Class War and Poor Doors


Class War, led by Ian Bone (centre) arrive at One Commercial St for the protest

It’s hard to describe ‘Class War‘, a loose organisation now registered as a political party, and planning to contest at least twenty or thirty constituencies in the 2015 General Election.  Recent campaigns they have got behind include one for Independence for South Norwood, carried out at the same time as the Scottish Independence Campaign, with hustings and a vote where the electorate were given three alternatives, to stay as part of the London Borough of Croydon, to apply for South Norwood to join with an independent Scotland or to be completely independent.  Unfortunately the Scots didn’t make it, and so South Norwood’s plans had to be abandoned too :-).

Currently too, they are fighting the by-election caused by Tory MP Mark Reckless’s defection to UKIP, with a campaign poster ‘The Working Class needs YOU!’ and the bottom line ‘Vote Holly Smith Because all the other candidates are scum!’ (There are also other posters calling Reckless a ‘toff’ and a ‘wanker’. As Ian Bone comments: “educated at Marlborough College and did PPE at Oxford……… well well…… ..aint he just the toff to represent the working class of Strood?”)


The poster reprints a notorious cover from the ‘Class War’ newspaper in the 1980s

Although Class War should not always (or often if ever) be taken literally, and deliberately try to outrage and poke fun, they often point up serious problems. Britain is still in many respects a class-dominated society, run by the rich for the rich, and those rich are getting relatively richer year by year.

Here is what their web site says about the series of ‘Poor Doors’ protests they began in London at the end of July and have continued every Wednesday since.

London is facing gentrification forcing working people out of their home boroughs as prices rise. Added to the problems of the bedroom tax, inflation, rent rises and pay cuts, working class communities are being dismantled. Social segregation is seeing people being priced out of their own areas. Nowhere is this more stark than in developments using Poor Doors. These developments provide social housing within developments with luxury flats but whilst the rich get a concierge, gyms and other services social housing tenants have no services, separate lifts and an entrance down an ally or round the back.

Class War have been protesting such a development on Wednesday evenings at 1 Commercial Street, which is just next to Aldgate East tube station. We now call on all trade unionists to join us on Wednesday with banners and placards to show solidarity with working people on the fringes of The City. Together we can highlight the injustice of social segregation and widening inequality. Please come down and spread the word.

It’s hard to argue with the first three sentences, something we see happening across London, and something no political party has come up with any policies that would have any real effect (nor for that matter have Class War, and their proposed 50% mansion tax is hardly feasible.)  Labour-run councils are actually in the thick of making it happen, just as the other boroughs are. Newham, 100% Labour run, is one of the worse offenders – as the Focus E15 Mums and the Carpenters Estate scandal have pointed out.

Like most new blocks of flats being built in London, most of the flats here are owned by overseas investors, with a rise in value of around 35% expected in the next three or four years. This location is particularly desirable as an investment because it is on the edge of the city but also because investors will benefit from the huge public investment in Crossrail, with a station within spitting distance – private speculators benefiting hugely from public expenditure. Probably like most such investment properties many of the flats will be empty all or most of the year, although some are let out to short-term visitors to London.


The building manager tries to close the ‘rich door’ than the protesters have held open so the protest can be heard inside

I’ve been following the series of protests with interest, going along most weeks, taking pictures and reporting. This – and the Focus Mums protests a couple of miles down the road – might just be the start of a change in the way we think and act over class and income inequality. Just as we’ve seen UK Uncut protests move the whole issue of tax evasion into the open to where it has now become – at least in part –  Tory party policy. Certainly something has to change in how London works and how it houses the low paid workers that keep it running. Perhaps these protests might just be one of the front lines of the class war that we need. And as well as being addressing a serious point, the protests are often rather amusing.


Eventually the police arrive and talk to the protesters, asking them to keep away from the door

Class War’s use of my pictures freely without payment also raise some issues about copyright, but I’m relaxed about this, although wanting to insist that I retain copyright. Class War have little or no money, and these pictures would not exist without their actions and their cooperation.  And although I’m not a member of the party (I’m not sure if anyone other than those who registered it as a political party are), its leader Ian Bone has promised me that I’ll become their official photographer when he moves into 10 Downing St :-)

The ‘rich door’ is on the main road and  gives onto a wide space with comfortable seating, a 24 hour staffed reception desk and the building managers office.  The ‘poor door’ is towards the end of the narrow and rather smelly alley shown above with no proper lighting visible. I was told there was usually rubbish on the street. The poor door opens onto an uninviting long, narrow and empty corridor with just several rows of post boxes on otherwise bare walls, and a notice telling all entering they are on CCTV (though most such cameras are never on.)

More at Class War – Rich Door, Poor Door.

Continue reading Class War and Poor Doors

End Gaza Invasion


Nikon D800E, 18-105mm DX, 75mm

The last Saturday in July saw London’s largest demonstration for some time, against the Israeli invasion of Gaza. I don’t know how many people there were taking part in it, far too many for me to make a reliable estimate, although I did walk from the front to the back of the march as it was leaving from close to the Israeli embassy.

Following the meeting between photographers from the London Photographers Branch of the NUJ and people at Stop the War, who were the march organisers which I mentioned in Gaza Stop the War, there were considerably better arrangements for the press at the opening rally in Kensington High St, and we were able to work far more sensibly, though outside this press area the crowds obviously made things difficult.


Nikon D800E, 18-105mm DX, 21mm

Things were still just a little tricky with access to the actual platform – which obviously does need proper control – but eventually after waiting five minutes or so I was allowed up to take the couple of pictures of the crowds which I’d decided I wanted. But I resented wasting five minutes of my time for no good reason when I could have done it in ten seconds. Not that I mind waiting, but that five minutes would have been spent getting other pictures than might have been better for me and for the cause.


Nikon D700, 16-35mm FX, 16mm

At the head of the march too there were still the usual problems, with photographers having to snatch images from outside a large and heavily stewarded ‘box’ in front of the main banner.  It would be less of a problem if it was half as long, but Stop the War miss out by not allowing photographers proper access for a few minutes at the start of the march, and also at key sites where the march halted – for example outside Downing St.

I walked over half a mile with the front of the march, trying to get decent pictures, but then gave up and worked my way back to the end of the march, sometimes waiting for people to walk past me, sometimes walking backwards inside the march, sometimes going on but slowly making my way back to the start point just over half an hour after the start of the march. By then I’d probably covered about two miles to get nowhere, walking and running backwards and forwards and it was hot and I was tired.  I wanted to be in Whitehall, three miles away when the front of the march arrived there, so I took the Underground to Westminster and walked up Whitehall, stopping for ten minutes or so to photograph a vigil opposite Downing St by ‘Stolen Children of the UK’, families whose children have been taken away from them by the secretive  family courts.


Nikon D700, 16-35mm FX, 16mm

As I was talking, I heard shouting from Trafalgar Square, and rushed to meet the front-runners of the Gaza march – now well ahead of the main banner – just as they turned into Whitehall for the final half mile.  Five minutes later came the ‘box’ of stewards and the main banner, and I took a picture from above the box, standing on the plinth of one of the statues in Whitehall, before infiltrating behind the main banner and photographing inside the march.


Nikon D700, 16-35mm FX, 16mm

As we came into Parliament Square, one of the stewards whose arm I was leaning against told me to go past her and take pictures and for the last couple of hundred yards I was able to photograph the front of the march with the Houses of Parliament behind them and I was able to work more freely for a minute or so.

During the rally that followed there was also a good area from which the press could work and I photographed  a number of speakers before heat and exhaustion became too much for me and I left for home.

Israeli Embassy rally – End Gaza Invasion
End Gaza Invasion March to Parliament
Stop the Massacre in Gaza Rally

Continue reading End Gaza Invasion

Fushi Kaden – Issei Suda

It was in the late 1970s that I got to know Clare de Rouen, who was then running the bookshop at the Photographers’ Gallery, and we were both members of a loose group who often found ourselves drinking at talking – mainly about photography – in the upper bar of the Porcupine on the corner of Great Newport St and the Charing Cross Road after various events at the Photographers’ Gallery (then in Great Newport St.)  She was a striking figure, truly an Egyptian goddess;  I had come across her a few years earlier at the ICA where I was a very infrequent attender, but it was only later that I came to know her.

At that time the Photographers’ Gallery was still of interest to photographers, and I would go to see all the shows there, as well as many of the meetings, including those of a ‘Young Photographers‘ group that met there, where we would bring work and various well-known names would sometimes drop in and show their work and look at ours. It was a lively group, and often gave the Education Officer whose job it was to look after us something of a hard time, particularly as she was significantly less well informed about photography than most of us.

The group was a part of the educational aspect of the gallery that was important to earn its charity status and Arts Council grant, but was I think rather unpopular with the management – and they jumped at the chance to get rid of it when a small group of largely amateur photographers who had been to workshops at Paul Hill’s Photographers’ Place in Derbyshire went to them with a proposal to form ‘London Independent Photography‘. Though the gallery, having encouraged and backed that group, very quickly withdrew any support after it was set up and it continued on an even more independent basis – as it still does.

Bookshops played an important role in my development as a photographer, and the people who ran them were vital. At first for me it was the Creative Camera Bookroom, but after that closed the Photographers’ Gallery bookshop largely took its place. When you went into either of them, you didn’t just browse the books (though you could if you wanted) but met people who were enthusiastic about the books that they stocked and would talk intelligently with you about them.  There were fewer books published in those days, and whenever I went in Clare would be keen to show me something she thought was good and that I would be interested in. And I was never a great customer in terms of spending – in the early days I couldn’t afford to buy many books – and later much of my collection came as review copies.

Later she moved a little up the Charing Cross road to Zwemmers, where the small photographic book shop she ran there was impossibly crowded with books, many of which were otherwise unobtainable in the UK, including a large selection of Japanese photography, almost all of which was new to me. I spent hours one afternoon going through book after book, at last coming across one that I simply had to buy: Fushi Kaden, photographs by Issei Suda*. I’m not sure why the 100 largly square format images had such a strong resonance, and the short English text at the back of the book told me very little. There is more in Japanese that I can’t read, but the English was of little more use, containing the mysterious sentence “It was not, however, until he produced the photographs using mirrors (appearing in the later section of this present work) that Suda established his own style.’  My only guess is this may be a reference to a change in camera, perhaps from his original Rolleiflex TLR to a simiilarly square format SLR. Next time my son comes to stay I’ll see if he can make sense from the Japanese, though all he normally reads is Manga.

What got me thinking about Issei Suda – and then about Clare de Rouen – was an article in the NY Times Lens blog today, Japanese Swordsman With a Camera, which has 14 of Suda’s pictures along with some text by Rena Silverman. I think all but one of the 14 are in the book that I bought, published in 1978 and are on show at Miyako Yoshinaga in New York until Oct 18, 2014.

The best place to see his work on-line seems to be Charles Hartman Fine Art, but you can also see a good selection of his images on ASX and a video there looks at two books, one by Hiromi Tsuchida and the second by Issei Suda. It’s also worth looking at Only Photography, which has some well reproduced images and also the cover of the book that I bought back in the 1980s. There is also an exhibition of 40 prints and a lengthy text on Facebook from Trans Asia Photography Review but the images there seem just a little lacking in contrast to me.

Later Clare opened her own bookshop further up the Charing Cross Road, upstairs above a sex shop, and showed work mainly of young photographers on the stairs. By then I had no more room at home for books, and seldom bought any. Openings there were impossibly crowded and I think the last time I saw her I greatly embarrassed myself when I dropped a bottle full of beer, handed to me out of a tub of ice and water, the wet neck slipping through my fingers.  She quickly and efficiently cleared up the mess and handed me another bottle.


* I’ve just searched for this on AbeBooks and the only copy listed there is from a Spanish bookseller, for around £300 including shipping, so it was a good investment.

 

August 2014


Turkish activists greet the Haringey march for Gaza in Wood Green

One of the reasons there have been fewer posts than usual recently here on >Re:PHOTO is that I’ve been busy trying to catch up with putting my work on-line in My London Diary.  August has traditionally been a month when things quieten down and there is little real news. Journalists used to have to sit down and make up stories, or try and make stories out of mildly odd (or sometimes entirely usual) events. While plenty of papers now fill themselves with that kind of nonsense all year, there was no need for an extra dose this August, as plenty of news kept happening – and the protests didn’t seem to slacken at all.

There seems also to be a growing number of anniversary events in August – some observed for many years – 69 years since the first atomic bombs with a Hiroshima Day Ceremony on Aug 6 every year – and this year a seven-mile long pink scarf for Nagasaki day.  But this year was also the centenary of Marcus Garvey’s founding of the  Universal Negro Improvement Association 75th anniversary of the outbreak of the First World War, the second anniversary of the Marikana miners massacre and the campaign against ‘Page 3‘ and a year since the chemical massacre by the Syrian regime in the Damascus suburb of Ghouta and the massacres by Egyptian forces at Rabaa and Nahda squares.

But there were also protests over new and continuing injustices which I covered, both about those taking place in the UK and those abroad which prompted protests in London. And even on the one day when I got out of London for a walk in the country I couldn’t help but reflect on the incredible gulf between rich and poor – something which the continuing series of Class War protests against separate doors for rich and poor highlights. In a sense there is nothing special about One Commercial Street, with its back entrance down a dingy alley for social housing tenants but it is a clear indication of the increasing polarisation and inequality in our society.

Aug 2014

South East Alliance ‘Racist Thugs Not Welcome’
Sodexo: racism & unfair dismissal


Hands Up! Against racist Police Shootings
No More Page Three
Tamils protest Sri Lankan rapes & killling
Syria Chemical Massacre Anniversary
Gaza Protest – Stop Arming Israel
Divided Families protest over cruelty
Jubilee River & Taplow
Class War steps up ‘Poor Doors’
Shame on You Theresa May
Solidarity with Ferguson
Second Anniversary of Marikana Massacre
Koreans call for special Sewol Ferry Act


March against ISIS massacres
R4BIA remembers Egyptian massacres
Boycott Israel – Boycott M&S
Kurds Protest against ISIS
Class War’s ‘Poor Doors’ Picket 3


End Fast Track deportations
Wool Against Weapons
Bring Back Mark Harper’s Cleaner
Ukrainians & Georgians Putin Protest
Solidarity with Palestinian Prisoners
Hiroshima Atomic Victims Remembered


No Glory No More War
Haringey March & Rally for Gaza
Sainsbury’s protest at illegal Israeli Goods
Boycott Israeli Blood Diamonds
Vedanta told ‘end your killing’


Rastafari demand reparations for slave trade

Continue reading August 2014

Al Quds march


An umbrella adds to the colour

The annual Al Quds (Jerusalem) Day march in London has often aroused controversy, and at times this has made it difficult to cover, with those taking part being very suspicious of photographers. As someone who likes to work close to people with a wide-angle lens, it often meant a considerable amount of argument with stewards to be allowed inside the march. But things have seemed different in the last couple of years, and I had no problems at all this year, with everyone being very open and friendly.


Women shout up at the windows from which vegetables had been thrown at the marchers

The only incident of opposition to the march I was aware of came after the march had gone a few hundred yards south from its starting point at the side of the BBC’s Broadcasting House when a few root vegetables where thrown down at marchers from an upper floor window. I didn’t see them come down, though I was only a few yards away, but I was photographing marchers and not looking up, but I heard the angry response from the crowd, who stopped and shouted up – but whoever had thrown them was no longer visible.

Later I heard that there had also been a small group of far-right protesters who turned up during the rally at the end of the march, outside the US Embassy, but I had left the march well before it reached the embassy.

Much of the opposition in past years has concentrated on the backing for the Islamic Human Rights Commission, whose Al Quds Day Committee organises the event, by the Iranian regime, and Al Quds day was introduced by Ayatollah Khomeini. And although the march is supported by a wide range of groups it is still seen by some as being dominated by Iran. Clearly this year the march was almost entirely about Palestine, with the then ongoing attack by Israeli forces on Gaza at the forefront of everyone’s mind.

It’s always difficult to know how to approach things. There were two large banners of the Iranian leaders, and just a few stalwart supporters of Khomeini you can see in my pictures and who I’ve photographed in previous years. They were there, and in their way photogenic, but unrepresentative. I photographed to a handful of Hezbollah flags, but there were very few on show, whereas some years ago there were large groups of them.

This is also an event that has inevitably been accused of anti-Semitism, and I was looking for anything that would substantiate that. Being against Zionism, or against the use of disproportionate force by the Israeli forces and their killing of children and other civilians is clearly not anti-Semitism. Even the support for groups such as Hezbollah isn’t necessarily anti-Semitic – as the Jews who marched as usual at the front of the Al Quds procession and were greeted as old friends by many of the Muslim leaders make clear, you can be Jewish and opposed to the state of Israel. And as the sheet of slogans held in the hand of the man leading the chanting says ‘Judaism is OK, Judaism Yes, Zionism No‘.

Perhaps the closest I came to any evidence of it was the use by just one of the several thousand protesters on the march of a quotation attributed to former Prime Minister of Israel Ariel Sharon, one of several disputed quotations by him. There seems to be no evidence that he ever made this particular statement about burning Palestinian children which appears to be entirely fabricated. It first appeared on the web around 2002 and in 2003 IHRC published it, while stating they ‘could not independently verify its authenticity‘, which seems irresponsible given its inflammatory nature.

Photographically things were pretty straightforward, with just a little light rain meaning I had to keep vigilant for raindrops on the lens filters, and work with a cloth in my hands to give the occasional wipe. But it wasn’t raining that hard, but the light did go down a little, and most of the pictures on the D700 were taken at ISO 1600. I didn’t get around the changing the ISO on the D800E from my normal ISO 800, but it didn’t seem to cause me any problems. Perhaps for once I had image stabilisation turned on – it often seems to mysteriously get turned off.

As usual I using the D700 with the 16-35mm, switching to the 70-300mm for some more distant views of the march from a higher viewpoint. The 70-300mm is another full-frame lens and I generally prefer to use it on the D700 rather than get the larger file sizes from the D800E.  The 18-105mm was on the D800E all the time, with its DX format giving sensible file sizes (15.4Mp) and an equivalent focal length of 27-158mm.

So there was quite an overlap in the focal lengths covered between the this and the 70-300mm, which I think is useful, as it saves needing to switch between them so much. There is also an overlap between the ranges of the 16-35mm and the 18-105DX that is equally useful, especially when I raise the wrong camera to my eye. I still find it confusing at times that the smaller lens has the greater focal length.

Al Quds Day march for Jerusalem

Continue reading Al Quds march

London Airports

I can’t understand why London has always failed to sort out its problems over airports, although it’s something that has affected me much of my life.  I was born just a mile or two from the site of one of London’s earliest airports, and with another just down the road. As a kid I played in my back garden with the planes streaming into Heathrow sometimes so low overhead that I felt I could reach up and touch them and had nightmares having seen them come over with flames coming from their engines.


Speeches after protest march at Harmondsworth against proposed Third Runway at Heathrow, 2003

Heathrow was a mistake from the start, pushed through by dressing it up as a military airport (which wasn’t needed)  in WW2 by people who knew it would not get approval as a civilian project. By the 1960s it was glaringly obvious that London needed a new airport, and both the Roskill Commission and the Edwards Report concluded Heathrow was in the wrong place (and was badly designed.)  Roskill called for a new airport, suggesting 3 sites to the north of London and Foulness, eventually making Cublington their preferred choice. PM Edward Heath responded to nimby pressure and rejected this, going instead for Foulness (Maplin Sands),  and things started to get moving, only to be cancelled a couple of years later as too expensive.


Cliffe, 2002

Various studies and proposals followed, with another estuary site, Cliffe, being finally rejected in 2003, and Boris coming up with his island plan in 2008. Another runway for Heathrow – which would have made the problem of it being in the wrong place even more acute – was rejected in 2010, but in 2012 the Davies Commission was set up in a thinly veiled attempt to revive this dead duck.


Climate Rush protest against Heathrow Expansion, 2009

Meanwhile, other countries facing similar problems have gone ahead and built their new airports in sensible places. In London we’ve made things worse by developing yet another airport in the wrong place, London City Airport. Roskill I think got it more or less right back in 1971, and we should be considering sites in that general area, around the M1 and the A1.


‘The Future’ protest at London City Airport, 2014

So when Tamsin Omond  handed me a flyer and invited me to photograph a protest by a group who call themselves ‘The Future’ at London City Airport, I was keen to do so, even when it did mean travelling across London rather earlier than I like.


The Eye, The Future. London City Airport, 2014

On their web site they write:

The Eye is The Future’s symbol.  A large circle drawn around the eye to mean:

We are connected:
We unite with a circle drawn around our eye to fight for our future.

We are the watchers:
We judge the powerful when they do not act to protect the future from climate change.

We are the creators:
We refuse to be victims. We create our own world.

Continue reading London Airports

Fuji X in the wet

I’d rushed away from the procession for Our Lady of Mount Carmel in Clerkenwell, down the road to Farringdon station and on the tube to Brixton where the workers at the Ritzy Cinema were picketing the cinema in their campaign for a living wage.

But when I got to Brixton, there was a crowd blocking the exit as torrential rain was coming down outside. I stood with the others just inside the station watching with surprise what was really an unusual cloudburst. After five or ten minutes the sky got just a little lighter and the rain slackened off a little to heavy and I thought it was clearing. With quite a few others I put up my umbrella (there is always a folding one in my camera bag – except when I take it out to use and forget to put it back after drying) I struck out towards the Ritzy – just a short tread away.

It was still raining when I arrived, and the protesters holding the banner outside were wet; those without umbrellas were soaked. At least they left the big tree when they redesigned Windrush Square a few years back to try and stop people hanging out there, making it a bleak and inhospitable place. And I made for it, only to find the rain was as bad under it as not, dripping down from the sodden canopy above.

I don’t like working in the rain, but I’d thought it might make for some interesting pictures, and I think I was right. But the rain came on again, as heavy as before. I started taking pictures one-handed, holding the umbrella in the other. Autofocus takes care of focusing, but changing the focal length is another problem, involving holding the lens to the hand holding the umbrella to use it to push the zoom ring round. It’s easier to do this without trying to look through the viewfinder, looking at the focal lengths on the scale, or you can find the rain dripping from one of the umbrella spines down your neck as you accidentally tilt the umbrella as you twist the ring.


My umbrella at top left

The umbrella is ok when using a telephoto, but with a wideangle it does tend to creep into a corner of the frame as you take pictures. And forget it with a fisheye, but in any case it isn’t easy to change lenses without an extra hand. I had two cameras with me, both Fujis, with the X-T1 with the 18-55 zoom and the X-E1 with the 14mm. The X-T1 is supposed to be weather resistant, but neither lens is, and the bag I was carrying the kit in is not that waterproof either. Most of it was around my neck in any case, though the 8mm fisheye was in the bag and stayed there.

The rain came down heavier still. Not just cats and dogs but horses too. Even under the umbrella it was raining, with a fine mist of small drops spraying through as the larger drops stormed down from above. I was getting wet. I moved back under the tree, and was still getting wet.

It had been bright and sunny when I came out, and hot. The forecast was for it to get hotter, with no mention of rain, and I hadn’t brought a coat. But now the temperature had dropped perhaps 10 degrees – Centigrade – and I was both wet and cold. My shirt was getting damp from the spray through the brolly and lower down my trousers were wet from the top of my legs down, soaked by the knees and below. The rain was slowly filling up my shoes too, and I was squelching as I walked. But the pickets were standing there – some without umbrellas, and I thought if they can do it so can I.

Eventually it did ease off, and finally it even stopped raining. By then Acre Lane was in flood, the stream running along its gutter too wide to jump, but it soon went down. As the rain eased, a man turned up with his pans, and along with the couple of drummers who had been playing in the rain we got some live music, and people began to dance. It began to look like it was going to be a fine evening, both in terms of weather and in the atmosphere around the picket, but it was also around time for me to go home.

I think I was right about the weather making for some more interesting images – well at least they were different –  although of course this was very much down to the spirit shown by the strikers. Both Fuji cameras and the two lenses seemed to put up with a bit of rain – and I got none of the misting up that can often be a problem with the Nikon lenses – down in part to the heavy lumps of glass in the 16-35 and the vigorous pumping action of the 18-195 zoom, though that might have been down to the particular quirks of the weather.

Both cameras coped pretty well with this event, and I’m beginning to feel more confident with using them at least where no fast-moving action is likely to be important. I’m hoping that the Fuji wide-angle zoom will come down a bit in price shortly. Unfortunately the £200 cashback offer from Fuji for buying two lenses excludes the only other Fuji lens I’m thinking of buying to make up a versatile kit.

Text and pictures at Ritzy workers strike for Living Wage.
Continue reading Fuji X in the wet

Back to Little Italy

It was I think in 1992 that I first photographed the annual festival of Our Lady of Mount Carmel at the Italian Church in Clerkenwell – certainly those are the earliest pictures I can currently find, though unfortunately they are not yet on-line – and I’ve continued to do so for most years since then, missing the occasional year when I’ve not been in London.

According to my filing sheets, that 1992 event took place in June rather than July, but perhaps that was probably just an error on my part. Otherwise it looks quite similar to this year’s event, except that some of those still taking part look considerably older and greyer. The procession then followed a different route, around the streets to the south of the church and my pictures were black and white, mainly taken with the 28mm Minolta lens on a Minolta CLE – always my favourite Leica.

That lens too was my favourite ‘Leica’ lens, bought because the extensive reviews and lab tests in the US magazines (at at time when UK magazines mainly poked the camera out of the office window and took a snap across the river) showed it to be optically superior to the Leitz equivalent, as well as rather cheaper. I think the difference in price enabled me to buy the Leica 90mm f2.8 as well – which did get deservedly good reviews.

And that Leitz Canada Tele-Elmarit M lens fits well (with a Fuji M adapter) on the Fuji X cameras (where it is a 135mm equivalent) and their electronic viewfinders make it a far more practical proposition than it ever was on a Leica, where the viewfinder frame was laughably small. Being able to focus on a magnified image with focus peaking makes it very usable for reasonably static subjects. Fuji don’t offer any equivalent to this lens, though there are a three zooms that include this focal length, and a fourth on the way. If they did it would be larger and heavier than the Leitz (around 330g with the adapter) but would of course have the advantage of autofocus and offer the option of auto aperture control.

I tried using all my old Leica lenses when I first got the X-Pro1, and several of them – whatever name they had on them – were just a little disappointing compared to Fuji X glass. The 28mm Minolta was one of the worst, suffering from white spots and fungus. I took it to a specialist in lens cleaning, who gave me the unwelcome news that it was permanently damaged and not worth cleaning – though at least that advice came free.

I might have taken some colour pictures of the festival as well back in 1992, and I thought I came across some earlier today while I was looking for the black and white, but I can’t find it now, so perhaps it was just a hallucination. Back in the 1990s, black and white was still king, particularly for the library I put my pictures in, as relatively few books and magazines used much colour, and I only used colour for personal projects where colour itself was an issue, although things were changing. (I’d moved by this time from colour transparency to colour negative, which did simplify things,allowing me to file the work in the same way as black and white, using archival plastic negative filing sheets. But things didn’t always get filed where they should have done.)

Things at the Italian festival were rather more freer back then, with no barriers or roped off areas, and perhaps just a little more chaotic. It was in some ways a more Italian event back then, although it is still Italian now, and it was also rather more of a local community event. And of course the wine was cheaper, though at the right stall in the Sagra it was still very reasonable and drinkable this year. Most years I meet up there with a friend of Italian descent who can always be relied on to source the cheapest wine and we get through a few together between taking pictures. Whatever wine snobs would say, it seems to taste fine drunk from a disposable plastic tumbler.

Using the Minolta I was also a rather more discreet presence than I am usually now with two large Nikons with hefty lenses around my neck, and my pictures then had more of a ‘street’ feel to them. Though for this occasion I had chosen to work with two Fuji cameras, the X-T1 with the 18-55mm zoom and the X-E1 with the fixed 14mm. It also helped that there were far fewer photographers around than now; apart from a few proud mums and dads taking pictures of their children there were probably only a photographer from a local paper and a couple of friends of mine seriously taking pictures. Things are very different now.

When I have more time I’ll go back and scan some of those images from 1992. But in the meantime you will just have to make to with my pictures from this year – and on the web you can also look at those from When I have more time I’ll go back and scan some of those images from 1992. But in the meantime you will just have to make to with my pictures from this year – and on the web you can also look at those from
2003, 2004, 2005, 2006, 2007, 2008 and 2009. I had 2010 and 2011 off and was back there in 2012 and 2013.

There was one small disappointment this year. Back in those pictures from 1992, there are a couple of frames of people all staring up into the sky and the next frame, pointed up towards the sky shows a dove making its way into the heavens. But this year I saw no doves.

More of this year’s pictures and about the event at Festival of Our Lady of Mount Carmel.

Continue reading Back to Little Italy

July 2014


July 19: Protesters from the End Gaza Killing Now march stop off in Trafalgar Square on their way to the Israeli embassy

Yes, its the end of July on My London Diary, a kind of time machine with only a single gear – reverse:

And it was a month that was really dominated by the attacks on Gaza and for me in London by the response on the streets to this. But I did have a week’s holiday – and many of the pictures I took of that are on here too.

July 2014


Class War – Rich Door, Poor Door

Aldgate & Spitalfields
Denham & the Grand Union
Stop Stealing Children
Stop the Massacre in Gaza Rally
End Gaza Invasion March to Parliament


Israeli Embassy rally – End Gaza Invasion
Al Quds Day march for Jerusalem
Alban Way to Hatfield Walk
CanningTown to North Woolwich


‘The Future’ at London City Airport
Ritzy workers strike for Living Wage


Festival of Our Lady of Mount Carmel


Police & Gaza Protesters
End Gaza Killing Now
Devon/Dorset Holiday


Public Service Workers Strike for Fair Pay
Argentina don’t pay the Vultures
Court vigil for WCA Judicial Review
Save our Surgeries on NHS 66th Birthday
Focus E15 March for Decent Housing
Independent Living Tea party

Continue reading July 2014

Tavakolian versus Carmignac

Iranian photojournalist Newsha Tavakolian (born 1981) gives her reasons for  returning the 50,000 Euro grant and stepping down as the winner of the Carmignac Gestion Award for photojournalism 2014 in an article Newsha Tavakolian versus Carmignac published today on The Eye of Photography (L’Oeil de la Photographie).  In it she makes clear her reasons for doing so, because of the interference of French investment banker Edouard Carmignac in the presentation of her work.  She writes:

from the moment I delivered the work, Mr. Carmignac insisted on personally editing my photographs as well as altering the accompanying texts to the photographs.”

and that his interventions had the effect of changing her work from “a subtle attempt to bring across the realities of life of my generation in Iran to a coarse and horrible clichéd view about Iran.”

Tavakolian states that the Carmignac Foundation has a persistent attitude of erring on the side of controversy, and that their behaviour towards her and her work is at odds with its stated aim of being “committed to champion the personal and, by definition, minority view”, attempting to straitjacket her subtle and nuanced individual perspective into the clichés about Iran. As she points out, even their statement they made about the ‘adjournment’ of her exhibitions and book they state this was due not to her standing up for the integrity of her work but to ‘severe pressure’ applied by the Iranian government on her and her family. She describes this as “absolutely false, and laughable”.

Tavakolian was one of the photographers – others included Azadeh Akhlaghi, Gohar Dashti, Shadi Ghadirian, Babak Kazemi, Abbas Kowsari, Ali and Ramyar, and Sadegh Tirafkan whose work was shown earlier this year at Somerset House in Burnt Generation: Contemporary Iranian Photography, and one of her pictures in a set of images on Iran’s young middle-class from The Observer shows a man sitting at a table with his face covered with shaving foam, ‘to draw attention to her feeling that, “Men in Iranian society are often perceived as angry and bearded in the west”’.

Hers is a principled stand, and one that as a photographer I whole-heartedly applaud. Too often the price of having work published or shown has been to have the views of others imposed on it. Her website  – and those of the other photographers listed above – is worth spending time looking at to understand something about both her own perspective and the realities behind living in Iran.