Isle of Dogs and Poor Doors: On Wednesday 3rd September 2014 the weather was fine with blue skies and clouds and I decided to spend the afternoon photographing in the Isle of Dogs before meeting with Class War for one of their ongoing series of protests against separate entrances for the wealthy and social housing residents of a tower block in Aldgate.
Isle of Dogs Panoramas – Island Gardens to South Quay
The main purpose of my visit to the Isle of Dogs was to make panoramas of scenes which I had photographed more conventionally over the years, including the black and white images that I included in my book ‘City to Blackwall‘ and more of them are now in my albums on Flickr.
I had gone back so make some panoramas in the area in the 1990s and early 2000s, using various panoramic film cameras, but the switch to digital had made creating panoramic images much simpler for me.
Perhaps the most important change was in accurate viewfinding – with my first panoramic film camera the most accurate way to see the extent of my pictures was by viewing along two arrows on the top of the body – much more reliable than its viewfinder. But of course digital also gave a wider range of shutter speeds and ISO.
And to do this, the camera needed to be firmly mounted on a tripod – and I carried a rather heavy Manfrotto around with me. This also enabled me – with the aid of a spirit level – to ensure that the camera was level. The Nikon I used for these panoramas had level indicators in the viewfinder and was easy to use handheld.
However to make these on digital I needed to use a fisheye lens – the 16mm Nikon fisheye. Not the kind that gives a circular image, but a full-frame fisheye where the image circle goes through the corners of the frame. This gives a 180 degree image across the frame diagonal, but rather less horizontally and vertical, with considerable curvature of straight lines.
Software – I then used PTGUi for these – than comes to the rescue, converting the spherical perspective into a cylindrical one which rendered verticals upright (there are several ways this can be done with slightly different results.) Later I moved to simpler software.
With the 36Mp Nikon D800E there were far more pixels than necessary even after this stretching and this was no longer a problem. I could work with single exposures rather than stitching together several images as I had done earlier with digital cameras.
Although I had mainly gone to make panoramas I also took a Nikon D700 body and made pictures with a 16-35mm Nikon zoom. Not everything is best suited by the panoramic treatment.
Again there are many more pictures at Isle of Dogs.
Class War ‘Poor Doors’ picket Week 6 – Aldgate
A police officer watches as people walk down the alley leading to the ‘poor door’ of the luxury development
Class War and friends held their sixth weekly protest outside 1 Commercial St in Aldgate and it was a relatively uneventful one.
As the protesters arrived, two police officers came out from the building and talked with the protesters making clear that they expected the protesters not to block the doorway for people entering or leaving the building. More officers soon arrived to police the event.
There were a few heated arguments between protesters and police but nothing of any consequence. The protesters held their banner well in front of the door.
They talked and handed out leaflets to people leaving and entering the ‘rich door’ as well as to people walking past – and to at least one cyclist stopped at the traffic lights.
After keeping up the picket for an hour as intended, Class War packed up and left – until the next week.
IWW Demand ‘Reinstate Alberto’, Occupy & London: On Friday 10th February 2012 I came to London to photograph a rush hour protest calling for the reinstatement of an office cleaner sacked for his union activities. I came early to wander a little from Waterloo and pay a visit to Occupy London on the way there, and also took a few pictures on my way home after the protest.
Cleaners were protesting outside the 230 metre tall Heron Tower (now Salesforce Tower) at 110 Bishopsgate, completed in 2007 when it then was the tallest building in the City of London.
Alberto Durango speaks outside Heron Tower
The protest called for the reinstatement of IWW Branch Secretary Alberto Durango who had been sacked, victimised for his trade union activities, after the cleaning contract for the building had been taken over by a new contractor, Incentive FM Group Ltd.
NTT Communications threw out their cleaners “like rubbish” because they organised and joined the union
Alberto who worked as a cleaner in the Heron Tower had become well known for his campaigning activities in and around the City of London, which have helped to secure better working conditions and the London Living Wage for many of the cleaners who work in London’s prestigious offices. He was then the Industrial Workers of the World Cleaners and Allied Trades Branch Secretary and in 2011 had won the fight for workers at Heron Tower to be paid the London Living Wage and an agreement with the then employer that there would be no redundancies there with any staff reductions needed being made by transfers to alternative posts.
Under the Transfer of Undertakings (Protection of Employment) Regulations (TUPE) the new employer should have continued to recognise this agreement. Instead they refused to do so and picked on Alberto, making him redundant.
The same management also controlled Exchange Tower where the IWW were carrying out a campaign to get cleaners the London Living Wage and where they have taken a very aggressive stance against the union, threatening the union members. The protesters connected Alberto’s sacking with his role there as union Branch Secretary.
This was a very loud protest with speakers using a powerful megaphone and drummers from Rhythms of Resistance adding their loud beats as office workers from Heron Tower and the many other offices in the area were making their way home in the evening rush hour.
The pavement outside the area owned by Heron Tower on Bishopsgate is relatively narrow and police rightly insisted that there needed to be a clear route along it for workers to get past without having to step into the busy road. So my 15mm fisheye lens was extremely useful, though it does make the area look much more spacious than it was.
In February the protest began a quarter of an hour after sunset, and light was fading fast. Although the City streets are generally well light both from street lighting and by the light from the huge areas of glass on the front of modern buildings I used added lighting for many of the pictures, either with a hand held LED light or flash on camera. But neither light source can cover the 180 degree diagonal view of the fisheye and those pictures rely on available light only. Its f2.8 maximum aperture helped – and it was a stop faster than the wide-angle zoom used for almost all the other images. In some at least of the pictures I think the fish-eye effect works well too.
Occupy London & Other Pictures – St Paul’s Cathedral
Although there were still plenty of tents in St Paul’s Churchyard as I walked through they were all tightly closed and the occupiers were still out protesting the music anti-piracy proposals at the British Music House in Soho.
I was a disappointed at not meeting any of them, although I hadn’t arranged to do so and it did allow me to take a few pictures of the site without any distractions, though by the time I’d wandered there taking a few pictures on the way including from the Millenium footbridge I was in a hurry to get to the Heron Tower.
After the protest at the Heron Tower I took a bus back to Westminster and made a few pictures in the subway leading from the station to the Houses of Parliament and under the Emabankment towards the Thames before walking across the bridge and to Waterloo Station.
Make Poverty History: Twenty years ago on February 3rd 2005 I was one of the 20,000 or so people who packed Trafalgar Square on a Thursday lunchtime to see and hear Nelson Mandela speak in the first major real event in the UK’s ‘Make Poverty History’ campaign.
Make Poverty History was a coalition of charities, religious groups, trade unions, campaigning groups and celebrities which had come together here and in a dozen other countries around the world to promote trade justice, to cancel the debts that were crippling poorer countries and to press for more aid and for this to be better targeted at improving the lives of people in the recipient countries.
The campaign in the UK had officially been launched on TV on New Year’s Day on the same day that Britain took over the Presidency of the G8 – and in July was to host a G8 summit that was supposed to be largely about poverty in Africa, but this rally was the first major national event.
I’d severely misjudged the numbers that would turn up for the rally, arriving only minutes before it was due to start and was unable to make my way through a densely packed crowd to anywhere near where the the speakers – including Mandela would be speaking.
This was an occasion when a long and heavy fast telephoto lens would have come in handy, but I’ve never owned one of these, preferring whenever possible to work at close range. But the relatively small zoom lens I had with a focal length of 200mm and a maximum aperture of only f5.6 did just about allow me to take some recognisable images of what was happening on the stage in the distance.
It helped that Nikon was still sticking to its conviction that its DX format, a sensor half the size of a 35mm frame was all that was needed for digital photography, giving the lens on my D70 the equivalent view of a 300mm on full-frame.
he ‘pills’ are a petition calling for urgent action on aids, to get 3 miilion people on treatment by 2005.
But I was please to have been able to capture some of the event – such as the handshake between Mandela and Bob Geldoff and children coming to meet Mandela, even if someone’s head got in my way a little of the time and those 6Mp images could perhaps have been just a little sharper.
Mosquito nets can help stamp out malaria in Africa
Later I was able to return to focal lengths more in my comfort zone, with a fisheye to show the crowds and more normal wide-angle views of people in the crowds.
The only way to be photographed with Nelson Mandela at the Rally
The ‘Make Poverty History’ movement lasted in the UK until 31st Januarly 2006, though relations between some of the 540 groups involved were very difficult. Oxfam in particular was seen as far to keep to follow a ‘New Labour’ line and some other major NGOs were also often felt to be insufficiently radical. Even though these groups dominated the campaign the TV adverts which had been aired at the start were soon banned by Ofcom as they were deemed to be “‘wholly or mainly political’ in nature, since they aimed to ‘achieve important changes'” – surely the whole point of the campaign.
Clearly the campaign had begun to disturb the rich and powerful who were feeling their privilege and profits from impoverishing the poor might be at risk. But although the campaign raised awareness of the problems its actual achievements were rather limited.
Bust of Nelson Mandela, sculpted by Ian Walters, commisioned by the GLC to mark the 70th anniversary of the African National Congress in 1982, and unveiled by Oliver Tambo in 1985. It records Mandela’s imprisonment in 1962, with added inscriptions marking his release in 1990, the Nobel Peace prize in 1993 and his inauguration as the first president of a free South Afrrica in 1994.
You can read more about the event and seem many more pictures on My London Diary
As a photographer I’ve long been interested in the difference between how we experience the world around us and how the camera records it. Some of those differences are obvious but others less so, and some we are seldom aware of.
The camera records an image produced by its lens which follows strict optical rules which I learnt about long ago in my physics lessons, though real lenses deviate slightly from those ideal and perfect specimens in those science texts.
The camera holds a film or sensor to record that image – and again does so following strict physical (and chemical for film) processes which may fail to record significant features and distort others to produce an essentially flat two-dimensional image. It may not even record colours but if it does they always to some extent arbitrary, as too are the tones.
Those of us who grew up on film are perhaps more aware of this than the digital generations. We had to be aware of the differences in recording of, for example Ilford’s Pan F and Kodak’s Tri-X, and how these were affected by processing and printing, and of the rather unreal but different colour renditions of Kodachrome, Kodacolor, Ektachrome, Agfa, Ferraniacolor and the other colour film films, each with its own qualities. Though perhaps if we ever used Orwo film quality was not the right word for its purplish nature.
Of course there are differences in the way digital cameras record colour, but these are rather smaller, and we can make use of software to make them match more closely or exaggerate the difference. Lightroom and Photoshop can make my Fuji files look very similar in terms of colour rendition to those from Nikon.
But our experience of a scene is very different, combining inputs from all of our senses, and it would be impossible to over-emphasise the subjective aspects. But even just visually it is still very different. While the lens cuts out all but a small rectangle in front of us, our eyes send information to the brain from a much wider field, much of it except from a small central section lacking in sharpness. Most of us have binocular vision, gathering this data from two eyes a short but significant distance apart, enabling us to see in depth. And our view is always dynamic, our eyes moving around, and as we swing our head around or up and down we have the sensation of moving through a static universe. Doing the same with a camera has a very different effect.
A standard lens – around 40 to 50mm on a full frame digital or 35mm film camera gives a similar idea of depth in its flat images to that we normally experience. With longer lens the effect of depth is reduced and by the time we get to really long lenses the images become flat patterns rather than appearing to represent a three dimensional scene. But what interested me more was what happened when the camera tried to represent a much wider angle of view than the standard, when the rectilinear rendering of normal lenses becomes impossible.
On Monday 14th of March I went for a walk with a painter friend who had brought her sketch book to introduce her to an area I thought she might find interesting. And I wanted to further explore some of the different ways of rendering very wide angles of view with digital cameras. I’d brought two Nikons with me, one fitted with a conventional wide-angle zoom which I used mainly at 16mm, close to the limit for such lenses (and I do have a wider lens which demonstrates this) and the other with a 16mm full-frame fisheye which fills the frame with an image which is 180 degrees across the diagonal.
While my friend stopped to make sketches I had time to make a series of images from similar locations. I kept warmer as I was moving around, but she fairly soon got cold, which was a good excuse to visit the pub which appears in some of these pictures, after which I took her back to the station where we had met and went back to take some more pictures on my own.
Back home I uploaded the images. Those from the conventional wide-angle zoom I’ve use as they were taken, with just the normal adjustments in Lightroom. But the fish-eye images I worked on with my panorama stitching software, PtGui, not to join images but to take the raw image data and process it it various different ways to produce cylindrical projections. If the camera was upright when the picture was taken, this will produce straight vertical lines for all upright elements. There are many different approaches to this which produce visually different results, some of which are common in mapping, such as Mercator.
Those I’ve found most useful are the equirectangular, Vedutismo and Transverse Vedutismo projections used in these examples.
2005 seems a long time ago now, but some of the same names are still often in the news. At a rally at King’s Cross station about fire safety remembering the victims of the disastrous fire in the Underground station there in 1987 that killed 31 people there were speeches from trade unionists and politicians including MPs John McDonnell and Jeremy Corbyn.
RMT leader Bob Crow died in 2014 but since 2021 RMT General Secretary Mick Lynch has been very much in our minds recently – and like Crow putting the case for his members and the working classes effectively to the mass media, challenging the silly class-based observations of many reporters and interviewers and making clear the facts about the rail dispute.
John McDonnell
Trains were very much in my mind at the start of Saturday 26th November 2005, not because of strikes but because of the problems of our privatised rail system which led to me arriving in London half an hour later than anticipated. Privatisation only really made any sense when it could introduce real competition and that was never possible for the railways – and only by introducing an expensive and wasteful middle layer of companies for utilities such as gas, electricity and water. In all these sectors the results have been inefficienies, high prices and large profits at the expense of customers and taxpayers for the largely foreign companies who bought our ‘national silver’.
Kings Cross – never again! – 26th November 2005
So I arrived late, running up the escalators at King’s Cross and remembering the stories of those who had been caught up there in the terrible fire, thinking how hard it would be to find the way out in smoke-filled darkness. Even with good lighting and reasonably clear signage it’s sometimes difficult to take the correct route.
Outside I photographed the joint trade union protest in memory of the fire, made more urgent by the plans of the management to change safety rules which protect workers and public using the system in order to cut costs. As well as those mentioned earlier, there were also speakers from ASLEF, the Fire Brigades Union and others.
On the https://www.london-fire.gov.uk/museum/history-and-stories/historical-fires-and-incidents/the-kings-cross-fire-1987/ 18th November 1987 a fire started when a lit match was dropped on an escalator around the end of the evening rush hour, falling through a gap and setting fire to litter and grease beneath. The small fire this started quickly spread, engulfing the escalator. People were told to leave the station by an alternative escalator and trains were told not to stop at the station.
Then at exactly 7.45pm while the ticket hall was still crowded a fireball suddenly erupted from the escalator into the ticket hall, followed by dense black smoke which made it impossible to see the exits. The heat was intense, melting plastic wall and ceiling tiles which added to the blaze. It took two and a quarter hours to get the fire under control, and a further five hours to put it out completely. 31 people died in the fire including a senior fire officer who was in the ticket hall telling people to get out when the fireball burst in.
Government and management justify cutting safety as “getting rid of red tape” and simplifying procedures and 12 years after this protest we saw the terrifying consequences of their approach to safety at Grenfell Tower.
The inquiry into the fire established a previously unknown mechanism by which the fire had spread so rapidly and also found that an over-complacent management had not had sufficient concern for the dangers of fires underground. New regulations were introduced, smoking was banned and a programme of replacing wooden escalators begun (though it was only in 2014 that the last was taken out of service.) Heat detectors and sprinkler systems were installed and better communications systems, improvements in passenger flow and staff training meant that almost all of the reports recommendations were put into practice.
Things changed in later years as Government and management justified cutting safety as “getting rid of red tape” and simplifying procedures and 12 years after this protest we saw the terrifying consequences of their approach to safety at Grenfell Tower. Had the reports and the coroners recommendations following the Lakanal House fire in 2009 been implemented and the lessons learnt, the fire at Grenfell would have been a minor incident, confined to the flat inside which it started. There would have been no deaths and we would never have heard about it on the news.
Poppies and leaves in Whitehall
Workers and their unions saw clearly the dangers of this change in attitudes to safety in this 2005 protest.
I’d hoped to go from the safety protest at King’s Cross to a lecture at the ICA, but my work finished too late, and instead deciding first to go to Whitehall where I had expected to find another protest. There were still quite a few poppies from the Remembrance Sunday event, but I found nothing else to photograph in the area.
I decided the weather would be fine to take a trip to the Royal Victoria Dock and take some more photographs around there. It was a fairly quick journey now thanks to the Jubilee Line from Westminster to Canning Town and then a couple of stops on the DLR.
I got off at Custom House and walked past the entrance to the Excel Centre, making my way to the high level bridge across the dock, which had been closed on an earlier visit but was open now. And the lift was working.
I took rather a lot of pictures both on the dockside and from the bridge which has some interesting views of the buildings around the dock and further afield, including the Millennium Dome on the other side of the Thames, Canary Wharf and the London skyline in the far distance.
I took pictures with the full range of the lenses in my camera bag, from the 8mm fisheye to the a not very impressive telephoto zoom, which I think stretched to 125mm, equivalent on the DX camera I was then using to 187mm, which give a some quite different angles of view. I would now process these rather differently, partly because RAW software has improved significantly since 2005, but also because my own preferences have changed. Most of those fisheye images I would probably now partially ‘defish’ to render the verticals straight.
The camera I was using them, a Nikon D70 also now seems rather primitive, particularly as its images are only 6Mp and only offering a ISO 200 – 1600 range. But it did the job well, and the only real improvements in later models – unless you really want to make very large prints – were in the viewfinders. The D70 viewfinder was usable (and much better than the D100 which it replaced) but still not as good as those on film cameras.
Towards the end of the time I spent there, the sky turned orange, though perhaps the photographs slightly exaggerate the colour.
East London Against the Arms Trade – Musical Protest, Excel Centre, 26 Nov 2005
I’d photographed more or less everything I could see and was beginning to make my way back to the DLR station when “I heard the brassy notes of the red flag, and made my way towards them.”
Musicians from ‘East London Against the Arms Fair’ were treating visitors to the Excel centre to a musical welcome. They were calling for Excel to stop hosting the DSEI (Defence & Security Equipment International) arms fairs which attract visitors from around the world, including many repressive regimes to come to London and see and buy arms.
London’s then Mayor, Ken Livingstone had spoken against having the arms fair in London as have the nearby London boroughs, and local residents had voted 79% against them, but the arms fairs continue every other year – with several days of protest against them.
One had taken place here in October, and the musical protest was calling for those already booked for 2007, 2009 and 2011 to be dropped. But their protest fell on deaf ears so fast as Excel’s owners were concerned and they continue, supported by the government, to be held there.
As well as seeing more pictures on the links in this post you can also see the accounts I wrote back in 2005 by scrolling down the November 2005 page of My London Diary. You can see photographs of further protests against the DSEI arms fair by putting the four letters DSEI into the search on the front page of My London Diary.
Digital Panoramas on the Thames Path I’ve long had an interest in panoramic photographs, both in taking them and also appreciating the work of well-known photographers who have made panoramic images. From the earliest days some photographers wanted to make pictures with a wider field of view than was possible with a normal camera and lenses, and the first patent for a specialised panoramic camera was filed in Austria in 1843, using a curved Daguerreotype plate and rotating lens.
The earliest existing panoramic photographs appear to be those by Friedrich von Martens made in the early 1840s – such as this example on Wikimedia dated from 1846. There are also paper prints from the same era, presumably made from calotype negatives. As well as making single exposures with an angle of view of around 150°, von Martens and others made panoramas using multiple exposures, often with normal lenses. Martens produced what was probably the first 360° panorama using three curved Daguerreotype plates.
Normally we use cameras with rectilinear lenses to render straight lines in the subject as straight lines in the picture. But as the distance from the lens centre to the film or sensor gets longer towards the edges and corners, the image magnification also increases. This begins to be noticeable with extreme wideangle lenses, although more of a problem with some subject matter than others.
Although I’ve worked with a full-frame lens at 12mm, I’ve found that for general purposes a practical limit is around 15-16mm with 18mm generally more useful, corresponding to an horizontal angle of view of 90°. Beyond that the image stretching usually becomes too noticeable.
The first really popular specialised panoramic film cameras were the 1899 #4 Kodak Panoram and the Circut, patented in 1904 and produced in a range of sizes until 1945. Some were still in use until recently for producing long roll photographs of perhaps 800 pupils sitting in rows on the school field. They rotated slowly enough for some students to run around the back of the group and appear at both ends. Cameras of this type were used to great effect by photographers including Josef Sudek.
Having made several multi-image panoramas and found the process limiting I bought my first rather more modest panoramic camera, a Japanese Widelux taking images on 35mm film in 1991. Later I bought a Russian Horizon which gave similar results, and a 120 format Chinese model. I still have these along with a Hasselblad X-Pan, not really a true panoramic camera, but using a panoramic format – with the standard lens it only gives a similar angle of view to a 28mm lens, and even with the 30mmm wideangle I mainly used only around a 90° angle of view.
These cameras were the main reason I continued using some film after going digital in 2002. But some years later I found a way of working with digital cameras to make panoramic images, using a fisheye lens and then ‘defishing’ this with software to give a similar image to those made with the swing lens cameras.
These pictures were taken seven years ago on a short walk along one of my favourite sections of the Thames Path in London, from Vauxhall to Wandsworth on Sunday 5th January 2014.
I took images handheld with a Nikon D800E using a Nikon 16mm f2.8 fisheye lens, and later converted them using an Equirectangular projection in PTGui software. I now generally use the more convenient Lightroom Export plug-in https://www.imadio.com/products/prodpage_hemi.aspx ‘Fisheye-Hemi’ from Imadio.
You can see larger images and many more from the walk at Thames Path Panoramas on My London Diary.
