Archive for November, 2020

Paris 2010

Friday, November 20th, 2020

Ten years ago today I was in Paris, having arrived there for Paris Photo two days earlier on Wednesday 17th, where after queing to get my accreditation I attended the opening of the event. I didn’t much enjoy it – too many reminders that I wasn’t a VIP and too many cliques around most of the gallery stands, though I did meet just a few old friends in the crowds.

But it was too crowded and too hot and I was pleased to leave early and meet my wife for a rather good meal in a Latin Quarter restaurant and then a short walk around the centre of Paris before taking the Metro to our hotel room in the Goutte-d’Or. You can read more about my initial thoughts on the show in a long blog here on >Re:Photo, and there are a few more pictures on My London Diary.

Thursday after breakfast and a short move to another hotel there was plenty of time to take a leisurely walk and some photographs on my way to Paris Photo which opened at 11am.

The pictures I made on the walk are I think rather more interesting than those inside Paris Photo, and a couple of hours inside the show were enough for the day – and I wrote about it at some length for readers of >Re:PHOTO, as well as a more general piece Thoughts on Paris Photo.

I met my wife for a pleasant lunch and then we began a tour of photo exhibitions in the 3e – and I wrote about some of them here, as well as taking more pictures on our walk.

The highlight of our day was the opening of Brian Griffin’s The Black Country, and again I posted a lengthy piece here on >Re:PHOTO.

We finished the day at a fine Party, hosted by Jim and Millie Caspar of Lensculture in their flat on the rue Saint Antoine, and after a few glasses of champagne I couldn’t stop myself taking more pictures. There was also a room set up as a studio where all the guests were invited to take photographs of themselves. On this site I mainly talk about the technical details, but there are again more pictures in my diary.

We had to leave early at around 11.30 to take the Metro back to our hotel, but the party was still going strong. I slept well that night after a long day, and the following morning was out again for another wander around Ménilmontant and Belleville in the north-east of the city until lunchtime. Again you can see more on >Re:PHOTO and in my diary.

I’ll end with a picture I took in Paris Photo (there are more online.) The face reflected in the towel-holder looks rather as if a man is wearing a mask (or just a gag), though it is just a label. As I walked into the toilettes pour hommes another photographer was taking his self-portrait in the rather fancy mirrors.

(to be continued in a later post)


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.


Violence or Photography?

Thursday, November 19th, 2020

According to some I should be confessing my sins for the criminal behaviour of taking pictures of people in public places like this without first gaining their permission. Of course I don’t see it that way.

On the streets we have no “reasonable expectation of privacy” and while I think we should all – whether taking photographs or not – generally try not to behave in ways that give others reasonable call for upset, making a photograph does not usually fall into that category. Of course there are some photographers who have adopted a very aggressive approach which I feel is questionable, and there are offences such as stalking and ‘up-skirting’, but in general photographing people in public is not a criminal offence, even if those being photographed may not like it. And of course there is sometimes a strong public interest in photographing people who make it clear that they do not want to be photographed.

Mostly those I’ve photographed, at least in recent years, have been involved in protests, and making a protest implies a clear statement that you wish your actions to be recorded and there is also a clear public interest in doing so. But there is also a public interest in the recording and making statements about everyday life, the ordinary behaviour of people often unaware they are being photographed. So while I may occasionally have upset people by taking their pictures, and I may apologise that they feel upset, I’m not apologising for taking pictures or for my actions, but that I’m sorry that they think that way.

This doesn’t mean that I never ask people if I may take their picture. There are times and places where I do, usually when I need to work closely with them and take more than a single image, but more often to do so would mean missing the moment and failing to express what I saw as important to say.

I had to sort through my own ideas on this back around 1990 when I worked on a transport project taking pictures of people on buses. I don’t think there is a single picture I took for that where I asked for permission, and few that I could have made had I done so. Some were clearly aware that I was taking their picture, but most were not.

Only one person actually objected. He was a man sitting on a seat in a bus dressed in shorts with a snake around his bare upper body. I didn’t get a chance to reply to him, as two elderly women sitting to one side immediately butted in, telling him clearly that if he travelled on buses dressed like that he should expect to be photographed. I think his real objection was that I was not paying him – this was his working outfit, and he was on his way to pose with tourists in Covent Garden for a fee.

These thoughts were aroused by an article on PetaPixel, a response by Kansas City photographer Brandon Ballweg to an opinion piece published in the New York Daily News by writer Jean Son titled “When your photograph harms me: New York should look to curb unconsensual photography of women“. In Street Photography Is Not a Crime. Let’s Keep it That Way Ballweg describes her premise that any photographing of women in public places constitutes “gender-based violence“, as “hyperbolic and irresponsible” and goes on to comment on her behaviour and and arguments, as well as what seems to him (and me) her totally inconsistent later claim that “Garry Winogrand is one of my fave artists btw“. Somehow it was fine to photograph women (and men) on the street without their consent in the 1950s, 1960s, 70s and 80s as he so consistently did but now she considers it an offence.

Ballweg ends his piece – worth reading and illustrated by a number of Winogrand images – with a suggestion of a “rational, mature, adult way of dealing with a situation of you’ve been photographed” and don’t like it and goes on to suggest that if having someone take your picture causes you “such distress that you lobby to convene a task force to ban it” then it may be due to “some underlying personal issues that you need to work through and confront as an individual” rather than a problem with photography.

It’s perhaps a little harsh a statement, but reflects Son’s failure to distinguish between actual gender-based violence and the taking of photographs. It’s a vital line to draw if not always clear exactly where it lies, and one which the US Legal system has clearly failed to do in some cases as Son rightly points out.


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.


Victoria & Kensington

Wednesday, November 18th, 2020
Victoria Palace, theatre, Victoria St, Victoria, Westminster, 1987 87-9g-25-positive_2400

The car in the foreground seemed appropriate for ‘High Society’ at the Victoria Palace, but I would have preferred it without the foreground post. But this wasn’t a planned photoshoot, just a car that happened to stop at the traffic lights while I was looking at the threatre, and it moved off before I could change my position.

Morpeth Terrace, Victoria, Westminster, 1987 87-9g-31-positive_2400

Morpeth Terrace runs along the west side of Westminster Cathedral, and its mansion flats have over the years housed some notable residents. A few doors down the street a black plaque records that Winston and Clementine Churchill lived here from 1930-39.

They had apparently bought the flat on the fifth and sixth floor from Lloyd George, who reportedly had housed his mistress there. It was in the study of the flat that Churchill held a meeting with other MPs and wrote a letter to Prime Minister Neville Chamberlain urging him to send Hitler an ultimatum the day before war was declared in 1919.

Later the same flat is said to have been home to Stalin’s daughter, Svetlana Alliluyeva. But if so, her stay there was probably brief as she defected while on a trip to India, going to the US embassy in New Delhi and became a US citizen, though later moved for a short while to Cambridge before returning to Russia and then back to the USA.

I photographed this end of building rather than the part of the block with the Churchill plaque as it seemed more interesting. You can also see it was in rather poor external condition at the time – it has since been refurbished.

Baxendale & Sadler, Hatherley St, Victoria, Westminster, 1987 87-9g-52-positive_2400

It looked as if Baxendale & Sadler, Electrical Engineers and Contractors might still have been in business, though their shop front was rather the worse for wear. I think it had once said they were established in 1956.

The shop, a few yards from Vauxhall Bridge Road, is now residential.

Empire Hospital, for Paying Patients, Vane St, Westminster, 1987 87-9g-54-positive_2400

The Empire Hospital for Paying Patients in Vane St, Westminster obviously rather predated the National Health Service, and according to the Lost Hospitals of London web site was “opened in December 1913, intended to receive paying patients, primarily visitors from overseas” and was a nursing home with no doctors or surgical staff. Taken over as a military hospital it became the “Empire Hospital for Officers (for Injuries to the Nervous System)” and closed in 1919.

Later it became the Grange Rochester Hotel and is now the the Rochester Hotel by Blue Orchid, and looks rather more welcoming, with the text above the door covered by a hotel sign.

Palace Garden Terrace, Kensington, Kensington & Chelsea 87-10d-56-positive_2400

Wyndham Lewis (1882-57) disliked the name ‘Percy’ and dropped it, but others continued to use it and it appears on the GLC plaque in Palace Garden Terrace, Kensington which does not record when he lived here.

Born on a yacht, Lewis went to Rugby School and the Slade before studying in Paris before settling in London. A founder member of the ‘Camden Town Group’ he became one of Britains leading painters, best known for what Ezra Pound named as ‘vorticism’. After serving as an officer in the Great War he was made a war artist. In the late 1920s he turned mainly to writing and had produced over 40 books before his death.

Between the houses you can see Courtlands, described as a former coach house, though it looks rather more grand than that. The terrace seemed overpowering with long and largely unbroken stretches of largely white stucco, and these brick houses with a vista of a white villa attracted me.

Mall Chambers, Kensington Mall,  Kensington, Kensington & Chelsea 87-10d-55-positive_2400

The Grade II listing for Mall Chambers on Kensington Mall is unusually concise, at least at its start: “Improved industrial dwellings. 1865-8. J Murray. Yellow brick, stone dressings. Five storeys. Corner site, with corner entrance.” Towards the end it quotes Building News from 1868 “”intended for a class somewhat above ordinary mechanics and labourers”.

That is of course even more true now. A three bed flat here sold for £741,000 in 2014.

Kensington Church St, Kensington, Kensington & Chelsea 87-10d-52-positive_2400

Joseph Yates Timber Merchants were suprisingly still in business here until fairly recently and its timber yard now houses a luxurious four bedroom town house. Yates’ shop on the left of its carriage entrance is now The Kensington Cigar Shop.

The planning permission granted in 2004 required the retention of the lettering on the front of the building.

You can click on any of the images to see the larger version on Flickr and to browse more of the album 1987 London Photos.


London Protests: 17 November 2018

Tuesday, November 17th, 2020

Saturday November 17th 2018 saw the start of Extinction Rebellion’s beidge blocade in central London, bringing the city to a standstill by blocking Lambeth, Westminster, Waterloo, Blackfriars and Southwark bridges. I joined them for the first couple of hours on Westminster Bridge.

From there I went to pay brief visits to three of the other four bridges that XR had blocked, choosing those downstream which were relatively easy to reach on foot.

I didn’t go to Lambeth Bridge, upstream from Westminster, as I ran out of time before another event I wanted to cover. It would have meant too long a walk as the nearest tube station is some distance away and there were no buses able to run. Later I found that it was at Lambeth that the police had been more active in making arrests and attempting to clear the bridge.

I arrived too late for the start of the march organised by Stand Up To Racism, co-sponsored by Unite Against Fascism and Love Music Hate Racism, and supported by many other groups and individuals including Diane Abbott MP and John McDonnell MP against the against the rising threat of Islamophobia and Antisemitism by far-right groups in the UK.

It was a large march and had gathered outside the BBC in Portland Place because the organisers wanted to point to the failure of the BBC to recognise the threat of these extremist groups with a level of support for fascism not seen since the 1930s.

The BBC does appear to have a policy limiting reporting on issues such as this, and of ignoring or minimising protests in the UK against failures of government. When they have reported, they have often talked of ‘hundreds’ of protesters when a more objective view would have said ‘thousands’ or perhaps even ‘tens of thousands.’ They do a far better job in reporting protests in foreign cities than in London.

Half an hour after I began taking pictures the marchers were still walking past me, but I thought that it was nearing the end and I left, not to go to the rally in Whitehall but to return to Westminster Bridge for the Exctinction Rebellion protest where there were speakers from around the country and around the world, some of whom travelled to speak on several of the five blocked bridges. After the speeches there was a Citizen’s Assembly but by then I was tired and left to go home, edit and file my pictures – more hours of work.

Protests by XR have done a little to shake the complacency of our government and others around the world and move them to action to avoid the rapidly approaching climate disaster, but it remains a case of too little, too late. Certainly so for many countries in the global South already suffering dire consequences, but probably also for us in the wealthier countries. Covid-19 has shown that governments can take drastic actions, (if ours cost many thousands of lives by making decisions too late and avoiding basic precautions) but it will need a similar upending of priorities and changes in our way of life to avoid the worst effects of climate change – and there can be no vaccine to end climate change.

More about the events and more pictures on My London Diary:

Extinction Rebellion Bridge blockade starts
Extinction Rebellion: Southwark, Blackfriars, Waterloo
Unity Against Fascism and Racism
Extinction Rebellion form Citizens’ Assembly


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.


The Perfect Camera

Monday, November 16th, 2020

I recently came across a post on Petapixel, My 10 Year Search for the Perfect Camera Brought Me Back to APS-C written by international photographer and filmmaker based in San Francisco Kien Lam. Although I try to avoid thinking too much about gear, like most photographers I suffer from a considerable amount of insecurity and the feeling that somehow a better camera or lens would improve my work.

It’s a feeling that over the years has led me to buy numerous cameras and lenses, most of which now lie unused in cupboards either because I can’t be bothered to sell them, or because of a feeling that one day I might just take them out and use them again.

Things were rather easier in the days of film, and there were usually what seemed to be very good reasons to change to a new camera. I got fed up with the Zenith B because it was a clunky beast that required so much force to wind on film that it was easy to rip a film in two. Its one camera I didn’t hang on to when I moved to the Olympus OM1, which compared to it seemed an almost perfect camera – and one I used until various bits fell off and I replaced it with an OM4. I still have two of these, to my mind still the most perfect cameras of their type.

But I still bought other cameras. For some types of photography I preferred a rangefinder Leica. Starting with a battered secondhand Leica M2, I later bought a nearly new Minolta CLE, another great camera with decent exposure metering well before Leica’s own. Leica’s shutter was noisy and intrusive compared to the Hexar F, another camera I loved, though its fixed 35mm lens wasn’t quite wide enough. The main problem I had with its silent mode was that I was often not sure if I’d actually taken a picture or not.

Then there were cameras of a more specialist nature, each with their uses. Several swing lens panoramic models, medium format and even 4×5″ cameras, and another favourite, the Hassleblad X-Pan.

The came digital. After some compact cameras I started seriously with the Nikon D100. The pictures were fine but the viewfinder was abysmal, reason enough to upgrade to D70, then the D200 when that came out. Then the D300… Cameras were beginning to seem disposable, each new model offering more pixels. Then came full-frame, and really I should have resisted, but I didn’t. I didn’t really need the extra pixels, but again the viewfinder was better, though I ended up taking a lot of images in DX mode and enjoying being able to view outside the frame lines.

Most of those digital cameras I’ve actually passed on to friends or swapped including the disastrous Leica M8 with its colour problems. It was that swap that really got me into Fuji, with the X Pro1. A nice optical viewfinder but rather poor with lenses outside its range which needed th electronic version.

I’ve still got my Nikon kit, two working bodies, though a couple went beyond economic repair, and various lenses. The D810 is now mainly used to ‘scan’ negatives, though occasionally taken out until the virus lockdown for its low light capability. But I find the kit too heavy for me now, and looked around for a lighter system.

For a while I used an Olympus OM-D E-M5 Mark II which seemed in some ways very similar to my old and well-loved OM film cameras. Some fine lenses – both Olympus and Panasonic Leica – but just occasionally I felt there was something lacking in the images from the smaller sensor.

Eventually I went back to APS-C, and like Kien Lam to Fuji, though to the less expensive options of a Fuji XT-1 and an XT-30. It was the latter than decided it for me, roughly as small and as light as the Olympus, and I bought it rather than commit to Olympus by buying a second Olympus body. Unlike Kien Lam I’m not searching for a perfect camera, and I certainly spend a lot of time swearing at the Fuji cameras with their complicated buttons and menus. But the lenses are excellent (though some are rather expensive) and I’ve yet to find myself thinking that any particular image would have been better on full-frame.

Vaterland

Sunday, November 15th, 2020

I probably won’t be buying J M Colberg’s book Vaterland, to be published by Kerber, as my bookshelves are already groaning under the stress of far too many volumes. But it was interesting to see a book of photographs by someone much of whose critical writing – which I’ve often referred to on this site – has been about photography books.

The latest post on Colberg’s online Conscientious Photography Magazine is Vaterland, where he writes about the state of his native Germany and the rise of right-wing extremism there. In 2016 he went to take photographs exploring ” the region in Europe’s heart whose largest parts are made out of Germany and Poland, Central Europe” without the intention of producing his first photo book.

He writes that living for 20 years away from Germany has resulted in him being more engaged with the changes that are happening there than had he stayed and he sees the book as a metaphorical “expression of my unease, of my worries, of my upset, of my realization to what extent Germany and its past are an integral part of my own life.”

There are more pictures from it on Colberg’s web site – I think almost half of those that will be in the book, along with more text. As would be expected they seem very precise and carefully framed, but they seem to me to perhaps be both at times too obvious – a headless statue, rubble, grass like a stain punctured by some kind of fence – and too controlled, too cold.

In part I think this represents something that I was aware of in my visits to Germany and in some aspects of German photography. A few of the photographs I took there in the very different 1980s would certainly fit into a book like Colberg’s, though the exhibition of images and text I showed in 1986 had a very different feeling.

Of course things have changed since then though when I went back to Germany to stay in the same place and with the same family in 2013 my experience was rather more positive than his.

You can view the book I produced based on my pictures from the 1980s on the preview at Blurb, and if you make the preview full page can read the texts that I wrote back in 1986 to accompany them in the show, which represent both some of my feelings about the pictures and my experiences in Germany and my sometimes odd sense of humour which these brought out.

German Indications
German Indicat…
By Peter Marshall
Photo book


Montreuil, Paris

Saturday, November 14th, 2020
Montreuil, Paris 1988 88-8f-56-Edit_2400

Montreuil is of course not Paris, not inside the old walls or the modern municipality, but a commune at its eastern edge, only four miles from the centre of Paris, an ancient settlement now separated from the city by its modern wall, the Boulevard Périphérique. 

Montreuil, Paris 1988 88-8f-12-Edit_2400

I don’t now recall exactly where we stayed, somewhere a short walk from Robespierre (the Metro Station not the man) and just a little further from the RER at Vincennes.

Montreuil, Paris 1988 88-8f-34-Edit_2400
Rue Douy Délcupe, Montreuil,

Long before the days of Airbnb we had leased a flat from a colleague of my brother-in-law’s wife who had gone south for a month in a gîte for August – like most of Paris. It was a spacious flat for its usual single occupant, but a little cramped for our family of four, and while the boys shared a bed, we slept on a mattress on the floor, which was comfortable enough.

88-8f-13-Edit_2400

Most days I went out for a walk before breakfast to buy bread and sometimes croissants, often with one of my sons, and always with a camera. Many of the bakers were closed for August and others took it in turns to be open for a week, making some of these walks a little longer, and I often diverted down streets that looked interesting.

Montreuil, Paris 1988 88-8f-15-Edit_2400

We also went for family walks around the area, though on the first Monday of our visit went to a photo-booth to get portraits for the boys to get them their ‘Carte Orange (we still had cards from a previous visit) and then bought our ticket for what seemed a ridiculously cheap week of travel on the Metro system – I think little more than the cost of a day travelcard in London.

Montreuil / Vincennes, Paris 1988 88-8g1-64-Edit_2400

Once equipped with these we spent most of our time in Paris, but still occasionally walked around Montreuil on our way back to the flat or after our evening meal there rather than return to the city.

Montreuil, Paris 1988 88-8f-11-Edit_2400

There are more pictures of Montreuil and other places in and around Paris in the album ‘Around Paris 1988‘ and clicking on the pictures above will take you to a larger version in the album, from where you can browse them others. The images here all come from the first day or two we were staying there and are all a short walk away from the flat. I’ll feature some more in later posts.


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.


Bokeh Bunkum

Friday, November 13th, 2020

I’ve never really understood the hoo-hah about bokeh which has become far too dominant since photography came on the web; it really was not an issue, not even a term photographers had heard of before 1997 and the blame for its introduction can be clearly laid with Mike Johnston, then editor of Photo Techniques (but now author of The Online Photographer blog) who published three articles on it in May of that year, as well as changing its spelling from the Japanes ‘boke’ to reflect its pronunciation for us anglophones. And it was on his blog that I found the link to the video Bokeh Is Overrated by Andrew on the Andrew & Denae channel.

Bokeh is a term to describe the different rendering by different lens designs of out of focus background areas, particularly highlights. The differences become more obvious at wide apertures and with longer focal lengths. Some designs retain a more wiry core, while others are smoother, though the differences can be subtle. The most extreme example of a bokeh that I almost always find unpleasant is the doughnut shaped out of focus highlights produced by all mirror lenses; typically 500mm or more, their mirror design gives these despite the limited apertures – usually f8.

Bokeh has I think become so popular because it gives people a kind of plug-in solution to producing “better pictures”. You don’t need to think but can simply buy a f1.2 lens and use it wide open for your portraits etc. Lazy photography. And now getting lazier still when you can apply it in software after the event or in camera.

Andrew’s experimental study which he describes in his video isn’t really about bokeh, but about out of focus backgrounds and I think all his relevant pictures in it were taken with the same lens but at differing apertures. But its results still show the largely irrelevant nature of the holy grail bokeh quest to actually making better pictures, pictures that other people and not just fellow bokeh-obsessed nerds will prefer.

While the details of the survey which occupy much of the video are a little tedious, and it clearly – as the video and a disclaimer makes clear – is not a scientifically valid survey, its hard to fault the conclusions and advice Andrew gives in the final section of the video, which I hope will do something to cool the bokeh obsession.

Among his conclusions are that the “strength of a photograph is not measured in terms of background blur” and “what is in focus is always more important than what is not in focus” but there is a lot more that makes sense.

There are, as he says, valid reasons to want fast lenses, mainly to work in low light, where as well as for taking images, with cameras that have optical through the lens viewfinders such as DSLRs they give a brighter image. Of course they are far less necessary than used to be the case with film, when ISO 1600 was about as far as we could push; now we have at least 3 stops more to play with. For static subjects we now have image stabilisation which enables us to use much slower speeds hand-held – and as a last resort there are tripods, though I now seldom need to dust mine off.

I do own a f1.2 lens, a Fuji XF56mm short telephoto, but I’m not sure I’ve ever used it wide open. Usually the depth of field is simply insufficient. Stopped down to F2.8 it gets noticeably sharper too. But usually I’ll trade any advantages of a fast lens for the smaller bulk and lower mass and price of an F2.8 or f4 counterpart – and will take the great majority of my pictures between f5.6 and f11, except by accident.


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.


Missing Paris

Thursday, November 12th, 2020
1984

I’m missing Paris. My first visit there was in 1966, when I spent a week or two in a Protestant student hostel a few miles south of the centre with my future wife – though in separate double rooms, each with another of the same sex – and students from around the mainly Francophone world. After breakfast each day we took the train for the short journey to the Left Bank and spent the day as tourists in the city and nearby attractions, though mainly just walking around the city as we were both still penniless students.

Paris 2008

We lunched outdoors in parks and squares, buying baguettes and stuffing them with chocolate or pate as we couldn’t afford cafes or bars, eating cheap fruit for afters. We went out of Paris to Versailles, where I managed to drop my camera in the lake as we climbed into a boat to row around the lake. The boatman fished it out and handed it back to me as we got out of the boat, rather obviously expecting a reward, but all I could afford was my thanks. The camera never worked reliably after that, and it was five years before I could afford to replace it.

We returned to the hostel for an evening meal, which introduced me to some very strange dishes – and I think one evening as a special treat we were given a kind of horsemeat stew; it tasted fine, but I’ve never sought to repeat the experience. After dinner we crowded into a room with the rest of the inhabitants to watch the games of the World Cup, though I’d gone home before the final.

Quai de Jemappes / Rue Bichat, 10e, Paris, 1984

It was some years before we could afford another foreign holiday – we’d spent our honeymoon in Manchester with a day trip to the Lake District, a visit to Lyme Park and some walks around Glossop. But in 1973 we were back for a couple of weeks in Paris, this time at a hostel in the centre and sharing a room. We took with us the Michelin Guide (in French) and I think followed every walk in the book, which took us to places most tourists never reach – it was then much more thorough than the later English versions.

Monmartre, 1973

In 1973 I had two cameras with me. A large and clunky Russian Zenith B with its 58mm f/2 Helios lens and a short telephoto, probably the 85mm f2 Jupiter 9, but also the more advanced fixed lens rangefinder Olympus SP, with its superb 42mm f1.7 lens, a simple auto exposure system as well as full manual controls. I needed my Weston Master V exposure meter to work with the Zenith. You can see more of the photographs I took on my Paris Photos web site. Some of these pictures were in my first published magazine portfoliolater in 1973.

It was a while before we returned to Paris, though we went through it by train on our way to Aix-en-Provence and on bicycles from between stations on our way to the Loire Valley in the following couple of years. Then came two children, and it was 1984 before we returned to the city with them when I came to photograph my ‘Paris Revisited‘ a homage to one of the great photographers of Paris, Eugene Atget, which you can see in the Blurb Book and its preview as well as on my Paris Web site.

Placement libre-atelier galerie, Paris 2012

We returned to the city several times later in the 1980s and 1990s, and more regularly after 2000, when I went in several Novembers for a week, usually with my wife, to visit the large Paris Photo exhibition as well as many other shows which took place both as a part of the official event and its fringe. One week there I went to over 80 exhibitions, including quite a few openings.

La Villette, Canal St Martin, 19e, Paris 1984-paris285
1988

But the last time I was in Paris was in November 2012. Partly because Paris Photo changed and there seemed to be less happening around it in the wider city than in previous years. We’d planned to go in 2015 but were put off by Charlie Hebdo shooting and later the November terrorist attack. More attacks in 2018 also put us off visiting France, but we’d promised ourselves a visit to Paris in 2020 – and then came the virus.

88-8l-54-Edit_2400
1988

While I’ve been stuck at home since March, I have been visting France virtually, going back to my slides taken in 1974 in the South of France, of our ride up the Loire Valley in 1975 and of Paris in 1984, all of which are now on Flickr. Most recently I’ve returned to Paris in 1988, with over 300 black and white pictures from Paris and some of its suburbs.


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.


The 11th Hour of the 11th day

Wednesday, November 11th, 2020
All pictures from Staines on 11th November 2007

I have mixed feelings about Remembrance Day. Of course we should remember those who have died in wars, but the events which take place on Remembrance Sunday often seem to glorify war, and rejoice in military victory. Remembrance Day – or Armistice Day as we used to call it – is a day for more sombre observance and reflection, though it often passes most people by. Gone are the days when traffic across the nation stopped and cars pulled to the side of the road to observe the two-minute silence on the “eleventh hour of the eleventh day“.

My father served in the Great War, though he only joined up at the start of 1918. Before he had worked in a munitions factory, but had been laid off, and was called to a medical around his 18th birthday in December 2017. He was examined and the medical officer, after finding he was deaf in one ear asked him if he really wanted to join the army – and only passed him as fit when he said he did.

“I was given the number 119377 and the rank of 3rd Air Mechanic (called 3rd Ack Emma), and awarded the magnificent wage of one shilling plus one penny a day, seven days a week – the extra penny because I was designated Clerk.”

Fortunately for him it wasn’t until July 1918 that he arrived in France, and the airfields had to be a little back from the front line, and they only once came under fire. Dad was impressed by the many nationalities working together – more from his short life story he wrote in his 80s:

“Chinese coolies prepared our sites and probably erected buildings; and of course they dug the petrol holes out. There was every nationality represented amongst the troops and auxiliaries. It was amazing how varied an organisation the armies were. There were lots of horses, mules and bullocks pressed in to do the work. Then there were the Tommies and the Frenchies and all the other fighting men, all colours, marching backwards and forwards – Colonials, Indians, Africans; we had an Empire then!”

And this is his account of the Armistice:

“We were up near Courtrai when the armistice was announced – cwas it alled Bissingham or something like that? We stayed there until after Christmas and a lot of the old hands went home from there. I don’t remember doing much there. I think we had an inkling that it was coming, and I was crossing over to the flight sheds which were old “Jerry” ones when I met a civilian who shouted “La guerre fini ; tres bon, monsieur”; I replied “tres bon, m’sieur”. On Christmas Day we had a concert, and all of us who did not usually do guard duty were detailed to take a two hourly turn throughout the night. I went over to do my turn at the appointed hour. I saw no one there and came away when I thought the time was up.”

As one of the latest to join the war effort, Dad stayed on in what was now the Royal Air Force, becoming a part of the occupying British Army on the Rhine (BAOR) . It was only at the very end of 1919 that he was finally returned to England and demobbed early in 1920 – with back pay of £75 – equivalent to over £3000 allowing for inflation.

Of course Dad had a very easy though not entirely uneventful war compared to most, and he had made his choice to serve, although under conscription. But many of those who went – in this and the Second World War – had little choice. Dad did his bit back at home in the Second World War in various ways too, and a younger member of my wider family was killed in action. But like many I think his experiences of the war left him convinced of its futility, and although at home we observed Remembrance Day respectfully, there was none of the militarism that seems to be a part of the Remembrance Sunday parades which often seem to encourage the anti-German spirit of “Two World Wars and one World Cup”. That Great War was supposed to be the war that ended all wars, but sadly only led to more.

As a Wolf Cub, and later a Boy Scout I had to go and march with the troop and to stand in short trousers in the cutting November wind while bugles sounded and soldiers marched. As a photographer I’ve more recently photographed some of these events, though always with a little reluctance. In quite a few years I’ve been in Paris in November and back in 2013 I was in Germany, where they do not celebrate the armistice, but instead have a more inclusive national day of mourning to remember members of the armed forces of all nations and civilians who died in armed conflicts, and now include victims of violent oppression. As here there are church services and parades to lay flowers at war memorials but it seemed a much healthier event than those in this country.

Remembrance Sunday in Staines 2007