Archive for May, 2014

Purple Pictures

Tuesday, May 13th, 2014

I’ve deliberately refrained from any comment in public (or at least I think so) on this year’s Deutsche Börse Photography Prize 2014 at the London Photographers’ Gallery. Let’s just say I found none of the short-listed photographers of great interest.

But if you don’t know who won, and want to, this page will tell you. In case you were wondering, “At the project’s heart are the points of failure of documentary photography” though I still see plenty of good documentary photography that excites and informs me considerably more than this work; (one example that comes immediately to mind is Robin Hammond’s ‘Your Wounds Will Be Named Silence’ shown at Arles in 2013 but there are many, many more.)

But had I been one of the judges faced with the four short-listed bodies of work, I think I would been hard put to make an award. But I doubt if “none of the above” was one of the options available to them.

But good luck to the fortunate winner – who is at least this year a photographer, unlike some previous recipients. Perhaps the fame and money will give him the time and space to produce something of more interest. And to buy some new film.

Image Abuse

Tuesday, May 13th, 2014

Probably most of us have seen pictures tweeted around the world with the hashtag #BringBackOurGirls but I imagine few have asked ourselves about the source of the three commonly used pictures.

James Estrin did so, and on May 8 Lens published his The Real Story About the Wrong Photos in #BringBackOurGirls in which he interviewed the photographer who took the pictures, some time ago and in a different country more than a thousand miles from where Islamic militant group Boko Haram carried out the kidnapping that has shocked the world.

The first photographer Ami Vitale knew about it was when she was told by someone from the Alexia Foundation that the work was being used in this way, and she was enraged. She had made the pictures in a long-term project showing the “dignity and resilience” of African people whose lives were improving, and had promised the families she had lived and worked with that she would take responsibility for the images and use them to tell their stories.

As she makes clear, it isn’t that the images have been used without her permission that upsets her, and she supports “the campaign completely and I would do anything to bring attention to the situation” but the misrepresentation and the use of these images without the consent of those in them for a very different purpose to that for which they are made.

If you don’t feel it is important, think for a moment if a picture of you, or your daughter or some other family member had appeared across the world illustrating a similar story. If you had the resources and could identify who had carried out the abuse you might well sue and receive hefty damages.

And as Vitale put it: “I can’t help but wonder that they thought this was O.K. just because my friends are from Africa. If it were white people from another country in the photos, this wouldn’t be considered acceptable.”

The article and a comment there on one of Vitale’s images prompted John Macpherson to make an image search, and revealed a huge level of unauthorised use across the web of this particular image, as he shows in his Tears for fears on the duckrabbit blog on May 11th, Mother’s Day in the US.

The first comment on this piece came from Ami Vitale herself, expressing her surprise at the many ways her picture was being used “for almost every stereotype one can imagine” and going on to say how it was “particularly poignant and disturbing to read this on Mother’s Day. How would any of these people feel if they saw their own child’s image used in the same way? ”

I’d loved Ami Vitale’s work from Guinea-Bissau from when I first saw it, particularly for its warmth and intimacy and its life-affirming nature, presenting a very different view from the stereotypes we see of Africa. And when I was fortunate enough to meet Ami in Poland it was clear how her work embodied her ideas and personality.

I’m not sure what can be done to prevent the irresponsible use of our images, though I do know those who have made large amounts of money in the courts from people who have misappropriated their work.

But we really need to somehow change attitudes. Using images in this way is simply dishonest, but people who wouldn’t dream lying publicly seem quite happy to do so through images. I don’t know if it is going to be possible to change attitudes, when it does seem to be going against the whole stream at the moment. My images on blogs and my own web sites carry a simple copyright watermark, but it isn’t possible to insist on this on most usages, and perhaps that doesn’t in any case go far enough. Perhaps it might begin to get our message across if we also included a simple message ‘May not be used in any way without permission’ as well.

Street Photography

Saturday, May 10th, 2014

Here’s a nice article on the aPhotoEditor blog about a photographer who took his pictures onto the street – and sold them: New Ideas In Photography – Rob Hann.

I’ve seen a few photographers doing this in London, where I think you do have to get a licence and pay for a pitch, so the economics may be somewhat different. Most of those I’ve seen in London are very much aimed at tourists who want something a little different from the standard tourist stuff, but I’ve seen some nice photography at times.

I suspect that it’s rather quirky work that sells best, and over-dramatised landscape of well-known places. It isn’t something I’ve ever felt tempted to do and I doubt if my work would sell well.

But it would probably pay better than working through agencies for the press. People are always surprised when I tell them how little I get for my pictures – a few months ago I worked out that the average repro fee (or at least my 50% or less of it) that I’m now getting was around £16. Partly that’s because so much is now just online, partly because I think I’m doing very badly out of having some of my pictures used on a subscription basis.

I do occasionally sell prints, but not from a barrow. Anyone can buy decent quality prints of any of the pictures I post on the web – details are here.  And I occasionally sell the odd one or two when I exhibit work, at gallery prices which are around 3 times those web prices. I suspect on a street stall I’d have to sell considerably more cheaply than on the web.

 

Pillow Fight

Friday, May 9th, 2014

I’d heard a day or two earlier that London’s Mayor had decided to close Trafalgar Square on World Pillow Fight Day, but it still came as a surprise to find the square entirely empty, surrounded by barriers and a a thin line of police and ‘Heritage Wardens’ when I arrived a few minutes before the pillow fight was due to begin.

The Mayors office had put out that the event had been cancelled, but that didn’t stop at least a thousand people turning up with pillows. But instead of taking place in the large area of the main square, everyone was crammed into the much smaller space of the North Terrace. I think because until fairly recently that was a road, it comes under the control of Westminster City Council rather than the Mayor of London.

I was rather disappointed that the pillow fighters didn’t simply push over the barriers and swarm into the square, instead staying on the North Terrace, though of course the organisers couldn’t encourage this – and had come under pressure from the Mayor’s guys to call the whole thing off. But it was the kind of thing that once started could hardly be stopped.

I don’t know why the Mayor decided to be a spoilsport. Its the kind of event that is good for tourism after all – and there were quite a few tourists taking part as well as a good crowd watching. There are quite a few commercial events that take place in the square that I think should be stopped – its a place that should be for everyone to enjoy. And I’d like to see  an end to the ban on unauthorised protests there – it is after all one of the traditional areas in London for protest.

There were different versions of how long the fight was supposed to last, from 15 minutes to an hour, but I understand it continued for rather longer this year, though I had to leave after half and hour. And I was quite pleased to be out of it, as the air got pretty full of feathers and dust and I was beginning to suffer a little.

There are a few sensible rules for the pillow fight, and the one that I particularly like is number 3: “Do not hit anyone with a camera, they are our friends! ”

Of course, this doesn’t mean that if like me you like to get into the thick of things you won’t get hit by quite a few pillows. They are going everywhere and the odd one is bound to end on your head or camera gear. Though some people will apologise after having hit you!  But it does mean that you won’t get set upon and attacked deliberately.

Quite a few frames I took ended up being full of pillow, and others came out rather differently to what I’d expected from the viewfinder,. with people and pillows moving pretty chaotically in every direction. Its the kind of situation where you have to react rapidly and don’t have much time to think.

Before things kicked off I’d taken a few precautions. I’d taken the flash out of the hot shoe and put it away in my bag, and decided I could only really look after one camera and one lens in the mêlée.  I chose the D700 and the 16-35mm and put everything else well out of the way in my camera bag, carefully closing it up.

I’d decided that ISO1250 (or really 1600, as I had 1/3 stop exposure bias set) would give me decently fast shutter speeds to stop motion and plenty of depth of field from a moderate to small aperture, especially since for most pictures I was at around 16mm on the zoom.  I was using the camera on the P setting (though A or S would have done as well) and typically shutter speeds were around 1/500 – 1/800s and apertures f8 -f11, depending on which way I was facing and how many pillows were blocking out the light.

Subject distances were rapid and changing, with some at very close range. I could have used zone focus, but sometimes people were close than this would have rendered sharp, so I opted for autofocus, using the C setting – continuous-servo AF – and auto area AF. This is supposed to be able to distinguish faces with Type G or D lenses like the 16-35mm, and the autofocus is fast.  It all seemed to work pretty well.

Plenty more pictures at World Pillow Fight Day on My London Diary.

I had a shower and a complete change of clothes when I got home, and emptied out all my pockets, took everything out of my camera bag and vacuumed it. A month later I’m still finding the odd feather in unexpected places.

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Bedroom Tax One Year On

Thursday, May 8th, 2014

The pavement outside One Hyde Park, luxury flats on the south edge of Hyde Park, a stone’s throw from Harrods at the busy junction of Knightsbridge and the Brompton Road. Th 86 flats here are the most expensive in London, selling for up to £68 million pounds. They are a potent symbol of growing inequality in a city with a desperate shortage of truly affordable housing. Many of the flats here are owned simply as investments by overseas companies and seldom if ever occupied. In the 86 flats, there are apparently only 8 residents paying council tax.

The pavement here looks wide, but that is misleading. The protesters are on a narrow strip next to the road because most of the paved area is private land, part of One Hyde Park, and police and security moved them off of this. The roadway is also misleadingly empty, as I took the picture when the traffic lights just out of frame on the left were at red. Several times while I was taking pictures police moved me off the roadway “for my safety” though I was being very careful not to put myself at risk from the traffic, stepping back into the gutter or on to the pavement every time the lights changed.

So physically there were some problems in taking pictures, and photographers had to mainly work inside the crowd, which was soon a little more dense than when I took this picture around the start of the protest.  Of course I’m happy to work in close and use a wide-angle, but sometimes there just wasn’t enough room to move.

I managed to move into a good position when the speeches started, but had very limited freedom to move as there were people with large video cameras on either side of me. When you are in a good place in crowded situations with other photographers there is a danger of staying too long there, because you know if you move away you are unlikely to be able to get back in. So in Axe the Bedroom Tax at One Hyde Park you can see I took a number of images of Paula Peters of DPAC speaking, trying to make them all different. People with placards were moving around a little behind her which helped. My favourite among the eight on the web site is the one where I’ve cropped her face at the right of the image:

which I think breaks most of the ‘rules of composition’ that some people like to talk about.  While she was speaking I was also taking pictures of others in the crowd, but my view was rather limited by the two large cameras each side of me.

I also rather liked the image above of Rev Paul Nicolson, a retired Anglican Vicar ( they used his church as Dibley) with that central hand tightly clutching the microphone and the eyes perhaps looking up to the heavens for inspiration, taken with the lens at 98mm focal length (147mm equiv.)

Unusually there are two images on the web pages not in the normal 35mm 1.5:1 format. Somehow I could fit neither of them into it.

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Italian Photography

Wednesday, May 7th, 2014

The New York Times Lens blog (again) has a nice piece on Italian photography after the Second World War, Italy’s Independence in Postwar Photography, written by Rena Silverman. This is based on and features a set of photographs from ‘Mid-Century Postwar Italian Photography‘ showing at the gallery web site, but not, so far as I could see any text about the show, so Silverman’s article is very welcome.

The photography is very much the equivalent of something far better known abroad at the time – and still now – the ‘Neorealism’ of Visconti, Zavattini, Rossellini, De Sica and others, but I have to admit that very few of the photographers in the show are familiar to me, though some of the images I’ve seen before.

Perhaps the best-known of the photographers is Gianni Berengo Gardin, who received the Lucie Award for Lifetime Achievement in 2008, and an exhibition of his work is currently on show in London, at Prahad Bubbar until May 23, 2014. The Daily Telegraph has a feature The Sense of a Moment: Gianni Berengo Gardin with a gallery of 10 photographs, Gianni Berengo Gardin: Italy’s greatest photographer. Perhaps not, and there are certainly others who could lay claim to that accolade, but certainly some work of interest.  Although Wikipedia is hardly a definitive source, Gardin doesn’t event make it to their list of Italian photographers, though there are quite a few names familiar to me there, including that of Gina Lollobrigida!

 

 

 

Muslims & Britain First

Tuesday, May 6th, 2014

I think this picture is a good example of why I like to get fairly close to people when I’m photographing them, with the hand and finger closer to the lens being emphasized. Though I wasn’t that close, using the 18-105mm on the D800E, where its 40mm setting as a more or less standard 60mm.

Soon after I took this picture – and others you can see in Muslims & Britain First Clash on My London Dairy, police moved me and other photographers away from the narrow strip of road at the edge of the pavement on the fairly busy Bayswater Road, effectively preventing us from taking decent pictures of the event.

The Inspector in charge told us it was because us standing there were putting his officers at risk from the traffic, but since they continued to stand in exactly the same positions after we were removed that hardly held water.

I and another photographer moved to a refuge in the middle of the road, a perfectly safe place designed for people to stand while crossing each carriageway separately. But again we were told we had to move – and for the same ludicrous reason.

I suggested to the Inspector that if he were worried about the safety of officers he might consider making use of the traffic cones that were present but totally ineffective on the edge of the pavement – as you can see in the picture above. Moving them out perhaps three feet to where the officers were standing would have provided safety for the officers – and a working space for photographers.

But police officers sometimes go into a curiously deaf mode where they refuse to listen to any advice or comment, however sensible. And he did, simply repeating over and over that I had to move from the refuge where I was talking to him in a very reasonable manner and go to the other side of the road.

After I’d been trying to talk to him for a minute or so, he grabbed hold of me – I pointed out he was committing an illegal assault – and pushed me across the road, causing cars to have to brake to avoid the two of us.  Having pushed me onto the pavement, he then walked back into the road without looking, and a car had to do an emergency stop to miss him.

While I appreciate that police have a difficult job at times, this was no way to engage with the public, and certainly not in the spirit in which the police are supposed to cooperate with the press (and my suggestion to him was made in a spirit of cooperation.) Fortunately I’d had time before this officer started behaving stupidly to get the pictures I needed, and when a few minutes after this incident the Britain First protesters on the side of the road I’d been pushed to packed up and went home, I left too.

I later heard that after I left the  Inspector had come to apologise to my colleague for moving him from the refuge, admitting he had been wrong to do so; perhaps if I’d stayed on I would have go an apology too.

This was a protest involving two fringe groups, neither of which I feel any sympathy with. The Islamist fringe associated with Anjem Choudary had a least come to protest with a genuine grievance over the arrest and attempted arrest of Sunni Muslim activists in Lebanon and were also more interesting visually, while Britain First I just found rather sad, apparently there only to insult the Muslims.  Britain is still – at least in many respects – a free country and groups like both these have a right to protest, even though I think both stand for a society in which we would enjoy very little freedom.
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Southwark & Bermondsey

Sunday, May 4th, 2014

My latest ‘book’ available as a PDF or hard copy from Blurb is Southwark & Bermondsey,  a slightly thinner volume than some, but still with decent-sized reproductions of around 70 black and white pictures. Many are of tallish buildings and in portrait format and often I’ve chosen to put two side by side on a page. There is a reasonably large sample of the work in the preview:

The PDF version has ISBN 978-1-909363-11-3 but I am not really publishing the print version – frankly Blurb is really too expensive to expect people to buy copies. And although the print quality on lustre paper is pretty good, on any decent screen the PDF is better. I wrote a little about my ideas on the future of photographic publishing here in Books to Go! last September.

Buyers of the PDF version also get a licence to print a single copy of all or any part of the work for their own private use. But apart from quality, the big difference is price. Currently from Blurb the roughly 60 page softback book costs £30.35 with delivery around a fiver extra, while the PDF is £4.49. I’ve set the prices so I make exactly the same on either. Alternatively you can buy directly from me – details here.

The pictures were taken on a number of walks through the area over a ten year period, but there were many parts I only visited in the later part of the period from 1974-84.  Some of the buildings I photographed remain, though often more as façades or pastiches of the original. I wince every time I go down Shad Thames, but there are other parts which have been more kindly treated.

It’s around nine months since I last produced a book, The Deserted Royals,  which is also officially published now, and is also published as a PDF – with the option of a print version. I’d intended to bring out a book every couple of months, but events have rather got in my way.

It takes rather longer to produce these works partly because of the condition of some of the negatives, some of which have required extensive retouching because of insect damage to the negatives. Although I’ve put in a lot of work on this, there are still some visible signs on a few of the images in Southwark & Bermondsey, though fortunately in important subject areas. It’s usually skies that are the hardest parts to get entirely correct.

 

NAPO Strike Protest

Saturday, May 3rd, 2014

I’ve never had to have a great deal to do with probation officers, though I’m sure they do a very useful job, and also sure that the plans by Justice Minister Chris Grayling to sell off 70% of the service this year will result in a considerable deterioration – as well as handing private companies around £700 million a year worth of business. Doubtless many of those picking up the contracts will have links to various politicians, largely but not entirely in the Conservative Party.

It’s long been time for our opposition to have a rather tougher policy over privatisation – and particularly over the reversal of privatisation. In this case the Labour Party have asked that the contracts be written so they can be cancelled by a new government without huge financial penalties, but perhaps they should be thinking of bringing in legislation to put the reversal of privatisation on a more even basis to the selling off.

But I was there to take pictures, not to tell the Labour Party what to do. I didn’t really find anything really interesting at the rally, though there were several nice placards and posters, and a few faces that attracted the attenti0n of several of the photographers present.

Perhaps one problem is that ‘NAPO‘ always seems a rather ugly name to me, though I’m not quite sure why; perhaps it’s too close to nappy, though the other suggestion that comes up as I type it in on Google is ‘Napoleon. But I’m rather surprised they didn’t change it to something more pleasing when they decided the  National Association of Probation Officers was too much of a mouthful.

Or perhaps I just wasn’t in the right mood after the previous couple of events I’d photographed.  The lighting was a little tricky, with a low sun often shining into my lens. Some pictures I used fill flash, and others I had it turned off, and the Nikon SB800 seemed to be having one of its unpredictable days. I lost a few pictures where the flash had completely overexposed the image


Fill-flash was essential with a very deep shadow from this woman’s hands on her face

I did put the flash into the hot shoe and turn it on, but there were some of the audience where either I wasn’t using it or had turned it too low. One of the problems of working with two cameras and one flash unit is that it is often on the wrong camera. If you wait while you move it, the picture often disappears.

Things got rather more interesting later outside the Ministry of Justice, where after a few pictures of people standing with banners outside the entrance I wandered off towards the birthday cake which I thought would be important in the next part of the event. That was a little premature, but I did find I was standing next to the PA system, which seemed to be a good place to be.


At 58mm (87mm equiv)

And so it proved, when singer/songwriter Tom Robinson was introduced to lead the singing of the special verions of ‘Happy Birthday’ for Grayling, and then to open the presents for him, which included a book, ‘The Book Thief’ for the man who had just announced that prisoners in UK jails would not be allowed to be sent books from outside prison.


At 17mm

For once I was pretty well in the right place to take photographs – and without a crowd of other photographers pressing on either side. The crowd of protesters was simply too closely around and behind me for other photographers to approach. A few like me had followed what was happening enough to be around, but had chosen other positions where they had less good a view.  This time I’d been lucky and had taken a lot of pictures, both with the 16-35mm on the D700 and the tighter head shots with the 18-105mm on the D800E.

The 16-35mm also came in useful when the cake was being carried in to the Justice Ministry, though I was disappointed on this occasion to be stopped by security as I tried to follow it in. They had obviously learnt from our previous visit on a legal aid protest in March – Outraged Lawyers Legal Aid Protest.

More pictures in Probation Officers Strike for Justice.

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Centr Cam

Friday, May 2nd, 2014

I’m more than mildly tempted by the CENTR camera, a Kickstarter project I read about on PetaPixel that gives you a tiny doughnut of a camera you can handhold (with your thumb up the hole in the middle, and a ring of LEDs on the bottom so you can keep it level if you want. Using 4 cameras and stitching their images results in a 360 degree video with a circumference of 6900 pixels and a height of 1080 pixels, which you can also view (and print) as a long thin image. Each of the identical f2.0 lenses produces a horizontal view of 110 degrees and a vertical 75 degrees.  More details

It looks an incredible piece of gear, and should be shipping in Feb 2015 to Kickstarters who pledge $299 or more (+ $55 for shipping outside the US) which makes it around £210 in the UK. It is expected to go on the market – if it reaches the Kickstarter target – for $399.

A few things only make me reluctant to put my money up. Remarkable though it is, it is still quite a lot of money for something which I see essentially as a toy. Though the sample video is impressive, the still image quality is rather less so. There is a link on the page to some “high resolution still images“, which are around 5000 x 720 pixels (the camera works in either 720 or 1080 pixel high modes.) On screen, some of these are quite impressive at 33% size, though with a lot of blue fringing, which could probably be greatly reduced with suitable software. But at full size – as with viewing the movies full screen – they are noticeably soft and lacking in detail. I’ve not tried printing any of these (and you can see some prints in the Kickstarter video) but I don’t think I would be very happy with anything larger than a long strip about two and a half inches high.

Last week I saw a 360 degree panorama by a friend of mine, Mike Seaborne, taken on the Swanscombe peninsula (where I’ll soon be getting on my 1985 walks in North Kent I’m occasionally posting here), taken with a Nikon D800E, part of a show ‘The Swanscombe Project’ by 16 photographers at Goldsmiths, University of London which ends on 4 May. I can remember quite how long it was, but very long, printed on canvas that Mike says was too long to completely unroll inside his living room. Perhaps around 12 feet, and you could walk along beside it, looking as close as you like and seeing detail. A completely different experience. The pictures from the show aren’t on his web site but you can see some of his other pictures of the area on the page linked above.

But that’s not to knock the Centr, just to point out the kind of thing it isn’t suitable for. I think 360 panoramas are actually best suited for viewing interactively on screen and although I’ve made some in the past I’ve never printed them as such. The added experience of the movie is I think great for them, though I find the interface a little uncontrollable. Probably the only thing that makes me hesitate about supporting the Kickstarter project is that you need to have a smartphone to work with the camera, and my current mobile is anything but smart, a museum piece of technology that has enabled me to make and receive calls since around 2001, and I now see described on e-Bay as “Vintage Retro Collectible“. It’s probably time I got a new phone, but the ancient Sony works and costs me very little to run on pay as you go.