Archive for June, 2019

Solidarity with hunger strikers

Sunday, June 16th, 2019

The political situation in Turkey seems to be getting even worse, with more and more opponents of President Erdogan being arrested and jailed, including members of the HDP (Peoples’ Democratic Party) and the Free Women’s Congress, as well as many journalists, socialists and LGBTI+ campaigners.

Many of those jailed are Kurds, and the Turkish Army has also killed thousands of them since the the peace process broke down in 2015. Many Kurds have been involved in the fight against ISIS (Da’esh) in Syria; Turkey, having invaded and occupied Afrin with the aid of Islamist fighters now threatens other Kurdish areas in Syria.

A few weeks after I took these pictures, there were local elections in Turkey, and a surprise defeat for Erdogan’s candidate in the  Istanbul mayoral election. His response was to refuse to accept the democratic vote and declare the election invalid – with a re-run later this month.

I’ve photographed many Kurdish protests in London over the past 20 years, beginning with a protest in Whitehall against the illegal arrest of Kurdish leader Abudullah Öcalan in 1999. He has been in a Turkish island prison, mainly in solitary confinement since then, but demands for his release continue unabated.

On 7th November 2018 HDP MP Leyla Güven, then a prisoned in a Turkish jail, began a hunger strike calling for an end to the isolation of Öcalan . Many others, both prisoners in Turkish jails and outside, joined in her protest, which she continued after being released from prison pending her trial. The hunger strikes ended on 26th May after they acheived their aim and the isolation of Öcalan was ended.

After the protest in Trafalgar Square, the Kurds marched down to protest opposite Downing St, where the group of right-wing Brexiteers were also protesting. Rather to my surprise they greeted the Kurds with loud applause, I think, recognising them as fighting for their rights against authority, but perhaps unaware of their very different political views.

More at:
Rally supports Kurdish hunger strikers
Yellow Vests applaud Kurdish protesters


There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

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

To order prints or reproduce images

My London Diary – May 2019

Friday, June 14th, 2019

May always starts with a busy day on May Day, and there were plenty of things happening later in the month, but I’m trying hard to cut down on what I do, partly because I often get rather tired.

Stoke Newington to Hackney Wick
City and Spitalfields walk

Youth Strike for Climate
Canary Wharf
City Churches Christian Aid Walk
Brexiteers support Trump
10 Years since Mullivaikkal massacre

Wood Green Universal Credit protest
Veterans demand end of NI prosecutions
Bethnal Green Canal Walk
XR tell Hackney stop killing insects

Tamil Genocide Hunger Strike
XR International Mothers’ Day March
Anti-Abortion ‘March for Life UK’
March for Choice defends women’s rights

National Demonstration for Palestine
Guardian lies about Venezuela
Regent’s Canal – King’s Cross
Drivers shut down Uber
Highgate to Stoke Newington
British Museum Stolen Goods Tour

Yellow jackets continue protests
Algerians press for regime change
Camden
Fridays For Future climate protest
Die-In against Nuclear Weapons celebration
Wapping and the Thames
London May Day Banners
London May Day

London Images


There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

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

To order prints or reproduce images


Doing what you want

Thursday, June 13th, 2019

I’ve long been an advocate of doing what you want in photography and I’ve seldom done anything else.

So the title of Stuart Freedman‘s latest blog post, The importance of doing what you want, struck a chord. He’s always an interesting writer as well as an interesting photographer and I recommend this article to you all.

You can also follow his work on Twitter and Instagram. Stuart isn’t a prolific blogger – too busy as a photographer and his previous post was in April 2018 – but his posts on Umbra Sumus are always worth reading and superbly illustrated.

If you had a classical education (I didn’t though I did pass O Level Latin) you will know the line from Horace, “Pulvis et umbra sumus” ‘We are but dust and shadows’. And set high on the south-facing wall of the Jamme Masjid Mosque at the corner of Brick Lane and Fournier St is a sundial with the text ‘Umbra Sumus’ and the date 1743 a thumbnail of which appears at the top right of the blog.

As you probably already know, Brick Lane mosque was built as l’Eglise Neuve, a Protestant Church for Huguenots in 1742, was sold in 1809 to the London Society for Promoting Christianity Among the Jews, who moved to Palestine Place in Bethnal Green in 1809 a few years later and passed it on to Methodists. From 1897 to 1976 it was the Spitalfields Great Synagogue, (Machzikey Hadath or Machzikei Hadass) .

Colour or B/W?

Wednesday, June 12th, 2019

I’m trying hard to remember when I last took a black and white picture, and I think it must be more than ten years ago, though I do still have a few rolls waiting to be processed.

I spent around thirty years taking most of my pictures in black and white (though I often also worked in colour) . Many if not most of my favourite images, both my own work and that of other photographers is in black and white, but somehow I no longer feel any urge to work in black and white.

It would of course be easy to do so. A simple click of a mouse would convert the images taken in any of my digital cameras from colour to monochrome, but it’s something I dislike doing. Occasionally I’ve carried out this conversion, in the past using specialised Photoshop plugins (though now Lightroom has some good monochrome profiles built in) but generally only when my colour pictures are going to be reproduced in black and white – when I prefer to make my own conversions rather than leave it to others.

When I made the mistake of buying a Leica M8, there were some occasions where the colour was simply so wrong as to be unusable (though I spent hours trying to put it right with various software programs) and the only way to use pictures were as black and white. And while it was a lousy colour camera, it was actually pretty good as a black and white camera and perhaps I should have kept it for that. Later of course Leica did produce a monochrome model.

With mirrorless cameras you can even view the world in black and white, which might be an interesting way to work, though I’ve yet to try it for more than one or two test exposures. But generally I’m rather averse to converting images taken in colour into black and white and think most people who do so produce work that is unconvincing. You have to think differently to make good monochrome images, try to think tone instead of colour, and pay greater attention to shape, line and form.

I just spent ten minutes or so looking through some of the more interesting pictures I took earlier this year, looking for images that might possibly have worked in black and white, and coming to the conclusion that colour was essential for almost all. For this post I’ve picked a couple that I thought might work as well or better in black and white and made the conversion. I’ll let you judge – and please feel free to comment if you have a strong preference.

I was prompted to write this post by reading one on PetaPixel, What Shooting Film Taught Me About Black-and-White Photos by Ellie Cotton – I think it looks better on her own web site. I actually think all of the pictures in that article look better in colour, though a couple convert reasonably to black and white.


There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

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

To order prints or reproduce images

Algerians protest

Tuesday, June 11th, 2019

Protests have been taking place every Friday in Algeria for 16 weeks as I write this, and the protest I met in London came close to the start of this peaceful call for change.

The protests in Algeria were triggered in the middle of February when the wheelchair-bound President Abdelaziz Bouteflika, 82 on the day of this protest, announced he would stand for yet another term in office in the April elections. People took to the streets to say he had to go and to call for a civilian-led replacement to the military regime.

Bouteflika was coming to the end of his fourth 5-year term in office, heading a repressive and corrupt military government and has hardly been seen in public since a stroke in 2013. Algeria has seen few benefits from its huge earnings from oil and gas exports, much of which is unaccounted for, and almost a third of young people are unemployed.

Although police have used tear gas and violence against the protests in Algeria, unlike in the Sudan the regime (and protesters) have tried to avoid escalation, probably fearing a repeat of the civil war the country suffered in the 1990s. The regime probably fears that many of its soldiers would refuse to carry out orders to attack the protesters.

So since February there have been attempts to conciliate the protesters. In April Bouteflika was forced to resign, and some of his close associates arrested, with the speaker of the parliament Abdelkader Bensalah  being elected as interim President. The protests are now calling for him and others associated with the old regime to also go, including the head of the army, Ahmed Gaid Salah.

I hadn’t been aware that this protest was taking place, and was walking towards Trafalgar Square for another event when I saw the march moving off in the distance and ran to catch up with them. I always take care to read (and photograph) the banners and placards at protests, and with these (at least those that were in English) I was soon clear what this protest was about. Usually when I plan my diary I also do at least a little research about the events and causes, but this time I had to do this after the event.

Algerians say no 5th term for Bouteflika


There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

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

To order prints or reproduce images


Busy Friday

Monday, June 10th, 2019

I didn’t expect Friday March 1st to be particularly busy in Westminster. Fridays generally aren’t a very busy day for protests not least because many MPs rush off back to their constituencies for the weekend. I’d gone up to take pictures largely because I knew that protesters from DPAC (Disabled People Against Cuts) were protesting against Universal Credit, which is causing widespread hardship and extreme poverty, particularly for disabled people.

They are a group I admire and the treatment of the sick and disabled by the current government has been calculatedly cruel; as a small gravestone they had brought recorded, over 12,980 people have died within six weeks of being found fit for work by a deliberately ill-designed biased scheme adminstered to make a huge proportion of incorrect decisions – which if people live long enough for their appears to be heard are overturn in over two thirds of cases – though often by the time this happens it it time for another fake assessment. It is all about cutting costs and academic studies point to around 120,000 early deaths from the Tory cuts since 2010.

That protest turned out to be rather smaller than I had hoped – and then those taking part had anticipated. In part the small number reflected the difficulties of travel for disabled people that I’ve also photographed protests about.

My own travel on that morning took me on a slightly unusual route. Usually I take the train to Waterloo and walk from there to Parliament Square, but I think I was feeling lazy, and instead got off the train at Vauxhall and took a bus from there, which took me past the Home Office, now also home to DEFRA, the Department for Environment, Food and Rural Affairs. In front of their entrance was a giant plastic bottle, made up of single use plastic bottles, drawing attention to the need to take action against the huge amount of plastic waste that ends up in our oceans and in landfill.

Apart from the problem of disposing of this waste, there are also the problems caused by the extraction of the petroleum and the energy required to produce the plastic from this and fabricate it into bottles. I carry a plastic bottle of water in my bag when taking pictures, which I bought on a very hot day a couple of years ago, as a single-use bottle containing a fizzy lime and lemon drink. Since then I’ve refilled it several hundred times with water, rinsing it out every day when I get home, and it is still going strong.

The first person I met on getting off the bus at Parliament Square was a lone protester with sandwich boards and a placard with plastic bottles hanging from it calling for a ban on all disposable plastic trash. This was the first time I’d met him there though I’ve seen him several times since.

I’d known that there would be other protests taking place in the square, and one was by Climate Strike, one of many weekly #FridaysForFuture events taking place in many cities and towns across the world inspired by the action of 15-year old Greta Thunberg. The weekly protests here – like this one – have not really grown much since they started, but there have been several much larger and noisier protests Friday protests involving many school children.

Another that I hadn’t really been aware of before became apparent when a large number of London’s black cabs came to a halt around Parliament Square, one of a number of protests by them demanding to be allowed to use all roads and bus lanes in London. I think it’s time to look again at taxis in London, and to replace the outdated system of ‘plying for hire’ and ‘the knowlege’ with one based on smartphone apps and professional sat-nav systems. Black cabs cause too much pollution and congestion to keep running as they now do in London. But I was pleased when a group of them came to support the DPAC protest against Universal Credit.

The final group of protesters in Parliament Square were at the start of a march to the Japanese embassy against the barbaric annual slaughter of dolphins in Taiji cove. I went with them as far as Downing St before returning to Parliament Square.

More at:
Scrap Universal Credit
End Japanese dolphin slaughter
Black Cab Drivers blockade
Weekly climate protest
Plastics protests in London


There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

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

To order prints or reproduce images


Mother Hysteria and Mogg

Sunday, June 9th, 2019

Starring Adam Clifford as Jacoob Rees Mogg and Jane Nicholl as Mother Hysteria the cast got together in a pub a short walk from the London Palladium where a full house of mugs were paying £38 a head to come and listen to Mogg.

Together with a small team of supporters the pair walked down to the Palladium, where early comers were queing to get into to the show and told them what they had come to see – and evening with a religious extremist.

This image has an empty alt attribute; its file name is 20190226-d1138.jpg

It was almost certainly more entertaining than anything that was coming later in the evening when they got inside the theatre, but there were a few in the queue who got a little upset at Class War. The police too showed they lacked a sense of humour and were soon insisting that Class War move further away to the other side of the road.

The protest continued there, with some longer speeches from a few of those present, including a well-known Whitechapel anarchist, although I wasn’t sure how many of those largely out-of-town punters across the road would appreciate the rhyming slang of his placard, ‘Jacob Rees-Joey Ronce.’

Nor for that matter, its accuracy. ‘Mogg-Tax Dodging Snob’ on another placard was however doubly to the point. Behind his backing for Brexit is undoubtedly both the fact that he stands to make millions if not billions from it, and as another placard pointed out, he is truly ‘Lord Snooty’ personified.

The evening then descended further into farce as the police threatened Mother Hysteria with arrest for possession of offensive weapons in the form of some novelty stink bombs. They took her to one side and held her against the wall and searched her, after which the sergeant concerned retreated into a nearby shop and spent at least 20 minutes trying to think of something to put on the notice for her that didn’t sound entirely ridiculous.

I took a lot of pictures, but not all of them were usable. It was yet another occasion when the many buttons and the two control dials on my Nikon cameras attracted my wandering digits, and I found myself suddenly having taken a series of exposures at far too high a shutter speed for the lighting or too slow for the subject movement. I had problems too with flash, and one of my cameras had a problem with the hot shoe, which I think was not making proper contact with the flash resulting in it firing at full output and totally overexposing some frames.

But as you can see at Class War protest Rees-Mogg freak show, plenty came out OK.


There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

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

To order prints or reproduce images

Steiglitz Key Set

Saturday, June 8th, 2019

NGA ONLINE EDITIONS ::  ALFRED STIEGLITZ KEY SET

Back in 2002, the US National Gallery of Art published the massive two-volume ‘Alfred Stieglitz: The Key Set – Volume I & II: The Alfred Stieglitz Collection of Photographs‘ by Sarah Greenough, 1012 pages lavishly printed and weighing over 18 lbs, presenting the complete set of 1,642 photographs of his work, selected after his death in 1946 by his wife, the painter Georgia O’Keeffe who devoted three years of her life to sorting out the best examples of each of the finished and mounted prints in his possession when he died.

O’Keeffe presented the bulk of this work to the NGA in 1949, adding most of the rest, including well over 300 portraits of herself in 1980 which had previously only been on loan. There are several versions of many of the works, sometimes in different media and in some cases quite differently cropped and sometimes made over many years.

The book was a truly fine publication, heavily subsidised by generous donors, but in many respects the recent online presentation is preferable. Certainly the search facility is a great addition, as is the ability to zoom in on pictures, particularly for those of us whose eyesight is a little less sharp than it once was. And you can mark several pictures to compare them together on screen.

Those large and heavy paper volumes are also just a little difficult to handle, while the on-line presentation is excellent, enabling you to page easily through the pictures in order should you wish to, zooming in to them or scrolling down on the page to read more about them (they make use of the open source IIPMooViewer – you can read more about this should you be interested in a case study about the NGA on the IIPImage site.) The site seems to work remarkable quickly on my internet connection and you can also download the pages as PDFs should you wish to do so.

Of course the quality of reproduction of the online version will depend on the device you view this on, and your phone may not display them quite as well as a large calibrated monitor. But even more than the book, this is an enormous and fascinating work of scholarship.

Stieglitz remains one of the most important figures in the history of our medium, a major player as a photographer both in pictorialism and the move away from this to modernism and straight photography, as a photographer and also as an editor and curator. He was a prime mover in establishing photography as art and promoted the work of a number of photographers and painters through Camera Work magazine and his galleries, though it was only quite a few years after his death that an art market for photography came into being. He sold very few of his own images, and most of those in museum collections came like those at the NGA, from donations either by himself orafter his death by O’Keefe.

Despite the superiority of the online version, there is still something about the print version which I prefer, and it can still be bought on Amazon and elsewhere, with both new and secondhand copies on offer, but at a price. The cheapest I found in a very brief search, including shipping to the UK is around £170, though some dealers are asking up to £600. When I bought my copy I think I paid less than some are now charging for shipping.

Who Are We?

Friday, June 7th, 2019

You can now watch the video presentation Who Are We? 2019 – Shahidul Alam played at Tate Modern last month, part of Learning Lab 2: Artists who Risk and Artists at Risk, 25 May 2019. I found it an interesting insight into his work and in thinking about our own work as artists – and he says we are all artists.

Who Are We? is a cross-platform event designed for Tate Exchange (Tate Modern) reflecting on identity, belonging, migration and citizenship, open free to the public, and has been held annually since 2017 and is a partnership with the Tate, Counterpoint Arts and the Open University.

Probably I don’t need to say anything about who Alam his, or about his arrest last year. I’ve written at least a dozen times about his work as a photographer and also about his other incredible activities in Bangladesh, setting up Drik and Majority World agencies, the Bangladesh Photographic Institute, the South Asian Institute of Photography, Pathshala and the Chobi Mela festival. Here is a link to just one of those posts, 25 Years of Drik.

D-Day 75 years on

Thursday, June 6th, 2019

What else could a photographer post on the 75th anniversary of the D-Day landings in Normandy but a link to Robert Capa on D-Day, the huge series of investigations into what have since become the iconic images of the event, the 10 or 11 severely undexposed frames made by Capa in the few minutes he spent on the beach before rushing to jump on a boat and get his pictures back to England.

The project, launched 5 years ago today on the 70th anniversary of the event “combines elements of photo history, research in journalism, critical thinking, and media literacy” and the team, led by photography critic and historian A D Coleman of photojournalist J Ross Baughman, photo historian Rob McElroy and military historian Charles Herrick have provided us with a remarkably clear and detailed view of what actually happened on that day and later, in the darkroom and to the present day in creating and promulgating the legends around that handful of pictures.

Doubtless there will be articles published today that retell the invented story of the darkroom mishap, or repeat some of the other fabrications around the pictures made by Capa and others. But knowing the real story – or as much of it as can now be verified – doesn’t in any way detract from the power of the couple of truly iconic pictures.

It seems unlikely that we will ever know who was that ‘face in the surf‘ , though we can now be sure it was none of those who have most publically claimed to be him. I’m not sure we would gain were a positive identification possible – isn’t it better that it remains an ‘unknown soldier’ whose face commemorates the event?

If I didn’t have a busy day ahead of me taking pictures (nothing to do with D-Day) today would be a good time to get out those several books of Capa’s pictures on my shelves and look through them, along with some of the investigations and perhaps a glass or two of wine.

Those of you who would prefer a very much shorter and generally accurate account of the the D-Day pictures you can read Wikipedia’s ‘The Magnificent Eleven’, which also reproduces seven of the pictures.

And should you be in London before 29 September 2019 you can go and see the free exhibition Robert Capa: D-Day in 35mm at the Imperial War Museum, which includes prints of 10 of the 11 photographs taken by Capa on Omaha Beach, as well as “personal accounts and objects related to Allied soldiers who landed that fateful day. ”