Northern Outfall Sewer 1990, 2005, 2010…

Saturday afternoon I made another trip to the Northern Outfall Sewer (aka Greenway) on Stratford Marsh, a site I’ve been to many times over the years since my first visit around 1982. But this time I wasn’t just going to take photographs as I have done over the years, but to talk about my work, along with four other photographers, and to take part in a discussion with them and the twenty or so others present in one of the sessions of the ‘Salon de Refuse Olympique’ (I think seriously missing an acute accent on the third word of the title) which was described as “An Olympian marathon of salon debates for forthcoming book documenting and highlighting critical creative responses to the official London 2012 Olympic Games site and Cultural Olympiad.”

Our session, held in the View Tube,  entitled ‘Imagining the Olympics‘ was led by Dr Ben Campkin, Director of UCL Urban Lab and assistant director of Architectural Research at the Bartlett School of Architecture and the other photographers on the panel were Chris Dorley-Brown, Alessandra Chila, David George and Giles Price. Gesche Wuerfel also down to take part was out of the country but had sent some thoughts.

I don’t know how it will emerge in the forthcoming book, but for the event each of us was asked to send 3 photographs and to use these to talk about our work.  So here are the three pictures I sent and below them the text that I wrote and used as a guide to my presentation.

© 1990, Peter Marshall
London Olympic site 1990
© 2005 Peter Marshall
London Olympic site 2005
© 2010, Peter Marshall
London Olympic site 2010

 Before The Olympics – The Lea Valley 1981-2010 and Beyond?

Two of these pictures are in my book ‘Before the Olympics – the Lea Valley 1981-2010’ and the third taken shortly after I put that book together. A dozen of my pictures of the Olympic site in the 1980s including the first of these three are now in a show that opened this morning at the Shoreditch Gallery in Hoxton Market, part of the East London Photomonth.

I made that 1990, the next 2005 and the last 2010. All made more or less where we are now, a place where I’ve taken quite a few photographs over the years. Much of the work from the area is on my Lea Valley web site, which gets around 250 views a day, a rather small fraction of the 3.25 million a year for all of my work, but the active time on the site for the average visitor of almost a minute is high in web terms.  I showed over 250 pictures from the site in a presentation at the 2010 London Documentary Film Festival after which I was asked ‘Do you have a book’ and thought to myself ‘Why not?, and a couple of weeks later I did – and Blurb made it an editor’s pick and got me to talk about it at their week of presentations in London last November.

I began photographing London in the early 1970s, but only began work seriously in the 80s, having produced and exhibited a major project on Hull, where I’d found a way to approach the city. I’d also worked in Paris, where ten years earlier I’d come across and been inspired by the work of Eugene Atget. Other influences included topographic works such as the encyclopaedic ‘Face of London’ by Harold Clunn and of course Pevsner’s ‘The Buildings of England’ series, though this was in some ways a perverse stimulus in that I was often more excited by what he left out than what he put in.

Back then, few people were in any real sense attempting to photograph London as a city, and the scale was daunting. There were no digital cameras, no GPS, no geo-tagging, no personal computers, no Internet. I started with the A-Z of London, which fortunately after a few years changed from its own system to use the National Grid. At the base of my project was the idea of building up a corpus of work that would include what I felt to be significant buildings and scenes to represent every kilometre square of Greater London (though of course some were much more productive than others.) It remains an unfinished project, partly because of the scale (there are probably around 2000 such squares in my slightly elastic definition of London) but largely because it has been overtaken by the Internet and the explosion of photography in the digital era.

But this work, some of which was bought for the National Building Record and some put on my first major web site on my own domain in 1996 – it was called  (in a nod to Pevsner) ‘buildingsoflondon.co.uk’. I saw the work as a resource and a jumping-off point for other projects, some related to geography and transport – including projects on the Northern Outfall sewer, below us, the Lea Navigation and other rivers, and, not far away, the Greenwich Meridian, but others which were more a cultural exploration, such as ‘Ideal Café, Cool Blondes and Paradise’. Another major theme was the de-industrialisation of London, reflected in part in my ‘London’s Industrial Heritage’ site. The first portfolio I put together on the Lea was part of an unsuccessful application for Arts Council support around 1983, but many photographers who saw it were very encouraging, including one now very influential in the photography world who advised me to give up the day job – teaching – and go full time.

More recently I’ve returned to photographing the people of London, on the streets, in festivals and particularly in protests, and have become better known for a site called ‘My London Diary’. This work brought me back to the Olympic site, both to cover the protests against the Olympic bid and also the unsuccessful efforts by the Manor Gardens allotment holders to be a part of what might have been a truly green Olympics.


Of course these three are not the only pictures that I took over the years from more or less the same spot – and had I had the time I could have matched them more closely from my files. On the way to the discussion I went and made several more panoramas, including one from the same viewpoint. And on Sunday I was back on Fish Island and Hackney Wick taking a few more images of the Olympic site, some of which I’ll share in a later post – and of course in My London Diary.

You Almost Never Need Releases

I’ve long told people that you seldom need releases for the use of pictures of people, property, logos etc, and it it great to find a lengthy posting by Dan Heller, who has written a book on the subject that states this clearly. And although Heller is clearly writing from a US perspective, I think that most if not all of what he has to say would also apply here.

Basically, in his Busting Myths about Model Releases, Heller states clearly that you would only need a model release to use a picture where it could reasonably be seen to imply that the person shown was recommending or endorsing a particular product.  To get a judgement against you, the claimant would have to show that the mythical man on the Clapham omnibus seeing the picture in the way it was used would come to that conclusion.

If you photos are not being used to promote some kind of product, then there is no need to worry at all.

In a follow-up post, Commercial Releases and Model Releases he suggests that we need to replace the idea that model releases are needed for commercial use a concept that more accurately reflects the law, that of ‘advocacy’. And basically if it isn’t ‘Advocacy’ you can use it for any purpose without any kind of release. In particular you can use pictures in books, exhibitions, your own portfolio and of course your own web site without one.

If, like me, you are often told that you are not allowed to photograph in a particular private place, the good news is that any pictures you take before that you can use how you like. Of course in many places that information comes on the the ticket  that you buy to gain admission or is on a highly visible notice at the entrance.

There are perhaps other ways in which a photograph might be defamatory,  an area into which Heller has not yet strayed in this series of posts.

He does mention that there are cases where the photographer may have signed an agreement restricting their use of the pictures before taking them in what he calls a ‘closed session.’  Obviously such restrictions are then binding, although in general other than for some types of private photography I think photographers should either decline to sign these at all, or to cross through any restrictive clauses before doing so. Better not to do the job than to have great pictures you can’t use.

Photomonth Opens – Phil Maxwell

© 2011, Peter Marshall
Phil Maxwell speaks at the opening

Tonight saw the opening of Photomonth 2011, still London’s only real major photography festival, although nominally limited to East London. That is a fairly elastic definition, and there are also a few shows outside the area, as well as some on-line.

There had been a suggestion that there might be a greater emphasis this year in the run up to the London Olympics on photographs of East London in general and the Olympic area in particular, which was why I organised the show ‘East of the City‘ as a part of it, with work by three photographers and including some of my own pictures from what is now the Olympic area, taken around 25-30 years ago.

Looking through the very extensive catalogue of exhibitions this year – well over a hundred shows in East London, as well as other activities, relatively few seem to have taken that suggestion to heart, but at the very centre of the festival, showing the the Bishopsgate Institute and Rough Trade East is Phil Maxwell’s ‘Forty Years On’, and it was this show that was the centrepiece of this years Photomonth opening.

I found it a slightly difficult show to view in the library at the Bishopsgate Institute, with some pictures high up on the wall above the book cases, and others rather smaller on the ends of the stacks. I was thankful that their was a listing of the images so I could work my way slowly around the space and make sure I saw them all, though I did find it a little annoying to have to change from my distance spectacles for those pictures on high and back to my ‘computer’ glasses for those at a lower level. Maxwell’s earlier work from Liverpool in the 1970s was rather easier to view, shown more conventionally in the corridor outside the library, and perhaps because of this and a more limited range of subject matter I found it photographically more coherent.

From Liverpool, Maxwell came down to London, and his pictures show that he took the East End to his heart, and the reception at the opening showed that the people there took him to theirs.

Here are some pictures from the opening on Thursday 29th – in time I will post more on the 2011 September pages of My London Diary.

© 2011, Peter Marshall

© 2011, Peter Marshall

© 2011, Peter Marshall
Festival Director Maggie Pinhorn introduces Phil Maxwell
© 2011, Peter Marshall

© 2011, Peter Marshall

© 2011, Peter Marshall

© 2011, Peter Marshall

© 2011, Peter Marshall

Over the next month there are many events and shows to enjoy in London  – see the details on the web site or pick up the brochure from any of the hundred or more venues.

Shahidul Alam in London

When I began to write about ‘World Photography‘ eleven or so years ago, one man in particular earned my respect for his work in setting up the agency Drik and in general promoting photography from the majority world.

I’ve mentioned Dr Shahidul Alam quite a few times on this site, and next week those in London can hear him give a free public talk When the lions find their storytellers at the National Geographic Store, 83-97 Regent Street on October 4th at 6pm.

Later in the week, his first solo retrospective in the UK, ‘My Journey as Witness‘ opens at Tristan Hoare’s gallery in the Wilmotte Gallery at Lichfield Studios, 133 Oxford Gardens, London W10 6NE on 6th October, and runs until 18 November 2011, with a book of the same title being launched the in the UK on October 10 by Skira, Milan.

Why Wasn’t It Like This In August?

Today it’s a beautiful summer day, though unfortunately I’ve had to spend most of it at a computer getting things ready to hang ‘East of the City’.  Yesterday I did get out a bit, a few errands on my bike, then the annual attack on the eucalyptus tree in my garden, which would otherwise by now dwarf my house and be a fire risk.

We got it as a present, a small tree, planted it and forgot about it for a few years, then were astounded at how big it had grown.  Now I’m trying hard to keep it at the size I can trim it from a ladder, and yesterday I was up there with saw, secateurs and tree loppers. I’m not too keen on heights, and tend to dissolve into uncontrollable wobbles, but managed to stop myself falling off the ladder and get the job done, though I was exhausted by it.

Then I came back indoors, back to the computer and put on-line the pictures from two days of walking beside the Thames at the end of August, when it was cool and rainy.  The first day I had to wear waterproof trousers as well as a waterproof jacket and boots, though the second was rather better – just some heavy showers, and by the end of the afternoon it was really quite summery, a good excuse to go into a village pub for a beer.

These were not particularly lengthy walks,  though we did take several diversions which brought them up to around ten miles, and it’s too far for me to carry a heavy camera bag with all my usual kit. So generally I just take one camera – usually the slightly lighter D300, with the 18-105mm, as I did on both these days. Sometimes I’ll also add the 10.5 fisheye just in case I really need a wide-angle, but usually I don’t bother. I can’t quite say there are no wide-angle pictures when I don’t have a wide-angle lens, but on jaunts such as these I don’t feel the same compulsion to deliver effective images as when I’m working.  I’d miss not having a camera with me at all, but these days are leisure (if strenous) rather than work.

There is a kind of sullen colour that you only get on wet days that rather appeals to me, as in this picture of the river, though I find it hard not to be a little tongue-in-cheek when taking such views.

© 2011, Peter Marshall

It was interesting when writing about the walks yesterday to take a look at some of the web sites about the Thames Path, not least to see how bad some of the photography on them was. Nowadays digital makes it so easy to take at least reasonable pictures, but some people do seem to have some special skill at not doing so.

We didn’t stick entirely to the way-marked route, and one of the diversions was to Iffley Church, which was a fine stained-glass window by John Piper, who I think also took some good landscape photographs as well as his better known prints.

© 2011, Peter Marshall

I didn’t quite frame this with enough space around it to correct the perspective, but I think the picture captures some of the intensity of the original. The church is a splendid example of Romanesque, relatively little changed from when it was  built, although it would perhaps have been rather more exciting with coloured paint on the fine stonework.

© 2011, Peter Marshall

The following day we set off upstream from Oxford, and it started fine, but soon there were heavy showers. Later in the day it cleared up, and we had an interesting time in the village of Eynsham before catching the bus back to Oxford.

Just after I took the picture above, I did have a wide-angle moment, and without a lens wider than the 18mm end of the zoom, the answer was obvious, and I made a few hand-held panoramas, each from just a couple of exposures.

© 2011, Peter Marshall

This is I think the best of them, and it has a horizontal angle of view of 95 degrees, just around the limit of rectilinear perspective. But the picture looks rather better when treated to a different projection, such as the Vedutismo (Panini) project shown here. You can probably see it twice the width if you right click and select ‘View Image’, at least that works for me in Firefox.

You can read more about the two walks and see more pictures from the two days in
Thames Path: Abingdon-Oxford and Thames Path: Oxford-Eynsham.

Al Quds Day Dilemmas

Al Quds Day was proposed by the late Imam Khomeini of Iran as an expression of solidarity with the Palestinian people and of opposition to the Israeli control of Jerusalem, as well as more widely “a day for the oppressed to rise and stand up against the arrogant.”  He established it as the last Friday of Ramadan, and its celebration has become something of a controversy particularly in the last few years in London.

© 2011, Peter Marshall

The annual Al Quds Day march here takes place on the Sunday before the end of Ramadan, and is organised by the Islamic Human Rights Commission, a body which receives funding from Iran. Although a wide range of pro-Palestinian groups give the event their support, few of the larger groups take an active part in the march, although speakers from some of them have appeared at the rally which follows this.

Although many of us support the Palestinians in their demands for a just settlement and an independent state and oppose the long-standing occupation and oppression by Israel (and most including myself also recognise the right of Israel to exist in peace in the area) few of us are supporters of the Islamic regime that currently oppresses the people of Iran – or indeed of the dictatorship by the Shah that preceded it.

© 2011, Peter Marshall

As the march assembled, a small group of protesters gathered across the road, protesting against the march and for freedom in Iran. Many if not most of those marching in support of freedom for Palestine would have shared their hopes for an end to the current Iranian regime.

One affect of the counter-demonstrations by this group and others this year and in previous years has been to make the march organisers very sensitive to the way that the press covers the event.  There are often also frictions between some of the stewards at largely Muslim protests and the press, particularly male photographers, about the photographing of Muslim women in the protest.

© 2011, Peter Marshall

Few of these problems seem to arise from the women themselves, and certainly those from many Muslim countries – for example Palestine, the focus of this protest – seem seldom to have any problem with being photographed. As one Palestinian photographer friend told me when I asked, “you can do anything with them!”

At this event I did have some problems with some of the stewards, one of whom attempted to remove me completely from the protest, but I refused to go, moving instead to the front of the demonstration when I had finished taking a few pictures. Fortunately one of the people covering the event for the organisers knew me and the work I had published on previous demonstrations and told them that I should be allowed to stay and take photographs – and I was able to do so.

© 2011, Peter Marshall

The rest of the photographers covering the event had been moved across the road, and I felt a little upset by this. But I’d been allowed to stay because I’d argued and stood my ground,  and because some people there accepted my integrity as a photographer, and I felt I had to make the most of it.

Once the march started, I think all the photographers were able to work without problems, which hadn’t always been true in previous years. One previous year I had to appeal to Yvonne Ridley who in the march to prevent the stewards from forcing me out; fortunately she remembered I had talked to an photographed her on several previous occasions and vouched for me.

As the march reached the bottom of Haymarket, not far from Trafalgar Square, I noticed three men who I knew from English Defence League protests watching it come down the street. I’m sure they recognised me too, as I’ve been pointed out in right wing web pages and at one right wing protest as a left-wing photographer. Some who know me better on the right also recognise that although I disagree with many of their views I do try to present them accurately – and I’ve actually been invited to cover several right-wing events because of this.  If any of my reports show them in a poor light it is because of what they do. Accurate reporting is I think vital.

So I knew that there would be another protest against the march, and the police had confined most of the EDL to a pen on the corner of Cockspur St and Spring Gardens, which seemed rather distant from the march, although within view as it turned onto Trafalgar Square. Probably most of the marchers didn’t even notice them, though I did see a few pointing at them and laughing and others making less polite gestures.

© 2011, Peter Marshall

But as the march came down the side of the square I saw a small group I recognised from EDL events on the side of the road, and followed two women as the walked in front of the march, one stopping to give them the finger. Police soon took them to the side of the road.

I went to photograph the EDL and then walked back into the square to see what was happening, following a group of four or five others I recognised who were walking around the square. I missed a small incident where one man who police had apparently removed from the square once had returned and was arrested, then walked back to photograph those in the pen again.

© 2011, Peter Marshall

A few minutes later I saw an EDL flag being waved on the North Terrace overlooking the square and hurried across to find a small group of protesters surrounded by police, who began to escort them out back to the distant pen. I managed to get to photograph them (one held up his hand to cover my lens) and then walked down talking to one of them who complained to me that they were not being allowed to protest in the square before taking a few more pictures.

© 2011, Peter Marshall

I think that I wrote an accurate report of the events, including some of what the EDL had to say, which to me contradicted their claims not to be Islamophobic. But so long as they remain within the law – and on this occasion I think they did so – they have a right to protest and I think they were perhaps unduly restricted in this by the police actions.

The EDL accuse the press of not reporting them and of concentrating on the excesses of a few violent individuals when they do cover their activities. Of course in general that is true about all demonstrations, with peaceful protests seldom making the news, even if large in size.

Many more pictures in Al-Quds Day Protests on My London Diary.

Secret Gardens Opening Pictures

One event I decided not to photograph was the opening of my ‘Secret Gardens of St John’s Wood‘  show last week. Although I had taken a camera along with me and was wearing it around my neck I didn’t take a single picture. So I was pleased to see Paul Baldesare taking some pictures at the event – and he handed the camera over to Jiro Osuga at one point.

I didn’t want to take pictures because I was too busy and perhaps too involved to work sensibly; it was really nothing to do with having drunk several glasses of red wine, very necessary to keep my voice working with all the talking I was doing!

© 2011, Paul Baldesare

This is a nice picture of Dr Cathy Ross opening the show, with a couple of photographers in the background.  Like the other pictures in this post it was taken with a Panasonic DMC-GF2 with a 14mm lens at ISO 640. Although the quality seems fine, it does point out a big difference between the 4/3 format and cameras such as the Nikon D700 where I would have happily been working at ISO 3200, more than 2 stops faster, or even faster, and working without flash, or if I’d brought the SB800 as well, adding a bit of bounce flash.  Of course there is a balance and the DMC-GF2 is a lot less to carry and perhaps easier to use than a D700 + SB800 combination  – and a lot cheaper. In favour of the larger combination are quality and flexibility.

© 2011, Paul Baldesare

Several of the garden owners are in the next picture, along with a few of the others present. But the 14mm in a fairly small space only shows a fairly small section of those present, with its 28mm equivalent field of view. Its the kind of situation where something wider – like the 16-35 mm on the D700 or the 10-20mm on the Nikon D300 (or perhaps better still the Nikon 10.5mm full-frame fisheye) come into their own.

© 2011, Paul Baldesare

The smaller format also I think shows its limitations in this image, where it hasn’t coped too well with the dynamic range. But I’m pleased to have these pictures of the event and Paul has done a good job in catching some of the  gestures and expressions of the people involved in the fairly short formal proceedings of the evening, particularly since I suspect he was ahead of me on the wine.  But they do I think show the limitations of the equipment, and confirm my decision for the moment not to invest in one of these more compact systems.

© 2011, Paul Baldesare

The final picture I’ll include is perhaps a good example of subject failure, if not in the classic sense of the term. I’m really rather better behind the camera than in front of it, seen here thanking Dr Ross for her speech.

But in the end the best camera is the one that was there – and was used by someone who knows how to use it – and my thanks to Paul for the pictures. You can see some better example of his work in our show together (along with Mike Seaborne, who appears in most of the pictures above) East of the City – which will be open to the public from Saturday.

Government Attacks Peaceful Protest

From Maggie’s I went directly to another event where there was also very little to photograph, but one that I had wanted to write about.

UK Uncut had launched a series of protests across the country that had caught the public imagination, campaigning in particular against people and companies who were avoiding – mainly by legal subterfuges – paying their share of UK income tax. It was a campaign that was getting wide support, not least because most people get their tax deducted at source under PAYE and don’t have any choice in the matter.

If you are wealthy – either as a private individual or a company – you have the option of employing accountants and tax advisers who will tell you how you can legally avoid paying UK tax, exploiting various loopholes and dodges. Companies that are actually based in the UK, trading here, getting their profits from UK taxpayers can apparently save billions entirely legally by pretending to be based overseas, setting up a largely notional office in some foreign country.  Similar scams also help many of our richest private citizens to avoid large proportions of their tax bills.

Most of us knew that these things happened, but UK Uncut has made us aware of the huge scale that the national economy is losing out because of them – as well as the identities of some of the major culprits, with its protests at Topshop, Boots, Vodaphone, major banks and elsewhere.

Although the government occasionally condemns tax dodgers – and particularly those who do so illegally – successive governments have failed to take effective measures to prevent tax avoidance. The Conservative party in particular depends strongly on the contributions of those who gain most from lax tax laws, and protecting the interests of the wealthy – including many in the party – is at the heart of its policies.

For them, UK Uncut are a problem, and doubtless one that the police have come under great pressure to do something about. But their actions have been generally well-ordered and non-violent, composed largely of well-educated middle class protesters.  They have occupied premises for short periods, holding classes in them, and have then left when requested without causing damage.

At Fortnum & Mason, UK Uncut were also well-behaved. Outside the shop a few yards away police were fighting other protesters as the largest and largely peaceful trade union demonstration in London filed past.  The media were concentrating on the few hundred people involved in violence (and I’d left the UK Uncut protesters to go home shortly before they arrived at Fortnum & Mason, as I had been hit earlier by a paintball, and it was beginning to get rather uncomfortable as the paint was drying out), and I think the politicians and police saw their chance to act firmly against UK Uncut and carry out a mass arrest, linking them in the public mind with the rather mindless violence on the streets.

So the police lied to those in Fortnum & Mason, asking them to wait until things had quietened down outside, when they would be allowed to leave. Police praised them for their co-operation, but actually they wanted to hold them there until it was safe to bring up police vans to arrest them and take them away.

Many were then held for almost 24 hours in police stations, sometimes being refused their legal rights to make contact. Some were released in the middle of the night, miles from their homes and not knowing where they were, some dressed only in their underwear covered by near-transparent white suits.

© 2011, Peter Marshall
‘Would you send your daughter home Like this?’ As police did.

Eventually charges against most of them were dropped. Around 30 were picked out and charged with the serious offence of ‘aggravated trespass’, apparently because there was evidence (such as the possession of leaflets) that they wanted to ‘promote their cause’.  It’s unfortunate that the judge who pointed out that this was completely legal failed to take the obvious further step of throwing out these cases, though they seem almost certain to fail at a later stage.

© 2010, Peter Marshall

What won’t happen – and why there won’t be justice in this matter – is any proper enquiry into the political pressures put on the police or disciplinary procedures against those officers who bowed to them, who lied to protesters and who were responsible for detaining the protesters and their lack of proper treatment.

By arresting so many, and by keeping up the long-winded process of bringing some of UK Uncut’s key movers to trial, the government’s attack on organised peaceful protest in this way has been extremely effective. But in the longer term it may have the effect of radicalising a larger and wider swathe of the public.

It was  hard to know what there was to photograph outside the Magistrates Court, and I think many of those protesting there did not know what they should do. Some went into the public gallery though they had remove their white track suits to be admitted.  There were few placards or banners, little chanting, just people concerned about what was happening to peaceful protesters and who knew that our legal rights to protest needed defending and were prepared to come and stand up for them.

I didn’t want to organise or pose people but I did try and get them in front of the sign with the name of the court, and to make use of both the white suits they were wearing and the few placards. There are more pictures (and text) on My London Diary:  Support Fortnum & Mason Protesters.

Maggie’s At City Hall

People who work in PR often seem to inhabit a different universe, one where bloggers such as myself would be interested in promoting new drink flavours, management services I can’t even understand, celebrities I haven’t heard of and the like. Although they send me messages which tell me how much they admire my blog, they very clearly have never actually read it or they would know that if it doesn’t have some clear link to photography or the kind of social and political causes I have an interest in I’m very unlikely to do more than curse them and press the delete key.

Of course I would welcome approaches from some that seem to never happen, particularly if they offered really useful free gifts.  Back when I wrote for About.com it was company policy (but often rather elastically observed) that I must not accept anything worth more than $25 from any outside body, and I did turn down a couple of all expenses paid foreign trips. Of course when I did accept software or accessories or books for review I didn’t let it colour what I wrote – and got a few rather pained responses from some of the companies concerned to prove it.

But the e-mail from someone at cancer care charity Maggie’s Centres was different, firstly in that it was a very worthwhile cause but also because it came from someone who had clearly looked at my web site and they were organising an event which fitted generally into the kind of thing I like to cover for My London Diary, where you can finally see the story (published with fewer images on Demotix the day it happened) Maggie’s Charity Hugs London.

© 2011, Peter Marshall

Maggie’s run centres for people suffering from cancer and their families, offering support from the time of diagnosis, during and after treatment, to recurrence, end of life or in bereavement. Their major London fund-raising event is an annual night hike which is also a special open house event, with those taking part paying a fee which includes refreshments and entertainment inside a number of London’s iconic buildings, specially opened for the event.

This year they began to enrol people for the event just as the London ‘riots’ began, and the numbers signing up were drastically down – even though the event was to take place in mid-September. So they decided to hold a demonstration and march in central London to try and get some more publicity and encourage people to sign up.

Photographically it wasn’t an exciting event. City Hall isn’t a great place to photograph – and if you get the building in, the people look too small.

© 2011, Peter Marshall

Of course Tower Bridge does provide a truly London background. There was not a great deal happening, a few people in green t-shirts, a few placards, some very mildly risqué. The charity had a photographer present who did try to set some things up (which I generally refuse to do), but there was still very little.

© 2011, Peter Marshall

It was perhaps interesting to be able to work there without any harassment from security – the last time I’d been on that spot was for a photographer’s protest against restrictions on photography in this area.

© 2011, Peter Marshall

I followed the official photographer inside the entrance to City Hall to try and photograph from the inside the line of people hugging the building. The lighting was completely wrong, turning them into near silhouettes, but their shapes lacked the interest this might have had. Using flash on camera was out of the question as we were working directly through the glass. Given an hour or so, the odd lighting technician, a bunch of lights and a good choreographer we could have made something of it. I spent around an hour later in the day trying to dig detail out of the image with the adjustment brush in Lightroom.