The best pictures tell an unfinished story, with a sense of place or personality - what, where, when, how. I love painterly colour yet also see strength in black and white form and composition. Maybe too eclectic?
I have used Nikon for ever, and have been digital almost from the beginning. That said, I have rediscovered my Leica, especially for street and black & white. I also love the creative versatility and freedom of the iPhone, and some images here are Olympus 4/3.
- Record Store Day – art, music and fun April 19, 2015
- Exploitation, or driving social awareness in Street Photography? April 9, 2015
- She wanted me to shoot her moods April 3, 2015
- Leica Noctilux F/1.0 – Backfocus March 8, 2015
- What makes an image popular? February 22, 2015
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Category Archives: London
If you haven’t yet been able to see this exhibition, and you are a photographer, then please make this a New Year resolution. It’s at the London Science Museum, until March 1st, 2015.
It’s not just a collection of nice images. It literally traces the history of photography with a unique eye. And whilst it is focused (pardon the pun) on the images, the exhibition also allows visitors to ponder camera technology development, too – not in technical terms, but by showing what the cameras could do.
To quote the website:
Founded in 1853, the Royal Photographic Society (RPS) Collection is now held at the National Media Museum, Bradford as part of the National Photography Collection. With over 250,000 images, 8,000 items of photographic equipment and 31,000 books, periodicals and documents, it’s one of the most important and comprehensive photographic collections in the world.
Early photographers such as Roger Fenton (co-founder of the RPS), William Henry Fox Talbot and Julia Margaret Cameron are represented, alongside modern photographers such as Don McCullin, Terry O’Neill and Martin Parr. Nièpce’s heliographs and Fox Talbot’s experimental cameras are also on display.
“… photography … is used alike by art and science, by love, business, and justice; is found in the most sumptuous saloon, and in the dingiest attic – in the solitude of the Highland cottage, and in the glare of the London gin-palace, in the pocket of the detective, in the cell of the convict, in the folio of the painter and architect, among the papers and patterns of the mill owner and manufacturer, and on the cold brave breast on the battle-field.”
Lady Elizabeth Eastlake, the wife of Charles Eastlake, the first President of the Photographic Society, The London Quarterly Review, April 1857
A very inspirational show, with much to study and learn.
Image: Portrait of Christina, Mervyn O’Gorman, c.1913 © The Royal Photographic Society Collection at the National Media Museum, Bradford / SSPL
Yesterday, I was at a lecture at the House of Commons, listening to Prof. Vlatka Hlupic suggest ways for business Leaders to better engage their employees. It was an interesting lecture, with some new ideas and tools to help make this long-term organizational goal actually happen.
But as I stepped outside, another world unfolded. It was the tail-end of the “Million Mask March” protest in Parliament Square, liberally sprinkled with the “Occupy Democracy” movement. Lots of Guy Fawkes masks. Remember V for Vendetta, the movie? Well, art had become reality in central London.
Loved this report from the UK Mirror newspaper.
“Anonymous ‘Million Mask March': Huge police presence as thousands of masked protesters gather in central London. Thousands of anti-capitalist activists – including self-proclaimed revolutionary Russell Brand – have taken to the streets of central London to protest against “political oppression”.
Demonstrators wearing the sinister Guy Fawkes masks popularised in the 2005 film V for Vendetta and carrying banners and placards converged on Trafalgar Square before marching towards Parliament Square at 6.30pm.
Protesters chanted anti-establishment slogans as they milled around, and some who had climbed on to the base of Nelson’s Column let off fireworks. There was a heavy police presence at both Trafalgar Square and Parliament Square, as well as along Whitehall, with officers carrying riot gear, but the protest began peacefully.
There was a chorus of boos and whistles as an officer from the Metropolitan Police warned protesters about their behaviour over a loud hailer. The protest, the so-called Million Masks March, was organised by activist group Anonymous”.
Sinister masks? Really! Looked more like carnival time to me! Honestly, as far as I could tell, except for a few heated moments and the odd arrest, it was a very “British” protest. The cops were smiling (most of the time) and were acting with great restraint and good humour. Most of the marchers seemed like they were on a late night picnic.
And everyone (police as well) was taking pictures on their phones.
Funnily enough, I couldn’t see any “real” journalists as the night developed. I guess most had taken photos of the initial protest gathering in the Square, and then went home to file.
I decided to follow the march, as it spread across London. Kind of caught the police by surprise, I think, at Buckingham Palace, though all was fairly civilised.
Along the way, a Russian lady, first time visitor to the UK, from St. Petersburg for the World Travel Mart, asked me what was going on. She seemed bemused to hear that the Brits celebrate the ultimate (failed) terrorist act, performed by Guy Fawkes, as he tried to blow up Parliament. “What are you celebrating?” she asked. Hard to anwer, I replied, though “Free Speech” comes to mind. And the protestors had simply appropriated this age-old British fireworks celebration.
Much to my chagrin, I did not have the Leica, just the iPhone. So, I wondered just what could be done in low light with the iPhone 6.
I don’t claim the pictures are great, but it does add to the revolution that we are seeing in citizen journalism.
The Barricades at Parliament Square
Guardians at Big Ben (should say, The Elizabeth Tower)
What We Want
Scuffle on Birdcage Walk …
… and an arrest
Circling back on Oxford Circus
.. and the Watchers
The art installation Blood Swept Lands and Seas of Red at the Tower of London, marks one hundred years since the first full day of Britain’s involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively fill the Tower’s famous moat over the summer. Each poppy represents a British military fatality during the war. The poppies encircle the Tower, and all of the poppies will be sold, with proceeds shared equally amongst six service charities.
The installation has really caught a nerve in the British psyche, with crowds increasing over time and all the poppies are already sold.
What fascinated me, though, was the “poppies selfie”. Cameras and phones everywhere, photos of everything. That human desire to connect, to connect to others, to share what one is doing, and to be part of something.
All play a role. But what was totally inspirational was that everyone seemed to be there for a reason, and to honour the fallen. Despite the crowds it was calm, peaceful and thoughtful.
The Americans say “Thank you for your Service”.
Brits, with a stiff upper lip, do not.
“Thank you for you Service” seems appropriate.
Capture the moment
A family event
All images Leica M-P, with Elmarit-M 28MM F/2.8, processed in Color Efex Pro
Wandering around Hampstead yesterday, on a very pleasant and chilled Saturday, I came across this stylish lady collecting for the Children’s Hope Foundation.
She talked to everyone, catching some unawares, but always with a smile.
She had a canny way of talking to passers by, with an infectious personality and a positive word to say about everything.
And she had a style completely her own.
Leica M9 and Noctilux F/1.0 50mm, post processed in Color Efex Pro.
I wrote this in 1970:
The gang and me
we get along fine.
We drink together
and wander the roads
of our town
with youthful haste.
my home town
would have no meaning.
Which makes me think about the streets. It makes me wonder what it is we see when we take photographs on the street.
Are we seeing the people, or are we seeing the image of the people?
Surely, we don’t see the “gang”?
Does Gilden’s flash work for the viewer, or the subject?
On the Leica Akademie day, I took many pictures in London’s Chinatown. The gentleman above seemed to be chilling. Reading. Smoking. Smiling.
He could see I was taking his picture, and didn’t seem to care. Perhaps that is the price we pay when we hang out in a 21st century venue full of cameras.
In any event, my first look at the images of the day lead to the one above. Lots of detail, softly processed. I published the sequence on my main photo site, and got some pleasing feedback on various forums.
Then I looked again.
He might not be a member of my “gang”, but he is connected to me via the image.
Let’s try another process.
Is that more “him”?
Does that make him more a member of my “gang”?