Go Jeremy Go


Jeremy Corbyn, 2006

I’ve long ago lost count of the number of occasions on which I’ve photographed Jeremy Corbyn, and listened to him speaking. He’s an unusually good speaker, logical and clear, and even though I’m concentrating on his gestures and expressions I can usually also follow what he is saying. And often, though not always, I find myself agreeing.

If you have been relying on the mass media for your opinion of him, you will think of him as being some kind of left-wing extremist, but I think you would be mistaken. Jeremy is a liberal, perhaps a left-leaning liberal, but one who most of my left-wing friends decry as a woolly liberal. Islington man is nothing like radical enough for them, lacking the support for the deep structural and economic changes they feel are needed to move the country towards true equality and justice.


Jeremy Corbyn, 2014

I’m not a member of the Labour Party. I was as a student, but they threw us all out and I’ve never quite felt it worth going back to since. I do belong to two trade unions and am an active member of one, the NUJ, at least occasionally attending branch meetings and making my views heard. Until recently I used to vote Labour, solidly Labour, but I haven’t done so in recent elections. So I’m precisely one of those voters the Labour party needs to win back, though perhaps not a typical one, and my constituency is in any case one of the safest Tory seats in the country.

The only one of the four candidates I can envision doing so is Jeremy. Partly it’s because of his policies and those speeches, but mainly I think because he really isn’t a politician. He’s far too honest and sticks up for his principles; conviction rather than convenience. He’s a man I would trust to leave holding my bike and know it would still be there when I came back and not sold or left unguarded. And I would trust him with our NHS knowing it wouldn’t get privatised while he was busily assuring everyone it was safe in his hands.


Jeremy Corbyn, 2010

Photographically Jeremy can present a problem. A while back I got an e-mail from a young photographer I know asking how I managed to photograph him with his eyes open. He does have a tendency (and I suffer from it too) to close his eyes when speaking in public, and I think is more sensitive than most to bright light. Often you simply have to keep your eye fixed for the moment when his eyes open and react immediately before they close again. That one click zooming in preview mode is vital (its the top of the top ten Nikon customisations in SLR Lounge if you are a Nikon user and don’t know what I’m talking about) so you immediately know if you were fast enough.

Another reason I warm to Jeremy is that clearly he doesn’t take a great deal of thought about how he looks. Most politicians you feel spend rather too long looking at themselves in mirrors, and employing people to improve their ‘image’.  I rather prefer the more natural look to the highly manicured.


Jeremy Corbyn, 2015

The pictures of him that I’ve put in this piece are more or less random images from over the years from My London Diary. I used the search feature on that site (top right of page) and typed in ‘Corbyn’, finding 128 items and then clicked on the first few of them. Most of those 128 pages will include pictures of Jeremy, though I have taken just a few of his brother Piers Corbyn. But those here are really a fairly random selection of the pictures I’ve taken of him over the years.

I’ve also a few times photographed Andy Burnham, at the extreme left in the above picture, who would I suppose be my second choice, though I suspect he wouldn’t deliver a Labour party I’d ever vote for. He came I felt somewhat reluctantly onto the stage where other MPs were surrounding a doctor holding the ‘Five Key Pledges for the NHS‘ at the rally ending the People’s March from Jarrow for NHS in 2014.

As I took the picture with him standing a little to one side I couldn’t help wondering whether if the support he was expressing as Shadow Secretary of State for Health would be quite as whole-hearted if he got the real job of being in charge of the NHS. It isn’t a good picture – those microphones were in the way, but I took quite a few more of him at the event both with other protesters and speaking.

I won’t be voting in the election, but will be interested in the result, which the opinion polls seem to indicate will be closer than anyone expected. It would be good to see a future for Labour as a real opposition to the Tories rather than a Blairite Tory-lite.

Continue reading Go Jeremy Go

Reclaim Brixton


L S Mash & Sons has been in Brixton Arches since 1932. Network Rail are evicting them and the other shops

The final weekend of April was dominated for me by housing and the related issue of gentrification and regeneration. Housing has always been tight in London, particularly for those will little money, and it’s something that has always been an issue. In the Victorian era, philanthropists set up various housing associations and companies to provide housing of a decent standard for the poor and tore down many of the worst slums to build large blocks of flats.

It wasn’t always if ever a fair or comfortable process for those whose slums were demolished, many of whom found themselves out on the streets and had to squeeze themselves into the already overcrowded slums adjacent to the new blocks, but it did provide a great deal of decent living space for the working poor who moved into the new buildings. And there was no doubt that the intentions of those driving the process was good, even if they did also want to provide a sensible return for investors who financed some of the schemes.


Brixton Action Group Against Gentrification and Evictions banner ‘Refuse to Move – Resist the Evictions – Support your Neighbours’

In the first three-quarters of the twentieth century, the London County Council and the local councils across London took up the challenge of providing decent low cost housing for Londoners who needed to live in the capital where they worked. Many small and large estates were developed across London, as well as new areas on the outskirts and later new towns outside of London. Private developers too built huge estates mainly in the outer suburbs for the middle classes who could commute to work by train and increasingly by car. Huge numbers of housing units were provided at costs which London’s workers could afford, although councils still had long waiting lists of people living in poor or cramped accommodation who wanted to move into council property.

In the last quarter of the twentieth century, things began to go spectacularly wrong. Thatcher’s ‘Right to Buy’ was one of the the first straws, and while providing a huge bonus for the lucky few who got their property at a knock-down price (though many could not afford to keep it long), it was not matched by any attempt to replace the low-cost housing that was taken out of council hands. Other measures actually took most of the housing out of council hands and created housing associations, which in the longer term have also been a disaster for the poor. The final straw has become the building of properties in London simply as investment vehicles for overseas buyers. I don’t think any solution to the crisis can be found unless this is very severely curbed in some way, perhaps by a punitive tax on sales by or on behalf of overseas residents.


Not only is Lambeth council going to evict Cressingham Gardens tenants, it wants to charge each of the £14,000 for renovations before it knocks their properties down

Regeneration programmes were perhaps brought in by the Labour government with good intentions, but if so these have now been subordinated to profit and greed. Labour councils, realising the huge financial potential of their large well-located council estates for redevelopment began to ‘decant’ those living in prime sites so that they could be developed for private and overseas sale at much higher densities than the well-planned estates that are being demolished. Increasingly developers of these sites are finding ways to avoid meeting any need to include social housing in their redevelopment, with councils (who are mainly under Labour control) conspiring to help them do so.

Gentrification involves more than this, but the cost of housing is a major part in this, along with the changing nature of employment, and of changes in culture. The people who live in ‘up and coming’ areas of London bear the brunt of the process, getting priced out of the market, decanted from council and housing association properties, usually moved well out of the area and away from jobs and friends, and often having to move into private rented property with little or no security and high and increasing cost.

Areas such as Brixton and the Elephant in south London are under particularly high stress, in part because they have long been unfashionable with historically low house prices (for London) but also because of their location, close to the centre of London with excellent transport links. Brixton has the added attraction of a particularly vibrant culture, mainly based around exactly those people and businesses that are now finding they can no longer afford to live there.

The railways run through the centre of Brixton, with Atlantic Road alongside the rail arches and above it Brixton Station. Around the corner a few yards away on the Brixton Road are the underground station and bus stops for the many routes that make Brixton something of a bus hub. At right angles in its centre is Electric Avenue with its incredible street market – and the market also extends in the other direction to the north of the railway lines with more small businesses in the arches there. Running from Atlantic Road to Coldharbour Lane are the arcades of ‘Brixton Village’, increasingly catering for the new, young middle-class that are beginning to take over the area, and there are other arcades to the south as yet less affected.

It’s a unique centre in London, and I can think of nothing like it elsewhere in this country. I’ve been going there occasionally for years, at first to buy cut-price photographic materials – outdated bulk film and paper – and later to Photofusion, where I put pictures in their library and went to exhibition openings.

Surrounding the centre are some areas of Victorian terraces, but also huge housing estates built by the London County Council and local councils, as well as some by the philanthropic housing companies. All these are now under threat, as all could be demolished and rebuilt at higher densities for sale at huge profits. Most of the properties are in reasonable condition, built to higher standards in many respects, particularly size, than new properties, though often in need of some refurbishment. Typically this might cost £15,000 per property, while building a new council flat costs perhaps £350,000.  But flatten the site, build twice as many flats and sell them at market price, perhaps £600,000 gives considerable margin.

Reclaim Brixton brought together many different groups who see their lives and their culture at risk. The small businesses in the railway arches and arcades, currently threatened by huge rent hikes from the owners Network Rail which will put them out of business. A number have been there more or less since the war, and at least one for longer, but they can’t afford to pay three times their current rent. People living in private rented property where rents keep rising and rooms are getting harder and harder to find. People from housing estates currently under threat of eviction, including Cressingham Gardens and the Guinness Trust Estate, as well as supporters from similar campaigns from around London. And many Brixton residents who see the aspects of the area they love – particularly pubs, cafes, shops and small businesses – being replaced by those catering for the new richer residents moving in to the area.

Much of Brixton’s vitality comes from the high proportion of people who came to live there from the West Indies, moving to Brixton as many from the early arrivals were given temporary housing in the area and they found jobs from the Brixton Labour exchange. It became an area where Africans and West Indians felt more welcome than much of London and the black population grew, opening shops and businesses there. The vitality of the area along with cheap rents (and squats)  attracted others too, both black and white, including many young artists and musicians, some of whom have now grown old there.


A mural on a shop front in Brixton Arches with images of Cherry Groce and Sean Rigg, just two of those killed by police in Brixton.

It’s hard to understand the events there both on this Saturday and in the past without knowing the background – and there is much more than I’ve written above, particularly for example about the relationship with the police and events such as the ‘Brixton Riots‘ and the various deaths in police custody in the area.

I divided my coverage of the Saturday into four stories, though they are all part of the same story. There should have been another couple of stories, but I went home early. As I stood at the bus stop I thought I would almost certainly miss things happening, but I was tired, and decided that plenty of others were present who would record them. I keep telling myself that I can’t do everything and sometimes at least have to admit my age.

So I went home, fully expecting that things would kick off, that there would be some at least minor friction between protesters, police and authority that was likely to make the headlines, while most of what led up to this and I had covered would somehow not be news.  What did happen – a short-lived occupation of the Lambeth council offices and the breaking of the windows of the most notorious estate agents – was actually rather less than I had expected.

The four stories I sent in, from earlier in the day were:

Brixton Arches tenants protest eviction showing some of the businesses in the railway arches which I think all closed for a couple of hours across the middle of the day as a protest;

Take Back Brixton against gentrification, a planned march from outside Brixton Village to Windrush Square involving mainly groups concerned with housing issues;

London Black Revs ‘Reclaim Brixton ‘march,  a ‘spontaneous’ march around central Brixton involving all the more radical groups and individuals leaving and returning to Windrush Square,

Reclaim Brixton celebrates Brixton, an organised static event in Windrush Square at the centre of the protest with various groups setting up stalls, making speeches in different areas.

Continue reading Reclaim Brixton

Maggie Steber

In another interesting interview on Vantage, Why We Make Photographs, originally published on the blog of BlinkKyla Woods talks to photographer and picture editor Maggie Steber about her own work, what she looks for in the photography of others and about styles and changes in documentary photography.

It’s an interesting and at times thought-provoking article (though if I stop much to write about it I will miss my train), illustrated by images of Steber’s work, many of which are also in the “greatest hits” section of her web site.

I think it is rather more satisfying to look at her images in the the other sections of the site, particularly Portraits, Haiti, Madje Has Dementia, Native Americans and Dark Side, where many of these images are shown in their contexts. It perhaps reflects a difference in our attitudes, but I rather dislike the idea of “greatest hits”.

Its also interesting to read about the film she made, Rite of Passage, about the final years of life of her mother Madje Steber. Maggie, born in Electra,Texas in 1949 was an only child, bought up by her mother living as a single parent, having divorced when Maggie was only six months old.  In her teenage years, there relationship was often strained and Maggie left home “to seek her fortune” in New York at the age of 21. But the two were the only family each had, and in the Time Lightbox article she says “She would never let me photograph her before. When her defenses were down—and I’m sure some people will say that’s not right—I started photographing her.”  Originally begun as a purely personal project, the photographs have become a moving record of their relationship and the human condition.

Lightroom Dashboard

Here’s a nice idea that was on PetaPixel today, but…

Lightroom Dashboard is a web site that will give you an easy and graphic analysis of your Lightroom Catalog (OK, its a catalogue to me, but a catalog to LR.) It loads a web page that you drag your catalog file (or rather if you have any sense, a copy of it) onto and the web page then analyses your photographic habits. And as it says, it is “100% free, no software, no plugins, no uploads, all done within your browser.”

It doesn’t I think do anything that you can’t actually do in Lightroom itself, using the metadata filter in the Library view, and I think it will only do its magic on the catalogue as a whole.

You can see the kind of information it supplies in the demonstration on the web site.

Perhaps the most surprising statistic from the demonstration is that whoever produced the catalog took only 13,962 images in two years – about 19 a day – despite using 15 cameras to do so (and my calculator tells me that’s only on average 930 per camera.)

Unfortunately, a small note at the bottom of the application page reads: July 15th UPDATE – It appears as though large catalog files at 2GB and above are having problems loading. We’re looking into this issue and they are correct. Attempting to load the smallest catalog I could find – my current one I started on January 1 this year – immediately crashed my browser. The Library module at the top of the Catalog section tells me that it has only 52,235 pictures in it,  pressing the \ key brings up the Library filter, and I can look at the figures, filtering by Text, Attribute or Metadata.

I’ve managed to produce these using only 5 cameras and 13 lenses, the most exotic of which was the 0.0mm f0.0 which apparently managed to take two perfectly decent images on my Nikon D700! Another oddity was the ‘Unknown’ lens which produced 90 pictures on the Fuji X-T1, while revealing its identity for another 230 as the XF 35mm f1.4.

Lightroom – with the help again of my calculator, reveals that I made 46% of those exposures with the D700 and 44% with the D800E, and a virtually equal number with the 16-35mm and 18-105mm – both at 41% of the frame count. My favourite lens is really still the 16mm fisheye, but there are far fewer situations where that is appropriate, and it accounted for only a little under 4% of exposures.

Lightroom Dashboard is a nice idea and great for the light user of cameras, and I hope it’s possible to fix the large files problem. It would have been good to see some nice graphs, pie charts etc, but the information is all there in Lightroom if you need it. And in Lightroom you get to see exactly which exposures you used that f0.0 lens for!

To Ask or Not to Ask…

That was the question posed to 18 photographers by Feature Shoot, a web site I don’t remember coming across before that was started in 2008 by Brooklyn-based picture editor and curator Alison Zavos and aims to showcase “the work of international emerging and established photographers who are transforming the medium through compelling, cutting-edge projects.”

The actual question was “Do You Always Get Permission From People That You Photograph?” and you can read the responses from all 18, together with links to their work on the web so you can see the kind of work they produce.  As several of them make clear this is of course a vital context for the question.

Do I ask? Sometimes. Mostly I don’t because there is no need to, as there is an implied permission in the situation. People in general take part in protests to gain publicity for a cause and are pleased that you take an interest and want to photograph them. Or they are at other events where being photographed is a part of taking part.

Of course there are exceptions. Occasionally people at protests will tell me they don’t want to be photographed or will hide behind a placard when I raise a camera in their direction. If they do so, usually I simply don’t take a picture, as most often their face would have been a vital part of the image.  Though in most cases they will actually appear in other photographs I’ve taken of the event.  If anyone actually objects to my photographing them, I have to take their objection seriously, though it won’t necessarily stop me taking a picture or deleting an image I have already taken. I ask myself a question – is there a genuine public interest in taking this photograph? And try to answer it as honestly as I can.

With protests, people who don’t want their faces shown have a simple option – to wear a mask of some sort. Police may occasionally instruct people to remove masks (although they now appear to have conceded that people may do so – and the police are also often masked) but photographers never do. Masks add a certain mystery and that’s always a good thing in a photograph.

Even at protests I’ll often ask if I can photograph someone, often just by gesture, but only when I want to make something that is more a portrait of them rather than an image showing the action. Its more a matter of getting their attention rather than their permission, and is usually the most I do to direct the people I’m photographing,though just occasionally I will ask someone to look at the camera – particularly these days when so many spend almost all their time looking at their phones.

Outside of those events and occasions where there is at least some implied consent, I think my approach is simply pragmatic, and again based on some questions:

  • Do the people I am photographing have a reasonable expectation of privacy – or would my picture be an unreasonable intrusion?
  • Would my taking a picture without asking upset or disturb them?
  • Is there a good artistic reason for taking an image without consent? Or for asking if I may take a photograph?

But if you are not sure, take the picture. As one one my friends commented on line when Tony Olmos posted a link to the Feature Shoot article this morning on Facebook, “I’d always rather give an apology than lose a picture.” Spot on David Hoffman.

It also depends on usage –  whether the photograph is for commercial, editorial or artistic purpose. When some Magnum street photographers photographed for commercial use I understand they were accompanied by a team of supporters with pads of model release forms, while for editorial or artistic work these are seldom if ever needed.  I can probably count on the fingers of one hand the number of model releases I have bothered to obtain over the years. Two hands at most.

One of the most difficult places from this aspect that I’ve worked in was Climate Camp. I’d more or less avoided it in earlier years simply because of their ‘Photography Policy‘ (and in 2007 had been prevented by police from getting there), but in 2009 was persuaded by the late Mike Russell,  perhaps better known as ‘Mini Mouse’, who organised the media coverage of Climate Camp, to go and photograph officially – and I was issued with a sash denoting me as an official photographer. Despite this there were still people who objected to being photographed through some misguided idea about their human rights. It was an attitude that had a negative influence on my own work over many years from the late 70s on.

Get over it, if you are in public, you are in public.
Continue reading To Ask or Not to Ask…

Another Busy Saturday

On April 18th I posted 7 stories, though it wasn’t really as busy as that makes it seem, as four of these were really from the same event as it developed over around five or six hours, but it was still a long day for me, and one of those where the ‘logistics’ seemed almost as important as the photography.

At the weekends we have engineering work taking place on the Underground, with some lines being part-closed, and it can make getting around London something of a puzzle to be solved. There is help on-line, particularly through the TfL (Transport for London) web site’s Journey Planner, though a recent update designed to help the casual user and those on smartphones has actually made it considerably less useful for me. The problem is that it can’t be relied on to give the right answer, and that sometimes you really need to ask a slightly different question, or split your journey into smaller parts to get the best results. Recently it gave me a route with three changes taking around an hour for a journey, and I looked at it and thought to myself that I actually knew a rather better answer as the two places were linked by a ten minute trip on a number 10 bus. Which I took instead. Though extreme, this isn’t unusual, though it does sometimes tell me that a journey I want to make is impossible.

It is actually a useful site, but trying to deal with a complex set of networks – bus, rail, underground – and streets over a very wide area that are just a little beyond its capabilities.  Though it can often come up with suggestions that I would not have thought of. One of my reasons for getting a smartphone is that I can also sort out my travel around London using it – though I now find Google Maps more useful that TfL on this.

My first problem was simply that the march commemorating a Centenary of Armenian Genocide and a series of ‘flashmobs’ presenting the Football Action Network Manifesto to the offices of the main political parties were due to start at the same time but in different places. Even I have my limitations on that score!  I decided I could start with the Armenians who were gathering on Piccadilly and spend perhaps 45 minutes with them before the start of their march (usually when things are most interesting) then rush to catch up with the football fans who had conveniently published the times that they would descend on the different party HQs. I would have missed them at the Labour Party, but should just be able to make it for their appearance outside the Conservative Party HQ.

It should have been a fairly easy journey on the tube, walking from by the Hard Rock Cafe to Green Park, then one stop to Westminster and another short walk, but the Victoria Line wasn’t working. Given it was only just a mile to Matthew Parker St and I had just over 10 minutes I decided to do it on foot. It was a little warm for jogging with a heavy camera bag, but I made it in time, only to find nobody there when I arrived a minute before the stated time. It was advertised as a flashmob, so I waited, hoping for a sudden appearance as Big Ben chimed twelve, but still nobody came.

I walked on to their next venue, the Lib Dems, 300 yards away and came upon them there, running around half an hour early and took some pictures and talked briefly with them. There were rather fewer than I (and they) had anticipated but they have some interesting views about the game and how fans are let down as big business dominates the game which you can read on their web site, along with the responses they got from the parties to their manifesto.

As I was talking with them and hoping to go with them to take some pictures in front of the Houses of Parliament, a group of strangely clad cyclists, some on vintage machines including ‘penny farthings’ stopped in front of use, and I rushed to photograph them. I’d not heard before of the Tweed Cycle Ride, and would not have gone out of my way to photograph it, but when something actually materialises in front of my camera I’ll usually take pictures even if it isn’t really my type of story.  By the time I’d gone with them the couple of hundred yards on to Parliament Square – fortunately they were stopped by two sets of traffic lights – it was too late to go back and take more of the football fans.

Because again I needed time travel. I’d been standing outside the Tory HQ at noon, and that was when the Stop TTIP rally was starting on Shepherd’s Bush Green. Shepherds Bush is four miles away from Westminster as the crow flies, but normally lacking wings I would have taken the Jubilee Line and changed to the Central Line at Bond St. But on this day the necessary part of the Central Line wasn’t working. I’d planned the journey in advance, with TfL coming up with several different routes depending on the exact start time, but it wasn’t quite clear which would be best.

From Westminster I got on a west bound District line train towards Earls Court and I still wasn’t quite clear which way would get me to Shepherds Bush faster. Fortunately my phone could get a signal (it doesn’t on the deep tubes) and I was able to check while travelling that my best choice was to change to the Overground at West Brompton.


Dame Vivienne Westwood makes her second point

It turned out I needn’t have been so worried. Although the event had been advertised as starting at 12.00, the rally didn’t begin until a couple of minutes after I arrived at around 12.40. It was a fairly slow-moving event, with a great deal of audience participation, people discussing the issues around TTIP in small groups as well as coming together to listen to speeches.

At the rally I was told there were going to be a number of direct actions following from it, and the first was immediately opposite, KFC protest over TTIP. I’d talked with and photographed the group in their white coats before this happened and had something of a lead over the other photographers when they made their way across the road for this, but the very narrow and busy pavement made it a difficult protest to photograph.

Again, one of the protesters had told me they were about to go across to the other side of the green for the BP die-in against Climate Change. It  was a little déjà-vu, as I’d photographed another protest at exactly  the same location back in 2010 with Tar Sands Party at the Pumps, as well as dancing outside here back in the 1990s with Reclaim the Streets.  I was tempted to leave as this protest finished but again I was told there would be more happening shortly, with a visit to the Westfield Centre coming up.

I was a little apprehensive about this. Shopping centres are not photographer-friendly, and security at this particular centre had assaulted both protesters and photographers at a previous protest there. But in the event I had no problems, although at least one other journalist, a demographer, was told he must not film as the Westfield ‘Save our NHS’ protest began outside the Virgin shop.  I’d been deliberately keeping a slightly low profile which was perhaps why I didn’t get approached by security at the same time, and shortly after I think they decided that so many people were involved they couldn’t really stop it. In theory you need permission to publish photographs taken in a private place – which such shopping centres are – but if there is a genuine public interest in doing so then journalists go ahead and do so, with little fear of any consequences. Though often security will lead you away should you try and do so.

By the time this action had finished, I think both protesters and this photographer had had enough, and though there was some discussion of further protests, it was time for me to go home. With seven stories to write up and photographs to edit and send off (and of course a dinner to eat) it would be well after midnight before I finished.

Continue reading Another Busy Saturday

Disorder Prize

I’m not sure what I think about the various prize competitions we now have in photography. Often they seem to be rather unfair, and I was certainly heartened to hear the winner of one literary prize being interviewed on Radio 4 recently who had decided to share the large cash award equally with the other short-listed writers, whose work he said was equally deserving.

I find I often don’t agree with the judges in photographic competitions, and things are seldom so clear that I don’t feel a different and equally qualified panel would have come to a different verdict.

One of the biggest prizes – at least financially is the Prix Pictet, and on PDN you can read Shortlist for $105K Prix Pictet Announced, and the 12 photographers on the list for the 6th series of the prize on the subject of ‘Disorder‘ include some very well known names as well as a couple I’ve not come across before:

Ilit Azoulay (Israel); Valérie Belin (France); Matthew Brandt (USA); Maxim Dondyuk (Ukraine); Alixandra Fazzina (UK); Ori Gersht (Israel); John Gossage (USA); Pieter Hugo (South Africa); Gideon Mendel (South Africa); Sophie Ristelhueber (France); Brent Stirton (South Africa); Yang Yongliang (China).

It’s perhaps a surprising that the photographers come form only seven countries, with three South Africans and two each from France, Israel and the USA.

In the PDN article there is an image by each of them and in all but one case a link to their work on the web. The Prix Pictet link currently only has a couple of pictures by each of them on its ‘Portfolios’ page.

The series ‘Eleven Blowups’, images of bomb craters by Sophie Ristelhueber was a part of the work that won her the 2010 Deutsche Borse Photography prize at the London Photographers’ Gallery. As the article from the Daily Telegraph explains, these were not pictures of real craters, but computer simulations of bomb craters based on images by other photographers, and using “details of her own pictures of rocks and stones that she had shot in Syria, Turkmenistan, Palestine and the West Bank.” Not my kind of photography.

There are others whose work I don’t have a great deal of sympathy with as well, but also some truly moving and impressive work. I was fortunate to see Gideon Mendel talking and showing work at a meeting in London a few months ago from his ‘Drowning World‘ which includes a series of portraits of flood victims, including one taken around a mile from where I live as well as others around the world.

I’ll leave you to discover the other great work for yourselves from the links in the PDN article. There are four or five among the dozen who I think deserve the first prize!

As well as the monetary prize, there is also a commission awarded “in which a nominated photographer is invited to undertake a field trip to a region where Pictet is supporting a sustainability project.”  The short-listed work will be shown in Paris at the Musée d’Art Moderne da la Ville de Paris and the winners announced in  November 2015.

Freedom of Panorama


CETA (TTIP) Trade Deal

Although I’m pleased to hear the news today in Peta Pixel and elsewhere that an overwhelming majority of European Members of Parliament voted to a  reject a controversial proposal that threatened to restrict the photography of copyrighted buildings and sculptures from public places, I’m not convinced that its passing would have made a great deal of difference to most of us.

According to Petapixel, who on June 20th published a report based on Wikipedia’s Signpost, the proposal that “the commercial use of photographs, video footage or other images of works which are permanently located in physical public places should always be subject to prior authorisation from the authors or any proxy acting for them” would have brought all European countries into line with those, including France and Italy where such laws already exist.


Stop TTIP rally

I’ve yet to notice any great outcry among French or Italian photographers at the problems that they face in photographing in their cities, and certainly I’ve never felt encumbered by this aspect of their law.  Except in the one case of photographing the Eiffel Tower at night, where apparently the lighting is trademarked, and that is at times enforced. And of course there have sometimes been problems related to quite different issues of privacy.

For the same reason, there are also some problems already in London over the London Eye in commercial photography. While these may mean you would need permission to use it as the background for a fashion shoot, it has never prevented the kind of use that Signpost illustrated in a graphic, of the London Eye seen in a wider view of London landscape.


#NoTTIP – Hands off our democracy

Another ‘No-No’ for commercial photograph in London is of course the Underground roundel, again a trademark.  It is almost certainly (at least in two-dimensional form) protected by UK copyright law as also would be billboards, posters, graffiti, murals and all 2D artwork displayed in public. But their incidental inclusion in photographs has never been a problem, and many of us have also published images where murals and graffiti were the main or only subject without comeback.

UK Copyright law explicitly gives us permission to photograph buildings in the public eye, and also sculptures displayed in public. Probably as photographers we are quite pleased that our work, even if visible in public, is still protected along with paintings and drawings.


CETA Trade Deal Threat to Democracy

When I once was one of the volunteers who helped to run a small non-profit magazine covering the visual arts I found a great difference between the attitude of photographers and people making paintings and drawings in regard to the reproduction of their work in reviews. While artists were keen to have their work in print, photographers were sometimes difficult or impossible to persuade – and often requested payment although we were investing heavily in them out of our pockets by reviewing the work.

In a way it’s understandable. In publishing a painting or drawing we were only actually publishing a photograph of a painting or drawing, while in publishing a photograph, you are in effect publishing the real thing. A photograph of a photograph is a photograph.

The outcry against the proposed law included a petition signed by 540,000 people around the world. I’m pleased that the MEPs have rejected it, but sorry that they have so far failed to stop something far more important, passing a resolution on the secretly negotiated EU-US trade deal, the Transatlantic Trade and Investment Partnership (TTIP).

The fight on TTIP is far from over yet, and the vote was passed despite a petition signed by over 2.3m European citizens, who realise, as War on Want Executive Director John Hilary stated, that: “TTIP offers a nightmare vision of a world sold into corporate slavery.” Rather more important an issue than a copyright principle that would probably have had little effect on 99.99% of the photographs we take of cities. Unless you are happy at being a slave who can take photographs.

Continue reading Freedom of Panorama

May 2015 complete at last

May 2015 was an eventful month for me, both personally and in terms of the various events I covered. It was also a month of great political disappointment, that left me feeling very depressed about the future of the country. I was born as the welfare state came into being and grew up with it, and consider it one of the great British achievements of the 20th century. But since 1979 and the Thatcher government we have seen it being attacked; New Labour continued to wind it down, and the coalition took over the process. But now we have a government dedicated to greed and I fear for our future. Britain is becoming the kind of country I don’t want to live in. Though its now perhaps more that I don’t want my children and grandchildren to live in. I’m sad and I’m angry.

Here’s the listing:

May 2015

Mass rally Supports National Gallery strikers
Biafrans demand independence

UK Uncut Art Protest
Walking the Coal Line
Filipino Nurses tell Daily Mail apologise
People’s Assembly ‘End Austerity Now’
Ahwazi Arabs protest Iran’s war
NCAFC March against ‘undemocracy’
NCAFC rally in Trafalgar Square
Disco Boy plays Trafalgar Square
Police arrest man in Trafalgar Square
‘I am Edna’ – protect whistle-blowers
Class War protest Queen’s speech
Cody Dock Opening for ‘The Line’
White pride protest for David Lane
March Against Monsanto
Waiters Day – fair contracts and union rights
Photo London
Walk the City

Cleaners invade Barbican Centre
Silent protest over Sewol ferry disaster
Caged vigil for Shaker Aamer
Victory Rally For Jasmin Stone

Sweets Way & West Hendon at Barnet Council
Grant FGM campaigner Maimuna Jawo asylum
Lyme Disease – Urgent action needed
End Child Abuse, support Whistleblowers
Northern Interlude
We Stand with Baltimore – Black Lives Matter

Occupy Gandhi – stop fossil fuel criminals
Occupy Festival of Democracy
Baltimore to Brixton – Black Lives Matter!
Truth for Zane at Stand Up For Spelthorne
‘Reclaim the Beats’ at ‘Poor Doors’

Anti-Capitalists block Tower Bridge
May Day Rally supports National Gallery
May Day march against austerity and racism

Continue reading May 2015 complete at last

August Sander (1876-1964)

I find it hard to believe that I have never published at any length about August Sander, but all I can find are  few brief notes such as one that was a part of the ‘Directory of Notable Photographers’ I was once responsible for, and a number of brief references to him in articles about other photographers.

I know that I have written in greater detail about his life and his work in general, as well as in more detail on a few of his images, and he was certainly one of the photographers whose pictures I talked about when I was teaching. If I do find what I’ve written on him, I’ll publish it in a later post.

I started hunting for my own piece after reading Rena Silverman‘s
Finding the Right Types in August Sander’s Germany in today’s Lens Blog, an article prompted by the recent acquisition by the New York Museum of Modern Art of 619 prints from his project People of the Twentieth Century which he started around 1909 and had to abandon with the rise of the Nazi party, who confiscated and burnt his preliminary publication with 60 images, Antlitz der Zeit, in 1929. A few copies survived and are now fairly expensive.

In looting that followed the end the war, some of his work was destroyed in a fire, but Sander himself survived until 1964. He didn’t entirely give up photographing people in the 1930s, but certainly concentrated more on landscape. I haven’t looked through all of the huge Sander collection at the Getty Museum – apparently 1186 images, and almost all viewable on line – but there are some fine portraits from the 1930s, including some that the Nazis would not have approved of. But most seem to be studio portraits rather than the images of people he travelled his region around Cologne to locate for his typology.

A large volume of Sander’s Menschen des 20. Jahr hunderts was published in Germany in 1980, and I have a copy of the French version published the following year, with 431 portraits from 1892-1952. In the USA it was called ‘Citizens of the 20th Century‘. It’s a very heavy book, really too heavy for its binding, and a larger publication with over 600 plates in 2002 split the work into 7 volumes.

In the article Bodo von Dewitz is quoted as saying “He was the first who worked with what we now call ‘concept’ in photography,” and I think I have several problems with that. Firstly because many earlier photographers from Fox Talbot on could be argued to have worked with ‘concept’, but mainly because what distinguishes Sander’s work is not the concept or even the scale of his work (perhaps rather small compared to say Atget) but its quality.

Although conceived as a part of a great scheme, it is the very individual quality of Sander’s response to his subjects that still holds us, whereas with most contemporary ‘concept’ works the concept overwhelms the motif, producing sets of images of stunning mediocrity. It’s largely their predictability and recognisability that makes them, along with their normal impressive scale into such ideal commercial fine art for the corporate atrium.

There are smaller and more readily appreciated sets of work by Sander elsewhere on the web, including a small and varied set at MoMA, a rather better selection of 32 from ‘People of the Twentieth Century’ at Amber Online, and 24 images at the Edwynn Houk Gallery. There are various other sites devoted to Sander, including some I found it hard to see more than one or two images on.