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Isle of Dogs and Poor Doors – 2014

Isle of Dogs and Poor Doors: On Wednesday 3rd September 2014 the weather was fine with blue skies and clouds and I decided to spend the afternoon photographing in the Isle of Dogs before meeting with Class War for one of their ongoing series of protests against separate entrances for the wealthy and social housing residents of a tower block in Aldgate.

Isle of Dogs Panoramas – Island Gardens to South Quay

The main purpose of my visit to the Isle of Dogs was to make panoramas of scenes which I had photographed more conventionally over the years, including the black and white images that I included in my book ‘City to Blackwall‘ and more of them are now in my albums on Flickr.

I had gone back so make some panoramas in the area in the 1990s and early 2000s, using various panoramic film cameras, but the switch to digital had made creating panoramic images much simpler for me.

Perhaps the most important change was in accurate viewfinding – with my first panoramic film camera the most accurate way to see the extent of my pictures was by viewing along two arrows on the top of the body – much more reliable than its viewfinder. But of course digital also gave a wider range of shutter speeds and ISO.

And to do this, the camera needed to be firmly mounted on a tripod – and I carried a rather heavy Manfrotto around with me. This also enabled me – with the aid of a spirit level – to ensure that the camera was level. The Nikon I used for these panoramas had level indicators in the viewfinder and was easy to use handheld.

However to make these on digital I needed to use a fisheye lens – the 16mm Nikon fisheye. Not the kind that gives a circular image, but a full-frame fisheye where the image circle goes through the corners of the frame. This gives a 180 degree image across the frame diagonal, but rather less horizontally and vertical, with considerable curvature of straight lines.

Software – I then used PTGUi for these – than comes to the rescue, converting the spherical perspective into a cylindrical one which rendered verticals upright (there are several ways this can be done with slightly different results.) Later I moved to simpler software.

With the 36Mp Nikon D800E there were far more pixels than necessary even after this stretching and this was no longer a problem. I could work with single exposures rather than stitching together several images as I had done earlier with digital cameras.

Many more pictures at Isle of Dogs Panoramas.

Isle of Dogs – Wideangle Images

Although I had mainly gone to make panoramas I also took a Nikon D700 body and made pictures with a 16-35mm Nikon zoom. Not everything is best suited by the panoramic treatment.

Again there are many more pictures at Isle of Dogs.

Class War ‘Poor Doors’ picket Week 6 – Aldgate

*A police officer watches as people walk down the alley leading to the ‘poor door’ of the luxury development*

Class War and friends held their sixth weekly protest outside 1 Commercial St in Aldgate and it was a relatively uneventful one.

As the protesters arrived, two police officers came out from the building and talked with the protesters making clear that they expected the protesters not to block the doorway for people entering or leaving the building. More officers soon arrived to police the event.

There were a few heated arguments between protesters and police but nothing of any consequence. The protesters held their banner well in front of the door.

They talked and handed out leaflets to people leaving and entering the ‘rich door’ as well as to people walking past – and to at least one cyclist stopped at the traffic lights.

After keeping up the picket for an hour as intended, Class War packed up and left – until the next week.

More pictures – Class War ‘Poor Doors’ picket Week 6.

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Regent’s Canal 200 Years at UCH

Regent’s Canal 200 Years at UCH – As this post goes online today, Thursday 7th April 2022 I am helping with the hanging of a dozen of my pictures, half of a joint show, Myths & Realities, with artist Hilary Rosen at The Street Gallery in University College Hospital on Euston Road.

The show was due to open in March 2020 as we went into Covid lockdown, and although now our government seems to think Covid is all done with, others know better and there are still restrictions in place in hospitals, so we are unable to host an opening. And although you are very welcome to visit the show you will need to make an appointment by emailing guy.noble@nhs.net at UCH. Both Hilary and I have invitation cards and are handing out copies to people we meet as well as sending some by post and more electronically – and the two images show both sides of mine. I’m very sorry I won’t be able to see you all there.

Below is a little more about my project which is in the show. As well as the 12 pictures on the wall at UCH I have put a larger group including these in an online album, Regent’s Canal 200 Years.

Regents Canal 2020: Maida Hill Tunnel entrance 03-20190717-d028

The Regent’s Canal was opened in 1820 to connect the inland canal system to the River Thames at Limehouse, so 2020 was its 200th anniversary. To commemorate this I began a series of colour panoramas along the canal for an exhibition in March-April 2020 at The Street Gallery in University College Hospital London, half of a joint show, ‘2020 Vision – Vistas and Views’ with artist Hilary Rosen. Unfortunately this show had to be postponed due to COVID-19, but has now been rescheduled with the title ‘Myths & Realities’ for 8th April 2022– 18th May 2022 at The Street Gallery, University College Hospital, 235 Euston Rd, London, NW1 2BU.

Regents Canal 2020: Lisson Grove 06-20190717-d0218

I first photographed the Regent’s Canal in 1979 and have taken many pictures along it over the years since then. I began my work for ‘Regent’s Canal 2020’ early in 2019 and made around eight visits in the following 12 months, producing several hundred images, of which 43 are online.

Regents Canal 2020: Camden High St13-20190308-d0708

These images have an extremely wide angle of view, is roughly similar to the entire field of human vision and to record this on a camera and in print requires a move away from normal rectilinear perspective. They use a cylindrical perspective which retains vertical lines and edges as straight lines but shows other straight lines (except those passing through the image centre) with varying curvature, more pronounced towards the edges of the image. I’ve worked with various equipment in this way since around 1991 when I first bought a specialised panoramic camera.

Exhibiting on-line enables me to show more images than the 12 I had selected and printed for the UCLH show. They are presented in the order of a walk from Little Venice where the Regent’s Canal leaves the Paddington Arm of the Grand Union Canal, a pleasant walk of around 9 miles (with a couple of diversions for tunnels) which can easily be done in a day if you are not stopping to make pictures.

Regents Canal 2020: St Pancras Lock and Gasholder Park 19-20190821-d0081

All images are available either as unframed C-Type photographs (image size approximately 16×9″ or 16×10.5″) at £220, as 40x60cm latex prints on canvas (£200) or as 40x60cm dye sublimation prints on canvas (£220). Dye sublimation prints are less intense and carry the image in the canvas, while latex inks sit on the canvas surface and give a more photographic effect.

Regents Canal 2020: Mare St, Hackney 34-20190411-d0238

Peter Marshall Regent’s Canal 200 Years.

Al Quds march

The Al Quds (Jerusalem) Day march is always a contentious event in London, and one that I often find difficult to photograph, and I had my problems this year.

Of course many of those who protest regularly for freedom for Palestine know me as I photograph many of their protests – as you can see on My London Diary.

Some of those who have organised the Al Quds day marches over the years also now recognise me and are friendly, but it is an event that does meet with a lot of opposition by some Zionist groups and where many of those attending are rather wary about being photographed. So I found myself several times being stopped by people asking who I was taking pictures for and some trying to prevent me photographing.

As regular readers will know, I like to take pictures close to those I’m photographing, though I don’t particularly like the kind of distortion you can see in the hand of the organiser above, taken with the lens on the Fuji set at 11mm – 16.5mm full-frame equivalent. I’ve long felt that the ideal photographic distance is one where you can reach out and touch the person you are photographing, as if you were talking with them, though sometimes a little greater distance is necessary.

Of course there are times when you do have to stand further back. There was a giant Palestinian flag between me and the Neturei Karta ultra-orthodox Jews when I made the picture showing their recipe for a peaceful end to the bloodshed in Palestine. There the distance was a necessity.

And there are pictures that need a longer focal length to isolate the subject, as in this picture, made with the remarkable 18-150mm on the Olympus E-M5MarkII at 135mm (270mm equivalent.) Long lenses certainly do have their photographic uses, and this one comes in an incredibly small and light package.

I’m not sure I will go to photograph this event next year, despite my support for the Palestinians and my hope that one day they will gain justice and be able to live in peace with their Jewish neighbours, to make good the neglected second part of the Balfour declaration that “nothing shall be done which may prejudice the civil and religious rights of existing non-Jewish communities in Palestine.” I’ll continue to photograph other pro-Palestinian events in London, but this one was just too much aggravation. I ended up feeling more welcome photographing the Zionists opposing the event.