More Ponders End, Enfield Wash, Palmers Green & Brimsdown: Back in 1994 my main focus was on black and white images, some of which I was selling or putting into libraries. I was taking colour on colour negative film and my work was all ‘personal’, with a few being printed for exhibitions.
So while I kept fairly careful records of the black and white images, keeping a diary and annotating the contact prints I made far less documentation for the colour work. Images were filed in sheets which were numbered often for the month I developed them rather than when they were taken and there was no urgency to develop colour film, doing so in batches sometimes covering film from several months.
Here I’ve tried to present the images in the order they were taken. They come from a whole set of walks around parts of Enfield in the early months of 1994, though I think the first may haven been taken in December 1993.
Mural, Palmers Green, Enfield, 1994, 94-03-1-21
The previous post, Ponders End, Brimsdown, Enfield Wash & Waltham Cross – 1994, included some pictures from the same months, including a panorama made at the same place as one of the images here. I think these pictures speak for themselves so I’ll write nothing more about them.
Back to the Future, Bus, Brimsdown, Enfield, 1994, 94-03-1-23
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.
Twenty years ago today on 3rd November 2001 I wrote:
the trade justice parade was a serious event but also we were having some fun. the world trade organisation isn’t at all amusing, but i loved the t-shirt that said ‘wto – unsuitable for anyone with a conscience.
giant pound signs, balloons, a hug fat cat, the wto dragon, pirates and everyone made it an event to remember.
speakers included naomi klein (author of ‘no logo’) and sergio cobo from mexico.
And with the article I posted the two black and white images shown here. But I think most of the pictures I took of the parade were in colour, taken on colour negative film. But the only work I was putting in to a picture library back then was in black and white – and then still 8×10″ prints. There was still greater demand for black and white, and some of the pictures I took in colour I printed as black and white. The library would have taken colour, but mostly they worked with colour transparencies.
But I had recently bought a scanner with which I could scan colour negative film and it had software that could produce positive results with something like the correct colours. The results were not great and seemed to accentuate the faults in the negatives and exaggerate flare. The results were certainly not of professional quality as you can probably see – even after I have improved the pictures in Lightroom.
A year after I made these pictures I bought my first DSLR and things changed, though it took a while for the library and some other outlets to shift to accept digital files, and for a little while I was still taking black and white film for the prints they wanted as well as digital colour. But things changed quite rapidly to an all-digital world.
Going back to the negatives I’m sure I could now make much improved digital versions than these by ‘camera scanning’ – using a DSLR to photograph them and then Negative Lab Pro software to convert them to positives. It’s good news for those of us with archival material on colour negative film. But I can see no reason at all for wanting to take film again when digital produces so much better results with much less hassle.
The issues people were protesting about in the Trade Justice Parade are still very much with us – and in the UK the government last week passed yet another act hastening the privatisation of our NHS, while many of the same issues that were brought up by the protest are behind the failures to deal effectively with climate change. The huge greed for consumption and wealth of a small minority of the ultra-rich underlie both; they are not ‘high net worth’ but ‘high global liability.’
In 1994 I set out to photograph carnival both in black and white and in colour, and while my colour images concentrate on the people in the procession and their costumes, it was a little more varied than in previous years, with more overlap with the black and white work.
So I took some pictures of the people watching the carnival in colour and perhaps rather more than in previous years where the carnival was the background rather than the main subject.
I was working with colour negative film, and exposures were a little more critical than with black and white, which has greater latitude. There are some I could not get good prints from in the darkroom, and although digitising makes it a little easier there are still some where the colour is not as good as I would like.
But despite these problems I was encouraged by the results , and the following year for various reasons photographed Notting Hill almost entirely in colour.
There are around 60 colour pictures from 1994 beginning some way down page 6 of my Notting Hill in the 90s album and continuing onto the next page. Clicking on any of the pictures above will also take you to larger versions in this album.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
Though I think my best pictures of Notting Hill Carnival were in black and white, most years until I moved to using digital cameras I photographed there in both black and white and colour. By 1990, when I first photographed Carnival, for colour I was exclusively using colour negative film.
I could process colour negative film myself, and by this time much of my black and white work was taken using Ilford’s chromogenic films, at first XP1 which had been introduced in 1980, then XP2 which replaced it in Spring 1991, which was designed to be processed in the standard C41 chemicals used for colour neg, though Ilford still produced its own specific processing kit just for the black and white versions.
While it was simple to contact print black and white negatives, producing these in colour from colour negatives was rather more difficult, and it was only after I’d squeezed a colour paper processing line into my diminutive darkroom in the mid 1990s that I began to do so. Even then, getting reasonably correct colour was a problem.
Before that time, I sent away my colour films for trade processing, and being a little short of cash mostly that meant using cheap non-professional processing labs, paying for processing and printing as 4″x6″ enprints. The film processing was fine, but the printing varied from good to a rainbow range of colour casts and variable contrast. Eventually I found a cheap postal amateur service that was reasonably consistent and still cost only around a third of my local pro lab.
Now I’ve digitised most of the colour negatives from the 1990 Notting Hill Carnival, and have found them rather more interesting than I expected. Having them in digital form makes it easier to work on the pictures as I could when making black and white prints, with some dodging and burning where needed.
There are a few pictures in this post, and I’ll put at least one more set from 1990 on here in another post, but if you want to look at more, and at those from later years you can go to page 5 of Notting Hill Carnival – the 1990s. Clicking on any of the pictures above will also take you to a larger version in this Flickr album.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
I think I only took my first pictures on colour negative film in 1985. When I began in photography at the start of the 1970s it was quite clear that colour neg was just for amateur snaps and social photography, but real photographers – if they stooped to colour – did it on transparency film.
Café, Loughborough Junction, 1989
Most publications – books, magazines, newspapers etc – . still used only – or mainly – black and white, and when colour was used it was almost invariably from colour transparency. Images taken on colour neg were only used at a last resort, and usually then duped onto transparency for repro, or occasionally printed onto black and white paper to be used. You could get special panchromatic black and white paper which gave some chance of normal tonality, but it was a pain to use as normal darkroom safelights fogged it, and often normal black and white paper was used despite the often very poor tonality it gave.
Shops, Flaxman Rd, Loughborough Junction, 1987
Though colour transparency was great for repro, making prints from it had its limitations – as did using transparency film. I found myself too often having images with empty black shadow areas or unusably blown highlights as it the film had a limited exposure range. You could get great punchy saturated colour prints, fine for advertising (which was never my scene) but it was difficult to achieve subtlety. Fed up with telling printers what I wanted and being told it wasn’t possible I began making my own prints, working at times with complicated unsharp masking for Cibachromes. My German project I deliberately printed on outdated Agfa direct reversal paper.
Shops, Denmark Hill, Camberwell, 1989
In the 1980s, Fuji shook up colour negative (and, to a lesser extent transparency film), producing new film and print materials that gave greater fidelity, longer print life and greater flexibility in the darkroom. Seeing the prints that other photographers were making (and the fact I wasn’t actually selling my slides professionally) was a conversion experience. Since then I don’t think I’ve ever taken pictures on slide film.
Gee P. Johnson, The People’s Salon, Coldharbour Lane, Camberwell, 1989,
At the same time I was beginning a major black and white project to photograph the fabric of London, and saw my colour work as separate to that, but dependent on it. I don’t think I ever went out to visit a place or area to take colour pictures, but simply did so when opportunities arose as I visited various areas.
I didn’t have a particular interest in cafes or hairdressers, but saw these and other shops and offices as example of small businesses with relatively low start-up costs which reflected both the aesthetic of their owners and of the people of the area which they served. Gee P Johnson’s unisex ‘The People’s Salon’ for me expressed that sense well.
Daneville Rd, Camberwell, 1989, Southwark,
Filing selected trade prints in albums according to their grid references was a way to explore the differences between different areas across London – and I chose to do so in these 1km wide south-north strips. It was also a kind of cataloguing system for my work, though not always as well documented on the prints it should have been.
Garage, Camberwell Station Rd, Camberwell,
These examples come from the first thirty or so images in my Flickr album TQ32 London Cross-section, which contains a little over 300 pictures. I’ll perhaps look again at some more shortly.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
