in photography was the image; what still is important is the image, though now it appears in fractions of a second in an automatic way without all the fuss we used to have.

Digital printers still have to do all the kind of things that we did in the dark to get good prints, just that these are much simpler (and can be reversible) on the computer. In the darkroom Gene Smith used to get through a box of paper and a bottle of Scotch to make the final print, we can do it by viewing on those calibrated screens and save the Scotch for later. Though personally I’d prefer a decent glass of wine – or two.

While we still need to make all the kind of adjustments that Inirio records on his annotated images, in Lightroom the computer remembers them for us, saving us the need to draw the diagrams. We can also do them with ease more precisely than the best master darkroom printers, and once you have made the ‘perfect’ print (or the best you can make) then can repeat it at the click of a mouse.

That doesn’t mean you or I can be a good a printer as Initio. Printing has always been a matter of vision, of being able to see the potential in a negative. Without that you can dodge, burn and use all the other techniques in darkroom or digital and never produce a great print. Many great photographers have never managed to, and have collaborated with others to print their work better than they ever could (and despite what it asserts in the ‘Media Space’ show, Tony Ray-Jones was one of them – see here and here.) Perhaps a true problem of digital is that is has more or less dispensed with the talents of specialist printers – such as Inirio – because everyone thinks they can do it as well as the best.

Of course once you have the vision, it isn’t always easy to transmit that to the material. You have to learn (and make tests, tests, tests) to see how the materials react. In the digital world this is also much simpler, with much of the necessary information being stored in print profiles and curves etc.

The same is true of digital images. Our raw files (or even camera produced jpegs) are only starting points – if you like Ansel Adams’s musical analogy – the scores, and the digital files we send to clients or use on the web or to make prints are performances, some better than others.

Adams is the man I first learnt to print properly from, not in the flesh but in the revised 1968 version of his Basic Photo series, Volume 3 The Print (more recent versions perhaps somewhat dumbed down) and it was a good starting point on which to build. In my darkroom in the old days there were always two developer trays (later vertical ‘trays’ to save space, keep temperature constant and reduce developer oxidation) containing low and high contrast developers and prints were usually transferred from one to the other at an appropriate time for the contrast required – at least until I changed to using Multigrade papers. I had a few little tricks and nudges that I’d learnt talking to other printers or thought of myself, and I enjoyed making good prints, but I don’t regret that I never use the darkroom now. Because I know I can do better on the computer and making inkjet prints on baryta papers, though I could also get a lab to print the digital files on genuine silver halide paper.  I’ll not go back to the ferri, the flashing, the Blu-tak, cut masks and all the rest of the wands that were a part of the magic – when needed.

I certainly have some regrets over cameras and lenses that I no longer use because they take images on film. The panoramic cameras, the Minolta CLE and Leica, the Konica Hexars and the Olympus OM4s were all better tools for what they did than anything digital yet produced. You can do more with the Nikon DSLRs, take pictures in much lower light  and more, but they don’t have the same ease of use or responsiveness, though things are improving (and they will probably get there in a few years, just in time for cameras disappear for good.) But on the very few occasions I take film now, it doesn’t go into an enlarger, but into a scanner. It just wouldn’t occur to me to make darkroom prints.

Back in the days when I taught photography, I used to find the best way to get students to see the possibilities of making good black and white prints in the darkroom was to get them to use Photoshop. They could then quickly (and at zero cost) learn about getting the contrast and exposure correct, and go on to see the effect of dodging and burning. Years earlier, before we had computers in art departments, I’d taught lighting with the aid of video cameras, because you didn’t have to develop film to see the results.

But the idea that printing in black and white is a good way to learn about how to make good images in the digital age which some in education suggest is nonsense.  It is at best a slow and inconvenient method to learn about making images. Digital is a far better medium for both teaching and learning about photography. Using film and darkrooms is essential for teaching about working with film and darkroom printing – full stop.

I’m not against craft skills, but think it is only generally worth teaching those that are relevant now. I think it’s great that a few people like to learn how to use the wet plate process, but despite arguably representing the pinnacle of photographic practice, I certainly wouldn’t want it to be an integral part of normal photographic courses. It’s time to let go of darkroom printing in education, just as we (I hope) no longer teach other outmoded processes. Except as history, and there is nothing wrong with that. We just need to be clear it is history, or that it’s a bit of fun, rather than something that all photographers could benefit from.

But you can see another view on (again a link from Petapixel) Long Live Film, which has a trailer from a film of that name, made by mail-order processor Indie Film Lab and Kodak both with a certain vested interest.

Nostalgia junkies who hanker after those colour and tonal distortions that were a signature of different film stocks will find that there are plenty of ways to reproduce these from your digital images. I’ve not tried any of the products from ‘Totally Rad’, not being a believer that clicking on a pre-set can give your pictures an ‘individual’ look, but they claim to have carried out an impressive amount of research to develop “the most faithful film emulation available” in their Replichrome. Personally I’ll save the $99 and concentrate on trying to get something individual in the viewfinder.

Ed van der Elsken

Friday, November 8th, 2013

Perhaps one of the best introductions to Ed van der Elsken’s work was by Sean O’Hagan in The Guardian when his classic Love on the Left Bank, first published in 1956, was published in a facsimile edition by Dewi Lewis in 2011.   As O’Hagan makes clear, despite the raw documentary look and feel (‘grainy, monochrome cinéma vérité’), the book is a fictional work, a ‘photo-novel’. In another well-turned phrase, O’Hagan calls it ‘one of the first visual narratives that walks the line between fly-on-the-wall reportage and created narrative.’

The Dewi Lewis edition seems still to be available according to the publisher’s web site, though you can buy it more cheaply secondhand (or, should you be so inclined, pay several times the cover price – as always it pays to search around a little.) Van der Elsken, (1925-90), sometimes called the ‘enfant terrible’ of Dutch photography, was a prolific maker of books, as the list on his web site reveals. It’s in part a strange web site, with an off-putting selection of small images under the link to pictures, which finally leads the persistent to an index page for more of his work. The images this leads to are of more interest, although poor scans – it looks like a site from the early days a few years after his death when getting any image on the web was a  novelty.

You can see his work from ‘Love on the Left Bank’ better on Lensculture, and there is a more varied selection about him on AmericanSuburbX. I’ve not seen all of his books, but Jazz (1988) has been republished several times and is available reasonably second-hand and there is an Errata Editions ‘Book on Book’ of his Sweet Life (1966) also at a reasonable price, though the original book costs around ten times as much. I wasn’t quite taken enough with his Hong Kong when Dewi Lewis published it in 1997 to buy it, and it now also seems expensive.

 

10,000 Cuts & Counting

Thursday, November 7th, 2013

Although it felt rather like a demonstration, ‘10,000 Cuts & Counting‘ was described as ‘a ceremony of remembrance and solidarity’ with the many sick and disabled people who in the last few months of their lives were called in for Work Capability Assessments carried out by Atos on behalf of the Department of Work and Pensions.

Most knew they had only weeks or months to live, and doctors were well aware, but still they were called in for tests to see if they were ‘fit to work.’ Imagine the stress of having to attend the tests – and for many the real physical difficulty too. But even worse, many were judged fit to work on the basis of a computer-based questioning based on capabilities such as being able to sit in a chair, walk a few yards, press a button, lift a book… Those administering the tests for Atos are trained to catch people out and to reach their targets for cutting down the number of people who qualify for benefit. Many of those 10,000 will have lost their benefits – including some who will have lost them at the previous test and successfully appealed against the result. The system is inhumane and administered by a company that gets paid more the more people it fails. Neither the Government nor Atos appear to have any concern about the effect the tests have on those who undergo them.

There were some harrowing stories from many of the speakers about their own experiences and those of other disabled people under the system, but I couldn’t help feeling that it was preaching to the converted. Most of those who attended were already actively involved in campaigning and protesting over the issues involved. On a Saturday morning there were relatively few others in Parliament Square, and the four great institutions surrounding it, to each of which at one point we faced and made a plea – the Houses of Parliament, Westminster Abbey, the Supreme Court and the Treasury – were all largely empty, other than for the tourists queuing for the Abbey.

I thought a little about how I could make the most of the carpet of white flowers covering the grass of Parliament Square in front of the platform, and working from close to the front with a wide angle seemed to be the answer. I got down on my knees – you can tell photographers by the worn and dirty patches on their knees – and tried the 16-35mm, but it wasn’t really as wide as I wanted. The answer – yet again – was the 10.5mm fisheye, being very careful to keep the horizon level on the dead centre of the image. And afterwards it is just another plug for that Fisheye Hemi plugin.

The 16mm covers around two thirds of the view of the fisheye, but even if cropped to the same stretch of the buildings on the horizon, there is a subtle difference, and the flowers in the version from the fisheye don’t have the slightly disturbing elliptical aspect that a rectilinear ultra-wide produces at the edges. Despite the curvature of the straight gantry above the platform with the ‘Scrap Atos’ banner, and of the roof of the Houses of Parliament behind, the fisheye view actually appears more natural.

One problem with using the fisheye is flare and ghosts, and with a lens with such an extreme angle of view it isn’t possible to use a lenshood. There is a little lip around the lens, but that serves more to protest the glass than to shade it. Sometimes the effect adds to images, but more often it is a distraction. Probably it would be possible to retouch the lighter area at the upper right of the banner completely, but I simply darkened it a little. The sun was I think just outside the frame at top right, and you can see the effect of flare in the Victoria Tower and the trees at right of picture. The whole area needed darkening and also some increase in contrast.

Otherwise, the flowers made it rather difficult to cover the event, and kept the audience at rather a distance from the speakers, though it was actually much closer than the top image makes it seem. Photographers couldn’t easily photograph them either, as the flowers went right up to the platform.

This isn’t a great picture, taken with the 16-35mm at 22mm, but it perhaps gives a more accurate idea of the area covered by the flowers (though perhaps making it look a little smaller than it was) and clearly shows how they made a ‘no go’ area for photographers at the centre of the event. It accounts for me taking a third of the photographs that morning with the 70-300mm, usually a lens I use rarely if at all.

I wouldn’t have chosen to take Michael Meacher MP – one of a small number of MPs who have consistently stood up for disabled rights (two others, Jeremy Corbyn and John McDonnell were also present) – at 300mm (450mm equiv), the kind of focal length best reserved for bird spotters, and it would have been good to have been able to get a tighter image. I was able to photograph him – and the others involved, such as David Ison, the Dean of St Paul’s Cathedral who chaired the event , from a much closer distance talking to people.

Most of the pictures in ‘10,000 Cuts – Deaths After Atos Tests‘ were taken either before the event started, when the audience were spaced out more widely and it was possible to walk up to them, or around and behind the stage.

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Muslim Women on the March

Wednesday, November 6th, 2013

It would be hard not to be moved by the tragedy of Syria, with horrific images of massacres, mainly by the Syrian military or others backing President Bashar al-Assad, and some of the most tragic images are those of the cloth-wrapped bodies of small children. These ‘rows upon rows of dead children in their burial shrounds’ deeply affected the women of Hizb ut-Tahrir, prompting them to organise a march in London “ in solidarity with your sisters in Syria” and to “speak out against the shedding of their blood and that of their families and children.”

And at the front of the march was a small coffin carried by four young men, followed by a group of young girls carrying white bundles representing those small children in their burial shrounds.

This was another occasion when a little extra height was really needed, and fortunately there was a park seat in almost the right place at the start of the march. because that small coffin really needed to be seen from above. I was standing right at the edge of the seat, and ideally it might have been just a little more in front of the coffin.

I’d felt just a little awkward earlier, photographing the women at their pre-march rally. Although none of them objected to being photographed (a few did turn their heads away) I didn’t feel able to go into the crowd as I would have done had I been photographing most other protests. Though in my experience it is has almost always been men who have objected to me photographing Muslim women, and not the women themselves, who have often obviously welcomed it.

Once the march had started it was easier, though again I largely kept a greater distance than at most events, as I think you can see in Hizb ut-Tahrir Women March for Syria. But it could just have been that after replacing the 16-35mm on the D700 with the 70-300mm for pictures like that above I just couldn’t be bothered to change the lens again. I’d decided by then that it was time for me to go home, and only kept taking pictures as I was walking towards Edgware Road station along the same route as the marchers.

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Druids From On High

Tuesday, November 5th, 2013

I’ve several times photographed the ceremonies of the Druid Order at both Spring and Autumn Equinoxes, and I think my work has produced a good record of what they do, and a few images of particular interest.

The processions they make before and after with a long line of Druids in their white cloaks are striking, and on Primrose Hill in particular the stand out against the grass of the hill or in front of the view of London.

I thought I had set out in plenty of time to photograph at Primrose Hill on September 22nd, but had reckoned without the difficulties of travel on a Sunday. Of course I’d looked up the journey on the Transport for London journey planner, which had told me that my train to Waterloo would be going by a roundabout route, and that the tube line to the closest station, Chalk Farm was closed for essential maintenance, and allowed the extra time needed. What the journey planner didn’t know was that my train would suffer from signalling problems, stopping somewhere on the outskirts of London for around 20 minutes before limping slowly towards Vauxhall, adding over half an hour to the journey.

I ran down to the tube, rushed through Green Park to change to the Jubilee Line, then hurried up the escalator and steps at Swiss Cottage to jump on a bus, finally walking and running up to the top of Primrose Hill to see as I was getting there the line of white-clad figures just breasting the top of the hill. I think there was a good picture there, but I was just to puffed to capture it, and it was really another 20 seconds or so before I was really working coherently.

As with all events, and particularly those of a religious nature, a suitable degree of respect is necessary, and in this case it means standing outside the circle and certainly not getting the the way or distracting those taking part.

The first ten minutes or so of the event has various actions to record which largely take place within the circle of druids. To photograph them means moving around the outside and taking pictures with a longish lens. So most of the time at this event I was working not with my favourite 16-35mm but with the 70-300mm on the D700, along in this first period with the 18-105mm on the D800E. For most pictures the 18-105 was long enough – as in the example above, taken at 66mm (99mm equiv.)


2009

After these initial activities, the ceremony becomes more static, with readings and a sermon, and there is little action to photograph. In previous years both here and at Tower Hill in the Spring I’ve made some images I like of the circle of white-clad figures, particularly using the 10.5mm fisheye. But holding the camera up at arm’s length above my head didn’t really get quite enough height.

So today I brought along a monopod and fixed the camera on top of this, with a cable release plugged in. At first I’d thought of using a remote release, but the lead on the cable release turned out to be exactly long enough. I lifted up the camera and took a picture, then brought it down to check the result, finding I needed to move back a foot or two to get everyone in. The tricky part was getting the camera exactly level and pointing in the right direction when I was unable to see through the viewfinder. Live view wouldn’t really have helped greatly as the rear screen was too far away and reflecting the sky nicely, so I just had to take quite a few exposures trying to get it right, then bring the camera down to look at them.

This was the best – as usual with a little help from the Fisheye-Hemi plugin. There were a few others taken with the aid of the monopod that I liked too. The extra height would be useful at some protests – and there are photographers who use a similar rig, but I’ve never got around to doing so. The problem for me is simply that the monopod is yet another thing to carry, and my bag is too heavy already even if it wasn’t too long to fit.

I’ve never managed to find a monopod that I really warm too, though I can see that they can be useful. But I think they could be much lighter and telescope to a smaller size and still be useful.

The ceremony on the hill top over, the Druids then process down the hill, giving a further opportunity for pictures (including one where I missed seeing the cranes in the background growing out of the Druids’ heads – a real beginner’s mistake.)  You can see more from the whole event at Druids Celebrate Autumn Equinox.

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Moral Hazard

Monday, November 4th, 2013

The Guardian at the end of last month published an interesting audio slideshow with Stephen McLaren talking about his five-year project documenting the City of London after the 2008 financial crisis, Moral Hazard.

McLaren is one of the most interesting to emerge in a new generation of ‘street photographers’, though the genre is perhaps largely meaninless, and I think it belittles his work to call him a street photographer, with so much that is now included under that title being puerile graphic observations.

What distinguishes Mclaren’s work – not that it lacks graphic interest, is an underlying seriousness of purpose. It is (as one photographer whose opinion I valued once said about my own work) “about something.” Behind the often amusing or even startling sights he records there is a an intelligence. These are not isolated aperçus but a project worked out over repeated visits to the streets of the City, building on each other.

As well as the images on the Guardian you can see more of McLaren’s work on his web site. I”d particularly recommend his ‘East End‘ and look forward to seeing more of his ‘Scotia Nova‘ and there are images in ‘Westcostism‘ that I love. But all of the projects are worth looking at.

Save Whipps Cross

Sunday, November 3rd, 2013

It wasn’t the best of weather as I made my way across London to Whipps Cross in the north-east of the capital. It’s on the edge where Walthamstow and Leytonstone meet Epping Forest, and around 500 years ago or more, the family of John Phyppe set up a cross to him at a lonely meeting of roads. It still feels a rather lonely place, but has a large and busy roundabout, and a hospital. It still has a cross, but a rather more modern one, a war memorial erected a mile or so away after the ‘Great War’ for the Essex Regiment of the Territorial Army, moved here when a large Victorian house became a TA centre.

The Hospital also started – just – in the Victorian era, building starting in 1900, though it wasn’t finished until 1903 – it was a large hospital for the era, and a lot has been added since. Its now part of Barts Health NHS Trust and threatened with huge cuts not because of its own problems (largely solved by previous efficiencies) but because of the huge PFI repayments for the new Royal London Hospital in Whitechapel.

It was drizzling when I got off the bus and walked up the drive to take a look (and photograph) the old main entrance before joining the few hundred protesters who were gathering on the green next to the roundabout. Not hard enough to really get you wet, but enough to put the odd spot of rain on your lens when you least expected it, and I was keeping my microfibre cloth out and covering the lens as I walked around.


18-105mm at 75mm (112mm eq), D800E DX format

Once the speeches started it was easy to take photographs, with a nice amount of space for photographers between the audience and the small platform. There weren’t too many photographers, and better still not many videographers and it was easy to move around without getting in anyone else’s way. Working with people who are taking video is often difficult, as still photographers generally want to move around and movie photographers usually prefer to stay still, and still photographers often want to go in much closer to take pictures.  It can cause friction and often does.

I was using both the 18-105mm and the 70-300mm on the D800E, working with both on the DX format, although the 70-100 is a full-frame lens. I like being able to see the area outside the frame, and the 16Mp DX images are plenty big enough. The 70-300 was a better lens for head and shoulders or tightly frames heads of the speakers, while the 18-105mm was good for picking out individuals or small groups in the crowd. There is a useful amount of overlap between the two lenses which saves a little lens changing. The image above could have been taken with either.


16-35mm at 31mm, D700

As well as being useful for picturing larger groups, the 16-35mm also lets me get in close. Again there is a useful overlape between this lens and the 18-105mm DX (27-157mm equiv) and I could have used either for this image.


16-35m at 16mm, D700

I don’t much like climbing up on walls etc these days, and unless I’ve got something pretty good to hold on to I tend to start shaking rather a lot, and sometimes have to get down pretty quickly or I would fall off.  But there was a very handily placed seat in the right place that I could stand on and feel pretty safe while still getting to look down a little on the march


16-35m at 16mm, D700

The wide angle also came in useful as I was walking (backwards) with the march, letting me include the Unison shop steward quite close to the camera at right and the whole of the rather wide banner. It was reasonably bright and at ISO 640 the exposure was 1/400 at f10, and with a 16mm lens at those settings there is plenty of depth of field and little risk of camera shake even though I’m walking.

I think photographers somehow develop a smoother movement with practice. Back when I taught photography I had to spend a lot of time telling students how to avoid camera shake. You have to stand still, tuck those elbows in to your side, press the camera against your head and make yourself and the camera a solid block, then squeeze not jab on the the release. Yet many still managed to get camera shake. Of course they were mainly working with standard focal length lenses, and using film at ISO 125 or 400; wider lenses and higher ISO make life easier, (and so does image stabilisation) but in part I think it’s in the mind, thinking steady helps.

It’s perhaps better to keep moving than to stand still, because even in 1/400s, a person walking will move perhaps 1/8″, and if you are moving at the same speed and in the same direction  the distance won’t change. The effect of movement would in any case be less for someone walking towards you, while people walking across the field of view will show the effect of their motion more, and the effect will be greater the closer they are to the camera. Arms and legs in particular are also moving at greater speed than the actual movement, so more likely to suffer motion blur. But a little blur, particularly if the eyes and face remain sharp, is usually a good thing.

The main reason to keep moving when photographing marches is that if you stand still, people are more likely to stop. And the last thing you want people to do when you are photographing them moving is for them to stop.

The march ended at Town Square in Walthamstow with more speeches, and again both the 70-300mm and the 18-105mm were useful, the longer lens mainly for the speakers, and the shorter for people in the crowd – though again the picture above, taken at 105mm (157mm), could have been made with either. If I know I’m unlikely to need an extreme wide angle (or a very long lens), I often put the 70-300mm on the D700 and use it full frame, though I didn’t think to do so here.

More pictures (and of course more about the protest and background) at Save Whipps Cross Hospital

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Hunting the Polar Bear

Saturday, November 2nd, 2013

There was no sign of Aurora where the #Iceride protesters were gathering in the Victoria Tower Gardens, and the Greenpeace media people weren’t over helpful, though they did tell us to expect her coming over Lambeth Bridge. We went there and waited. And waited.


Paw marks but no bear

We found a group of #Iceride cyclists on the Albert Embankment, but they seemed equally in the dark. Then at last we saw a few Greenpeace stewards making their way across the bridge and finally they admitted they were on their way to the polar bear, and we followed them down the Lambeth Rd.

If I’d stayed on the train to Waterloo I would probably have spotted the giant bear in a yard next to the railway bridge, but on Sundays my trains call at Vauxhall, from where a bus took me directly to the advertised meeting point. But despite all the waiting we still got there before Aurora with its teams of pullers and crew left the yard for her slow journey to the Shell Centre.

It isn’t easy to navigate a 3-ton polar bear the size of a double-decker bus crewed by a team of twenty and powered by another 20 or so on ropes, and for a while it seemed touch and go whether Aurora would make it out of her lair and on to the A3203 or not. But eventually she was making her way down the Lambeth Rd to the roundabout by Lambeth Palace.

The plan had been for her to go over Lambeth Bridge and past Parliament, returning to the South Bank and the Shell Centre over Westminster Bridge. I’d already decided a key image would be on the bridge, with the Houses of Parliament behind – as had probably every other photographer out that day.

But the weather had robbed us of our cliché. High winds and a forecast of heavy rain meant the team had decided it was unsafe to cross the bridges, where strong winds blow unchecked down the river, and Aurora was to take a shorter direct route on the south bank.

By the roundabout at the ‘south’ end of Lambeth Bridge (the Thames actually runs roughly west to east, so this is a kind of liturgical south, being on that side of the river which is flowing roughly north here) on the is a large and I think rather ugly block of flats (what estate agents term a prestigious development) called Parliament View. For £3000 per calendar month you can rent a flat there with a perfect trajectory to the Houses of Parliament only around 650 yards away, though I suspect would be renters get a fairly strict vetting from the nearby MI5 in Thames House just across the river. But I went for the cheaper option of trespassing on the steps and garden area around its front.

Which was fine except for a little street furniture when Aurora came down the Lambeth Road, and I moved into position for a picture as, together now with a large crowd of followers who had swarmed across Lambeth Bridge she turned the corner to go in front of the river frontage of the HoP.

She was coming up to the right position and I took a few pictures. But at the critical moment, Aurora disappeared behind a No 3 double-decker bus, waiting to get on to the roundabout. And waiting, while I tried running back and forth to get a better view. It almost happened but not quite. It wouldn’t quite have worked event without the bus, as the bear had turned around just a little too much before coming in front to the building.

It was time to photograph some of the people who were following Aurora, some in bear costumes and other fancy dress, as well as the team of three dancers who were in front of the bear. At the Westminster Bridge roundabout we got another glimpse of Big Ben in the distance, but it didn’t make a great picture for me. There was a little too much harassment by police and stewards to make it easy.

But finally on York Road, close to the end, I made an image that satisfied me. This was an event with very few placards, but I saw rather a good circular one, and an idea for a picture.

It wasn’t easy to get and keep in the right position in the crowd, as both bear and placard were moving, the placard rather more erratically. It was easy for people to get in the way too, and they did. But the main problem was the difference in size so I had to keep the two at very different distances and zoom to frame.

I took 21 frames working at the idea – the best was frame 16. The focal length needed varied from 39 to 99mm (equivalent) with the 18-105mm on the D800 and was 93mm equiv on the image above. Working at ISO800 I had closed down the aperture to f14, giving me a usable shutter speed of 1/200 but not quite enough depth of field. The placard is sharp, but the bear is just out of focus. I decided it was sharp enough for the image to work (with just a little help from Lightroom ‘Clarity’.)

There were some interesting moments at the rally at the Shell Centre, with some chances to use both the 10.5mm fisheye and the 70-300 at up to full stretch (45omm equiv) and you can see these at Aurora tells Shell – Stop Arctic Drilling.

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