The Flaneur

Lensculture has a new set of images, The Flaneur, Hamburg Noir by Giacomo Brunelli, a photographer whose work on animals knocked me out when I first saw it some years ago across a table in 2007 in Birmingham.  You can see that work, and other projects also on Lensculture.

I bought copies of both his books to date, The Animals (2008) and Eternal London (2014) and both are finely produced volumes. I usually like my photography clinical rather than emotional, but when it is done as powerfully as this I find it irresistible. His work has something of the graphic appeal of one of my favourite London-based photographers, Bill Brandt, but with a much smokier, more intimate quality. And like nicotine, it’s highly addictive.

I imagine there will before long be a book of his Hamburg pictures, and I’ll surely buy that. The Animals now sells second-hand for £300 upwards so it could also be a good investment. There may still be the odd copy of Eternal London ISBN-13: 9781907893520 available in bookshops or on-line for £25, and if you see a copy I’d advise you to snap it up now.

November 2015

I’ve managed to complete ‘My London Diary‘ for November while I can still remember – more or less- what happened, and after only a week of December.  Having almost two weeks off due largely to minor illness helped, and the 11 or so days when I didn’t touch a camera is probably something of a record for me – certainly since I spent over three weeks in hospital back in 2003.

It’s unfortunately a part of growing old that minor issues take longer to resolve and I took the opportunity to have something of a rest. And although I’ve got back to work I’m still taking things a little easier, only going to one event where I might have taken in two or three. Although there are 16 links below, they come from only 11 events, around a third of the number of some recent months.

Also taking up some of my time last month was the work on producing my latest book, Dartford to Gravesend – still available in time for Christmas either from Blurb, or for UK addresses, direct from me.

Nov 2015

Global Frontlines lead Climate March
March for Climate Action Starts
Don’t Bomb Syria Blocks Whitehall
Speakers at Don’t Bomb Syria


Don’t Bomb Syria


Stop Killing Cyclists Die-in


Ripper ‘Museum’ Candlelit Vigil
Class War at Osborne & Little
Osborne’s Nightmare Cuts


Class War at the Ripper ‘Museum’
Kingston Christmas


MfJ ‘Set Her Free’ protest at Yarl’s Wood
MFJ Meet Outside Yarl’s Wood


Students at Home Office and BIS
‘Welcome Home Shaker’ celebration
Free Education – No Barriers, Borders or Business

Continue reading November 2015

Morning Moods – Internet at Risk

I woke up in something of a black mood this morning, to radio coverage of the flooding in Cumbria, where we have friends who I think are fortunately safe. Although I was listening from the comfort of a warm bed, it brought back memories of our own local floods in February 2014, when dirty water was lapping around our street, above the level of our ground floor for anxious days, though we were fortunately saved from flooding by a ditch behind our house. Next time we probably won’t be so lucky, and the next time could come any time with the current climate instability, and I’m increasingly sceptical that the current climate talks in Paris will do much to help.

Other news only added to my unease, along with several concerns closer to home I won’t bother you with. So I was pleased when I sat down at my computer this morning to find Louis Stettner and the Glories of Penn Station, a beautiful set of black and white images from 1958, which really lifted my spirits.

It was also good to read A D Coleman coming out with what he calls an ‘Opening Salvo‘ against attacks on his Capa research by Magnum, who as he says has evolved from “the bohemian collective cum anarcho-syndicalist commune of its origins and first several decades” into “a substantial corporate entity with a multimillion-dollar annual revenue stream, a recognizable and decidedly upscale brand, an extensive and metastasizing product line, and a new executive director committed to aggressive and inventive marketing.”

Magnum has no facts or argument to answer the detailed research on Capa by Coleman and his colleagues but seem determined to try and discredit it to protect their image – now a highly commercial brand. Part of their response appears to be to a TV docudrama Magnum, made by Downton Abbey producer Carnival Films, which Coleman expects to reinforce the Capa myths about the ‘Falling Soldier’ and D Day rather than represent the truth – though he has contacted the company with details of the recent research.

Of course, though Capa was undoubtedly a great photographer, he was also a great raconteur, someone who would never have allowed the facts to get in the way of a good story, so Carnival Films could be said to be truly if cynically following in his tradition.

It’s also – as I’ve had occasion to say several time in the past few days, not least in the highly inaccurate recording of an apparently peaceful vigil in Walthamstow and almost every story about Jeremy Corbyn – very much in the tradition of at least parts of our press (though gutter and broadsheet have been vitriolically united over Corbyn, who I’ve known and photographed for many years and admire as a person even if I don’t always agree with his views.)

Another link in my feed reader this morning was from ‘Stand Up And Spit‘ and links to a BBC radio documentary from 1980 on a Sun newspaper shock horror probe on the Tilbury skinheads, Aggro Britain. It exposes how bad tabloid journalism can be, and how it was done, something that makes me ashamed of some fellow journalists (though the only real UK journalists union, the NUJ, is locked out of The Sun and other News International publications) and also reminds me how necessary it is to support the BBC, despite some of their often ridiculous news stories.

And a final bit of gloom from my e-mail, which could mean the end of the Internet as we know it. The EU Commission’s roadmap for copyright reform “could open the door to absurd new rules that would kill our ability to link freely – copyrighting hyperlinks and charging to link to freely accessible content online.” A ‘Link Tax‘ would make posts like this one impossible. If you click on one link today let it be to Save the Link to fill in your name on a message to Commissioner Oettinger “Link censorship has no place on the open Web. Please listen to users and guarantee our right to link freely.”

Protest Works – at least sometimes

Often people tell me there is no point in protests. They never change things. And of course they are wrong, although of course they don’t always succeed, even when they enjoy massive backing – as our involvement in the Iraq invasion and yesterday’s vote to bomb Syria show.

Two of the protests I covered in the last few days of July have since then resulted in at least a part successful resolution, achieving outcomes that certainly would not have happened without the protest. Both of them were protests about workplace issues, and both involved the unfair dismissal of people for normal trade union activities, and as well as opposing victimisation the protests also resulted in at least some progress on the issues over which they had been taking action. I don’t know the fine detail of the settlements reached, but I do know in both cases protest – and in the case of the PCS at the National Gallery, 100 days of strike – achieved gains which would otherwise not have happened.

The third protest was about Palestine, and in particular about the failure of the BBC to report with the even-handedness it proclaims. Here there has been perhaps little progress, although more has come out – even from within the organisation – confirming its pro-Israel bias, and I think there has been a slight shift, with more attention being paid to the work of some of the BBC’s correspondents in Israel and Palestine rather than the prejudices of those in the studios and back rooms.

The strength of the BBC has always been in the reports of its foreign correspondents, who include some of the best journalists around. Its often at its best in the World Service rather than here in Britain. I remain a firm supporter of the BBC in spite of realising that we have to go elsewhere in search of what is happening in the UK and sensible unbiased opinion on politics in this country. It’s a real shame that it can’t reflect a more independent view here – and particularly in Westminster rather than so often following the promptings of our billionaire-directed press.

First up was a protest by National Gallery staff outside the leaving party for director Nicholas Penny in Trafalgar Square. I was shocked to find that many of the gallery staff had not even been invited, and they held their own little party outside, against the plans for privatisation and de-skilling that the departing director had signed off, despite giving his opinion that he didn’t feel they were appropriate.

The plans are all a part of the current government’s policy to sell off everything. Partly its a matter of reducing government debts, partly of putting fat profits into the hands of their mates (and themselves) in the private sector. Outsourcing cuts costs by employing less skilled staff on lower wages and inferior conditions and the only thing it ever improves is the bank balances of the out-sourcing company’s shareholders.

Photographically the only problem was in making something of fairly meagre subject matter. The light was fine, there were no problems of access, people were mainly happy to be photographed (though a few a little camera-shy) and there were few other photographers present.

The following day at the BBC there were more posters and banners, but I arrived rather late, and was short of time before the protesters left – and some had done so already.

Although the old Broadcasting House is an iconic building and protesters can protest close to it, the entrance to the newer block which identifies it as the BBC is set well back in a private yard, which security keep protesters – or at least organised protests such as this – outside.  It’s a little hard to really visually link the protesters with the BBC. And although I recognise the frontage of Broadcasting House, I’m not sure how many will.

Even using a fairly long lens to compress distances, it’s hard to really link the protesters with their banners on the fence in front to that BBC above the entrance.

From Broadcasting House it is only a short walk to Oxford Circus where United Voices of the World were meeting to march to Sotheby’s for the start of the protest over the  ‘Sotheby’s 2′, Percy and Barbara, sacked for taking part in a protest outside their workplace for better conditions of employment – sick pay, holidays and pensions.

Previous protests had already let to the reinstatement of two sacked workers, and the last one a couple of weeks earlier had been met by a large and heavy-handed police response, trying to restrict the movement of the protest around the streets.  This time their were few police and they simply stood in a line along the pavement in front of the doorway.

It was curiously low-keyed, but perhaps showed that some officers at least had learnt from the previous  occasion, and this protest cause much less disruption of the area than the previous one. These are protesters who are prepared to make a lot of noise to make sure their protest is noticed, but not people out to cause any serious damage. But none of us likes being pushed around by police, and tempers sometimes flare on both sides if officers try aggressive tactics.

Protest‘, as one of the banners stated, ‘Is A right‘, and the police often claim that they facilitate it, though at times they seem more concerned with its restriction. But on this occasion things went smoothly. It wasn’t boring to photograph, though there were none of the scenes which are likely to make it news in the eyes of the media.

And that’s perhaps something of a dilemma for photographers who cover protests. We know that protests without violence are unlikely to make the news and that our chances of having pictures bought are relatively low.  I happen to think that the victimisation of low-waged workers by a prestigious high-profile employer like Sotheby’s who are making huge profits merits a place in the news. It is a scandal that should not happen in a civilised society.

But the wealthy owners and well-paid editors who control our news regard it as without interest – unless perhaps a ‘celebrity’ takes part or they can condemn those who lack power in our society.

It took another protest or two, but in the end Sotheby’s and the UVW came to some kind of agreement, though I don’t know the details. But here as in a number of other cases, they have managed to protect members and improve conditions by action.
Continue reading Protest Works – at least sometimes

Lisa McKenzie in the THE

I’ve been rather busy in the past few days, with emergency protests around bombing Syria adding to what was already a fairly busy period, and computer problems at one of the agencies I submit work to causing ridiculous delays, with stories that should have taken 10 minutes to file (after I’d worked for an hour or two on captions and image adjustments) taking repeated attempts over several hours – and with one set I gave up, went to bed and then took three hours the following morning.)

So I’ve not found time to write my thoughts for >Re:PHOTO, indeed not found time to have much thoughts not directed to the work I’ve been engaged on. Normal service will I hope be resumed shortly, although I’m at another emergency protest tonight.

I began this intending to write about something quite different, but was interrupted by the doorbell and the postman bringing two items for me. Not the usual bills, requests for donation and catalogues of things I have little interest in (I get shoe catalogues for Imelda Marcos though I only buy a pair once or twice a year) but two things I’m rather excited about. One was a replacement 35mm negative holder for my Epson V750 scanner which I’m hoping for great things from, and the other a complimentary copy of Times Higher Education.

I’ve not the time today to try out the new negative holder – its the Epson redesign for their more recent V800/850 with anti-Newton ring glass. better height adjustment and negative holding – but I have read the relevant pages of the THE, where two of my pictures accompany an article Lisa Mckenzie on the day she was arrested.

The first double-page in the magazine is simply the picture at the top of the on-line article with just a few lines of introductory text apparently coming from the bell of the megaphone. Its one of a number of pictures I took when Lisa was launching her election campaign against former Tory leader and welfare terrorist Iain Duncan Smith in Chingford – and you can see it and more at Class War Chingford Election Launch. It isn’t the frame I chose as my lead image for the story, where I wanted the poster in the foreground and other members of Class War with her:

but an image with a plain background which isolates Lisa from a closer and lower viewpoint against what was actually an empty grey sky. The file I sent THE was a little better colour-corrected than that I put on the web site.

We went on to celebrate in the pub, an essential element of the Class War constitution, before making a rather hilarious journey across London to the occupation taking place on the Aylesbury Estate, where Lisa came to my defence after I was jumped on by activists for taking her photograph with the Aylesbury activist, Aysen. Carefully framed not to include other faces.

It was the next Thursday at http://mylondondiary.co.uk/2015/03/mar.htm#classwar Poor Doors where I took the second image that the THE used (rather smaller but still at a decent size of Lisa holding a poster:

though I think there are other better pictures that would have served, such as this:

and several weeks later I was there again with Lisa when the police surrounded her and arrested her for something they later admitted she had not done.

There is a set of around 11 pictures of her arrest on http://mylondondiary.co.uk/2015/04/apr.htm#lisaarrested My London Diary, and I rather like the two that actually show the least of her. Less is often more!

Later I was pleased to be present – waiting outside the court in case I was called as a defence witness – to be present when two of the charges against her were thrown out and she was found not guilty after the briefest possible hearing on the third – with the judge telling her barrister that there was no need to argue the case after the prosecution evidence had been given. And of course we went to the pub to celebrate.

Of course it’s Lisa McKenzie’s article that is worth reading, but the THE have done her proud, and its an article that I’m very pleased to have been able to contribute to. Photographers seldom get any say in how there images are used, and sometimes – particularly with images of Lisa – I’ve been disgusted at how the papers have used them. It’s good to have something I can be proud of.

World Press Photo sets Ethics Code

Following controversies in recent years over a number of award-winning images it is good to see that World Press Photo (WPP) has come up with a Photo Contest Code of Ethics for entrants to what is the world’s leading competition for press photography.

I applaud too its firm stand against the staging of images and also its prohibition of  “multiple exposures, polyptychs (diptychs, triptychs, etc.), stitched panoramas (either produced in-camera or with image editing software), and pictures with text added within the frame“.

It’s good too that the rules lay emphasis on accurate captioning, but perhaps the best of all is its guidance on the manipulation of images, making reasonably clear – with the aid of video examples the kind of work on images which is permitted and what isn’t.

I’m also pleased to say that WPP allows the submission of images that were taken digitally or on film, including those taken as RAW files. There is no attempt – unlike Reuters’ recent prohibition – to prevent photographers from using RAW.

Reuter’s present their ban as being based on both ethics and speed, but to me it seems to be a deliberate attempt at de-skilling photographers. We know that although jpegs can do a decent job in some situations, when the lighting gets tough and in particular in low light RAW can enable us to produce images that reflect things more accurately and clearly. Not taking advantage of its potential is working with one hand tied behind your back. Thank goodness I don’t work for Reuters.

The guidelines for WPP entrants are more of less those that I work by for press work, though there are some small differences. In particular I think that the kind of perspective alteration (from spherical to cylindrical) I often use to produce extreme wide-angle views would fail their manipulation tests. For me its a transparent operation which serves to make the image more closely represent the scene as I saw it. Again, although it has very seldom happened, I’d see no problem in stitching together two images of a scene if I felt a wider view was needed than one image could provide. Neither of these practices involves any intention to deceive or mislead in any way.

Last Tuesday I went to view the latest WPP exhibition currently on show at the Royal Festival Hall in London. It continues there until 29 Nov 2015 and is open daily from 10.00 to 23.00 and is certainly worth taking a look, with a number of fine images.  If you can’t get to see it you can still see all the winning images on line.

It’s perhaps a rather wider selection of images than in previous years and one I found more interesting in the different approaches shown.  It’s certainly good news that the WPP are taking firm steps to guarantee the integrity of the photography it selects, and I hope their stand will become a benchmark for photographers around the world.

If you wish to enter the 2016 World Press Photo Contest  you must register for access to the entry site between 2 December 2015 and 7 January 2016, 12.00 CET, and submit your work by  13 January 2016, 12.00 CET.  The rules are clearly set out and entry is open to all professional photographers.

Dartford to Gravesend now available

One of the advantages of the hard-copy of my latest book, Dartford to Gravesend is that you get to see the cover properly. Not my greatest design, but it is a panorama that wraps around front, spine and back of the book and begins to make more sense.

You get almost all of the image in the PDF version, but Blurb chooses to put the front cover at the start of the file, and the back cover only comes after another 80 pages, and the small vertical text and sliver of the image on the spine is missing completely.

It would do the ‘perfect’ binding of the book no good at all to flatten it out to view the entire panorama, but you can get a good impression of it. Perhaps I would have been better to have included the image across a double page spread inside the book, but getting images to work perfectly across the gutter is something of a black art, as I discovered when I produced The Secret Gardens of St Johns Wood and Thamesgate Panoramas, both of which required a couple of proofs and subsequent adjustments to get them more or less correct.

I produced the panorama back in April 1986 as four separate images taken on an Olympus OM1 camera using the 35mm Olympus f2.8 shift lens, leaning out over a wall near the top of Lawn Rd. When I returned to that same spot on New Year’s Day 2013 I made a panorama from almost the same position.

What had been the largest cement works in Europe had disappeared, leaving just a muddy hole. Then as in 1986, taking pictures was a little difficult because of the vegetation along the edge of the quarry making it hard to get a clear view.

Today I received a few print copies of the new book, and it was exciting to open them and see how good a job the printer had made of them. I was very pleasantly surprised with the quality, very close to that of the original scans and the PDF.

While my current stocks last, print copies are available direct from me (see details of how to order here) to addresses in the UK at £27.00,  while the PDF remains available (as well as the printed book) on Blurb, where the PDF is £4.99 and the print version £29.99 plus exorbitant postage. You can read more about the book and see some of the pictures in an earlier post on this site. The price will have to go up slightly when present stocks run out.

The first batch of my ‘economy magazine’ on the Poor Doors protests has sold out, but I now have a new batch but the price including UK postage from me is now £7.00. You can read more about the magazine and the protests on this blog.

Continue reading Dartford to Gravesend now available

Winnersh Triangle

I’ve never needed to alight from the Reading train at Winnersh Triangle before. When the station – just a few hundred yards down the line from the existing station at Winnersh was added the media was full of stories about strange disappearances in the Bermuda Triangle, and Winnersh Triangle did seem to be a halt where a few left the train but nobody ever got on. And on July 27th we added to that number, the three of us leaving the train there, along with just one other passenger. I don’t know if she returned, but we didn’t.

Winnersh Triangle is a business estate on a very vaguely triangular area of land between the A329 Reading Road, the A329(M), a mile or so of feeder motorway to the M4 which begins here, and Winnersh Meadows, a smallish country park. Much of it is in the flood plain of the River Loddon which runs around its west and north sides and regularly floods. Viaducts carry the railway and the lead-up to the motorway across the river.

Having something of a penchant for tacky Ballardian developments I would probably have spent some time photographing in Winnersh Triangle itself – and doubtless attracting the attention of its security staff, but my two companions were of a more rural mind, and we set off through the older ribbon of suburbia along the Reading Road to Loddon Bridge before taking a footpath along by the river. Although there had been a little rain recently and we came across a man from the council checking the river – and he was keen to tell us about it. From the sign we could have been walking in a foot or two of water at the wrong time of year.

But very soon we were in green rather than concrete country, even if it was more country park than real country, though later stretches of our walk towards the Thames were in surprisingly remote areas despite being not far from the suburbs of Earley and various suburban villages around. There were a few curiosities on the route we took, including The Museum of Berkshire Aviation and a few miles on a rather deep ford across one of the streams of the Loddon, the Old River.

The depth gauge on that day was only reading just under 2 foot, but it goes up to 6 foot. Fortunately for those on foot there is a narrow footbridge a hundred yards or so upstream, and anyone stranded on the west side can take refuge in the Land’s End pub.  The beer was welcome, though at West End prices, with no competition from Wetherspoons here.

We walked on to the Thames, turning left to sit and eat our sandwiches by the river. There were no other walkers on the path on our side of the river – which comes to a dead end where we had joined it – but we could see a steady stream on the Thames Path along the opposite bank – where we had ourselves walked a few years ago.

The path took us to Sonning, past the home of Uri Geller who has I think since moved out, leaving another poor piece of sculpture on the river bank without planning permission to the disgust of the locals. Sonning is a posh village, for those with expensive tastes (or lack of taste) and includes what must be one of the churches with the richest supporters in the land. But we were made welcome as we looked around and presented with a glossy advert-stuffed church magazine. In Anglo-Saxon times there was a cathedral here, and a Bishops Palace until the sixteenth century.

From the churchyard we took the path to join the Thames Path for the few miles into Reading and the train home. It had been a pleasant walk but rather tiring on my old legs.  More pictures at Loddon & Thames.

All of the pictures were taken on two Fuji cameras, the Fuji X-T1 and the Fuji X-E1, with the 10-24mm and 18-55mm zooms respectively.  Weighing in at around half the Nikon equivalents they were rather easier to carry the dozen or so miles I walked. I had a couple of other lenses too, the 8mm fisheye and the 90mm Leitz Elmar, but don’t think I used either – certainly all the images on My London Diary were taken with the two zooms. Again these lenses don’t add a great deal of weight.

The two lenses are a great pair, with the overlap between the two ranges maening rather less need to switch cameras. Just occasionally that 55mm seems a little short and perhaps the 18-135mm would be better. I’m still thinking about it.

Even the four spare batteries don’t add up to a lot (and I think I used all of them.) But battery life is a big problem with all ‘mirrorless’ cameras, even though I work with the EVF on the X-T1 only switching on when I bring the camera to my eye it doesn’t seem to help much.

Many photographers rave about Fuji colours, but I prefer the Nikon version.With the Fujis  on Provia/Standard setting the colours – particularly the greens – are too intense and always need some adjustment in Lightroom. My best results come from working in RAW and importing into Lightroom with a Pro Neg Standard preset setting.

The X-T1 had also developed a strange pink cast, seeing the world through rose-coloured glasses, which takes some correcting. I found that there is a setting on the camera which allows you to mess up the auto white balance, and somehow this had been changed, although setting it back to zero doesn’t entirely solve the problem, but does make the images more neutral. This change in colour appeared to have happened at the time of the latest firmware update – and I hadn’t made any deliberate changes. But I’ve not heard of others having similar issues.

Continue reading Winnersh Triangle

Doves & Fuji Disappoint

I can’t remember when I first photographed the annual Italian Church festival in London, one of our older traditions, dating back to when the community around the church in Clerkenwell was given special permission to hold a procession around their parish in 1883. Then a Roman Catholic procession was politically still very sensitive.

The Popery Act of 1698 had tightened the very strict limitations on Catholics, putting a bounty 0f £100 on Catholic priests and providing for the  “perpetuall Imprisonment” at the discretion of the King of priests taking Mass or anyone found to have been educating youths as Catholics. When the Papists Act of 1778 attempted to reduce this official discrimination London saw its worst riots ever with around 50,000 people taking part in angry marches to Parliament, with ‘King Mob’ attacking the homes of wealthy Catholics, embassies of Catholic countries and prisons – both Newgate and the Clink were largely  destroyed – and other targets in and around the city.

It was riot on a scale that makes our current protests look small beer indeed – with just the occasional window being broken, the occasional and possibly sacrificial police vehicle torched and where cereal being thrown at a shop window makes vicious headlines. After around 5 days of mob rule the army were brought in, shooting and killing almost 300. Around 450 people were arrested and later around 30 of them were tried and executed.

The legal discrimination against Catholics (and Protestant dissenters) was reduced by Acts in the 1820s but was only finally removed by the Religious Disabilities Act of 1846. But of course we continue to celebrate ‘Bonfire Night’ on November 5th, though perhaps few of us now remember it as an anti-Catholic event dating from 1605, and by  Act of Parliament until 1859.

It was one of my photographer friends whose father was Italian who first told me about the procession of Our Lady of Mount Carmel and I arranged to meet him there perhaps around 20 years ago, and I’ve met him again there most years since then, taking pictures and sharing a few tumblers of Italian wine in the Sangra.


A rather bad picture of the release of the doves

One of the highlights of the event has always been the release of doves, and it’s something I make a point of trying to photograph. It changes a little from year to year and in most recent years I’ve been lucky in getting one decent image of it.

This year I had taken with me two Fuji cameras, the X-E1 and the X-T1, and most of the time I had the Fuji 10-24mm zoom on the X-T1 and the 18-55mm zoom on the X-T1. There were two releases of three doves, and I’d got in a good position for the first one and was waiting with the X-T1, and I set the shutter to continuous high-speed mode – 8 frames a second. As the lid to the first basket was raised, I raised the camera to my eye in readiness and the electronic viewfinder remained blank.  I just had time to grab the X-E1 and raise it to my eye and get a single image as the birds flew away. But they doves were not co-operating – one was flying low and mainly out of frame, a second was nicely in frame but performing a pancake impression, while the third had soared way up and behind me by the time I pressed the shutter.


My second attempt was slightly better

I saw a second basket and knew I had another chance later. So I checked the X-T1 again and found that the battery had run out – you get little or no warning. I changed the battery for a fresh one – I’d carefully taken 5 spare batteries with me and had checked before going out that all were fully charged . I tested the high-speed continuous mode with a short burst. Everything was fine. But as the dove man got ready to raise the lid of the basket, I put the camera to my eye and … Nothing. The viewfinder was blank. I tried the usual way to unblock the Fuji sulk, switching the camera off, then on. It still didn’t respond. Fortunately the doves were on a go-slow. They were sitting happily in the basket and having a good time, refusing to leave. I had time to lift the X-E1, adjust the zoom to 18mm and make a picture as the doves were persuaded to leave. You can see all three of them in the image – one still in the basket and two in flight (and a small black shadow dove as a minor bonus.) It certainly wasn’t the best picture I’ve made of the release, but at least I had a picture.

I don’t know why the X-T1 let me down that second time, but it illustrates well the frustration I have with what is in other respects a fine camera – with some really great lenses. It’s the same with other Fuji cameras too, though today for once the X-E1 performed without similar hiccoughs. I keep hoping that Fuji will sort out the problems in the next firmware update, but I suspect they are too basic.

Continue reading Doves & Fuji Disappoint

Dartford to Gravesend

I’ve not been taking many photographs recently, partly because of minor health issues, but also because I’ve been working almost day and night to get another Blurb book finished. I started working on the book ‘Dartford to Gravesend‘ well over a year ago, but it has been slow going, and doing a little bit here and a little there doesn’t really work.

For those who live away from south-east England I should perhaps explain that Dartford and Gravesend are both towns on the south bank of the River Thames, with Dartford just outside the Greater London area and Gravesend a few miles to the east, on the riverside facing London’s port at Tilbury.

My first visit to the area was actually to catch the ferry across to Tilbury in 1981, when a group I was part of had been invited to set up a project there – which never happened. It was 4 years later I returned to the area to take photographs, mainly as a part of a wider project on Britain’s disappearing industries as prime minister Thatcher decided to shift us away from manufacturing. But it was also – as I wrote in South of the Thames in January 2014 – prompted by two books, South East England, Thameside and the Weald, by Roy Millward and Adrian Robinson (1971), which contained a section ‘The cement industry of Lower Thameside’, and the rather more fanciful and poetic ‘Pilgrimage of the Thames’ by writer and illustrator Donald Maxwell (1932) who had begun his own journey up-river at Gravesend. It’s a more satisfactory starting point than the Thames Path which dared not venture beyond the Thames Barrier at Charlton.

Maxwell’s description of the area, written originally for the Church Times and illustrated with his sketches piqued my imagination:
Could our fathers visit Northfleet, Swanscombe and Greenhithe once again, they would simply not recognise them. Modernism has gone mad. Agriculture has fled. The reign of Christ and His saints is over – so he would reason – and Moloch, horrid king, besmeared with blood, reigns in his stead.

He continues in not dissimilar vein, calling it “a Hell that is Dantesque in its picturesqueness and Miltonian in its grandeur” and a page or two later comments “One Day , when the cement industry has left this valley … this district will be called the Switzerland of England, and weekend châlets, each with its aeroplane-landing on the cliff, will look down once again upon green shores and tree-embowered banks.”

After reading this, who could have resisted visiting the area? Back in 1985, the cement industry was still going, but had been rationalised into one giant plant at Northfleet (though that was only working at around a quarter of capacity) and there were yet no chalets.

Now – since 2008 – the cement industry has gone, the chalk worked out. Still no ‘aeroplane-landings’ or ‘châlets’, but there is a vast shopping centre in one disused quarry, a new town slowly appearing in its neighbouring canyons, the high-speed rail between London and Paris cutting through its centre before diving under the Thames and the threat of a vast TV and film them park. Maxwell would still recognise the reign of Moloch.

Of course I’ve been back to the area and taken more pictures since 1985-6 and those in this book. I revisited some parts in the 1990s, and again in the 2000s, with some images in the book Thamesgate Panoramas and in the exhibition Estuary at the Museum of London in Docklands. There are some more recent images on My London Diary, particularly earlier this year from Swanscombe.

As with some previous books, this one is published as a PDF on Blurb. This allows a good image quality (if you own a decent screen) at a price which is fair both for viewers and me at £4.99 – rather than the high cost of on-demand printing which makes a hard copy around £30. On top of that, Blurb uses a high-cost delivery which makes single copies ridiculously expensive. As usual I’ve ordered a small supply for UK customers which will shortly be available to UK customers for £28 including p/p. I’ll post again about these when they are in stock.

I’m also currently working on two further books of pictures from along the south bank of the Thames – and will perhaps later produce some on the Essex bank too. I’ve called this series ‘Thameside’ and although the first to be published, this is Thameside 2. Probably the next to appear – Thameside 1 – will look at the area from Woolwich to Dartford.

Continue reading Dartford to Gravesend