Brasilia, Capital of Brazil – in December 2007 I was fortunate to be able to go to Brasilia as a guest of the British Embassy who were backing an exhibition of my pictures of environmental protests in London as a part of Foto Arte 2007, a huge photography event that stretched on for 3 months with over 20 international shows and more than a hundred individual and group shows from Brazil, apparently in 57 locations across the city.
Unfortunately I was unable to stay there long as I needed to be home in plenty of time for Christmas, but the three days I spent there I was extremely busy. As well as attending the opening of my exhibition and some other shows and giving a lecture I was on the go from shortly after breakfast to late at night, being given personal guided tours.
My guide for much of this was a daughter of one of the city planners in a team led by planner Lúcio Costa (1902- 1998) and architect Oscar Niemeyer (1907-2012) and with an inside knowledge of the city and its development.
My show was in this building at Espaco Cultural Renato Russo in Quadra 508 Sul, Brazilia
Planning for the new city in the interior of Brazil began in 1956 and the city was developed remarkably quickly, officially opened in 1960, though much had still to be completed.
National Library (Biblioteca Nacional Leonel de Moura Brizola)
Brasilia incorporates many of the key aspects of modern architecture and 20th century city planning, Costa, an architect and planner adopted the modernist ideas of Le Corbusier around 1930 and Niemeyer worked with him from around that time.
Niemeyer was one of the twentieth century’s most renowned architects, developing modernism in new directions with his “free-flowing, sensual curves” in a remarkable use of reinforced concrete, and constructing buildings is cities around the world.
Memorial to the Indigenous Peoples (Memorial dos Povos Indigenas)
He was invited to design the civic buildings of the new capital, most of which I was able to see and to photograph during my visit. In 1987 his work there was internationally recognised when Brasilia was made a UNESCO World Heritage Site.
Congress. The left dome and tower is the senate, the right the house of representatives
Politics intervened when Brazil became a military dictatorship and Niemeyer had to move to Paris to continue his work, including buildings in France, Spain and other countries, but not in the UK, where his only building was a temporary pavilion in Hyde Park in 2003.
Panteão da Pátria (Pantheon) dedicated to the heroes of Brazil. Niemeyer designed it to resemble a dove
I travelled to Brazil light, and took only a small pocketable camera, a Fuji Finepix F31fd 6.3Mp compact, still highly regarded and producing images that were almost as good as those from my current DSLR. The main limitation – and one that I found something of a problem was its lack of any real wide-angle view, with an equivalent of a 36-108mm zoom lens. It performed fairly well in low light with using the fairly useless built in flash and an excellent battery life.
Teatro Nacional Cláudio Santoro (National Theatre – Oscar Niemeyer)
You can see the pictures from my Brasilia show here and many more of the pictures I took in Brazilia at Pictures of Brasilia, though I think there are more I should put on line.
Defend Our Juries Free Political Prisoners: A week ago I went to photograph an unusual protest which took the form of an exhibition, the Free Political Prisoners Exhibition.
London, UK. 24 Oct 24. Marchers with pictures of political prisoners and other banners and posters arrive at the Attorney General’s office at the Ministry of Justice to call on him to free the 40 UK political prisoners jailed for protesting peacefully against fossil fuel and Israeli arms companies. They demand an end to judges stopping defendants explaining the motive for their protests and uphold the right of jurors to make decisions based on their conscience. Peter Marshall
The protest was organised by Defend Our Juries, a group set up following recent trials in which juries have been prevented from hearing the defences of those on trial and have been directed by judges that they cannot follow their consciences in coming to their verdict.
Juries put the moral sense of ordinary people into the heart of the criminal justice system. In recent years, juries have repeatedly acquitted those taking nonviolent direct action to advance climate, racial, and animal justice. These verdicts are deeply embarassing to the goverment and the arms and oil industries, industry lobbyists such as Lord Walney have promoted extraordinary measures to try and stop them.
People on trial have been banned from using the words ‘climate change’ or ‘fuel poverty’ in court and have even been jailed just for defying that ban,
Usual legal defences have been removed by seemingly biased jusges. People have been arrested and prosecuted for displaying the centuries-old principle of jury equite – juries can find a person on trial not guilty as a matter of conscience, regardless of what the judge directs.
They had come to the Justice Ministry to protest outside the office of Attorney General Richard Hermer KC to ask him to agree to Chris Packham’s and Dale Vince’s request for an open and transparent public meeting to discuss the measures necessary to restore the fundamental rights to protest and fair trial essential to a functioning democracy, as called for by the United Nations.
A marcher holds a picture of Roger Hallam in the exhibition outside the Attorney General’s office
As well as some of the UK’s current political prisons including those from Just Stop Oil and Palestine Action currently serving long prison sentences for non-violent direct action the posters in the show featured many other political prisoner from around the world and throughout history such as Emmeline Pankhurst and Martin Luther King Jr “peaceful change-makers [who] should be celebrated as essential to upholding democracy.”
Reverend Billy of the NY Church of Earthalujah sits with pictures of political prisoners.
Among those taking part in the protest were William Talen, better known as the Reverend Billy, and members of his Stop Shopping Choir from New York, currently on a UK tour who I was pleased to meet again having photographed him at various protests in London in earlier years.
Working Lives – Lower Marsh: Last Saturday, 14th August 2024, was an unusual day for me, which I’ll perhaps write more about in a later post. But I’d finished photographing a protest a little after 1pm, rather earlier than I’d expected and sat down on the riverside path by the Thames at Nine Elms to eat my sandwiches and wondered what to do next.
One of several things that came to mind was the Working Lives Retrospective Photography Exhibition, organised by International Arts and Pedalling Arts, “highlighting points of connection in the working lives of people in Britain and Ukraine from the 1960s to the 1980s” with a set of photographs “from London and Kyiv and Odesa providing fresh insights into street and theatre culture in both cities.”
The show continues until until next Sunday, September 22nd and the Street Photography section of this is located in a series of pictures in shop windows along Lower Marsh, a street close to Waterloo Station. It and features images taken in Lower Marsh in the 1970s and 1980s as well as some from Ukraine. The London pictures include three by me, and others by Paul Carter, Jini Rawlings and from unnamed photographers in the Lambeth Archives.
There is a map on the web site you can download (or pick up at the Walrus) with a list of the names of the 27 shops and offices taking part, mostly with one photograph, but a few with two. And the picture at the bottom of the web page is one of mine.
A few months ago an old friend who lives a few streets away from Lower Marsh had emailed me asking if I had taken any pictures on Lower Marsh, a busy market street back then. I did a search of my albums on Flickr and found a few pictures, mainly from 1992 and sent links to the exhibition organiser. Three were selected for the show and I supplied files for A1 prints to be made.
I’ve been out of London for some time and then busy with other things so I hadn’t found time to see the show. And until I walked onto Lower Marsh I hadn’t realised that one of my pictures was being used as the poster image.
Another part of the show was that the theatre photographs were to be screened on giant screens on a van parked in the street outside Cubana at the east end of the street where most people enter it from 2.30pm – 10.30pm on selected days. Walking towards it from the west in Saturday’s bright sunlight the images were almost invisible, but suddenly I found my poster picture appearing. I walked to the shaded side and everything became clear.
The same picture of a man carrying a rolled up carpet (and a walking stick) on the street also appears on a nicely printed postcards produced for the show which you can buy at the Walrus.
I found the show an interesting way to look at photographs. It’s now a vibrant street with cafés etc, rather different from the old market, but interesting to walk along and search for the pictures. And being spaced out as they are draws your attention to every picture and gives you more time to think about it than in a run on a gallery wall. At one or two places I felt a little uncomfortable when I had to peer at them over people sitting at cafe tables, but I don’t think they minded.
You can also see all square cropped versions of all of the street images on the web site accompanied by short audio clips of memories from English or Ukranian locals. You can also play these on your phone on the street from QR codes on the picture captions.
Open House, Sewol, Iran, Sabah, Sarawak & Orange Order: Saturday 16th September 2017 was another busy and varied day for me in London, beginning with two visits on Open House Day and continuing with four protests.
Open House – Banqueting House – Whitehall
Though I’d often walked past the Banqueting House in Whithall, usually on my way to protests at Downing Street or Parliament Square, I’d never before been inside the building. But when I came past on Open House Day there was only a short queue and entrance was free. I had time to spare as a protest I’d hoped to photograph had failed to materialise, so in I went.
Inigo Jones designed (or copied from Andrea Palladio) the Banqueting House for the Palace of Whitehall, built 1619-22, and it is the only remaining building from the palace. It was the first neo-Classical building in England.
I went to Peckham to see a few things in the Peckham Festival including the Open House showing of the Old Waiting Room at Peckham Rye station which was housing a photographic exhibition of old pictures of Peckham.
The building itself turned out to be more interesting than the exhibition which lacked any real examination of the more recent past of Peckham. But there were other things to see in Peckham, and a short walk around Rye Lane and the Bussey Building is always interesting.
Back in Central London, my first protest was in Trafalgar Square where a small group mainly of SOuth Koreans was continuing their series of monthly vigils in memory of he Sewol victims, mainly school children who obeyed the order to ‘Stay Put’ on the lower decks as the ship went down.
They continue to demand the Korean government conduct a thorough inquiry into the disaster, recover all missing victims, punish those responsible and enact special anti-disaster regulations.
Overthrow the Islamic Regime of Iran – Trafalgar Square
Also in Trafalgar Square the 8 March Women’s Organisation (Iran-Afghanistan) were protesting on the 29th anniversary of the massacre of political prisoners in Iraq following a fatwa by Ayatollah Khomeini calling for the death of all Mojahedins and leftists as ‘fighters against God’ and ‘apostates from Islam.’
The fatwa led to over 30,000 political prisoners, mostly members of the main opposition People’s Mojahedin Organization of Iran (PMOI/MEK) being executed, largely hanged in groups of six and buried in mass graves.
The protesters call for the overthrow of the Islamic regime as necessary for the ‘litigation movement’ can achieve justice and build a society where such executions cannot occur and no one is suppressed, imprisoned or tortured for their ideas.
A short distance down the road at Downing St, Sabahans and Sarawkians were protesting on Malaysia Day, which they say is a ‘Black Day for Sabah and Sarawak’, calling for a restoration of human rights and the repeal of the Sedition Act and and freedom for Sarawak and Sabah.
Among them was Doris Jones, the leader of the Sabah Sarawak Keluar Malaysia secessionist movement in London.
When Malaysia was founded on 16th September 1963 the two independent countries in North Borneo joined with the Federation of Malaya and Singapore and were given promises, assurances and undertakings for their future in the federation. These included ’20 points’ of an Inter-Governmental Committee (IGC) Report, which the prrotesters say have been cast aside, and anyone raising them is being detained under a draconian Internal Security Act.
The annual Lord Carson Memorial Parade, one of several annual parades by lodges of the Orange Order came to the Cenotaph for wreaths to be laid. As well as various lodges dedicated to the Apprentice Boys of Derry there were others remembering the Ulster regiments that fought on the Somme. As well as members of lodges in the Home Counties and London, these parades also include some who come from Ulster and Scotland.
Lord Carson (1854-1935) was a leading judge and politician in the UK becoming Solicitor General and First Lord of the Admiralty. He had joined the Orange Order at the age of 19, and in 1911 became the leader of the Ulster Unionists, determined to fight against home rule for Ireland by “all means which may be found necessary“, becoming one of the founders of a unionist militia that became the Ulster Volunteer Force.
But in later years he warned Unionists not to alienate the Catholics in the north, something which parades such as this clearly do in some areas of Northern Ireland. In London they are much less controversial, although I have at times been threatened by those taking part for photographing them. But on this occasion I received just a few hard stares and even some faintly welcoming grins from some who recognised me.
Last Friday I went to the first day of the Fight4Aylesbury exhibition which continues until 23 April 2023. It’s an unusual exhibition and one that is worth visiting if you can get to south London before it ends,
The exibition celebrates the struggle by residents on the Aylesbury Estate in Southwark to stay in their homes since the estate was first threatened in 1999 and takes over the flat of one of those still remaining, Aysen who writes:
Welcome to my home.
I am opening the doors to my flat for a collective clelbration of 20+ years of housing struggles to defend our council homes against social cleansing and gentrification. Our fight is ongoing.
Since 1999 the council has subjected us with privitisation, “re-generation” and now demolition. We, Aylesbury residents, other council tenant all over the country, and our supporters, have been resisting and are still resisting and defending our homes.
My home tells the story of this struggle.
Aysen
You are invited to Aysen’s council flat on Aylesbury Estate to celebrate 20+ years of housing struggles for housing justice and against gentrification, social cleansing and demolition of social housing. The flat has been transformed into a living exhibition with flyers, posters, video, audio and installations on housing struggles.The exhibition is in this block, Wendover
The Aylesbury estate, designed by Hans Peter “Felix” Trenton was one of the largest areas of council housing in Europe, built from 1963 to 1977 with 2,700 dwellings for around 10,000 residents in an area containing some earlier social housing a short distance south of the Elephant and Castle between East Street market and Burgess Park.
There are a number of large blocks of various heights, from 4 to 14 floors, all well designed and built to the high standards of the era, with rather larger rooms and more solid walls than current buildings. The estate also had a central boiler to supply heat more economically to the flats.
Southwark neglected the estate in the 1980s and 1990s, failing to carry out necessary maintenance and the estate and the estate environment became in poor conditions. The heating system in particular suffered. Southwark began to use this and the neighbouring Heygate Estate as ‘sink estates’, deliberately moving in families with various social problems and people with mental health issues. It was because the estate had become unpopular that Aysen, who had to leave Turkey after the 1980 coup, was able to get a flat here with her sister in 1993.
The estate came to get a reputation as “one of the most notorious estates in the United Kingdom“, reinforced by it becoming a popular area for TV crews filming “murder scenes, gun and drug storylines and gang-related crimes in soaps and gritty dramas.” In particular from 2004-15 Channel 4 used it in an “ident” for which they had added “washing lines, shopping trolley, rubbish bags and satellite dishes” to create what was described as “a desolate concrete dystopia.”
Its poor reputation led Tony Blair to hold his first speech to the press as Prime Minister in 1997 on the estate, promising that the government would care for the poorest in society. It was a promise that he and later prime ministers have spectacularly failed to keep.
Southwark Council’s response to the estate’s decay they had overseen was to try and wash their hands of it by trying to transfer it to a private housing association to be redeveloped. But a campaign by residents in 2001 led to this being soundly rejected – not surprisingly they voted against demolition, displacement, rising rents and smaller flat sizes.
Undeterred, Southwark decided to go ahead with the redevelopment themselves, producing new plans for demolition in 2005. This time they didn’t bother to ballot the residents.
Solidarity collage which includes some of my images
The plans were for a 20 year phased demolition, with rebuilding of modern blocks by a housing association. The generous public space of the estate would be reduced and the housing density almost doubled. The first phase was completed in 2013 and Phase 2 is currently underway. All four phases are due for completion around 2032, and the 12 storey Wendover block in which the exhibition is being held has already been largely emptied of residents and is expected to be demolished around the end of this year.
Residents have continued their fight to stop the redevelopment, with protests and in January 2015 housing activists and squatters occupied flats in one of the emptied blocks. Moving from block to block they were finally evicted 18 days later. The squatters occupied another building and again were evicted. Southwark spent £140,000 on a fence, completely destroyed all bathrooms, toilets, pipes and kitchens in empty properties and spent £705,000 on security guards to prevent further occupation.
Other protests took place, including one in which part of the fence was torn down, and various protests at council meetings. Aylesbury residents also joined with housing activists in Southwark and across London at various other protests. But although these brought the Aylesbury campaign and the scandals over housing to national attention, the demolition continues.
Part of the scandal has been the “well-oiled revolving door” between the council – councillors and officers – and developers. The toilet in the exhibition flat is devoted to Southwark Council, and in particular for its Leader for more than a decade Peter John, who stepped down in 2020. He described his years as a “decade of Delivery“; community; anti-gentrification collective Southwark Notes call it “a Wild West gold rush for developers.” A 2013 report showed that “20 percent of Southwark’s 63 councillors work as lobbyists” for developers in the planning industry.
Similar estates built with the same system elsewhere have been successfully refurbished at relatively low cost to bring insulation and other aspects up to current standards. These buildings will probably last into the next century and their demolition is expensive and incredibly wasteful of both the huge amount of energy that was embedded in them and and energy require to demolish and rebuild.
There is more to the exhibition – and you can see some hints of it in the pictures. After visiting the show I walked up four floors to the top of Wendover for the view. The windows were rather dirty and most fixed shut but I did find a few places where they were open slightly to let me take photographs of the views across London.
Twelve years ago on 17th February 2011 I attended the opening of the show London Street Photography at the Museum of London, and I wrote about the opening here on >Re:PHOTO. Some of the same pictures there are also on My London Diary. The book of the show is long out of print but can be found cheaply secondhand with a little searching.
I was rather surprised to find this particular picture of mine, taken in Whitechapel in 1991 included in the book and show, and also one of the images used to promote the show. Not that I think it’s a bad picture, but to me it was just one of many that could have been chosen. I’ve never really put together a set of what I think are my best street photographs, but here are a few slightly random ones from about the same year.
I actually made two pictures of the shopkeeper standing outside the shop in Whitechapel, and the woman carrying a child walked across as I was talking to him and preparing to take his picture. I think I was just a little slow to react, and would have liked her to be just a fraction to the left, better outlined against the open doorway and for the child she was carrying to be more visible.
Perhaps important to the show was that most of the others from that era and before were in black and white – as most of photography still was. Only one earlier colour picture was featured, although most more recent work was in colour, including all of those taken in the current century.
Also important was that it reflected the changing population of London with a picture that could almost have been taken on the streets of Bangladesh – but so did some others that I took at the time.
Notting Hill Carnival, Notting Hill, Kensington & Chelsea, 1990, 90c8-03-51
I’ve recently re-digitised this and digitised many other colour and black and white images from my early work and made them available on Flickr, though so far I’ve only worked through all of the colour negatives up to the end of February 1991 and the black and white until the end of the following year.
Street scene, Green St, Upton Park, Newham, 1991, 91-31-31
Although almost all of these pictures were taken on the streets of London I don’t think many are really what I would consider ‘street photography’, though this is a category whose elasticity makes it of little use. But for me ‘street photography’ has to be about capturing fleeting moments, not about pictures that are posed or set up. The second picture without the woman walking by isn’t really street photography.
Last Tuesday – 10th January 2023 – I went for a walk with a couple of friends, both photographers. The pictures here were all taken by me on our walk. We met at Tate Britain where the exhibition on Bill Brandt was entering its last few days – it finishes tomorrow, 15th January. We hadn’t bothered to go before as all three of us were very familiar with Brandt’s work – and had seen previous and larger and better exhibitions. I think both the others had heard him talking about his work, we had all watched him on film and all owned several of his books, had in various ways studied his work and taught about it. I’d also published some short pieces about him when I wrote about photography for a living. We didn’t really feel a need to go to another show, but it was free and it fitted in with a couple of other things we wanted to do.
While its good that the Tate was honouring one of Britain’s finest photographers, we all found the show disappointing, both for the rather odd selection of works and prints and for some of the writing on the wall. Much of Brandt’s best work was missing, and it was hard to see why some images were included, and some prints also seemed to be of rather poor quality. Possibly this show reflects the failure of almost all British museums in the past to take collecting photography seriously – or perhaps a lack of real appreciation of photography by the Tate.
Brandt began his work in an era when photographs were seldom put on walls for anything other than illustrative purposes – there was no art market in photography. His work was largely produced for book projects and for magazine commissions, and he made prints largely for the platemakers who would prepare the plates for printing. To see the real object of his work you have to look not at the ‘original prints’ but at their reproduction in books and magazines. The strongest point in this show was the glass cases in which some of these were situated. But while we were there few of the other visitors to the show paid them more than a passing glance, instead filing reverently around the spaced out prints on the wall, pausing to pay homage at each of them before moving to the next.
I found it a disappointing show, and if you missed it you didn’t miss much. Far better to spend your time on his 1977 book, Shadow of Light for an overall view of his work, still available second-hand at reasonable prices. And should you want to know more about the man and his influences (neither of which the Tate show concerned itself with) Paul Delany’s Bill Brandt – A Life provides more information than anyone could ever want.
We left the gallery, crossing Atterbury Road to examine Henry Moore’s Two Piece Reclining Figure No. 1 in a small courtyard of Chelsea College Of Art and Design before proceeding to pay a courtesy visit to the Morpeth Arms which proved more to our taste than the Tate Show.
Refreshed we made our way across the river to Vauxhall to meet the Thames Path, following this upriver to Battersea Power Station. Much building work is still going on, including the construction of the Thames ‘Super Sewer’ and there is a lack of signs to show the way in the area close to the power station, but soon we found a side entrance to the recently opened interior.
I’d visited and photographed the interior years ago when it was derelict and was interested to see what the architects had done with it. Basically it is now an upmarket shopping mall full of shops selling goods and services that might appeal to the idle rich and wealthy tourists. It also has a cinema, an expensive lift up one chimney to a viewing platform from which we have already seen countless similar views, and, perhaps the only useful thing so far as I was concerned, toilets.
The architects have retained the huge scale of the two turbine halls, but the higher areas of them are now cluttered with huge hanging mock strings of giant fairy lamps and baubles, which failed to appeal to me. It was only at one that an uncluttered wall of windows really took me back to the atmosphere of the original.
The earlier of the two turbine halls was remarkable for its art deco decorative details – the later hall plain and utilitarian. Although at least some of the deco detail has been retained (or recreated) it no longer seems to have the impact it had formerly, perhaps because do the much higher lighting levels, perhaps because of the hanging distractors. But it remains an impressive building.
I’d left my two younger but less active companions to rush around and see the whole building, going up as high as I could while they stayed lower down. By the time we found each other again they had seen enough and were fed up with the place, and we left to the riverside terrace, walking along to catch a bus on Queenstown Road. It was dusk on a dull and damp day and we made our way to a cheap meal at a rather cosy pub in Battersea for a glass or two of wine and a remarkably cheap meal before walking to Clapham Junction for our three different trains home.
Wednesday 20th October 2020 was a rather different day for me. I started photographing speakers at an indoor rally, something I rarely do, went off to meet with my MP in a pub, then photographed a march against cuts in welfare and the loss of public sector jobs, ending the day at the opening of a show featuring myself and two other photographers, one of whom, Paul Baldesare took two of the pictures in that section of today’s post.
Jesse Jackson & Christian Aid Lobby – Westminster, Wednesday 20 October 2010
I was one of the 2,500 or so Christian Aid supporters who came to Westminster to lobby their MPs on 20.10.2010, asking them to press for transparency and fairness in the global tax system and for action on climate change.
The day started with a rally in the Methodist palace of Westminster Central Hall, opposite Westminster Abbey, the hall where the inaugural meeting of the United Nations General Assembly took place in January 1946. The Methodists had then moved out for a few months to allow this to take place, and special seating, translation booths installed, along with extra lighting to allow the event to be photographed and televised. But I think that lighting must have been removed as it was pretty dim inside for me to photograph the speakers. But I and a small group from my constituency were fortunate to be inside as there wasn’t enough room for all who came.
Supporters outside Methodist Central Hall
There were speakers from this country and abroad, but the star of the event was undoubtedly the Rev Jesse Jackson, a noted US civil rights and political activist, president and founder of the Rainbow PUSH Coalition, a candidate for the Democratic presidential nomination in 1984 and 1988.
After the rally and a hurried lunch a small group of us from his Spelthorne constituency met with our then recently elected MP, Kwasi Kwarteng, who suggested we find a place in the St Stephen’s Tavern to talk rather than have to go through the tedious business of queueing to go through security to meet inside the parlimentary offices. Although he was still relatively unknown it was rather easy to find him, as there are relatively few extremely tall black male MPs. Though rather more share his educational background of prep school and Eton.
Since then his rise to fame has been rapid, though after his recent sacking after only 38 days as Chancellor of the Exchequer, perhaps that should be notoriety. He has only visited his constituency on fairly rare occasions and I’ve yet to meet him again, though have seen him from a distance outside parliament.
He listened – or at least stayed fairly quiet – while my wife and others talked about the campaign for tax justice and the need for reforms to stop the various forms of tax dodging by major companies robs poor countries of more than $160bn a year, while climate change and the natural disasters it is bringing have a vastly greater impact on the poorer countries who are most vulnerable, despite their much lower per capita carbon footprints. They suffer from the results of our high dependence on fossil fuels.
But his response to the lobbying was perhaps best described as ‘mansplaining’; we were not at the time aware of his work as a consultant for the Odey Asset Management hedge fund or the recent allegations by Private Eye that he has continued to receive undeclared contributions from them. Certainly his activities as Chancellor have resulted in them and other hedge funds who bet against the pound making millions.
March Against Spending Cuts – Malet St & Lincolns Inn Fields, Wed 20 Oct 2010
This was the day that the government announced the results of their comprenhensive spending review (CSR) which involved considerable cuts in welfare benefits and the loss of many public sector jobs as services are cut. The deficit left by the outgoing New Labour government had given the Tories in the Con-Dem coalition a perfect excuse to slash the public sector and privatise services in a way they would never have dared before.
More than a million public sector jobs were expected to be lost, with some being replaced by private sector workers on lower wages, fewer benefits, lower standards of delivery and safety and higher workloads. There will be more cases of people suffering as private companies expand into healthcare, putting profits before the needs of people, and similar changes in other areas.
The Coalition of Resistance who called the protest say the £83 billion to be cut from public services will plunge the economy into a slump. Rather than cutting jobs, pay, pensions, benefits, and public services that will hit the poor ten times harder than the rich, they urge the government to cut bank profits and bonuses, tax the rich and big business. Rather than contract out the NHS, they should axe Trident and withdraw from Afghanistan.
I had to leave before the rally at the end of the march at Downing Street to prepare for the opening of an exhibition I had organised in Hoxton.
Paris • New York • London Opening – Shoreditch Gallery, Hoxton Market. Wed 20 Oct 2010
Paris, 1988
Together with two photographer friends I had put on the show Paris • New York • London at the Shoreditch Gallery which was attached to a cafe in Hoxton Market, a small street just off Great Eastern Street, close to Hoxton Square. Rather confusingly this is not where the actual Hoxton Market is now held which is in Hoxton St.
The show was a part of the East London Photomonth annual photography festival, and over the month it was on attracted a decent number of visitors and comments. My section was Paris, and I’d ordered a decent number of copies of my book, Photo Paris, still available at Blurb, most of which sold at the show. Unfortunately I think it now costs around twice as much as I was able to sell it for then.
Paul Baldesare’s pictures of London and pictures taken by John Benton-Harris in New York completed the show and you can still see the work online on a small web site I wrote for the event. Thanks to Paul for some pictures taken at the opening where I was too busy talking to use a camera.
Regent’s Canal 200 Years at UCH – As this post goes online today, Thursday 7th April 2022 I am helping with the hanging of a dozen of my pictures, half of a joint show, Myths & Realities, with artist Hilary Rosen at The Street Gallery in University College Hospital on Euston Road.
The show was due to open in March 2020 as we went into Covid lockdown, and although now our government seems to think Covid is all done with, others know better and there are still restrictions in place in hospitals, so we are unable to host an opening. And although you are very welcome to visit the show you will need to make an appointment by emailing guy.noble@nhs.net at UCH. Both Hilary and I have invitation cards and are handing out copies to people we meet as well as sending some by post and more electronically – and the two images show both sides of mine. I’m very sorry I won’t be able to see you all there.
Below is a little more about my project which is in the show. As well as the 12 pictures on the wall at UCH I have put a larger group including these in an online album, Regent’s Canal 200 Years.
The Regent’s Canal was opened in 1820 to connect the inland canal system to the River Thames at Limehouse, so 2020 was its 200th anniversary. To commemorate this I began a series of colour panoramas along the canal for an exhibition in March-April 2020 at The Street Gallery in University College Hospital London, half of a joint show, ‘2020 Vision – Vistas and Views’ with artist Hilary Rosen. Unfortunately this show had to be postponed due to COVID-19, but has now been rescheduled with the title ‘Myths & Realities’ for 8th April 2022– 18th May 2022 at The Street Gallery, University College Hospital, 235 Euston Rd, London, NW1 2BU.
I first photographed the Regent’s Canal in 1979 and have taken many pictures along it over the years since then. I began my work for ‘Regent’s Canal 2020’ early in 2019 and made around eight visits in the following 12 months, producing several hundred images, of which 43 are online.
These images have an extremely wide angle of view, is roughly similar to the entire field of human vision and to record this on a camera and in print requires a move away from normal rectilinear perspective. They use a cylindrical perspective which retains vertical lines and edges as straight lines but shows other straight lines (except those passing through the image centre) with varying curvature, more pronounced towards the edges of the image. I’ve worked with various equipment in this way since around 1991 when I first bought a specialised panoramic camera.
Exhibiting on-line enables me to show more images than the 12 I had selected and printed for the UCLH show. They are presented in the order of a walk from Little Venice where the Regent’s Canal leaves the Paddington Arm of the Grand Union Canal, a pleasant walk of around 9 miles (with a couple of diversions for tunnels) which can easily be done in a day if you are not stopping to make pictures.
All images are available either as unframed C-Type photographs (image size approximately 16×9″ or 16×10.5″) at £220, as 40x60cm latex prints on canvas (£200) or as 40x60cm dye sublimation prints on canvas (£220). Dye sublimation prints are less intense and carry the image in the canvas, while latex inks sit on the canvas surface and give a more photographic effect.
Pancakes, a Farm and More From London 2007. Fifteen years ago on Tuesday 20th February 2007 I had a long but enjoyable day.
Worshipful Company of Poulters Pancake Race
It was Shrove Tuesday, and my working day began in Guildhall Yard at the centre of the City of London, where some of its older institutions were enjoying letting their hair down a little in the Worshipful Company of Poulters Pancake Race.
I wrote then: ” it was first run in 2005, but as befits the city it has a serious set of classes and rules, music from the Worshipful Company Of Musicians (1500), time-keeping by the Worshipful Company Of Clockmakers (1631) and a starting cannon for each of the many races provided and fired by the Worshipful Company Of Gunmakers (1637.)
The guilds are now largely charitable organisations and the event each year supports the current Lord Mayor’s charity, which in 2005 was Voluntary Service Overseas, VSO. But although it is just a bit of fun, it also strongly showed the competitive nature of the the City.
Great Spitalfields Pancake Race
There was a very different feel to the Great Spitalfields Pancake Race at Trumans Brewery in Spitalfields, organised by Alternative Arts where teams from local businesses were competing in fancy dress on Dray Walk. Rules there were minimal and the emphasis was on fun.
I arrived rather out of breath and very late, having run most of the way from the Guildhall, and was only just in time to see the final race and the prize-giving.
Spitalfields Urban Farm
I had nothing particular to photograph for the rest of the day and decided to accompany a friend who was looking after a couple of his neighbours children and take a look at the Spitalfields Urban Farm. A late friend of mine had helped to set up and running an urban farm in Vauxhall in 1977 a year earlier than the Spitalfields farm, but part of the same movement in those years.
The farm was set on land which had previously been a part of a goods yard for the railway coming from East Anglia into Liverpool St. I imagine the only animals then would have been coming to slaughter in London markets, but now they had a happier future, providing environmental education and a great deal of enjoyment to people of all ages in the local community.
Art, Architecture and a Hoody
I said good goodbye to my friend and the children he was with at the farm and went for a short walk around Spitalfields on my way to catch a bus on Norton Folgate, one of those great historical names that we still have in London.
Norton Folgate, on the north edge of the City of London used to be an “extra-parochial liberty”. According to Wikipedia there are several theories about the name. Norton probably came from Old English words north and tun, the latter meaning farmstead. But Folgate is more of a mystery; possibly it came from the name of a Lord of the Manor or alternatively from the Saxon ‘foldweg’ meaning highway, but I think its derivation is probably a mystery lost in time.
Before the Reformation the area was occupied by the Priory and Hospital of St Mary Spital, and when the priory closed down it became Crown property, and was not included in the neighbouring parishes. Being a liberty meant the King surprisingly didn’t claim an income from it. In 1900 it became a civil parish and in 1921 it was divided in two the west part going to the borough of Shoreditch and the east to the borough of Stepney. Both these were abolished in 1965 with the formation of the London Boroughs of Hackney and Tower Hamlets. Finally in the 1990s parts of the area were transferred to the City of London, though my walk was streets of Tower Hamlets.
Another London
I was on my way to New Malden where I was meeting Paul Baldesare and a few other photographers in an Italian cafe before going on to give them a guided tour of our show (with Mike Seaborne), Another London, then taking place in Kingston Museum.
The website I think shows all of the photographs in the show by all three of us. My own contribution was on photographs of public events in London, concentrating on those “related to particular ethnic communities in the capital, while others are from very local events such as street parties and festivals.” It includes quite a few made with the show in mind in the London Borough of Kingston.
My photographs from 20th February 2007 are linked from the February 2007 page of My London Diary, but you will need to scroll down to find both the texts and links to the images, a problem with the site design which I improved the following year.
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