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More Colour From New Charlton – 1995

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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1995 Colour – Part 2 – Greenwich Meridian

1995 Colour – Greenwich Meridian: The second of a series of posts on my colour work, mainly in London, from 1995, 35 years ago and when I’d been working extensively with colour negative film for ten years, though still continuing to work with black and white.

*Obelisk, Trig Point, Pole Hill, Chingford, Waltham Forest, 1995, 95p03-841*

In 1992 I began making colour panoramas using a Japanese Widelux F8 swing lens panoramic camera – and later I used a Russian Horizon which gave similar results. Both worked with normal 35mm film but produced negatives that were a little under 60mm wide rather than the 36mm of normal cameras. Both use clockwork to swing the taking lens around a third of a circle exposing the film through a narrow slit behind the lens. The film was held in a curved path – again around a third of a circle – with the lens at the centre of the circle so that the lens to film distance remained constant.

Peacham Hall, King's Head Hill, Woodberry Way, Chingford, Waltham Forest, 1995, 95p03-411 — *Peacham Hall, King’s Head Hill, Woodberry Way, Chingford, Waltham Forest, 1995, 95p03-411*

This arrangement avoided the change in distance from the lens to film that gives some stretching of the subject towards the edges of the frame – and begins to become very noticeable in ultra-wide lenses, particularly wider than around 18mm focal length on a 35mm camera.

95p03-552-Edit — *Level Crossing, Highams Park*, *Waltham Forest, 95p03-552*

Using the curved film plane avoids this distortion and enables a much wider field of view, while using a fairly moderate focal length – the Widelux has a 26mm f2.8 lens and gives negatives 24x56mm with a horizontal angle of view of 123 degrees.

*Bridges, North Circular, Hale End Rd, Hale End, Waltham Forest, 1995, 95p03-463*

But there is a downside. Creating the image in this way gives a curvature to objects which is unlike our normal vision which is particularly noticeable on any straight lines, though lines parallel to the axis the lens rotates around remain straight – so if you hold the camera level, verticals will remain straight. But other lines become curved with the effect increasing away from the image centre, giving what is often called a “cigar effect“.

*Raglan Rd, Lea Bridge Rd, Whipps Cross, Waltham Forest, 1995, 95p4-373*

This is a constraint which makes composition far more difficult using a swing lens camera, and was not helped by a rather poor viewfinder on the Widelux. Usually for landscape work I tried to visualise the effect of the curvature and chose a suitable camera position, levelled the camera on a heavy Manfrotto tripod using the spirit level on the camera top plate, lining the camera up using two arrows on the top plate to show the extent of the view (more accurately than the viewfinder) and then pressing the cable release to make the picture.

Stratford Bus Station, Great Eastern Rd, Stratford,, 1995, 95p4-922 — *Stratford Bus Station, Great Eastern Rd, Stratford, Newham, 1995, 95p4-922*

For photographing events and some creative effects this is a camera you can use handheld, but you have to remember that even when using its fastest speed of 1/250 second the camera actually takes quite a lot longer to scan around the curved film.

Crowley's Wharf, River Thames, Greenwich, 1995, 95p4-672 — *Crowley’s Wharf, River Thames, Greenwich, 1995, 95p4-672*

These pictures are from a project I began in 1995 with the approaching Millennium in mind. It seemed to me to make sense to carry out a project based on the Greenwich Meridian.

*Greenwich Boating Pond, Park Vista, Greenwich, 1995, 95p4-1431*

So I set about walking the Meridian, photographing it at various points in London and used some of these pictures in an attempt to get public funding for a Meridian Walk with some markers in pavements and a web site and publication. Panoramic images seemed a very appropriate format for illustrating the line.

*Greenwich Meridian, Royal Observatory, Greenwich, 1995, 95p4-1242*

Unfortunately my grant application as usual was unsuccessful, but I did go on to take some more photographs. In 2009 others produced a Greenwich Meridian Long Distance Path covering all of the Meridian in England from Peacehaven to Sand La Mere which of course goes through London and we also have The Line Sculpture Trail. Quite a few more Meridian markers were also added in London since I made this walk.

Many more panoramas from my Meridian project and other colour images from 1995 in the album 1995 London Colour.

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Bow Creek Panoramas – 1992

DLR Viaduct, Bow Creek, Leamouth Rd, Leamouth, Tower Hamlets, Newham, 1992 92-1j61pr_2400

At the end of 1991 I finally bought my first panoramic camera, a Japanese Widelux F8 which I couldn’t really afford. It was a camera that took around 21 pictures on a 36 exposure film, with the film curved around a part of a cylindrical path with the lens pivoting around the centre of the cylinder.

Bow Creek, Bridges, Leamouth Rd, Tower Hamlets, 1992 92-3a42a_2400

The lens is a 26mm f2.8, though it needs to be stopped down to around f8 for most pictures as the camera is fixed focus at around 6 ft and only gets sharp at infinity when stopped down. Winding on the film winds up a clockwork motor and returns the lens to its starting position. On pressing the shutter the lens swings around through about 140 degrees, exposing the film through a slit at its back which swings across close to the film. It has 3 shutter speeds, 1/15, 1/125, and 1/250th, but even at the fastest speed it still takes rather longer to actually complete the exposure.

The design keeps lens to film distant constant – at around 26mm – right to the edge of the film across a negative 24mm x 56mm. If this was flat, the distance to the corner would be more like 40mm and so objects at the edges get stretched to around 1.5 times actual size. This camera eliminates this distortion, but at the expense of introducing its own which you can see in these pictures. This becomes particularly noticeable in the curvature of most straight non-vertical lines.

Pura Foods, Bow Creek, M & J Reuben, London Sawmills, Wharfside Rd, Newham, 1992 92-3b52_2400

In particular, horizons become curved unless the camera is kept absolutely level. The pictures of Bow Creek were made with the camera on a sturdy tripod and with the help of a spirit level. There is one on the top plate of the camera, but I found a larger separate one more useful.

Bow Creek, Orchard Place, River Thames, Lower Lea Crossing, Tower Hamlets, Newham, 1992 92-1n12_leamouth_2400

Although the angle of view is often stated as 140 degrees this is perhaps misleading and I think probably is the angle across the diagonal. Rather more useful is the horizontal angle of view, which I think is just slightly over 120 degrees. Theoretically it would be possible to create a full 360 degree view in three exposures, but practically it needed four, though I don’t think I ever succeeded on the few occasions I tried to make one.

Later I made many more panoramas here and around London, particularly with a similar Russian camera, the Horizon or Horizont which was rather more convenient to use, as well as a few with a much larger medium format version. I also used a Hassleblad X-Pan, a nice camera which was panoramic only in format, with a similar negative size, 58x24mm, but using rectilinear lenses which can’t acheive a really wide angle of view.