Photographers Christmas Walk: Six years ago on Thursday 7th December I celebrated the Christmas season with a walk around the City of London with four other photographers, old friends I had known – and occasionally worked with – for over 20 years.
We began at the lowest level of the Guildhall Art Gallery where there are the ruins of London’s Roman Coliseum under the glass area of floor
It was something we have been doing every year for quite a few years, though in the 1990s there used to be a dozen or so of us. I’ll be making another similar outing this year, though its a rather sobering thought that of the five of us who were there in 2017, two have since died. This year there will be only be three of us.
Walking across Guildhall Yard. The much-missed John Benton-Harris (centre) always complained about the pictures I took of him
Not all of the others in the original group have died – some have moved away, and one or two others – as in 2017 – are too busy to come at this time of year. But it’s a time when we will remember them all – and lift a glass to the memory of the dead as well as celebrating we are still here.
A well-known gateway in Throgmorton Street
I’ll leave you to read what I wrote about the walk on My London Diary in 2017, but I think the pictures I took as we walked around show some interesting parts of London, and I’ll say a little here about one of the places we visited.
Walking around the City gave us a thirst – and we went into the Crosse Keys in the grand building of the former Hong Kong and Shanghai Bank on Gracechurch Street. Wetherspoons may be owned by a man whose politics I loathe, but I have to admire the way they have found a new life for buildings such as this. And the building is a grand one, even though it is a reminder of the hey-day of Empire, funded by exploitation of the people and resources of an age when Britain ruled the world – and did so extremely bloodily.
This Grade II listed banking hall was designed by William Campbell Jones (1862-1951) and built in 1912-13 – you can read much more about the building here.
Now the building is a pub with an unusually wide and changing range of real ales – and whatever their faults, all Wetherspoons keep their beers well and the prices are – by London standards – keen. Though as you can read I wasn’t entirely won over by ‘Smokestack Lightning’.
I get in the picture at last
It took some dragging for me to get the group of four of us (one had sulked and gone away as we entered the pub) out while there was still enough light to take pictures, and I led them down to the river.
We walked back to the bus stop at St Paul’s Churchyard across a small remaining part of the City’s highwalks, part of a post-war scheme to separate pedestrians and traffic, doomed from its inception by the nature of the City. I had photographed them extensively in many panoramas in the 1990s. I think we then ate and had a few more drinks at a pub in Holborn.
Paris in November: My trip to Paris in November 2007 was the only time I had stayed there on my own – and it made my visit rather different. Every other time I’ve been with my wife who speaks French more or less like a native – her accent impeccable, her grammar better than most who live there but her vocabulary now rather out of date, and had relied on her and spent much of my time there in her company. My own ‘O level’ 45 years earlier was extremely rusty and never really taught me to speak the language though I can still read a little and understand some if people speak slowly and clearly – as few in Paris do.
A passage close to my hotel
I’d come to Paris by Eurostar on the final day that their trains ran out of Waterloo. The following day, Tuesday 14th November 2007, was the first full day of my visit and also the day on which Paris Photo 2007 opened.
Here I’ll post what I wrote about that day back in 2007 with a few of my pictures from the day and links to many more on My London Diary.
Paris 2e, 9e and 6e
Next morning I had nothing special to do. Although I was in Paris to see photographs, none of the shows I wanted to view opened until 1pm. Eating a leisurely breakfast at the bar of a café close to my hotel I picked up a French newspaper and found their was a ‘manif‘ with the strikers meeting at Montparnasse at 2.30pm, and decided I’d take my Leica M8 along for some pictures.
Before then I had a walk around the 9th arrondissement before returning to a salad bar near my hotel for a very tasty ‘formule‘ with salmon salad, yogurt with a sweet chestnut paste and orange juice, and making my way across the Pont du Carroussel and down through the 6th to Montparnasse.
Perhaps everything seemed a little less organised than London demonstrations, and a big difference was the number of vehicles that appeared to be a part of it – in England such demonstrations are simply marches. The police tactics also seemed to be different, as there were none at all around where the march was massing, although there were plenty of them waiting around vans a few hundred metres along the road. And a number of those taking part in the ‘manif’ were wearing helmets and body padding in case of police attacks.
One difficulty was not being able to recognise the various union leaders. Rather than simply photographing them as usual I had to look for media scrums to identify who they were – and then get stuck in. At home I’m more often the guy who gets there first. But somehow it seemed easier to do here, perhaps because I was working with a smaller bag and the Leica. [I think all these pictures were with the Summilux 35mm f1.4, a ‘standard’ focal length on the M8.]
Then it was on to Paris Photo, held in the bowels of the earth under the Louvre. It’s hard to contemplate a more depressing location, although relatively spacious outside the show. It would make a good location for some nasty shoot-em-up video game, sort of half-way between underground car park and shopping mall, a slightly cooler version of hell.
Inside the show, its far more cramped and claustrophobic, but there really are a lot of photographs on display on the stalls of the 80 or so dealers and 20 publishers, as well as special shows – this year of Italian photography – and the BMW prize.
Frankly both the Italian stuff and the prize were disappointing, and much of the large colour images on many stands were prestigiously expensive head office decor with little interest. But inside the stands the walls were crammed with an incredible variety of photography, including some truly great work amid the dross, including many of the classic images of photography. And on many of the booths you could browse in more depth in boxes of images.
Its a great opportunity to see almost the whole history of photography in a few days, a collection with much more depth than even the richest of museums – although with some great gaps, as many photographers produced very few prints and their work seldom comes up for sale.
On my way to my hotel from Stolly’s bar
Several friends of mine had work on various stands, and they and many others were over there to see the show, meet people, go to the other exhibitions on in Paris, perhaps take some pictures and have a good time. I won’t bore you with a list of those I met, but it would be a good list of the best in British photography as well as a number of those I know from other countries. There were also quite a few others who I know were there that I didn’t manage to meet up with.
By around 6.30, the place was beginning to fill up with people coming for the opening at 7pm. Another of the problems of Paris Photo is that there is nowhere there to get anything decent to eat or drink, and half a dozen of us left for a considerably cheaper bar near the city hall, then on to a meal in a bistro, and finally to another bar, Stolly’s in the Marais.
It had been a long and interesting day – and rather different to those when I came together with Linda, and my the time I was walking back home from that last bar either my Leica was getting tired or its operator was pleasantly a little inebriated.
I slept well and was up early the next morning to go out for breakfast and then explore more of Paris. You can read more about my next three days in the city – with many more pictures some taken by others on my Leica M8 including some rather unusual pictures of me – and my return to a rather disappointing St Pancras on the November 2007 page of My London Diary.
Freedom to Film & World March for Peace: On Sunday 18th October 2009 I went to Dalston to support a Hackney education charity whose students have been harassed when making films in public places and then joined a small march in the UK which was part of a worldwide humanist movement for peace.
Ridley Road Market: Worldbytes Defends Right to Film
Halal butcher in Ridley Road market, Dalston
Worldwrite is a Hackney-based education charity founded in 1994 which gives young people free film and media training supporting them to produce alternative programmes for broadcast on WORLDbytes, the charity’s online alternative Citizen TV channel Worldbytes.org. You can read more about them on the web site where you can also see a very wide range of their videos, though I couldn’t find anything now on this 2009 event.
In 2009 their teams were “finding it increasingly difficult to film in public places in Hackney: security guards, community wardens and self-appointed ‘jobsworths’ are refusing us ‘permission’ to film on many of our streets.”
As they stated, “There is in fact NO LAW against filming or taking photographs in public places and permission or a licence is NOT required for gathering news for news programmes in public spaces.“
They had called for photographers and film-makers to go along and take pictures in support of their protest and I went to do so at Ridley Road Market in Dalston, where Worldbytes crews had been told they can’t film there, not by the stall holders or other market users, but by employees of Hackney Council.
I went there to support them and the right to photograph in public places, but also because I wanted to photograph the market. I had previously taken a few pictures there but only as I was passing and had not seriously photographed the market.
After talking to the Worldwite protesters I set about walking up and down the market taking photographs of the buildings and people, particularly some of the stallholders. As well as my post on My London Diary, I wrote about the event at greater length here on >Re:PHOTO a few days later. Here’s a short section of text from that article:
“I took some general views without asking anyone for permission, but as usual, where I wanted to take pictures including stallholders or other people I asked if I might. Not because I need to, but out of politeness, and I shrugged my shoulders and moved on if they refused. Of course at times I photograph people who don’t want to be photographed, but this wasn’t appropriate here.”
“As I was using flash most of the time, it was clear that I was taking pictures and some people asked me to photograph them who I might otherwise have walked by. At one place I did stop to argue after having been refused – and eventually managed to get permission to take a picture; at another I got profuse apologies from an employee who was obviously sorry that the stall owner had decided not to cooperate with Worldbytes.“
“The council employees didn’t turn up to stop filming while I was there; probably Sunday is their day off. But it’s very hard to understand why Hackney Council should allow or instruct their employees in this way. They should know the law after all.”
My use of flash – generally as a fairly weak fill-in – was deliberate to make sure that people knew I was taking photographs, though in some cases it helped with the pictures. After I’d spent around twenty minutes obviously taking pictures I was interviewed by the Worldbytes crew, though I rather hoped they would cut that from their video of the day.
The World March For Peace and Nonviolence had begun in New Zealand on the 140th anniversary of Ghandi’s birth, October 2, 2009. It involved events around the world which ended at Punta de Vacas in the Andes Mountains in Argentina on January 2, 2010, where Silo (Mario Luis Rodríguez Cobos) the founder of the Humanist Movement launched a new campaign for global nuclear disarmament in September 2006.
Volunteers from a base team of around a hundred went from New Zealand to Japan, Korea, Moscow, Rome, New York, and Costa Rica, attending events organised along the way to Argentina.
In London the march began with a vigil close to the Northwood Permanent Joint Forces / NATO Headquarters in Middlesex on Saturday morning, with speeches by World March UK co-ordinator Jon Swinden, Sonia Azad of Children Against War and organiser Daniel Viesnik, who also read out a message of support from John McDonnell MP.
Only around 50 people walked the whole way, but there were others around the world also marching. On the second day in London they began at Brent Town Hall in Wembley Park and I met them as they arrived at Marble Arch. They stopped for lunch at Speaker’s Corner where they then took part in the interactive play ‘Let The Artists Die’ on themes of peace, non-violence and the power of the imagination. It was written and directed by Charlie Wiseman who was also one of the three main actors.
They walked past the front of the US Embassy to the memorial to the British victims of 9/11 in Grosvenor Square, where it stopped to pay its respects. In Mayfair it was almost halted when a taxi driver deliberately drove into one of the marchers, but they continued to Trafalgar Square.
‘Heritage wardens’ stopped the march as it came down the steps in Trafalgar Square, telling them they could not walk through the square as they had not applied for permission.
After resting for a few minutes on the steps the march went around the side of the square and down Whitehall past “the Old War Office, and then the statues of famous generals outside the “Defence Ministry” (governments were more straightforward with language in the past)” and “the fortified gates of Downing Street and on to Parliament Square, where the march stopped at the permanent peace protest by Brian Haw there since 2 June 200l with the help of his supporters.”
I left the marchers there but they continued on to end at the Peace Pagoda in Battersea Park.
Bring the Troops Home: On Saturday 19th March 2005 I photographed the Stop the War march on the second anniversary of the invasion of Iraq. From Hyde Park it went past the US Embassy in Grosvenor Square on to a rally in Trafalgar Square. I published text and pictures on My London Diary.
Don’t unleash your missiles on Iran – No more Bush wars.
This is another slightly hard to find post from the early years of My London Diary before I redesigned the site with links to every post on top of each monthly page and discovered the Shift key. Then I felt it was somehow cool not to capitalise, but I now regard as an unfortunate affection – like those photographers who think turning their digital colour images to black and white somehow makes them more authentic.
Back in 2005 I was very critical of Stop The War – and I still feel they lost the initiative after the huge February 2003 protest against the invasion of Iraq and that a more radical approach could have prevented Blair taking Britain into the war beside the USA.
George Solomou with coffin representing Iraqis killed in the invasion and occupation
That protest and the many before and after showed our nation united in a way no other campaign has succeeded in doing, with protests in almost every town and village in the country. Even in Surrey where driver after driver hooted support as we stood at the side of our local bridge with posters during Friday evening rush hours.
I’m still sorry I had to miss that big one in 2003, which came just the day after I was discharged from hospital following a minor heart operation and I could only walk a few yards. My family went leaving me at home. But I did cover all of the other main protests in London against the invasion and they are recorded in My London Diary.
In my 2005 post I was also very critical of Stop the War’s attitude to photographers, which has mellowed slightly over the years. It can still be difficult to photograph the front of their marches though the stewards are generally much more friendly.
But for all their faults, Stop the War and other organisations they work with have kept up protests over many issues, particularly in recent times over the genocide taking place in Gaza. And have been doing so in defiance of Tory and Labour governments, laws restricting our right to protest and clearly political policing.
Bring the Troops Home – Stop the War March and Rally
I remember standing in Trafalgar Square listening to Tony Benn and Tariq Ali urging us all to take immediate and radical action should our troops invade Iraq. At the time a majority of the British people was clearly against the war, and we should have taken to the streets to stop it. Instead Stop the War organised marches and peaceful demonstrations the government could easily ignore. And they did.
So the latest in the series of anti-war demos was a sad case of déjà-vu from the blinkered dinosaur. Not least because again Tariq Ali (and doubtless Tony Benn) again urged radical action and again we cheered.
Tariq Ali has the perfect anarchist hair-style, and it’s hard to get a bad picture of him. Nenn wasn’t looking at his best, but there were plenty of others to photograph, including those who had made their stand as soldiers (and a diplomat.) And some very bubbly school students.
Stop the War are also tough on the press, or at least tough on photographers. Most demonstrations welcome publicity, but they train stewards to get in the way. One colleague was physically prevented from taking pictures at one point in the march, I was obstructed and threatened quite unnecessarily by a couple of stewards, and all of us were generally ordered around and hassled.
Our Pre-Chistmas City Walk – On Thursday 7th November 2017 I met up old friends, all photographers, for the early Christmas social event we’ve organised most years. It had proved difficult to find a date everyone could make and several of the group were missing and we were down to five of us.
Four – and I was holding the camera
It’s a sobering thought that six years on only three of the five are still in the land of the living, with first Alex and more recently John having died. I’ve several times written about John Benton-Harris on this site over the years and he also years ago contributed two guest posts, as well as featuring his surprise 70th birthday party in 2009.
I’d worked with John in recent years on producing a number of books, including a few for the Café Royal Books series, including his Saint Patrick’s People, though his major work, ‘Mad Hatters’ on the English sadly remains unpublished. And I’d gone with him taking pictures to St Patrick’s Day events in London and elsewhere. Although he had some health problems and was in his 80s, his death still came as a great shock to us all.
We met at St Paul’s Underground Station and our first visit was to the Guildhall Art Gallery, where we went “down into its depths where a few years ago the remains of the Roman Coliseum were discovered and are now rather well displayed, before looking at the City of London’s art collection on display. It’s a rather mixed bunch with some fine works ancient and modern along with some rather tedious municipal records of great occasions that would have looked fine in the Illustrated London News but don’t really cut it as vast canvasses on the gallery wall.” (Quotes her are from my article written here in December 2017)
Some years earlier in 2005 I had been to the opening of a show at the gallery featuring works by some of London’s best-known living painters curated by Mireille Gailinou for a now defunct organisation I was then the treasurer of, London Arts Café, ‘London Now – CITY OF HEAVEN CITY OF HELL’ and had given my opinion on the gallery’s collection to the then curator who was very shocked when I’d said I would quite happily burn one of the largest canvases. Fortunately that had not resulted in me being banned from the gallery!
That show is now long gone, as too is the London Arts Café, but its web site with more about this and other shows and events we organised remains currently on-line. And despite my opinions the Guildhall Art Gallery is still worth visiting both for the artworks and certainly for its Roman remains and entry is free.
From there we walked “on past the Bank of England we walked into Adams Court and walked around in a circle before driven by thirst to the Crosse Keys, where I failed to resist the temptation of a pint of Smokestack Lightnin’, a beer from the Dorking Brewery, named after my favourite Howling Wolf track – I still somewhere have the 45rpm record. It was the first time I’ve come across the idea of a ‘smoked’ beer, and while interesting I think it would be best drunk around a bonfire.”
John had left us when we went into the pub, saying there was still light to take photographs and he wanted to make the most of it, but he seemed seldom to enjoy coming with us into pubs. The Crosse Keys is one of many interesting buildings – old pubs, theatres, cinemas, banks etc – around the country that Wetherspoons have taken over and preserved and though their owner has terrible politics and the chain poor conditions of service they offer cheap and generally well-kept beer and plain good-value food. Obviously their staff should unionise and fight for better terms.
We didn’t stay long in the pub, just a quick pint on the balcony and a short visit to the toilets in the depths, before leaving. Alex said goodbye here, seeing a bus that would take him back home to Hackney rather than go west with us, and I led the remaining two “down to the river, where we turned upstream along the Thames path. The light was fading a little, but perhaps becoming more interesting, but when we left the river at Queenhithe it was time to make our way back to St Paul’s to catch a bus and get a table for our meal together before the city workers crowded in.”
All the pictures accompanying this post were made with a Fuji X-E1 and 18mm Fuji lens, an almost pocketable combination. The 18mm f2 is probably my favourite Fuji lens, though often I prefer the added flexibility of the slightly slower but still fairly compact 18-55mm zoom. Later I moved up to the X-E3, which has better auto-focus and a significantly larger sensor and is slightly smaller, but both are still very usable cameras, and the X-E1 is now available secondhand pretty cheaply. It’s still a great camera for street photography and as an introduction to the Fuji range.
Blessing the Thames London Bridge, Sunday 11th January, 2009
The Bishop of Woolwich throws a cross into the River Thames – below another cross in the sky
Fr Philip Warner was impressed by the annual Blessing of the Waters ceremony he saw in the Orthodox churches of Serbia. When he became the priest at St Magnus the Martyr at the City end of the old London Bridge he decided to begin an annual ceremony to bless the River Thames.
The procession from Southwark Cathedral
His parish and that of Southwark Cathedral meet at the centre of the current London Bridge, and in 2004 processions from both churches met there on the Sunday closest to Epiphany (January 6th) for a short service.
The procession from St Magnus the Martyr comes to join them
Prayers were said for all those who work on the river and in particular for those killed close to this point in the 1989 sinking of the Marchioness. Incense was swung around liberally, but dispersed by the breeze. The river was then blessed by throwing in a large wooden cross. Water was then sprinkled over those taking part in the ceremony before all those present were invited to process to one of the churches for a lunch.
They meet
I photographed this event in 2007 and 2008 as well as 2009, though it was only in 2008 that I was able to stay for the lunch, that year at St Magnus. By the third of these years the event had grown, with too many photographers, mainly amateurs, coming along and getting both in my way and in the way of those celebrating. I felt I had already taken enough pictures by then and crossed it off my list of annual events to cover.
The bishop prepares to throw the cross in the river
When I first began photographing events in London, both protests and cultural events, there were few photographers at most of them except the large national marches. At many smaller events I would find myself the only person with a camera, and of course everything was still on film. But in the last 15 or so years things have changed.
And we all get sprinkled with water
Back then even when there were more of us taking pictures we were all photographers and at least doing so in a professional way. We tried to respect the others and so far as possible keep out of each others way, though of course that wasn’t always possible. Sometimes there were arguments between those of us who liked to work close to our subjects with wide-angle lenses and those who carried giant, heavy, usually white, telephoto zooms and always wanted to use them from a distance. But generally we worked together.
And everyone (except me) goes back to Southwark Cathedral for lunch
Then came cheap digital cameras and camera phones. Everyone now has something that can take picture, and can readily share them on social media. And there has been huge movement from taking still images to recording video. Video leads to a different attitude, with many becoming unaware of anything outside the screen of their phone around them. At any event now I can be sure that at least one person will walk in front of my lens talking into their phone totally oblivious of my presence and blocking my view.
Of course I don’t claim any special right to take pictures, and others have the same rights as me. But unless we respect the rights of others it becomes difficult and frustrating to work; we have to work together.
In 2009 I was sorry not to have time to stay for the lunch at Southwark Cathedral, particularly as two of my friends were present, one a frequent worshipper there. But there were a couple of protests to photograph. The first was a march by Hizb ut-Tahrir Britain against the Israeli attacks on Gaza, aimed at Arab dictators who collude with Israeli terrorism and going to Egyptian, Syrian and Saudi Embassies.
And it was the 11th of January, and the anniversary of the setting up of the US torture camp at Guantanamo in 2004 was marked by a late afternoon protest at the US Embassy, still then in Grosvenor Square.
I hope those who came with me on the workshop I led around a part of London’s Dockland 17 years ago found it stimulating. For me it was a familiar walk, but I think most of the others were seeing the area for the first time. One of the instructions for the workshop some will have found difficult was not to bring a tripod, as these were and are red rags to the security staff who closely patrol the Canary Wharf estate. We had no problems with security on this workshop, though I have had confrontations on other occasions – including being once escorted off the estate.
I think I had been asked to run the workshop for London Independent Photography, though I’m not sure. On My London Diary I put a short text about the event and some pictures that I made during it. I’ve corrected the spelling and capitalisation of the original, otherwise it is exactly as written, probably deliberately in part ungrammatically.
May 9 found me taking a group of photographers for a walk around some parts of London’s docklands. we started at the centre of this ‘crime of the century’. I still don’t quite understand why a Conservative government felt so at odds with the City of London that it decided to set up offshore competition in the Enterprise Zone.
The feeding frenzy that ensued, trousering public property and tax breaks into the private pocket at an unprecedented rate.
The long-term consequence has been a distorted development with few real buildings of distinction but some expensively finished tat, and a lack of overall planning. I’m not sure that London would benefit from gaining the Olympics for which it is currently bidding, but if it fails, probably part of the reason will be the docklands debacle.
We started below the obscene gesture towards the old city, at least clear about its symbolism, then took the DLR down to Crossharbour with its silly bridge, walking back to the wharf and taking the Jubilee to Canning Town. then back alongside the Lea (still waiting for that riverside walkway) to East India Dock Basin and along by the Thames, where a galleon appeared in front of the dome.
Docklands has continued to change since 2004, but it remains a largely lost opportunity to develop what had become the redundant area for the benefit of the people as a whole rather than to enrich a few.
Back in 2004 I was still working with my first DSLR, the Nikon D100 for which had recently bought the Sigma 12-24mm lens and on this DX format camera this gave effective focal lengths of 18-36mm. The smaller format also avoids the weaker corners of this extreme wide-angle zoom (I think the first of its type) and within the smaller field it was remarkably distortion-free. There are a few more pictures on My London Diary – including that galleon – some rendered rather dully by the RAW software of the time – I’ve improved the rendering of those included in this post.
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 knew something about the history of Japan and of photography in the country in the nineteenth century, and had written a little about it and in particular the work of European photographers such as Felice Beato, the video in ‘How colorized photos helped introduce Japan to the world‘ from VOX which was featureed on Digital Photography Review with a useful introduction showed me much that I hadn’t previously known. It was particularly interesting to see the comparisons between some of the photographs and Ukiyo-e woodblock prints and paintings.
The introduction of photography led to redundancies among Ukiyo-e artists (as it did to miniature painters in Europe) and some found new employment using their skills in photographic studios hand colouring prints in a much more subtle manner than in other countries. Soon some of them were becoming photographers too and setting up their own studios. I haven’t read Photography in Japan 1853-1912 by Terry Bennett which the video credits, but it looks an interesting volume.
Japanese art was in the same period being taken back to the west and had a strong influence on many western artists, and I think largely through them on photography around the end of the nineteenth and beginning of the 20th century which can clearly be seen for example in some of the work exhibited by members of the Photo-Secession some of the best of whose work was published by Alfred Stieglitz in his fine magazine Camera Work.
Recent years have seen a new interest in hand-colouring of old pictures, now made much easier by digital means. It’s something that while it may add some life and a greater sense of reality to old photographs I find rather upsetting when applied to many well-known images. As a photographer I feel that there is a disrespect in changing what was a carefully considered black and white image into one in colour and I imagine the photographers turning in their graves at how their work is being done to their pictures.
It also bothers me because the digital recolouring is creating a false reality – as hand colouring could also do. For a long time we had on a mantelpiece a hand coloured picture of my wife sitting in a Manchester park wearing a red jumper; it had been hand-coloured and although the grass had been coloured in a fair approximation to its actual colour, her green jumper was not. It’s a trivial example, but what the colouring produces is false colour and fake reality. For most subjects it probably isn’t a great problem but it seems to me to undermine one of the fundamental aspects of photography, the physical link between subject and depiction. The camera with our help lies but it doesn’t invent.
If you’ve not yet seen it, you might like to look at the ‘Photo Bill of Rights‘ which has been written by people from a number of US based groups involved in visual journalism and editorial media, “the Authority Collective, Color Positive, Diversify Photo, The Everyday Projects, Juntos, the National Press Photographers Association, Natives Photograph, & Women Photograph.“
There is little in it that I have any problem with, and much that has long been policy among groups such as the NPPA who contributed to it and have long had a code of ethics, or my own union, the NUJ.
It’s perhaps useful to restate the principles, but only if action follows, and although there are some well-known and well-regarded photographic organisations who have added their support to the over two thousand individual signatories I cannot find a single organisation that I or other photographers I know have actually worked for. And it is largely these organisations and the editors and buyers they employ who are responsible for unfair and discriminatory practices that still exist in the industry despite many years of work by photographers and photographers’ organisations.
It’s interesting to read the response to the NPPA by self-confessed “aging white male” photojournalist and long-term NPPA member David Burnett, who vehemently takes issue with the suggestion ‘that I, and the photojournalists of my generation, both women and men, set out to “colonize, disenfranchise, and dehumanize” either our photographic subjects, or other photographers, especially newcomers‘ and points out the the NPPA has through “virtually its entire existence” had in its Code of Ethics substantially similar underlying principles.
Burnett, a highly respected photographer and one of the co-founders of Contact Press Images, also points to the remarkable Trailblazers of Light web site which set out to put the record straight about the many hundreds of “professional women working in photojournalism for decades, both as editors and photographers“, created as a response to a not dissimilar ahistorical claim to this latest initiative.
He is “dismayed by the attitude of those who created this BoR, since it does little to honestly address many of the hiring inequities, and seems filled with triggering language which focuses instead on people in the field who have been working for decades. We do not, unfortunately, hire ourselves. As freelancers, we rely on editors and researchers, most of whom work for large companies (or the shell of those companies) and over which our power of persuasion is, more often than we’d like to admit, rather limited.”
It’s probably a question most would struggle with, though there are quite a few. Dirk Braeckman, Martine Franck, Harry Gruyaert, François Hers, Tomas van Houtryve, Léonard Misonne, are among those who have Wikipedia pages that I’ve heard of – and Agnès Varda though I only know her as a film-maker (who can forget ‘Cleo from 5 to 7’ and more.)
I’m not entirely sure why, according to the Hitchhiker’s Guide to the Galaxy Belgiumis the rudest word in the Universe, as well as being by some strange coincidence, also the name of a country on Earth. I’ve only visited it briefly and found it a slightly odd experience, but that may just have been the beer (and there is chocolate too), surprisingly well-ordered for a country with two language groups who at times seem hardly to speak to each other.
But one outstanding omission from Wikipedia’s list is that of Stephan Vanfleteren, born in 1969 and recognised as one of Belgium’s most celebrated photographers whose rather surreal view of his country and its people was published in 2007 in the book Belgicum (the Latin name of the country), “A melancholic trip to a country that for the most part no longer exists.”
I was reminded of this work yesterday by an e-mail from 28 Vignon St, a new curated online art platform, named for the Paris address of the first gallery opened in 1907 by the famous art dealer Daniel-Henry Kahnweiler (1884 – 1979) who was one of the early supporters of Picasso, Braque and other modern artists. They have an online show of his work, with a link to a video from FOMU (Fotomuseum Antwerp) where Vanfleteren’s current show ‘Present‘ is now also only virtual. You can watch a series of three videos beginning here on Vimeo where they have English subtitles.
I was given another reminder of Vanfleteren’s work this morning when my day started unexpectedly with digging a small grave in the garden. On his web site you can view his series Nature Morte, (Still Life to Anglophones) with the bodies of dead animals tastefully posed. The body of a fox we found at the bottom of our garden was rather messier, killed in a fight probably with another fox, its stomach opened and flesh and fur missing, not a pretty sight. I didn’t feel like photographing it.
