Archive for April, 2015

March 2015 complete

Saturday, April 11th, 2015

I fell asleep around midnight last night trying to finish putting my work from March on to My London Diary, waking with a start to find a black screen in front of me, and when I moved the mouse to rouse the monitor from its dreams, found myself facing a blank page where I’d almost completed the coding. In my daze it seemed something of a calamity.

Fortunately hitting Ctrl+Z to undo my last action – presumbably hitting the space bar with the page selected as I collapsed on the keys – restored my work, although had I been thinking clearly I would have realised that only the few keystrokes I had made since the last saved version would in any case have been lost. But it was certainly time to give up and go to bed. And finish the work the following morning, which I now have. I think there are 40 stories from March, though not all have a great deal of content, and a couple are just pictures from my occasional days off.

But I’m also aware of the many events I’ve been aware of but been unable to cover, invitations I’ve had to refuse because I have to be at another place. We are indeed living in interesting times, and it is something of a curse.

Mar 2015

Another Country Walk
Cross Bones Open Day
Murdoch on Trial – Guilty as charged

Jon Bigger Class War South Croydon
RMT protest Ticket Office Closures

Sweets Way at Annington Homes

Quiet Night at Poor Doors
Occupy Rupert Murdoch
Around Tower Bridge
Arrest Warrant for Rupert Murdoch
John Lewis customers support Living Wage

Stand Up to Racism Rally
Britain First Protests anti-Racist March
Stand Up to Racism March
Great British Tax Robbery
Bermondsey Walk

Poor Doors blocks Rich Door
Unite protest against Benefit Sanctions
Dolce & Gabbana Boycott
Debt Resistance UK #Blockupy solidarity
Free Shaker Aamer vigils continue
Savage cuts to Adult Education budget
Stratford to Hackney Wick
Class War go to Aylesbury Estate
Class War celebrate Election Launch
Class War Chingford Election Launch
Free the Hares boys protest at G4S

Poverty pay at the Royal College of Art
Save Our Lions – ban Canned Hunting
Let Ife Stay in the UK!
Police seize Class War banner
Viking longship invades Tate steps
Climate Change Rally

Time to Act on Climate Change
Poor Doors Zero Police
Aylesbury Estate Occupiers Move
Homeless Persons Matter
Mexican President told Stop the Killing
Shut Down Yarls Wood

Maximus – Same Circus, Different Clowns

As always there are many more pictures from most of these events on My London Diary if you follow the links, and in some cases some fairly lengthy stories.


Estates of Mind?

Thursday, April 9th, 2015

In 1951, a part of the Festival of Britain was the Live Architecture Exhibition, on what became knows as the Lansbury Estate in Poplar, and at its centre was Chrisp St Market, the work of architect Frederick Gibberd, the first purpose-built pedestrian shopping centre in the UK.

It wasn’t entirely succesful – and his iconic Clock Tower built as an observation tower soon had to be caged in against suicides, but it was an important statement of a new vision in housing, with huge programmes over the next thirty or so years to provide social housing for the mass of the population, replacing both the areas destroyed by bombing and the decaying streets of jerry-built Victorian slums. There was a national feeling, an urgency that something had to be done about the housing problem, and a consensus that a large part of the solution lay in providing social housing at resonable cost for the majority of the population at least in the major cities.

The problem was also addressed by the New Towns, such as Bracknell, where I myself lived in a Development Corporation flat for several years in the early 70s, but in London and other cities it was an era of large estates, often system-built and with much bare concrete surfaces.

The best of these were architectural gems and masterpieces of design, and while some may have looked they were often spacious and comfortable, offering many residents for the first time the kind of conveniences we now take for granted. But like all property they needed proper management, with regular repairs and maintenance, and in most cases local authorities failed to meet the challenges of ownership, allowing properties to run down. There were sometimes design faults, more often corners cut by the builders and, certainly in later years financial pressures on councils that made their job impossible.

Now the pressures on these estates come largely from the increase in land values and the greed of developers and councils. Many of these large estates are in highly desirable locations, and huge profits can be made by demolishing and rebuilding at a much higher density and to lower space standards for private sale. It’s a process part-fuelled by overseas investors buying properties not essentially to live in but for the capital gains from rapidly increasing house prices, particularly in London. Investment brochures for one block in Aldgate suggested that buyers would see a 35% rise in the value of their flats in around three years- and that prediction may well turn out to have been conservative. But can we afford to let London become simply a proiftable  safe deposit for foreign money rather than keeping it as a living city?

The name of this un-housing game for financiers is ‘regeneration’; a worthy aim announced in the early years of the last Labour government with probably the best intensions that has turned into a nightmare for Londoners on low or middle incomes. But while its first proponents may have been simply naive, it has turned London’s largely Labour councils into villains in league with property developers in boroughs including Labour strongholds such as Newham and Southwark as well as Tory boroughs including Brent and Wandsworth.

We’ve already lost much good, serviceable property, along with some of the best architecture of the era, such as the Heygate estate, where a long process of neglect, demonisation and PR enabled Southwark to sell off the now-demolished estate against the wishes of many of its residents, at a time when many of its buildings and landscape were just reaching maturity.

The Heygate too was one of the starting points for the now rapidly growing protests about housing across London – and which were certainly a part of the reason why Southwark has lost millions on that particular deal. Despite which, they are still going ahead with a similar scheme on the larger neighbouring Aylesbury Estate, currently the subject of occupations and battles between housing activists and security guards aided by police, and where some remaining residents now find themselves behind tall fences in what looks like some kind of prison, having to make lengthy detours and show documents to be let in or out – and to go to the security gates to meet any visitors.

Other protests too have made the news. Some appear to have met with some success – after Focus E15 mothers occupied an empty block on the Carpenters Estate, Newham has now moved a number of families back into properties they had left empty for ten years in their attempt to empty and demolish the estate. New Era tenants evaded eviction before Christmas (thanks to a little help from Russell Brand) with their block being sold to another housing association.

Other protests continue across London, including those over Sweets Way in Barnet, the West Hendon Estate, the West Ham football ground, Cressingham Gardens in Brixton, Fred Wigg and John Walsh Towers in Waltham Forest, the West Ken and Gibbs Green Estates in Hammersmith & Fulham, the Sutton Estate in Chelsea, Guiness Trust on the Loughborough Park Estate,  Northumberland Park and other estates in Haringey, and of course the ‘Poor Doors’ protests at One Commercial St, Aldgate.  Regular readers of this blog or visitors to My London Diary will be aware of some of these.

I began this post at Chrisp St, because I was there last night for the private view of  ‘Estates of Mind‘, a photographic show in which “Six photographers explore various social housing projects from the 1960s and 70s; an era of radical architectural determinism and social restructuring.” (Open between 12-6pm on 9-12 April and 15-19 April.)

The invitation continues with a question “What can we learn today, in a time of great uncertainty in social housing from their successes and failures.” Although there is some interesting photography on display, some of it taken on some of the key estates now under dispute, this is perhaps a question that the show largely fails to engage.

What I found most satisfying were the set of images by Mike Seaborne, who I’ve known and sometimes worked with for around 25 years (including on the Urban Landscapes web site), and in particular his combination of images that he took around the turn of the century with those from this year on the Isle of Dogs. It is perhaps the only part of the show which says something about what is happening through its use of these ‘then’ and ‘now’ views, as well as displaying a discerning choice of viewpoint and an admirable clarity of treatment.

Also of interest to me were pictures by Peter Kyte from Grahame Park in Colindale, North London, Barnet’s largest housing estate on the former Hendon Aerodrome developed in the 1970s and named for aviation pioneer Claude Grahame-White. The estate underwent some regeneration in the 1980s, removing some of the connecting walkways., but its major regenertion began with a demonstrtion phase in 2007, with the first major phase being completed in 2012 and is continuing. The original 18-year programme proposed the demolition of around 75% of the 1777 properties (including the long low-rise blocks of flats that give the estate its character) and their replacement by slightly over double that number of new properties, of which roughly 30% were to be social housing.

Unlike most other work in the show which is largely straightforwardly documentary, Kyte’s work is a very personal vision concentrating on the long dark passageways he saw there, emphasized by heavy printing and by the cropping to a tall narrow format in his 20×12″ prints. The work had a impressive coherency, though I think one that tells us more about the photographer than either that particular estate or the more general problems of housing in London.  I wondered particularly about how his view as a visitor might differ from that of someone for whom the estate was home.

There is also perhaps something of a contradiction in the location of the show, an empty shop made available for the show by the owner, Poplar HARCA (Poplar Housing and Regeneration Community Association) who a few years ago took over the regeneration of nearby Erno Goldfinger’s Balfron Tower (where this group held a show last year) from Tower Hamlets Council. As the Docklands and East London Advertiser reported earlier this month:

It appears that social landlord Poplar HARCA are preparing their tenants in Balfron Tower to leave the building so that the rich can purchase the newly refurbished flats. Another east end community is being destroyed for profit. A sad and insulting legacy to the values of its architect Erno Goldfinger, and that reminds us how little the voice of the powerless are heard, or acted on.

Rather earlier in 2010, Michael Newman had commented on an article in BDonline on the renovation of Balfron Tower:

This article is well written and informative but as a resident of Balfron Tower I want to point out that paragraph 3 is incorrect.

“Once refurbished, residents will have the choice of keeping their heads in the clouds or putting their feet back on the ground by moving into newly built homes elsewhere on the estate. “

At the moment HARCA has informed residents of its aim to refurbish and to empty the building to do so, but has failed to mention the choice of returning to their homes.

It appears that HARCA and those partners it is working with are forcing the present community in the Tower to leave their homes and never to return. So much for the values of social housing, for helping communities, and for a ‘Golden Future’ for the Tower and its inhabitants.

It looks like HARCA will refurbish the Tower, will sell off the flats and as usual the rich and so-called cultured will buy the right to ‘homes in the sky’.

I wonder what Goldfinger would think of HARCA’s guardianship of his building, and the council who historically were brave and fought for rights of its people.

Housing is a vital topic, particularly in London, and one which has, largely through the efforts of various protest groups, and marches such as January’s large ‘March For Homes‘ forced itself onto the news agenda. It’s good to see photographers and shows tackling it, but I would like to see ones that perhaps incorporated rather more thought and provoked it for those not already involved in the issues.

Lambeth Night

Tuesday, April 7th, 2015

Covering the protesters outside Lambeth Town Hall on the evening that the borough council was voting on £90m cuts in local services provided some intensive testing for my Neewer 216 LED lighting panel and also for my flash technique. The Newwer perhaps did rather better.

The steps into the council offices on the corner of Acre Lane in Brixton should be a relatively well-lit area at night, on the junction of two major inner city roads, but it seemed surprisingly dark, and there were certainly some very gloomy areas in the crowd, both at the council policies and also in terms of luminance.

I started out working with the Neewer unit with both the D700 and D800E, holding the unit in my left hand and directing it appropriately. I’d decided to work with the orange 3200K filter, hoping it would work better with the ambient street lighting, and with that absorbing around a stop of light I was able to work at ISO3200 and shutter speeds around 1/30s with an aperture of f4 (the 16-35mm wide open.)

It was that slow shutter speed that caused most of my problems, with many images having the people blurred. But enough managed to catch them withoug subject movement for it to work well, at least until I wanted to photograph anything more than three or four metres away. Even then with some images, the extra light in the foreground was useful.

Working at f4, even with a wide angle, depth of field can be fairly limited, especially when working at close quarters, which is of course sometimes a good thing. But its better when you have enough light for this to be a choice rather than an imposition.

With the D800E and the 18-105mm lens I soon switched to using flash, particularly for the speakers, who were a little far away for the LED light, and where animated gestures would have otherwise been a blur.

I’m not sure why, but it was the flash images that gave me the most exposure problems; some days I just don’t seem to be able to get the flash to do what I want, and many were considerably underexposed. When you get it right, the Nikon flash system can work wonders, but there seem to be quite a few quirks that can easily fool the occasional user like me.  Lightroom was able to save the day on most of them.

Towards the end of the event I switched to the 16mm fisheye on the D700 to photograph some wider views. Although the Neewer only gives even illumination over a fairly narrow angle, with fall-off becoming fairly noticeable at any focal length less than 35mm, it was still useful, enabling me to light the darkest parts of the 146 degree horizontal angle of view. There were some fairly wide variations in lighting across the whole of that scene, and angling the light into some of them gave me a usable result.

With many of these images, consderable post-processing was needed in Lightroom. The images needed rather more overall luminance noise reduction than my standard setting, along with quite a lot of dodging and burning to even out the lighting. Different light temperatures in different areas also got some attention. I can’t say that the colour is perfect, but technically – thanks to Nikon with some help from Lightroom I find the results impressive. Certainly nothing like this would have ever been possible with film. You can judge for yourself at Lambeth against £90m cuts.


Staines Easter

Sunday, April 5th, 2015

Swan Upper and Easter ‘Dawn’ Service by the Thames at Staines
Sunrise was supposedly at 6.29am in Staines where I live this morning, although the sun didn’t manage to show its face until a brief break in the clouds close to 9am. However it felt rather early when I got out of bed and onto my bike to cycle unsteadily through the empty streets (one stuttering motocycle, a paperboy on his bike and a single car on the main road) to the riverside car park where a small group of local Christians were assembling an hour late for a dawn service.

aster ‘Dawn’ Service by the Thames at Staines

Christ is Risen!” rang out over the open space (we got it in Greek too, though that was a week early) and around 20 voices responded “He is risen indeed!” and the service continued with hymn, songs, prayers and testimony , before most of those present continued their fellowship over a shared breakfast at the local Baptist church, which I was sorry to have to miss.

Roman Soldiers from ‘The Staines Passion’ at the Good Friday service
Easter is becoming more visible in Staines, with a procession through the town to a service in the local shopping centre on Good Friday, handing out free hot cross buns with a message on the serviettes, and two large open-air performances of ‘The Staines Passion’, a dramatised recreation of the Gospel stories on Holy Saturday, which this year I missed, though I did photograph it last year. Many of the cast were at the Good Friday procession, some in costume, and they performed a short version of the Last Supper and the arrest of Jesus as a trailer for the main event.

Jesus and the disciples from ‘The Staines Passion’ performing the Last Supper
Back home it was time for more hot cross buns (I prefer them cold and with a bitter touch of good marmalade) and Easter Eggs. And perhaps later a good walk after I’ve recovered from that early rising.

A scene from the 2014 performance of ‘The Staines Passion

Firefighters on Strike

Saturday, April 4th, 2015

D700, 16-35mm, 16mm

Although I’d known that the Fire Brigades Union were on strike and having a conference in Methodist Central Hall, just a couple of hundred yards from Parliament, I hadn’t come to Westminster to photograph them, but another protest taking place nearby. So it was something of a bonus to come across them sitting and standing in the roadway in front of Parliament. Apart from anything else it made it easier to cross the road!

I’ve long felt that Parliament Square should be improved, and one of the major improvements would be to take away the traffic, at least from the roads on two sides of the square, between it and Parliament and Westminster Abbey.  It just isn’t a good idea to have one of London’s major squares as a traffic island.

But the firefighters obviously have good reason to be upset, with promises clearly made to them having been broken, and I wasn’t surprised that they came to show their anger. Nor that police were treating their protest in an unusually relaxed fashion – they share a common bond with their fellow emergency workers and also many of them feel they too have been shafted by the government. And certainly it would be unwise to tangle with the firefighters, who are undoubtedly fitter and tougher than the average police officer.

It was too and almost perfect winter day for photography, with great light and good clouds, with a literal grey cloud over Parliament as well as a metaphorical one in front of it. I’ve always liked open shadows in my images in both black and white and now in colour, and the combination of Nikon sensors  and lenses with Lightroom 5 perhaps sometimes tempts me to take this to extremes.  The 16-35mm, here used at 16mm, f10 with a shutter speed of 1/400 at ISO 640 is a very sharp lens. Every slate on the roof at right is clearly defined and at 100% on screen the 4256 x 2832 pixel original processed with my standard noise removal and sharpening defaults seems noise free.

I’d arrived at a point where the protesters were uncertain about their next move, had missed the excitement of the marching on to the road and occupying the space. The grey of the roadway is a great background on which the individuals sit or stand, setting off their colours, which are perhaps just a little more saturated than real, the yellows, browns and reds of the jackets, warm colours that cluminate in the flames of the banner, set against a blue background and the blues of the working jeans.

D800E, 18-105mm DX, 24mm (36mm eq)

I took more pictures – you can see some of them in Striking Firefighters block traffic – and then photographed them as they made their way up Parliament St to Whitehall, stopping outside Downing St.

Things were rather crowded and chaotic there, and it was difficult to make pictures as both firefighters and other photographers filled any empty space.

D700, 16-35mm, 16mm

At Downing St I kept my eye on FBU leader Matt Wrack when he came to the gates, wondering what he would do next. As he moved around I tried to keep in a position where I could see his face, while also taking pictures of the firefighters who were crowding around him and shouting towards Downing St.

D800, 18mm (27mm eq)

When a police officer pushed his way through the crowd to speak with Wrack, I was at his side. Perhaps ideally I would have been a little further back, but I was wedged firmly in place, hardly able to move an inch in any direction, though just managing to have enough space in front of me to work with the 16-35mm.

D700, 35mm

I took what I thought was a rather nice series of photographs of the encounter, although all seen from that single viewpoint. It was as Wrack commented a surprisingly polite encounter with the officer asking what the firefighters wanted to do, taking down Wrack’s mobile number and then going away to see if he could arrange for someone from Downing St to come out and meet with the firefighters as requested.

By this time I was worried about missing the event I had actually come to Westminster to cover, and though I was in an interesting position I decided to leave. It wasn’t easy to make my way out through the dense crowd, but they were good-natured enough to squeeze out of my way.

D800E, 32mm (48mm equiv)

When I got as far as the gate leading into Downing St, a few yards down the road, I decided to go through it. I didn’t want to actually go inside as nothing seemed likely to happen there, and it involves and airport-style security check (those without a Press card have to apply days in advance and bring a passport) and I avoid it unless I really have to, but going just a little way down it did allow me to photograph the crowd from ‘inside’.

Had I stayed there any length of time, I think the police would have ordered me out, but I was able to take a few pictures and then move away without problems.

Striking Firefighters block traffic


To the Tower!

Thursday, April 2nd, 2015

I think the image above captures something of the atmosphere of the march by Class War from ‘Poor Doors’ at ‘One Commercial St’ in Aldgate to the building site at ‘One Tower Bridge’, which as its name suggests is next to London’s trademark structure. It was an interesting event in several ways, and you can read more about it and see more pictures at Poor Doors to Rich Gardens on My London Diary.

The Exif data also makes interesting reading, at least for photographers, and here is a summary, copied with minor editing from viewing a larger copy of the image in FastPictureViewer Pro:

1/60s, f/4.5, ISO 3,200, -2.3Ev
Mode: A, Meter: Matrix, Flash, Auto WB
Focal: 18mm, 19/02/2015 18:46:20, Adobe RGB (1998)
15.4MP (4,800×3,200) NIKON D800E, 18.0-105.0 mm f/3.5-5.6, (C)2015,Peter Marshall

You can see that I was working in aperture priority mode, which surprises me slightly, as more often at night with moving subjects like this I use shutter priority, setting a shutter speed that will let me control the blur from ambient light, or more often still, manual, so I can chose both aperture and shutter.

The DX lens at 18mm has a maximum aperture of f3.5, so I had chosen to stop down by almost a stop, probably to get a little more depth of field. My focus was on the central figure, perhaps around 2.5 metres away, which would render anything from around 1.5 to 8m sharp at f4.5, while at f3.5 this would only have been from 1.7 to around 5.5m.  Or perhaps I just felt that most lenses do get noticeably better if stopped down one stop (or usually better still two.)

With the camera on A setting (aperture priority) the camera selects the shutter speed, and it seems to do so on the basis of the ISO and the +/- Ev setting when I test. So ISO3200 and -2.3EV should I think mean it was actually using ISO 640, but the actual results are very different from those at that setting.  But I give up trying to work these things out, just set things up and alter the exposure compensation until things seem to work. At night you always need a stop or two compensation or the camera will make it look like daylight.

Of course using flash I could have stopped down more. The SB800 I was using is a reasonably powerful unit, and had I left the camera on P, Nikon would have had me using it at a rather ridiculous f10, and the picture would have been a dismal failure with little or nothing visible behind the front trio.

It’s also a picture that needed considerable post-processing. The figure at left was rather close to the flash and needed rather a lot of burning in. The other two close figures also needed some, and parts of the subject further away needed to little brightening.  Almost all flash images need some help in this way to get closer to how the scene actually appeared.

Another problem in using any light source at night is colour temperature. Flash is daylight balanced, and the ambient light seldom if ever is. In some pictures the difference isn’t important, but in others it becomes very noticeable. Occasionally it’s an interesting effect, but more often a distraction – and one that can be overcome with a little post-processing.

Flash also produces an unnatural effect in this image with a number of translucent white spots of varied sizes – for example between the skull and the W on the banner at the right of the picture. These are reflections of the flash from out of focus rain drops. It isn’t really something that was a part of the scene, but an artifact of the way that the image was produced, and although the WPP or Reuters might not agree, I’d have no compunction about removing any of them if I felt they obtruded on the image that I saw when I made the exposure. But fortunately I don’t feel they do in this case, they are just one of the happy accidents of the medium that I embrace.

I chose the second image here partly because I thought it would be nice to have one of Tower Bridge.

It shows Class War blocking the bridge with flaming torches and with two banners including the ‘Political Leaders‘ which on a later occasion the police seized. Again, here’s the Exif data:

1/50s, f/4, ISO 3,200, -0.7Ev
Mode: M, Meter: Matrix, No Flash, Auto WB
Focal: 29mm, 19/02/2015 19:09:53, Adobe RGB (1998)
12.1MP (4,256×2,832) NIKON D700, 16.0-35.0 mm f/4.0, (C)2014 Peter Marshall

The 16-35mm is pretty usable wide open, and there was no reason to stop down. Although this was taken without flash, I was using additional lighting, otherwise the banners and the faces in shadow were rather dim.  Although I’m really a little out of range for the Neewer CN-216 with its 216 LEDs, it has done just enough.

It isn’t the sharpest image I’ve ever taken, but just sharp enough, with just slight problems caused by subject movement at 1/50s.

You can find the CN-216 (sold as Neewer, NanGuang and other brand names) on Ebay for £25-30 (or you can pay more) and it has a smaller and some larger brothers. I’ve tried a CN-160 which is nicely small (it fits in my jacket pockets) but the extra power of the larger CN-216 seems just worth having. The CN-304 probably gives a little more light still, which would be useful, but is significantly larger and heavier. (They also make yet larger and yet heavier versions branded EPHOTO which might be worth investigating for studio use.)

The CN-216 seems very useful used at ISO 3200 within 2-3 metres of your subject, and with the diffuser in  place gives reasonably even lighting for a 35mm lens. Fall-off is noticeable with real wide-angles, but that isn’t always a bad thing, and like lens vignetting can usually be compensated for in post-processing if necessary.

Light output is controllable by a dial, which is also the on-off switch. I’d prefer it to have a separate on-off switch as, having to rotate it to full power for almost every use is annoying. The switch is also rather easily knocked on while in your camera bag and will then run down the 6 AA batteries – though supposedly they last for two hours. I now tape down the switch in transit, moving the tape to an adjacent part of the body while the unit is in use.

You can fit the unit into a hot shoe, or simply hand hold it, which gives more control over the lighting. The hot-shoe mount is a little flimsy and only allows up-down adjustment, but I find it handy to park the unit on top of the camera.  The light comes with two filter sheets that slide over the top, one a clear diffuser to give 5600K daylight and the other amber giving 3200K. Probably the amber is more useful in terms of colour balance, but it does absorb a little light.

I’m unconvinced the diffusers give a greatly more even spread of light. The clear diffuser cuts down the light by around 2/3 stop and the amber by around another stop, so it might well be better to use the unit without either.

All of the pictures in Poor Doors to Rich Gardens were taken either with flash or with the CN-216, though in some the flaming torches were often themselves a significant light source. Getting detail in the flames and in the subject can also be rather tricky!

1000 Words

Wednesday, April 1st, 2015

There are quite a number of things of interest in the current issue, No:19, of 1000 Words. Peggy Sue Amison‘s interview with Ken Schles about his Invisible City/Night Walk is certainly one, and certainly some will enjoy the rather curious work by Nobuyoshi Araki in his ‘Marvelous Tales of Black Ink‘, reviewed by Ivan Vartanian, though it and some of the other photography isn’t particularly to my taste.

There is also a review of a book that I’ve bought, Laura El-Tantawy‘s ‘In the Shadow of the Pyramids‘, an intensely personal view of Tahrir Square and the 18 days there in January and February 2011. It is an interesting book but perhaps one that is rather more personal than Gerry Badger’s review suggests. This isn’t as he says a photobook to do justice to ‘one of the most important manifestations of dissent within the Arab world, the ‘Tahir Square’ revolution‘ but a very personal document centred around this. It’s also a book where the design, sequence and layout play a vital point, something which is lost in the presentation here. It really needs a proper ‘book preview’ to do it justice rather than just a set of images.

But perhaps the most interesting article to me was an interview with Francis Hodgson, Photography Critic for the The Financial Times and much more, and in particular his discussion of how “we decide what is ‘good’ in photography“, or what matters, along with some interesting thoughts on photographic publishing.