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Hull’s River Bridges

Hull’s River Bridges: Rich & Lou Duffy Howard began their ‘A River Full of Stories‘ project when they produced ‘Open Bridges’ as one of the most interesting events of Hull’s 2017 year as UK City of Culture.

Scott St, Bridge, River Hull, Hull, 1992, 92c8-01-31

Unlike most of the events in that year, this was one that was truly based on Hull and produced by people from Hull rather than put on by a team who largely came up from London to organise the year. Although that team received around 200 proposals from local artists for the year, virtually all these were turned down in favour of imported ‘culture’.

Scott St, Bridge, River Hull, Hull, 1992, 92c8-01-43

We are familiar with ‘taking coals to Newcastle’ but after what happened in 2017, we could replace this idiom by ‘taking culture to Hull’.

Scott St, Bridge, River Hull, Hull, 1992, 92c8-01-42

As I learnt when I met Rich and Lou for the first time in August this year, the support for including ‘Open Bridges’ was more than somewhat grudging and it required a considerable effort to get it included in the official programme, with some ingenious overcoming of problems raised.

Chambers & Fargus, River Hull, Scott St Bridge, Hull, 1986, 86c82-24

I wrote about Open Bridges here in 2019 when as a follow up to it Rich & Lou – with the help of the Heritage Lottery Fund – produced “a film, exhibition, website and a book which will be given to each library and museum in Hull and the East Riding.” And those outside the area can see the book using our inter-library loan system. It would be good to see it published more widely – and perhaps one day there might be a paperback edition on sale, though its sheer size makes this difficult.

Downstream view, Scott St, River Hull, Hull 85-10c3-22_2400

On their Open Bridges 2017 web site they write “Open Bridges made history when for the first, and only time, all the bridges over the River Hull were raised, swung or closed simultaneously splitting the city in two at 20:17 hours on the autumn equinox, 22nd September 2017.”

The River Hull splits the city of Kingston upon Hull in two, with 13 bridges inside the city limits, all of which can be lifted or swung to allow navigation.

Shamefully despite its Grade II listing the City gave itself permission to demolish one of the, the Scott Street bridge (most of the pictures in this post are of it or from it.). It had been permanently raised since 1994, allowed to rot by the city authorities – which was brought to national attention by Banksy in early 2018 with his “Draw The Raised Bridge!” which may have been inspired by Open Bridges.

As well as drawing attention to the scandal of the bridge and continuing a debate about freedom of movement which ‘Open Bridges’ had also drawn attention to, Banksy’s intervention also sparked an incredible display of activity by Hull’s own fine muralists in what became the Bankside Gallery.

Anyway, at last I’ll get to the point. Here is a Facebook post by Lou Duffy-Howard on Friday 12th September:

” Today, Rich and I have launched a new Open Bridges project as part of Hull Heritage Open Days 2025 festival. Here is the link: https://openbridgeshull.com/hulls-river-bridges-25/

“‘Hull’s River Bridges’ is an online tour of all the bridges over the River Hull, past & present, inside & out. It explores the history of the bridges with previously unpublished original architectural plans and photographs, contemporary art and personal memories & stories.”
“There are contributions from many people. If you have a browse, we hope you enjoy it. And if you’d like to share it or pass on the link to anyone who might be interested we’d be grateful.”
——————

I’m proud to have some of my pictures again used in this project, particularly one of that scandalously lost Scott Street bridge. As well as photographs the site also has, maps and engineering drawings and a great deal more information about the bridges across the river and some of the people involved – including a portofolio of some of my work including my writing about the pictures featured.

In this post I’ve deliberately pictures which are not on the new web site – so do click on the links above to see more there – and of course not just my work.

Flickr – Facebook – My London Diary – Hull Photos – Lea Valley – Paris
London’s Industrial Heritage – London Photos

All photographs on this page are copyright © Peter Marshall.
Contact me to buy prints or licence to reproduce.

Bromley May Queens Crowning – 2008

Bromley May Queens Crowning – On Saturday 19th April I went to Bromley to photograph the crowning ceremony of the May Queens from Bromley Common and Shortlands in an event also attended by May Queen groups from West Wickham, Hayes, Hayes Village and Hayes Common. This is the largest of the May Queen events before the annual crowning of the London May Queen in May.

Although in recent years my photography has largely been around protests, with the occasional walk thrown in, back in the first decade of this century I was also photographing a wide range of cultural events in London, including a number of religious festivals and other celebrations. And one of the lengthier projects I engaged in was on May Queen festivals in London.

Although I’d grown up in London and lived near it for most of my adult life (and still do) I had never come across May Queen festivals, though perhaps I may have seen some of the old newsreels from pre-war days I thought they were a thing of the past.

In a post written earlier in April 2008 I described how I came to find out more and to start a project which led to me finding out more and starting a project on them in 2005:

It was the work of Tony Ray-Jones that first attracted me to May Queens, with his posthumous ‘A Day Off’, published in 1974 containing half a dozen of his pictures from May Queen festivals (though only four really connected with May Queens.) One of these – certainly the least interesting image – showed around 30 young women in three rows in front of a maypole, all wearing crowns. Despite the misleading caption, ‘May Queen Gathering, Sittingbourne, 1968’, in a later publication it was identified correctly as a picture of the annual London May Queen festival at Hayes, Kent.

Although I didn’t think it one of his better pictures it struck me as an interesting event, and even more so when I went to photograph it in 2005, and started to look up a little of its history.
Crowning of the Hayes Realms

Eventually I had enough pictures to publish a book, and had been promised an exhibition at a major museum – though this never materialised. The book, London May Queens ISBN: 978-1-909363-06-9 is still available from Blurb, either as an expensive print version or as a PDF, and the work has also been featured on other web sites including Lensculture.

Here is the Blurb blurb:
“2012 saw the crowning of the London’s 100th May Queen. The first Merrie England and London May Queen festival was held in 1913 and it has continued every year since. In the 1920s and 30s it was a major event, covered by cinema newsreels and competitions in daily newspapers, but now it is known to few outside the over 20 local realms that take part in the annual event. The 72 pictures in this work give a unique insight into this community event.“

It’s worth going to the Blurb link to see the extensive preview of the work, which includes all of the text of the book as well as many of my favourite images from the project.

Girls generally join their local May Queen group at an early age and progress through the various roles in the group as they get older – and if they stay long enough become their group May Queen, after which they can join the London May Queen group and similarly progress to become London May Queen. As well as practising for the festival events the groups also have other activities – and teas etc.

The Bromley area May Queens Crowning is one of the larger events in the May Queen Season, with a number of local May Queen groups processing through the centre of Bromley to Church House Gardens next to the Churchill Theatre where some of the May Queens were crowned. The previous week I’d been to another event where three of them had previously been crowned and the following week there was another crowning festival in Beckenham a week before the final crowning of the London May Queen at Hayes.

At the end of the ceremony the girls process back to a church hall for a tea, but I was too tired to go with them and felt in need of something stronger.

Many more pictures at Bromley May Queens Crowning.

Flickr – Facebook – My London Diary – Hull Photos – Lea Valley – Paris
London’s Industrial Heritage – London Photos

All photographs on this page are copyright © Peter Marshall.
Contact me to buy prints or licence to reproduce.

German Indications – The Web of Life

German Indications – The Web of Life: Back in the 1980s I still had aspirations to be a writer as well as a photographer, and later I did write many articles about photography and get paid for doing so – something I now continue on this site and elsewhere for free, largely because I like to share my own photography and some of my political views.

But way back my writing, or at least attempts at writing were rather different, and I combined them with images in a rather different way. Mostly those old attempts are lost and best forgotten, but in 2016 I republished some of them in my book ‘German Indications‘ still available on Blurb both in print and PDF format.

You can also see some of the pictures and read all ten stories on the web on a site which I wrote in 1997 on my Buildings of London web site. The web site has an introduction:

“THIS story began more than thirty five years ago with the words ‘Dear Linda and ‘Liebe Christel’ as two schoolgirls, one in England, the other in Germany became pen-friends. (It also begins further into the mists of cultural history in a fairy-tale wood, and in many other places.)”

“Later there two girls met, and after a while their husbands and children met also. It was this relationship which provided my opportunities to live and work in the home of a working-class German family in a small town in the north of Germany.”
German Indications

I made prints for the exhibition of this work in 1986 printing the colour slides on outdated and discontinued Agfa direct positive paper to give a particular effect, something I tried to emulate when making the digital versions for the book. And so both come with a disclaimer, “photography and writing are necessarily fiction-creating enterprises – Any resemblances in this work to actual people places or events
are simply resemblances“

The stories were exhibited with the pictures in the show, and recently I was reminded of one of the pieces I’d written and performed it to some friends. Here it is in full.

THE WEB OF LIFE

WE were in a floating restaurant in Hamburg. Appropriately it was a fish restaurant. Since I don’t care for fish – eating them that is – you may ask what I was doing having lunch there.

Well, there are times when a man’s gotta do what a man’s gotta do in the service of peace, quiet and marital bliss, although currently the quiet was under heavy attack from some excessively leaden oom-pa-pa Muzak.

On my plate a spicy aromatic sauce was struggling hopelessly to overpower the nauseating amine overtones of an oily coelacanth.

You’ll understand how I felt if you’ve ever travelled overnight via Harwich for the continent, ten hours bouncing on a North Sea storm to arrive at a bleary Hook to find that the Boat Train has just this minute left because the ship was so late, so you all have to squeeze together in a very smart but very small blue and yellow local stopping everywhere service along the side of the estuary to Rotterdam.

The line passes an unnaturally neat chemical plant, so neat that you can imagine you are travelling on a model railway layout, but the whole neighbourhood is enveloped in a perpetual miasma, a synthetic putrefaction now resembling rotten fruit, now decomposing carcasses, which invades to produce a tautness and throbbing between your temples.

Edging the site are rows of model Dutch houses lived in by model Dutch people, their faculties no doubt cauterised by constant exposure, every pore and organ saturated with the oily stench. Here too was surely the water from which this fish had been plucked, for the olfactory danger signal reaching me from it was distinctly in the same register. Fortunately -what happened next absolved me from any obligation to eat it.

We were suddenly surrounded by a troop of senior citizens in full gear – hats, lederhosen, dirndls, the lot (the complete compulsory dress for almost any German TV show) and obviously all set for a great day out.

Soon their tables were head high with steins and great steaming plates and tureens, waitresses at the double to the repeated cry “more potatoes, more potatoes!” & cutlery and reserve were abandoned in a furious stampede of eating and drinking.

We quickly paid our bill and ran for the door, making dry land just in time as the weight of the meal capsized and sank the restaurant. Linda reached for her hanky; there was nothing else we could do. A few handbags and hats floated to the surface among the bubbles and debris as nature red in tooth and fin got down to feeding in their turn of the food chain.

A simple illustration of one of nature’s many cycles.

More stories and pictures online in the web site and in the book preview.

78- Issei Suda

Regular readers of this blog will know about my interest in and admiration for the work of Japanese photographer Issei Suda, and remember the post I wrote about him, Issei Suda (1940-2019) shortly after his death last year with some links to his work and writing about it.

A couple of days ago I came across a post on the British Journal of Photography online site, Issei Suda: 78 unseen photographs, which tells the story of how Cécile Poimboeuf-Koizumi, co-founder and director of Paris-based publishing house Chose Commune, wrote to Suda for the first time in January 2019 to ask about a new publication of his work. He was keen to cooperate, but sadly he died before she visited later in the year – but he had set aside a box of unpublished pictures for his widow to show her when she visited.

The book ’78’ presents 78 of these previously unpublished photographs taken between 1971 and 1983, typical of his work with its strangely unusual views of ordinary people and situations. It was only when she got back to Paris that Poimboeuf-Koizumi realised that the number of pictures she had selected for the book, 78, was also the age at which Suda had died.

You can see more pictures from the book on the Chose Commune web site, and it looks to be a finely produced work and a fine tribute to one of Japan’s most interesting photographers who received far less attention in the west than others whose work is rather more controversial and perhaps less intimate.

It’s a book I’m unlikely to buy myself as it is a little expensive at 55€ and I already have an earlier book of his work and a house with overflowing shelves and far too many books in it. But if you haven’t already met and lived with his work this is certainly worth considering.

Sarah Moon – Orient Express

I’ve never travelled on the Orient Express, but years ago one of my late friends, Terry King, got what seemed to be a dream job, working on an advertising commission for the company.

He’d gone to their offices with his portfolio of gum bichromate prints and they had sat around them in awe in their kaftans (it was then a rather new age company.) I’ve described elsewhere how Terry, Randall Webb and myself had all started investigating the process but Terry had evolved his own methods of progressing with the process, using several large paper negatives printed in different tones and colours and with carefully controlled manual development at each stage to produce highly pictorial results.

So Terry got a free trip on the Orient Express to Venice, where he spent a few days taking pictures before returning to his London studio and working on the results, producing prints to take back to the company. He went in to show them the results and immediately sensed the company had changed management; in place of kaftans the executives were now all in smart business suits and ties. They didn’t appreciate his work and the project was abandoned.

Terry did make some fine prints of his work in Venice, and some of them will still be hanging on people’s walls around the country, with sales through an art dealer in Richmond. (I have one of his pictures of London on my wall – we did a swap – but not of Venice.) Until recently you could see some of them on his web site, but that is no longer on line. The only example I can find is on the Silverprint web site, a company which supplies fine photographic materials – including some of the chemicals and sundries that both Terry and I used. It is a picture from Venice and I think is possibly a cyanotype over a gum image, though it could possibly be simply a gum using two shades of blue.

I have met Sarah Moon (above with photographer Joan Fontcuberta), though only fairly briefly when we were both speaking at the FotoArtFestival in Bielsko-Biala in 2007. We shared several meals at the event and had some long conversations and there are a few more pictures of her in my diary.

Sarah Moon with film-maker Nina Rosenblum and photo-historian Naomi Rosenblum

Which brings me – finally – to the reason for this post, Sarah Moon : Orient Express – Louis Vuitton Editions – which was featured on ‘The Eye of Photography‘. This is a book in their Fashion Eye collection, a series in which each “book evokes a city, a region or a country, seen through the eyes of a fashion photographer.”

LV is a French fashion house and luxury retail company founded in 1854 by Louis Vuitton, who introduced a range of luggage with flat-top trunks for travel, which meant they could be stacked, particularly on rail journeys – previously trunks had been made with rounded tops so that the rain would run off when they were carried on open waggons and carriages. The Orient Express which began in 1883 thus seems a very appropriate subject.

You can read about this book on the UK LV web site, which has the same selection of stills as ‘The Eye of Photography’. But if you scroll down the page there is also an over- rapid ‘page-through‘ video of the book, which gives a good idea of the size and layout of the work. And if you change the video to 1080px, make it full screen and stop the playback you can actually see and read the pages. Presumably you can buy it in their shops as well as on-line, but at £42 (including standard delivery) although it looks an intersting book I find it a little too expensive – like their luggage.

Frank dies

Robert Frank whose book ‘The Americans‘ shook up photography when published in 1958 (and 1959 in the USA) died Monday, 9th November 2019. Born on 9 November 1924 in Zürich, Switzerland, he was 94. Frank was clearly one of the truly great photographers of the 20th century.

Studying that book changed photography for many of us, though many like me came to it rather late, though not long after I took up photography in the 1970s. As well as the direct influence there was also the work of a whole generation of photographers that were influenced by it, notably for me Friedlander and Winogrand. If you are a photographer you will probably already own a well-thumbed copy of ‘The Americans‘; if not, rush out and buy one.

In his Vanity Fair article written in 2008 about Frank’s visit to China, Charlie Leduff decribed the book as “his artistic albatross of sorts” and for many of us it stood head and shoulders above his earlier and later work. It seemed to be a definitive statement that left him little or nothing to say.

Frank went on to make a number of films, of which the best known and almost certainly least seen is the 1969-1972 ‘Cocksucker Blues‘ of the Rolling Stones, never commercially released but which you can watch on YouTube. It’s a remarkably intimate film which epitomises sex, drugs and rock ‘n’ roll and was rather too extreme for the image that the Stones wanted to make public. The sound track includes some great music but much of the speech is for various reasons unclear and if you are not a fan of the music and the musicians the film is difficult to watch other than as a document of that particular age and time.

Some of his other films are more conventional, and perhaps for that reason less interesting. Again for fans of the beats, ‘Pull My Daisy‘ (1959) is required viewing. Directed by Robert Frank and Alfred Leslie and adapted by Jack Kerouac from an act of his play Beat Generation, it has an improvised narration by Kerouac and among others stars Allen Ginsberg, Peter Orlovsky, Gregory Corso, Larry Rivers, Alice Neel and David Amram.

Perhaps the best of the obits I’ve so far read is unsurprisingly in the New York Times, but The Guardian is also worth reading, and there a brief note on the BBC web page, and many more.

There are many obituaries of Robert Frank, and I don’t intend to write another, though I’ve previously written about him and his work at some length, though these pieces are not currently available on the web. Since this is no longer available, I’ll revise and post it, or at least some of the more interesting parts of it over the next few days.