Horizon 202 | >Re-PHOTO

More Colour From New Charlton: I think all of these pictures were taken in May 1995, the panoramic examples being made using a swing lens panoramic camera, probably the Horizon 202 from the Krasnogorsky Mechanicheskiy Zavod (KMZ) factory in Krasnogorsk near Moscow. This uses clockwork to rotate a 28mm f2.8 lens around a little over 120 degrees, keeping the lens to film distance constant by having the film in a curve around the axis of rotation. The camera made negatives 58mm long and 24mm tall on normal 35mm film, giving around 20 exposures from a normal ’36 exposure’ cassette.

*Willoughby Way, New Charlton, Greenwich, 1995, 95p5-671*

The film was exposed though a rotating slit behind the lens and different shutter speeds were obtained by altering the slit width. There were only two rotation speeds and for the faster speeds – 1/60 s, 1/125 s, and 1/250 s – the rotation took around a thirtieth of a second, enabling me to use the camera without a tripod.

*Thames Path, Lombard Wall, New Charlton, Greenwich, 1995, 95p5-662*

The lens focus was fixed and I think I usually worked at f8 which meant everything from a few metres away to infinity was sharp. The camera had a spirit level as by keeping the camera level vertical lines were rendered straight in the image. Horizontal lines away from the centre of the image become curved as you can see in some of these images, and care in composition was needed to stop these effects dominating the pictures.

*Mudlarks Way, New Charlton, Greenwich, 1995, 95p7-161*

The image quality was much the same as that from my several times more expensive Japanese Widelux f8 swing lens camera, but the Horizon had a useable viewfinder and was easier to use handheld. Though I think for most of my walks back in 1995 I was still carrying a rather large, heavy and solid Manfrotto tripod. I liked it because it could hold the camera absolutely steady at my eye level – and unless there was good reason not to do so I always preferred to view from that height.

*Andrews Sykes, New Charlton, Greenwich, 1995, 95c5-832*

But I was also photographing with more conventional cameras, and usually had two Olympus OM4 bodies, one with black and white and the other with colour negative film. Although I had a fairly full range of lenses, the great majority of the pictures were made using an Olympus 35mm shift lens.

Bugsby's Way, New Charlton, Greenwich, 1995, 95-5o-66, 1995, 95c5-825 — *Bugsby’s Way, New Charlton, Greenwich, 1995, 95-5o-66, 1995, 95c5-825*

In particular this allowed me to place the horizon in the images below or above the centre of the frame without tilting the camera which would have resulted in converging or diverging verticals. As well as shifting the optical elements up and down the lens mount allowed the lens to move to either side which also gave more control over framing.

*Works, Mudlarks Way, New Charlton, Greenwich, 1995, 95c5-823*

This area beside the Thames was then almost entirely industrial with aggregate wharves and some commercial premises. On other occasions I took more pictures along the riverside path which in the following year became a part of the Thames Path.

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Ten years ago on Thursday 16th May 2013 I was pleased to attend the opening of the exhibition Estuary, held to mark the 10th anniversary of the Museum of London Docklands at West India Quay, a short walk from Canary Wharf. I was delighted to be one of the dozen artists in various media to be included, with ten of my panoramic images from my work on the north and south banks of the Thames.

I’d begun photographing the lower reaches of the Thames back in the 1980s, then working largely in black and white and my work concentrated on the then fast disappearing industrial sites along the river. At first I worked on the Kent bank on the south of the river, having a particular interest in the cement industry that occupied and had radically changed much of area between Dartford and Gravesend. Later I also worked along the north bank.

Estuary is a term that has various definitions, and both its upstream and downstream limits have, as Wikipedia states, “been defined differently at different times and for different purposes.” For my own purposes it has been rather elastic, usually beginning at the Thames Barrier and going east as far as it was convenient to travel by public transport, on foot or by bicycle from convenient stations. In earlier years I went further along the Kent bank by car in some outings with friends including Terry King as far as Sheppey.

The exhibition had come as a surprise. The ten picture in it were from around a hundred images the Museum of London had bought from various of my projects for its collection a few years earlier and I think the first I knew about it was when I received the invitation to the opening, or perhaps by an email a couple of weeks before that.

These pictures all dated from the early years of this century, those from Kent in 2000 and from Essex in 2004 and all were in panoramic format. In 2000 I was working with two swing lens cameras, a Japanese Widelux F8 and a much cheaper Russian Horizon 202. Both work with rotating lens and a curved film plane, invented by give Friedrich von Martens in his Megaskop-Kamera in 1844, but instead of the daguerrotype plates he worked with use standard 35mm film, producing negatives around 56x24mm.

The two cameras have a similar field of view horizontally around 130 degrees and have a cylindrical perspective which renders lines parallel to the film edges straight but gives an increasing curvature to horizontal lines away from the centre of the image. The image quality of the two is very similar but the cheaper camera has a rather more useful viewfinder.

By 2004 I had two further pieces of equipment which extended my panoramic photography. One was a new camera, the Hassleblad X-Pan, which had generally received rave reviews. I found it rather disappointing at first and it was only after I added the 30mm wideangle lens that it became useful for me. The X-Pan is a standard rectilinear camera design but gives negatives 65x24mm rather than the normal full-frame 36x24mm. The horizontal angle of view it produces with the 30mm is at the limits of rectilinear perspective, before stretching at the edges becomes too apparent, and is considerably less than the swing lens cameras at 94 degrees. The lens comes with a separate viewfinder that fits on the top of the camera, but does make operation a little less convenient.

The second, and very important for working along the north bank was a Brompton folding bicycle, which enabled me to travel the greater distances needed there. Of course I also used this and the X-Pan for later pictures elsewhere.

You can see more of these pictures in two sections of the Urban Landscapes web site, which also includes work by other photgraphers, both British and overseas. Some of the pictures I’ve chosen for today’s post were in the Estuary show, but others were not – I have a rather larger body of work to select from than the Museum, some of which appears in my book Thamesgate Panoramas.

The site has separate sections on the Thames Gateway in Essex and Kent, as well as from my Greenwich Meridian project in 1994-6 and a wider selection of panoramic work from around London from 1996-2005, though there is much more that I still have to put on-line. Some is also now on Flickr.

Tag: Horizon 202

More Colour From New Charlton – 1995

Estuary