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.
Another set of pictures from the 1997 Notting Hill Carnival.
Various organisations take part in carnival, including religious groups, notably The Nation of Islam,
and some trade unions who show a little more of the carnival spirit.
It’s a time for dancing on the streets, and at times its difficult to hold the camera steady, with music you don’t just hear but which sets your internal organs vibrating and even the tarmac under your feet.
It’s hard to capture the intensity of the event, and a kind of glorious disorder on the streets.
Some people are insistent that I take their picture – and of course I oblige.
But it all gets a bit too much for some. And after some hours I get to feel rather like this and decide to go home and rest. Because after the Children’s Day on the Sunday comes the main day on Monday when the streets are more crowded and the dancing more frenetic.
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.
Here are a few more from Ladbroke Grove in 1997, I think all from the first day of the event, the Children’s Day on the Sunday.
I think all of these pictures were taken with a 28mm or 35mm lens, probably on a Minolta CLE (the improved successor to the Leica CL) using Fuji Super G 400 colour negative film.
I did take more photographs of the children, but while the costumes may be cute and sometimes very colourful (though not in this example) they generally lack the exhuberance of older revellers and I found them of less interest. There are more of the children in the album on Flickr.
I took several pictures of this young woman holding a child as she danced beside one of the floats pumping out fairly deafening music, and this one I think shows her and the child both enjoying the moment.
But the second frame puts her better into the whole siuation, part of the crowd moving down the street with the lorry.
All these pictures were taken within a few minutes of each other, and I made many more during the two days of carnival – and will post more another day. As usual you can see any of them larger in the album by clicking on them – and can then continue to view more if you wish.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
I find it hard to believe I took no colour pictures at Notting Hill Carnival in 1996, but if I did I cannot find the negatives, though it is possible that they are somewhere in my loft, still in the envelope with the prints as they came back from the processing lab. I did go to carnival, and made some black and white images, but probably I had come to a decision not to work in colour.
The following year, 1997, I’ve found no very few black and white negatives, perhaps just when I was finishing off a couple of films still in the cameras, and nothing of any real interest, but a note on the contact sheet tells me that I worked in colour that year. So here are some of the results.
I’ll post another set from 1997 shortly, but you can see them all in my album Notting Hill Carnival – the 1990s which has around 80 more pictures from that year. As usual, clicking on the images in this post will take you to the image in the album – much larger for the landscape format images.
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.
In 1994 I set out to photograph carnival both in black and white and in colour, and while my colour images concentrate on the people in the procession and their costumes, it was a little more varied than in previous years, with more overlap with the black and white work.
So I took some pictures of the people watching the carnival in colour and perhaps rather more than in previous years where the carnival was the background rather than the main subject.
I was working with colour negative film, and exposures were a little more critical than with black and white, which has greater latitude. There are some I could not get good prints from in the darkroom, and although digitising makes it a little easier there are still some where the colour is not as good as I would like.
But despite these problems I was encouraged by the results , and the following year for various reasons photographed Notting Hill almost entirely in colour.
There are around 60 colour pictures from 1994 beginning some way down page 6 of my Notting Hill in the 90s album and continuing onto the next page. Clicking on any of the pictures above will also take you to larger versions in this album.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
Although almost all the pictures I took at Notting Hill Carnival in 1993 were in black and white, I did make a few colour images, and here are a small selection.
Almost all of them were of the procession, and I think taken in a fairly short period of time, mainly on Ladbroke Grove.
I tried to cut my equipment to a minimum for carnival, partly to make it easier to move through the crowds, but also because I was just a little worried about taking what looked like camera bags full of expensive equipment to the event. And I wanted to be able to dance as I took pictures.
Instead of a normal camera bag, I took a small khaki canvas ex-army shoulder bag which I still use today when I want to travel light, issued in 1942 possibly for a gas mask, large enough to take a camera, one or two spare lenses, a decent supply of film, notebook, water bottle and a few oddments, which back in those days would usually include a Mars Bar for when my energy lagged, and sometimes a sandwich or two.
Probably when I saw some particularly attractive and colourful costumes and had finished a black and white film I picked a colour one to reload the camera – probably my Minolta CLE, a rather superior second version of the Leica CL which for some obscure reason Leitz decided not to put their name on, ending their collaboration with Minolta. I then took pictures quickly to finish the film so I could get back to my real work using black and white. I think that happened a couple of times on Children’s Day, but on the Monday I concentrated on more serious black and white work.
In crowds I always made sure to put the shoulder strap over my head and on one shoulder and hold the bag on my stomach so as not to get caught up behind me. I always kept the camera on a strap around my neck too. But generally the crowds were good-natured and in high spirits and I had no trouble taking pictures.
Just once, in the centre of a heaving crowd of dancers in front of a sound system I suddenly realised that someone had put their hand into my left trouser pocket. I grabbed it and held it there protesting, and slowly pulled it out to reveal it holding a wallet. But it wasn’t mine (I’d left that at home) and of course it had no money in it. I’m not sure why he was planting it on me, but pushed it back into the hand I was still firmly holding and told the guy to eff off and he ran off pushing through the crowd. It didn’t seem the place to investigate further.
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.
Although I’d been making the occasional panoramic image over the years, taking a series of pictures and painstakingly cutting and pasting several prints to produce a seldom quite convincing join, it was only late in 1991 that I finally bought a camera capable of taking true panoramic images.
It’s hard now to imagine how difficult it was to produce panoramic images back in those pre-digital days – unless you could afford an expensive panoramic camera. Nowadays many cheaper digital cameras come with a ‘panoramic’ mode (though I’ve never managed to use one to produce an image that survived close scrutiny) and both specialised “stitching” software and more general programs such as Photoshop make joining several frames just a matter of a few clicks.
It was the Soviet Union, and Krasnogorsky Mechanicheskiy Zavod (KMZ) that first introduced a reasonably priced panoramic camera to a wider audience, with the Horizont, available from 1966-73, but at the time I wasn’t interested in panoramic photography. Like their Zenith SLR cameras which I started serious photography with this was pretty basic and had a possibly undeserved reputation as being something of a problem to use.
When I bought my first panoramic camera in 1991 it was a Japanese model, a Widelux F8, a similar swing lens camera to the Horizont but with a wider 140 degree angle of view and rather smoother operation. It was also considerably more expensive and I think cost me almost a month’s salary.
Although the camera worked smoothly, its viewfinder was abysmal, and I made landscape pictures with the camera on a tripod and using two arrows showing the field of view on the top of the camera body, with a spirit level in the accessory shoe to level the camera. But for the carnival and similar images of events I used it handheld.
In later years I bought the revised version of the Russian camera, now with a similar mechanism encased in a plastic body and called Horizon (there were several slightly different models.) The viewfinder was so much better than than Widelux and thankfully incorporated a spirit bubble – and the cameras were less than a tenth of the price (I used at least two over the years, one ridiculously cheap from a clearly illegal operation in the Ukraine, evading any customs duties.)
The only colour images I can find from Notting Hill Carnival in 1992 were taken with the Widelux, and appear to have been taken in two relatively short periods, one on Ladbroke Grove and the other on Elkstone Rd. There are some more, some rather similar to those in this post, in my Flickr album Notting Hill Panoramas -1992.
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.
In 1991 I photographed Carnival in both black and white and in colour. I went on both days, but I think it was only on Sunday, the Children’s Day, that I took any colour pictures. Nearly all were taken on Ladbroke Grove as the floats and groups went down, often stopping for quite long periods.
I’ll post a few pictures here, but there are quite a few in the album, Notting Hill Carnival – the 1990s, starting at this one if you want to see more.
The picture above is the last colour image from 1991 in the album.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
One of William the Conquerers companions in his 1066 invasion was Ralph Baynard, and among the rewards for his services was an area of land in Paddington. Bayswater was in the 14th century Baynard’s Watering Place, where the River Westbourne or Bayswater rivulet passed under the Uxbridge Rd and horses could drink from it.
Lord Craven bought Upton Farm close to here in 1733 and soon after called the area Craven Hill. The Westbourne rises in Kilburn but springs on Craven Hill added to its flow. Large houses – like this one largely Grade II listed – were developed on Craven Hill and the surrounding area in the early 19th century and in the 1830s it became fashionable as a place of residence, particularly for the literary and artistic. The grand town houses here date mainly from the 1830s to 50s. The horse is an appropriate decoration for the area, but I can tell you nothing more about it or when it disappeared.
Chilworth St, Bayswater, Westminster, 1987
This ornate doorway is in Chilworth St, and not as the note on my contact sheet suggested in Devonshire Terrace, which is just around the corner. There is more carved brickwork on the frontage of this building, which is rather grudgingly Grade II listed for its ‘group value’.
Westbourne St, Paddington, Westminster, 1987
This area of London has been home to many ethnicities and nationalities at least since the Victorian era.
The Fountains, Hyde Park, Bayswater, Westminster, 1987
The River Westbourne used to emerge into the open in Hyde Park, and Queen Caroline had a dam built to make the Serpentine Lake in 1730. By the 1830s, with Bayswater being developed the river had become a sewer, and water was instead pumped from the Thames – and is now from deep boreholes into the chalk below the park. One borehole is in the Italian Gardens, which were built in the 1860s when Prince Albert decided it would be nice to have something here like those which he had made at Osborne House. The pavilion which held a pump for the fountains was designed by Sir Charles Barry and the gardens by James Pennethorne with sculpture by John Thomas.
Bayswater Rd, Bayswater, Westminster, 1987
This rather ugly truncated column on the corner of Lancaster Gate marks the service road in front of the building at left (now the Columbia Hotel) as a private road, running parallel to the Bayswater Rd. Planned in 1856-7, this was one of the grandest developments in London and took around ten years to complete. The architect for the two long terraces facing Hyde Park was Sancton Wood (1815–1886) who worked for his cousins Robert and Sydney Smirke and also designed many railway stations.
All Saints Rd, Notting Hill, Kensington & Chelsea, 1987
‘DOC ALIMANTADO SAY FREE SOUTH AFRICA’. Dr Alimantado, born in Kingston Jamaica in 1952 as Winston Thompson and also known as ‘The Ital Surgeon’ is a Jamaican reggae singer, DJ and record producer, best known in the UK for his ‘Born For A Purpose’, made after he was knocked down and injured by a bus and for his 1978 album Best Dressed Chicken in Town. He gained success for his ‘toasting’ over the work other singers and his own recordings as a vocalist were less successful.
All Saints Rd, Notting Hill, Kensington & Chelsea, 1987
‘REMAIN CAREFUL OF YOUR TRUE CONDUCT, DIGNITY, STEER AWAY FROM TRASHY INTEGRATION, BE WORTHY OF THE BEST’
This graffiti on one of Notting Hill’s best-known streets was based on advice given given to the young Dr Martin Luther King: “Remain careful of your conduct. Steer away from ‘trashy’ preachers. Be worthy of the best.”
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.
A few more colour pictures from Notting Hill Carnival in 1990 – there are more on page 5 of the Flickr album.
This was the first year I went to Carnival, and set a pattern I followed in most years, taking the train from Hammersmith to Westbourne Park station, arriving around the middle of the day, before things really got going then walking along to All Saints Rd and photographing around there and Talbot Rd and the surrounding streets.
Later I’d walk up Portobello Rd and under the Westway and take pictures in the north of the area where the streets were less busy and I could still move around. I found the procession route in the south of the area very crowded and impossible for my kind of photography.
I think all these colour pictures were taken on the Sunday – Children’s Day, and that on Monday I worked only in black and white. Most of the pictures I made of the actual procession were on Ladbroke Grove.
If you want to look at more, and at those from later years you can go to page 5 of Notting Hill Carnival – the 1990s. Clicking on any of the pictures above will also take you to a larger version in this Flickr album.
