Posts Tagged ‘museum of london’

Rain on Pride Parade

Wednesday, June 28th, 2023

Rain on Pride Parade: Times have changed since 2014 when I made a large set of pictures at the start of London’s annual Gay Pride on Saturday 28 June. Back in 2014 I was able to walk around freely and meet and photograph those taking part before the parade started. The colour pictures here are all from that event, where there were some short but heavy showers as people gathered.

Rain on Pride Parade

I don’t think I had actually bothered to apply for accreditation, though I did on some previous years, as I didn’t intend to photograph the actual parade. But in 2017 security around the event was stepped up and it became necessary for everyone to have applied for permission to take part to get near.

Rain on Pride Parade

I’d first photographed Pride in 1993 and it was then a very different event. Pride was then a protest and a defiant gesture, while now it has become a corporate-dominated gay parade.

Rain on Pride Parade

I was pleased when some of these photographs were shown as a part of the exhibition Queer is Here at the Museum of London in 2006 and a larger set at at ‘Changing the World’, a Gay and Lesbian History and Archives Conference at London Metropolitan Archives in 2005.

Rain on Pride Parade

Those pictures were in black and white, though I think I may also have taken some in colour, yet to be re-discovered in my archives, and they covered the 10 years from 1993-2002. You can view a set on-line, though there are hundreds more in my files. These include a small number from Pride 1998, which according to Wikipedia didn’t happen.

In 2017 I had decided to photograph the Migrants Rights and Anti-Racist Bloc who had joined the official parade in 2016. But in 2017 they were refused entry and instead – as I put it – “reclaimed Pride as protest, gate-crashing the route at Oxford Circus and marching in front of the official parade along the route lined by cheering crowds.”

This should have been the big story about that day’s Pride, but hardly made the news, and I think was totally ignored by the BBC – and doesn’t even get a mention in the Wikipedia article.

After this I decided not to cover Pride in 2018, going instead to photograph a march against the closure of acute facilities at Epsom and St Helier Hospitals in south London while it was happening. The following Saturday I went the following week to photograph the third Croydon Pride Procession, a much smaller and friendlier event.

In 2019 I went to Regent’s Park where people were preparing to join on the end of the huge Pride Parade as a Queer Liberation March in protest against the increasing corporate nature of Pride.

They included some LGBT groups unable to afford the fees to take part in the official parade, but mostly people were there because they felt it vital to get back closer to the origins of Pride, which began with the Stonewall riots 50 years ago led by trans women of colour.

I had to leave well before they set off to join the parade. The did eventually manage to do so, but had to force their way past the Pride stewards. The police had initially tried to stop them but then decided they had to be allowed to march.

Pride was cancelled in both 2020 and 2021. On July 1st 2022 I photographed the Gay Liberation Front UK commemorating their first London Gay Pride March 50 years ago marching through London on exactly the same hour and date. London Pride 2022 took place the following day but I went elsewhere.

More pictures from Pride 2014 on My London Diary at Rain on Pride Parade.


London Street Photography

Friday, February 17th, 2023

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.


West India – North Dock 1988

Sunday, November 21st, 2021

The Ledger Building,  Hertsmere Rd, West India Docks, Poplar, Tower Hamlets, 1988 88-6c-52-positive_2400
The Ledger Building, Hertsmere Rd, West India Docks, Poplar, Tower Hamlets, 1988 88-6c-52

The Offices of the West India Docks an Hertsmere Rd at the west corner of what was the Import Dock of the West India Docks and were Grade I listed in 1950 together with the adjoining warehouses. They were built in 1803 , architect George Gwilt and converted to hold the dock ledgers by John Rennie, who added the portico in 1827.

In 2000 it was converted into a Wetherspoon pub, the Ledger Office and can be visited during normal opening hours and displays some information about the history of the docks which can be read while drinking a cheap pint.

Warehouses, Hertsmere Rd, West India Docks, Poplar, Tower Hamlets, 1988 88-6c-53-positive_2400
Warehouses, Hertsmere Rd, West India Docks, Poplar, Tower Hamlets, 1988 88-6c-53

These listed warehouses are now converted for various uses including the Museum of London Docklands which has both permanent and temporary displays on the history of the River Thames, the growth of Port of London and the docks historical link to the Atlantic slave trade, in which this building, a sugar warehouse, played an important role. Temporary exhibitions there have included some of my pictures including in the show ‘Estuary‘ celebrating the museum’s 10th anniversary in 2013

Warehouses, Hertsmere Rd, West India Docks, Poplar, Tower Hamlets, 1988 88-6c-55-positive_2400
Warehouses, Hertsmere Rd, West India Docks, Poplar, Tower Hamlets, 1988 88-6c-55

The area has been opened up by the removal of the dockside sheds and is now a popular tourist venue, though it has lost most of its previous allure. But it’s still an interesting area, both for the old and the new buildings.

Crane, West India Quay, Poplar, Tower Hamlets, 1988 88-6c-44-positive_2400
Crane, West India Quay, Poplar, Tower Hamlets, 1988 88-6c-44

Two dockside cranes remain on the side of the dock, close to West India Quay DLR station, perhaps left there to divert attention from a rather hideous hotel building to their north.

Bridge, West India Quay, Poplar, Tower Hamlets, 1988 88-6c-45-positive_2400
Bridge, West India Quay, Poplar, Tower Hamlets, 1988 88-6c-45-positive_2400

This picture taken I think from more or less underneath the DLR which goes across the North (Import) Dock gives some impression of the scale of the West India Docks , which I think when constructed in 1800-1806 were I think the largest enclosed high-security docks in the world – and a model for later docks elsewhere.

This dock now looks considerably smaller, with around half of its width taken up by a strange building on top of a new Crossrail station, looking to me rather like a woodlouse. Nothing in this picture remains except the listed dock wall at bottom left (and possibly the bollard on it.)

Bridge, West India Quay, Poplar, Tower Hamlets, 1988 88-6c-46-positive_2400
Bridge, West India Quay, Poplar, Tower Hamlets, 1988 88-6c-46-positive_2400

I think this bridge, built from what looks suspiciously like Meccano, was the Great Wharf Road Bridge, later replaced by what was intended as a more permanent structure as the Upper Bank Street Bridge. I can find no information about it on-line, but it appears to have a central lifting section with heavy counterweights in those four towers. That more permanent bridge was removed for the construction of the Crossrail station in 2012 and a new, much shorter bridge was built in five sections in Belgium by Hollandia and welded together in situ in, opening in 2020.

Docklands Light Railway, Poplar, Tower Hamlets, 1988 88-6c-32-positive_2400
Docklands Light Railway, Poplar, Tower Hamlets, 1988 88-6c-32

It was time to leave Docklands for home, and together with my two young assistants we got on the DLR, sitting right at the front of the train. This view from the front window as the train had just left Poplar Station and about to cross Aspen Way shows dockland cranes at left and St Anne’s Limehouse at right. Then DLR trains were single two-carriage units like the Stratford service in this picture.

This is the final part of posts here about my pictures from my walk around the docks on the Isle of Dogs in June 1988.

Click on any of the pictures to see a larger version in my album 1988 London Photos, from where you can browse the album. The pictures there are largely ordered by my negative reference numbers, which do not in detail reflect the order in which the pictures were taken used in the posts here.


Around the City – 1987

Friday, October 30th, 2020
Bank of Kuwait, Bank of England, reflection, Cornhill, City, 1987 87-8k-56a-positive_2400

I can’t now remember why I went to Bank and the heart of the City of London – the world’s greatest money laundering operation. But I do remember thinking how appropriate it was to make this picture of the Bank of England reflected and framed by the Bank of Kuwait. I’ve never found the Bank of England, secretive behind its tall wall, easy to photograph.

Roman Wall, Cooper's Row, CIty, 1987 87-8l-01-positive_2400

I’ve always found this section of wall on Cooper’s Row one of the more interesting of the 21 sites on the Museum of London’s Roman Wall Walk set up in 1984. You can see one of their orientation boards in the picture, though I think ten of the others have been swallowed up in the rebuilding of parts of London or by vandalism.

87-8l-31-positive_2400

Sceptre Court on Tower Hill lies just outside the city, and was clearly under construction when I took this picture. The 90,000 sq ft building is rather less interesting now and is currently completely occupied by The London School of Business and Finance. The building was recently sold to “a Middle Eastern investor” and is among many London buildings – including many government offices – owned by overseas investors often in offshore tax havens. Sceptre Court is one of the teaching sites of Arden University, a private, for-profit teaching university with head offices in Coventry.

Aldgate Pump, Fenchurch Street, Leadenhall Street, City, 1987 87-8k-26-positive_2400

Aldgate Pump is the symbolic starting point of London’s East End. A well on this site was first recorded around 1200. The Grade II listing of this structure describes it as “Apparently C18, altered.” The spout is a wolf’s head, and legend states that the last wolf in the City was shot near here, probably in around 1500. The wolf is one of the later additions, probably from around 1900. Until 1876 the water came from a local underground stream and was then the source of a major cholera outbreak.

Although earlier the water had been praised for being “bright, sparkling, and cool, and of an agreeable taste”, people began to complain of a foul tast and several hundred died. The stream was found to be running through several underground cemeteries including some of the plague pits. The pump was then moved a short distance to its current position to allow widening and connected to a healthier water supply from the New River Company. The pump is being restored and a replica lantern being made to replace that lost around 115 years ago.

Devotees of Cockney rhyming slang allege that getting an ‘Aldgate’, short for Aldgate Pump is used to mean ‘hump’ or upset and annoyed. ‘A draft on Aldgate Pump’ has also been used a punning reference for a worthless or fraudulent financial transaction.

Tower Gateway, DLR, Minories, City, 1987 87-8l-44-positive_2400

Tower Gateway DLR station opened in 1987 as the western terminus of the Docklands Light Railway. Although derided by many as a ‘Toytown railway’ it has proved itself a useful addition to transport in east London, serving some parts which were previously very poorly provided.

Tower Gateway, DLR, Minories, City, 1987 87-8l-56-positive_2400
Crescent, City, 1987 87-8l-54-positive_2400

Crescent was a Georgian development close to the Tower of London, part of a plan by architect George Dance the Younger (1741-1825) which also included America Square to the north and a smaller ‘Circus’ of houses to the south linked by Vine St. It ran in a line parallel to Minories a short distance the west. One of the first planned residential developments in London it was completed in 1767-74. The developer was Sir George Hammet and the short street connecting Crescent to Minories is Hammet St.

The Circus was almost completely destroyed in the ‘Second Great Fire of London’ caused by German fire-bombs on 29-30th December 1940 when around 100,000 incendiary bombs caused incredible damage. Only one house was left standing of the ten built in a tight circle. In poor condition, this was evntually demolished in 1975 for a road widening scheme. The granite roadway of the circus is still present as part of a small public garden at the edge of the road.

Parts of America Square to the north were lost when the railway into Fenchurch St station was built in 1841, and the rest devastated by wartime bombing. Crescent fared just a little better, with the Metropolitan railway requiring demolition of five of the 11 houses, and bombing destroing another four, leaving only two of the originals standing. In the early 1980s a painstaking reconstruction to the original plans added four replicas to them. Only the left-most part of my picture is one of the originals, the rest are the replicas. There have been some small changes since I took my picture. You can read more about the area on the Commuter Consultant’s admirable Lost London blog from which much of the above information comes.

Photographs from my 1987 London Photos album. Clicking on any of the above pictures will take you directly to the album where a larger view is available.


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.


Secret Rivers

Tuesday, May 28th, 2019

Just opened at the Museum of London Docklands is the exhibition Secret Rivers, which is worth going to see if you are around – and is free. Not all of the rivers featured are secret – they include the Thames and the Lea – but they are all of interest. As well as videos and maps and pictures including a few photographs there are also objects found in the rivers on display.

I’ll leave more general comments about the show to the reviews listed at the bottom of this post, but say a little more about my own minor contribution, the picture above of the DLR being built across the not very secret Bow Creek which I made in morning fog back in 1992. It was one of around a dozen images of the DLR extension shown as part of a group show on Transport at the Museum of London later that year.

I’d left home early on a Sunday morning in mid-January as a fine morning with clear sky was dawning, catching the first early morning train to Richmond then the North London Link to Canning Town. As we approached the destination I was disappointed to find everywhere was shrouded in mist; had I known I would have stayed in bed at home!

I’d recently bought what was then the most expensive camera I’d ever owned, a new Japanese Widelux 35mm model, a rotating swing lens camera, which had cost me around £2000 (equivalent to around £7000 today allowing for inflation) and had decided this was an ideal project to make use of its unique characteristics.

I was pretty fed up with the mist, as I wanted nice clear pictures, and it was also much colder than I’d anticipated in the mist, but as I’d spent a couple of hours travelling to the location I decided to take some pictures, and stuck at it for an hour or two, making around 40 exposures – roughly two films. The camera gave around 21 exposures on a normal 36x 35mm casette with negatives the same width as those made with a 6×6 camera but only 24mm tall.

It was a slow job, as the camera had to be carefully levelled on a tripod for each picture, otherwise the horizon would appear curved. The viewfinder was imprecise, and I soon learnt it was better to rely on the two arrows on the top plate which indicated the field of view to visualise the result.

The camera used no batteries, but was clockwork and entirely manual. Winding on the film also wound the shutter and rotated the lens, held in a vertical cylinder in front of the curved film behind, to its starting point. On pressing the shutter release, a slit behind the lens opened to epose the film as the lens rotated around a roughly 130 degree arc. I think the shutter speed was probably 1/125 s, based on the exposure of any point on the film, but it took perhaps 1/30th for the slit to travel across the film as the lens rotated.

I calculated the exposure using a separate hand-held meter, a Weston Master V, which could make relected light readings as in-camera meters do or, with the aid of a curiously shaped lump of translucent plastic, it could measure the light falling on your subject, almost certainly what I used for these pictures in the fog. The Weston meters used a selenium photo cell around two inches in diameter, which generated enough electricity to power the meter, and again needed no battery.

I’d walked from Canning Town down the Silvertown Way and over the Lower Lea Crossing to where the DLR crossed the creek. The mist I think was rather thicker than it looks in the picture, and I could hardly see Pura Foods. I took a few more pictures then my way back via the East India Dock Road to Canning Town cold and disappointed. It seemed to me to have been a wasted day – and I came back a week later to retake the images in clear daylight.

Once I’d developed and printed the films a couple of weeks later, I realised that although for most of what I’d taken the mist really spoiled the pictures, this image, with the viaduct disappearing into the distance was rather special. It remains one of my most widely published and exhibited works, but is the only one from that foggy day day that appears on my River Lea website.

More about the Secret Rivers show at:
Londonist
London Live (video)
The Guardian
Evening Standard
MuseumCrush

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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.

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