In March 1994 I spent some time photographing in the London Borough of Enfield, and going a little beyond its borders into Waltham Cross. Mostly I was taking black and white pictures – some of which you can see on Flickr in the album 1994 London Photos – but I did also take some in colour, including a few colour panormas.
Mollison Avenue in Brimsdown is a busy road running roughly parallel to and between a railway line and the Lea Navigation with the area between these crammed with industrial and commercial sites. Now much of it is occupied by delivery centres and I think there are rather more fences than in 1994.
This was a picture largely about shapes and as with many olds getting the colours to look natural is a problem – as you can see particulary in the foliage here.
The colour is rather better in this image of a large pipe bridge, possibly carrying gas, over the navigation. The view here looks rather rural, but as usual there is a line of tall pilons.
Here I made use of the curvature from the swing-lens camera – as well as the obvious pipe there is a second interlocking curve with the bridge, the grass bank and the towpath.
Columbia Wharf, Ponders End, Enfield, 1994, 94-03-3-23
Columbia Wharf was now a wharf in name only, with lorries now delivering carpets. This is now a part of ‘Ponders End Waterfront’. I think this picture was taken from Wharf Road.
Enfield Wash is close to Enfield Lock station which I used several times to walk around the area. I have a small suspicion that this launderette may really have been in an area that locals would call Enfield Lock, but I decided given the subject that Enfield Wash was more appropriate.
I still can’t decide whether I preferred the landscape or portrait version of this launderette interior – taken through the window when it was closed.
Shops and Cross, Waltham Cross, Broxbourne, 1994, 94-03-1-61
From Enfield Lock Station a short walk took me to the Lee Navigation towpath which is also the Lea Valley Walk and a couple of kilometres north uder the M25 I was out of Greater London and in Waltham Cross. At right is the Eleanor Cross, one of twelve built to the orders of King Edward I to mark the overnight resting places of his wife Eleanor of Castile who died near Lincoln in 1290 as her body was en route to Westminster Abbey.
Much restored it now sits in the pedestrianised shopping centre, one of only 3 surviving Eleanor Crosses. The one in front of Charing Cross Station is a Victorian 1865 recreation.
Pride in 2002: Back in 2002 Pride was still in black and white, or at least the pictures I posted on My London Diary were, as were those I took to the picture library I was then working with. They still only worked with black and white prints and colour transparencies and I was working with colour negative.
It would have been possible for me to convert those colour negatives into transparencies, but it wasn’t worth the time and expense in the hope of possible sales to do so.
For my personal use and to exhibit work I could make colour prints – and I had crammed a colour processor into my darkroom so could feed the exposed Fuji paper in at one end, shut the lid and let the machine do the rest before I took the print to the print washer.
I had a smart colour enlarger with a linked probe that at least almost got the necessary filtration somewhere close, though I always ran at least one test strip – and often 2 or 3 – before making the final print. Making prints was a rather tedious business working in near total darkness with just a very, very dim sodium light.
The way forward was obviously to scan negative film to provide digital files, but in 2002 the equipment I had was fairly primitive and the scans I produced in 2002 looked rather poor, which is probably why I only posted the black and white images on My London Diary at the time. Scanning the black and white 10×8″ press prints gave rather better results.
Back then I only wrote two short paragraphs about the event in My London Diary – and here they are in full (with the usual corrections):
July started for me with the annual Pride march. This year it was probably the smallest I’ve attended, and was a rather sad event compared to previous years.
It was enlivened a little by some visitors from Brazil, but the whole thing seems to be more of a commercial event now. Much less fun and joy.
For this post I’ve revisited some of those 2002 scans and improved them significantly with the aid of some smart sharpening and other minor adjustments to post here. You can click on these colour images to see them larger.
Most of the colour images are of the same subjects as I took in black and white, and at least for some I still prefer them in black and white. But generally I think the event is best seen in colour.
Rathmore Benches & Greyladies – New Charlton 1995: You can still see these mosaic decorated concrete benches on Troughton Rd and around the corner in Rathmore Rd. A short walk from Charlton Station, the building they are outside has for some years been the New Covenant Church Charlton.
Rathmore Community Centre & Rathmore Benches (Former Good Shepherd Mission Hall), 61a, Troughton Road, New Charlton, Greenwich, 1995, 95c5-714
The mosaic covered benches were installed here together with a mural on the walls behind in 1980. By 1995 the mural had been painted over but the benches remained, still in fairly good condition.
Rathmore Community Centre & Rathmore Benches (Former Good Shepherd Mission Hall), 61a, Troughton Road, New Charlton, Greenwich, 1995, 95c5-713
The benches were created as a part of a ‘Past, Present and Future of Charlton‘ project with the help of adults and children from the community centre by Greenwich Mural Workshop, who got funding to restore them in 2019 as they had suffered from wear and tear and some vandalism.
Rathmore Community Centre & Rathmore Benches (Former Good Shepherd Mission Hall), 61a, Troughton Road, New Charlton, Greenwich, 1995, 95c5-835
On the For Walls With Tongues web site of Greenwich Mural Workshop you can see pictures of the missing mural as well as the benches and learn more about their creation.
Rathmore Community Centre & Rathmore Benches (Former Good Shepherd Mission Hall), 61a, Troughton Road, New Charlton, Greenwich, 1995, 95c5-834
The centre had been built as the Good Shepherd Mission Hall and the Greenwich Local Heritage List states it is a 200-seater mission hall built 1900 to designs of architect J Rowland and was developed from Holy Trinity Mission run by Greyladies College.
Rathmore Community Centre & Rathmore Benches (Former Good Shepherd Mission Hall), 61a, Troughton Road, New Charlton, Greenwich, 1995, 95c5-833
Greyladies College for Women Workers was based in Dartmouth Row , in “a delightful country house, once the mansion of Lord Dartmouth, and stands on the breezy heights of Blackheath, in the midst of its own beautiful grounds, and with far-stretching views over the surrounding country to the Crystal Palace.“
“The great aim of the Greyladies’ College is to bring together lonely women working in isolation without a definite plan, and also women who are possibly daughters in a large family and find it difficult to separate themselves from social distraction in order to follow religious and philanthropic work.“
The Greyladies worked in 22 parishes in South London “helping in the work of the Church of England under the incumbents of the diocese.” The description of them in Volume 1 of Every Woman’s Encylclopaedia published in 1910-12 is fascinatingly and charmingly dated.
New Charlton in Colour – 1995. New Charlton has now been given the new and more descriptive name of Charlton Riverside and is the area between the River Thames and the main road from Greenwich to Woolwich, Woolwich Road. The major feature of the area other than the river is the Thames Barrier, but although I photographed this in black and white it does not appear in my selection of colour pictures. I had photographed it in black and white and colour on several occasions since 1984 from both sides of the river and so felt no need to visit it again in 1995.
Eastmoor St, New Charlton, Greenwich, 1995, 95c5-743
I did find a very different barrier on Eastmoor Street, with this monumental slab apparently cut out to leave a gateway through this reflective red wall. Whatever its original purpose – I think perhaps an art work – it seemed to have served for target practice probably for bricks thrown by local youths.
Classic Car Restorations, New Charlton, Greenwich, 1995, 95c5-733
And I did photograph Thames Barrier Classic Car Restoration with its texts and pictures of cars on its wall.
Carpet Kingdom, New Charlton, Greenwich, 1995, 95c5-732
The redevelopment of the area had begun when the Thames Barrier was opened, but much was still industrial or derelict but large parts are now occupied by large retail units. Carpet Kingdom was one of the first to open, though I don’t remember exactly where. There is now a rather larger Carpet Giant in the area,
You can still see this giant mural, details from which are in my two pictures. It was painted on the wall of this house in 1976 by the Greenwich Mural Workshop in 1976 and has now faded considerably.
Mural, Charlton, Greenwich, 1995, 95c5-725
Just south of the railway line close to Charlton’s ground at The Valley and so in Charlton rather than New Chalton, I had glimpsed it in my journeys past on the train and so went to photograph it.
Annette, Hair Stylist, Valley Grove,Charlton, Greenwich, 1995, 95c5-724
Annette Hair Styling was just around the corner from the mural in Valley Grove, so also in Charlton rather than New Charlton.
1995 Colour Part 5 – Waltham Forest: My Greenwich Meridian project had taken me into North London as far as Pole Hill in Chingford, but I also wandered more widely in the London Borough of Waltham Forest and even strayed into its neighbouring borough of Redbridge, photographing both with a panoramic camera and my ”normal’ pair of Olympus OM4s on black and white and colour.
Most of the pictures taken with these OM4s were made with the Olympus 35mm shift lens which could slide vertically and horizontally in its mount, particularly useful for photographing tall buildings when it by shifting it up I could keep holding the camera level and place the horizon close to the bottom of the image, so avoiding converging verticals or including large foreground areas.
Leisure Centre, New Road, Chingford, Waltham Forest, 1995, 95p03-441
Leisure Centre, New Road, Chingford, Waltham Forest, 1995, 95-3o-23, 1995, 95c03-335
But often I had the shift on a camera loaded with black and white film, with the 28mm on the OM4 with colour in it. I also carried an ultra-wide 21mm, a 50mm and a short telephoto lens for use when needed.
And just occasionally I photographed the same subject both with the swing lens panoramic and with one or other of the Olympus cameras – and I’ll include a couple of examples in this post. All of these pictures were made in February or March 1995.
Lee Valley Viaduct, North Circular Rd, South Chingford, Waltham Forest, 1995, 95p02-251
Southend Rd, North Circular Rd, South Chingford, Waltham Forest, 1995, 95p01-233
Recreation Ground, Higham Hill, Waltham Forest, 1995, 95p01-263
Sandpiper Close, Higham Hill, Waltham Forest, 1995, 95p02-122
Sandpiper Close, Higham Hill, Waltham Forest, 1995, 95c02-352
For these Sandpiper Close pictures I think the added angle of view of the panoramic greatly improves the image and gives for me a much more powerful impression of what I saw and felt standing there and looking down into the Lea Valley.
Riverhead Close, Higham Hill, Waltham Forest, 1995, 95p02-113
Although the two pictures of the Leisure Centre where only taken a few feet apart, they are very different images. Standing further back for the panoramic gives a better overall view of the site, but moving closer concentrates on the foreground. The slight colour difference between the two images – neither of them quite right – also complicates the issue. Colour balancing many of these old negatives is often very tricky.
Clicking on any of the images above will take you to a larger version on Flickr. You can also find some of the black and white pictures I took on the same walks in my album 1995 London Photosbeginning at this picture. My next post in this series will look at more of the non-panoramic images from Waltham Forest.
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.
Notting Hill Carnival 2006: On Monday 28th Aug 2006 I went to photograph Notting Hill Carnival, working with both black and white film and digital colour. In most of my carnival pictures I’ve concentrated on the people attending the event rather than the costumes and I did so on this occasion with the black and white, but for the colour I decided to mainly photograph those taking part in the carnival as the pictures here show.
Rather unusually my August 2006 page only starts on Friday 25th, when I went to Greenhithe & Swanscombe Marsh. I’d been away from London most of the month, holidaying with friends in Kent, visiting Paris and staying with family in Beeston and decided it wasn’t appropriate to post pictures from these locations on My London Diary.
In 2006 I went on both Sunday 17th, the Children’s Day and the main carnival event on the Monday, but the pictures here are all from the Monday. You can see those from Children’s Day on a link from the August Page of My London Diary.
I’ve always had a fairly elastic definition of London, and it stretched some way out along the River Thames both upstream and down, and also taking in the London Loop, a section of which I walked with family the following day.
Sunday had been a busy day too. Notting Hill only really gets going after lunch, so I had time to go to East Ham in the morning for the Sri Mahalakshmi Temple Chariot Festival and then call in at Bromley-by-Bow and walk to Stratford and photograph again the Bow Back Rivers before going to Children’s Day.
So I think I was probably fairly tired by the time Monday came around, having done rather a lot of cycling and walking over the past three days, as well as taking a great many pictures.
As I pointed out, it was “two years on from when I last photographed the event.” The previous year I had “tried to go, dragging myself to the station with a knee injury, but the pain was too much to continue. This year my knee held out, though I was glad to sink into a seat on the Underground at Latimer Road at the end of the day.“
I also wrote “when I’ll get round to processing the film is anyone’s guess” and the answer was not for a very long time – and then I sent it away for processing rather than do it myself. By 2006 I had almost completely committed to digital for its many advantages and this was one of my final flings with film. The “more pictures soon” with which the piece ends was an aspiration never fulfilled online and I’ve yet to print any of the black and white pictures.
Perhaps the reason for this – and why I probably won’t get to Carnival this afternoon – is “because I’m getting older … I didn’t get the same buzz from this year’s event as in previous years, though most of the same things seemed to be around. perhaps there lies the problem; most of them did seem to be the same.”
But Notting Hill Carnival is still one of London’s great spectacles – and a great fashion show on the street. If you’ve never been it’s very much worth attending.
It’s now 21 years since St Patrick’s Day was first celebrated on a large scale in London, thanks to then London Mayor Ken Livingstone, who had long been a supporter of Irish republicanism, and MP for Brent East, from 1987 to 2001. His constituency included areas around Kilburn – Brent is the London Borough with the largest Irish population.
Until forced to drop its policies because of Tory cuts, Brent had a great record of supporting celebrations of a number of festivals for its different communities, and and last year I posted here about the various years I photographed the Brent St Patrick’s Day Parade.
In 2002, London had its first St Patrick’s Day Parade, from the Catholic Westminster Cathedral to Trafalgar Square, where there were a range of Irish performances and a great deal of singing and drinking to celebrate the event.
Unlike the Brent celebrations which were on the day itself, the official London celebrations which have continued annually since then happen on the day itself. In 2002 St Patrick’s Day was on a Sunday (and in 2013 and 2019) and the parade took place on the day, but in other years it has been celebrated on the nearest Sunday.
I did go back in 2003 to celebrate St Patrick’s Day, when the parade began from Hyde Park, but found it rather less interesting. Somehow I never got around to uploading any of the pictures I took to My London Diary, so these colour images are on-line for the first time.
Irish Piper, 2003Parade Steward, 2003
These pictures were taken on my first digital camera capable of professional results, a Nikon D100, which was capable of making high quality digital images, although its 6.1Mp now seems meagre. Its small, dim viewfinder was also rather primitive and at the time I only owned a single lens to fit it, a 24-80mm zoom, which on its DX sensor gave the equivalent of a 36-120mm on 35mm film.
I was also working with two film cameras, one with black and white film and the other with colour negative, both I think using wider lenses. The pictures might be better, but I’ve only ever got around to printing one of them. It was coverage of events like these that really made me appreciate the huge advantage of digital, that the results were immediately available. I’ve still not digitised any of the colour pictures from 2002 or 2003.
It was this that really made possible ‘My London Diary’, though I had begun it a little earlier – and there is some earlier colour work taken with consumer-level digital cameras on it among the mainly black and white images which then were scanned from the 8×10″ RC prints I made to give to a picture library.
My London Diary has taken something of a rest recently, though I may go back to it at some later date. The reasons for this are mixed. The pandemic meant there was nothing much to add for rather a long time, just a lot of pictures taken on local walks and bike rides. the software I used to write it doesn’t work on my more recent computer, and I’ve almost reached the limit of the number of files that my web server allows. If I’d kept uploading files I could not have continued with >Re:PHOTO.
Peter Marshall’s Paris. Bastille Day seems a suitable time to write a little again about my photographs of Paris, a city in and around which I’ve spent some time over the years, though always as a visitor rather than a resident.
I first went there in 1966, going to spend a week in a student hostel with a young woman from Hull who I was madly in love with, so definitely seeing the city through rose-tinted lenses, though a little of the shine was taken off by dropping my camera in the lake where we went rowing at Versailles. The camera never really worked properly again, though I couldn’t afford to replace it for another six years.
I think that was probably the only time I’ve been in France for Bastille Day, and we spent the evening at the celebrations in a town square a few miles south of the city centre where our hostel was located. It was very definitely full accordion and dancing and entirely French, but although I remember taking a few pictures there, its probably fortunate that no trace of them remains. People like Doisneau did it so much better.
It was not until 1973 that I returned, with the same woman who was now my wife and with a couple of cheap Russian cameras, A Zenit (Zenith) B SLR, heavy and clunky and a smaller Russian rangefinder camera, I think a Zorki 4. This time we stayed at a student hostel in the Rue Jean-Jacques-Rousseau in the 1st Arrondisement, which had a grand staircase up to the first floor and a rather less grand one to our room on an upper story, up which we dragged ourselves after spending days walking around the city, often following the walking routes in the Michelin Green Guide.
Fortunately Linda was a fluent French speaker as the guide, then rather more encyclopedic than more recent editions was then only available in French and my O Level was often a little tested. And she could pass as French though often people she talked to took her as being rather simple-minded as she asked about things to which anyone French would know the answer. Most of my visits to Paris have been in her company, though many of the walks I made on later visits were on my own, especially when we had children with us who she took to parks and other children’s activities.
We were no longer students, though still fairly broke, and we still had valid student cards which let us stay in the hostel – in a room so poorly lit by a single bulb run on a lower voltage than it was made for that it was hardly possible to do anything but go to bed when we arrived back – and also to get free or much reduced admission to all the museums. On later visits I found my NUT card as a teacher also got me into many too.
I think I had three lenses for the Zenith B, the standard 58mm f2, along with a short telephoto and a 35mm wide angle. It was noisy in operation and sometimes required considerable force to wind on – and it was easy to rip the film when doing so. The viewfinder showed around 90% of the image. You had to focus at full aperture on the ground glass screen, then stop the lens down to the taking aperture.
The Zorki 4 was smaller and lighter and I’d bought it with the 50mm f2 which was a decent lens. The viewfinder had a split image area for focusing which seemed fairly accurate, but what you saw at the edges depended on where you put you eye to it. The film wound on smoothly and the shutter, having no mirror was considerably less intrusive if not quite to Leica standards.
Neither camera needed a battery. There was no exposure metering or autofocus and it was up to the user to set the appropriate aperture and shutter speed. On a thin cord around my neck I had a Weston Master V, and in my camera bag its Invercone which enabled it to measure incident rather than reflected light when possible. Again this was battery-free, using a large light cell which generated a current, though this limited its sensibility. Weston meters had an outstanding reputation among photographers and film-makers but in later years I replaced it by a more sensitive meter that could measure much lower light levels and even flash.
Despite the rather primitive equipment and my own lack of experience, the 1973 Paris work resulted in my first portfolio published in a photographic magazine the following year which included several of the pictures in this post, all of which come from that trip.
By the time I returned to Paris I had more modern equipment, mainly working with Olympus OM Cameras, at first the OM1, later the OM2 and OM4. On some trips I also took a Leica M2 a range-finder with a much better viewfinder than the Zorki. More recently I’ve photographed in Paris with various Nikon DSLRs and a Leica M8.
One of my earliest attempts at a book was made from the pictures I took in 1973, with the image above on the cover, but it only ever got as far as a single dummy, made by stitching together images printed on 8×10 resin coated paper.
In 1984 I took a couple of weeks working on the project ‘In Search of Atget‘, inspired by the pictures I’d first come across in Paris museums during that 1973 visit. I later showed this work and in 2012 self-published the book which is still available in softcover or as a PDF on Blurb. A second book, of colour pictures, ‘Photo Paris‘ taken in 1988 is also still available on Blurb.
There are also some accounts of my visits to Paris mainly for Paris Photo since 2006 on My London Diary. It’s now been some years since our last visit, though every year we promise ourselves a visit and one day it may happen.
I’d forgotten when I wrote yesterday’s post that I had actually taken some colour pictures as well as the black and white of Notting Hill Carnival in 1990. I was then working in colour with colour negative film and I think the colour in some of these images is a little on the drab side. I think I found them less interesting than the black and white.
Notting Hill 1990
Notting Hill 1990
Notting Hill 1990
Notting Hill 1990
Notting Hill 1990
Notting Hill 1990
Notting Hill 1990
Notting Hill 1990
As usual, clicking on any of the images will take you to a larger version in the album, and you can also browse the other images in it. You can find colour from other years in the album as well, though in a rather strange order as I found them.
