Cindy Sherman – Star of the Films That Never Were

March 3rd, 2018

The Blues Trail – Mississippi & Arkansas

February 7th, 2018

Into Blues Country

It was in the Mississippi Delta that sharecroppers first fused the rhythms and tones of Africa with the scale and instruments of American folk music to produce the blues.   This new musical form was was first described by touring musician WC Handy in Memphis in 1903.  By the 1920s the first blues records were being made.  By the late 1920s  Charley Patton had emerged from an anonymous folk tradition to become a blues superstar.  He was followed in the 1930s by many more stars, most notably the hugely influential Son House and the legendary Robert Johnson (though Robert was little known in his own lifetime).  The Delta blues started to move beyond the South, up the Mississippi river into the Midwest, aided in its spread by the phenomenon known as the “juke joint”.  This was an informal establishment, sometimes a “shotgun shack”, that provided music, dancing, gambling, and drinking for the sharecroppers, whose lives were exceedingly hard.  In the 1940s the blues evolved into electric, urban forms such as  Chicago Blues, popularised by Muddy Waters, which later formed the basis of  rock ‘n roll.

Highway 61

Blues Trail Tunica GatewayThe City of Clarksdale is located in the heart of the Delta, at the intersection of Highways 61 and 49.  This is the crossroads famed for Robert Johnson’s legendary Faustian pact.  From Memphis it is about an hour and a half’s drive down the Blues Highway (Highway 61) which follows the Mississippi river for much of its route.  Highway 61 is much more than a road in the US; it is second only to Route 66 as the most famous highway in American music.   Many blues artists have recorded songs about this storied road; “Honeyboy” Edwards, Big Joe Williams, and Mississippi Fred McDowell amongst them.  Bob Dylan said of it “Highway 61, the main thoroughfare of the country blues, begins about where I began. I always felt like I’d started on it, always had been on it and could go anywhere, even down in to the deep Delta country. It was the same road, full of the same contradictions, the same one-horse towns, the same spiritual ancestors … It was my place in the universe, always felt like it was in my blood.”  Needless to say, I was happy to take the Blues Highway to Clarksdale.

Gateway to the Blues Museum, Tunica

The Gateway to the Blues Visitors Center and Museum was my first stop.  It lies directly on Highway 61 between Memphis and Clarksdale, close to Tunica’s casino area (Mississippi’s Las Vegas), and less than an hour from Memphis.  The Museum is housed in a beautifully restored one-room, nineteenth century train depot, and serves as a gateway to the blues music scene across the the Mississippi Delta.  It was, for me, more impressive on the outside that in, but that is no criticism – for a photographer that is often the case and it is a really iconic building.  Inside there is a great collection of guitars, information on the hundred or so blues trail markers, and a good selection of blues merchandise and literature.  I got talking to the staff at the museum as I was buying some merchandise (a Robert Johnson T shirt), and admitted to being an amateur musician. In fact being a musician was my first choice of career and I’ve always felt a little regret that I ‘sold out’ to pursue a more conventional job.   I characterised this a little thoughtlessly, given where I was, and what I was buying there.  I used the phrase ‘sold my soul to the devil’ to describe the (alleged) sell out.  I’ve used the description before more than once before and received a smile as a result, but that wasn’t the case this time.  Note to self – never make reference to selling your soul to the devil in the Deep South!  One of the women nearly jumped out of her skin and the other looked most discomforted.  I assured them that this was not literally what I did, and that it was just a figure of speech, and apologised for alarming them.

Speaking of my music, there’s a link to one of my blues tracks below.  I think the song is well crafted enough, but the recording is very much demo quality at best and the lead really needs re-doing as I just went at it full tilt and lost the plot a bit – I am by no means a shredder.  That said, I know I’ll never re-record it.  I have too many other tunes in my head that I need to get down, some of which I wrote many years ago.  I rarely get time to record, which isn’t helped by the inordinate amount of time I take to lay down a track on my old school 16 track recorder.

The Delta Blues Museum

I headed into Clarkdale itself, to the Delta Blues Museum. It is located in an old freight depot built in 1926.  The area it is situated in was deserted and a quite run down, and I was convinced that I was in the wrong place until I saw the Museum’s sign.  It was established in 1979 as the first museum devoted to blues and moved to its current location 20 years later.  Bearded guitar ace Billy Gibbons of ZZ Top played a big role in raising funds for the museum.  He was also instrumental in bringing the largest and most important exhibit to the museum – the cabin where Muddy Waters once lived on the nearby Stovall plantation.  The museum covers the who’s-who of the blues very comprehensively and I wandered around it contentedly for quite some time.

blues trail clarksdale alleyBlues Alley and Robert Johnson

The Delta Blues Museum is at number 1 Blues Alley.  Right across the street is the Delta Blues Cafe, which has an old Cadillac art car parked outside and a haunting, peeling mural of Robert Johnson, the most potent legend of the blues, on the side of the building.

It was at crossroads of Highways 49 and 61 in Clarksdale, where legend has it that Robert did a deal with the devil, who retuned his guitar in exchange for his soul.  Formally a harmonica player and an indifferent guitarist, he returned with such a mastery of the blues that Son House and other older guitarists were incredulous.  The story circulated that Robert had sold his soul to the devil at the crossroads.   Cross Road Blues and Me and the Devil Blues, have both contributed to the myth of a pact with Lucifer.  In the latter song, Satan visits Robert early in the morning. Hello Satan,” sings Robert, “I believe it’s time to go.

Graveyard Versus Crossroads

In fact Robert had met and moved in with guitar player Ike Zimmerman and his family, and Ike became his tutor.  They practised together amongst the tombstones in the quiet of a local graveyard.   It is quite likely that the origin of the Faustian story came from another blues musician, named Tommy Johnson (no relation).   Tommy cultivated a rather dark image to help promote his act.  As part of this, according to his brother, he claimed to have sold his soul to the devil at a crossroads in exchange for mastery of the guitar.  Robert made no such claim.  Tommy lived until 1956, whereas Robert only lived until 1938 (he was 27 when died and so later became a member of the 27 club.)   Almost nothing was known about Robert until much later when some serious research was done and the story attached to the more mysterious figure.  When I first heard of Robert in the 1980’s there were no known photographs of him.  Even today there are only two.  Robert recorded just 29 songs between 1936 and ‘37.  Like him, most of these tunes have attained mythic status: “Cross Road Blues,” “Love In Vain,” “I Believe I’ll Dust My Broom,” and “Sweet Home Chicago” are all Robert’s compositions.  The Rolling Stones, Bob Dylan, Eric Clapton and the Allman Brothers have all recorded his songs.  In 1933 Robert settled in Helena, Arkansas, where he met and played with bluesmen Robert Nighthawk, Elmore James,  and Howlin’ Wolf amongst others.  Helena, Arkansas was only a little out of my way on the way back to Memphis, so that was my next destination.

Blues Trail HelenaAcross The Mighty Mississippi to Helena

The light was just starting to fade as I drove down Highway 49 through Lula and crossed the Mississippi River to enter Helena, Arkansas.  Now in serious decline, the town played a significant role in blues history.  It flourished during the steamboat era as a river port equipped with all music, gambling and night life the locals and deckhands could want.   It was also the birthplace of a major blues radio show that began broadcasting to the Arkansas-Mississippi Delta in 1941.

Ghosts of the Historic District

I visited the Delta Cultural Centre, which is well worth a visit, and then started to wander in the atmospheric historic district.  I immediately came across an iconic blues marker ‘Mississippi to Helena’.  The area was deserted and in many places tumbling down.  I stood in front of an abandoned storefront at 119 Missouri Street which used to house a juke joint called the Kit Kat Cafe.  This is one of the few places we know Robert Johnson actually played.   It was crumbling, and a faded and cracking picture in the window lent it an unsettling air.   I continued to wander.  In places the buildings are cordoned off as their tumble down state is so unsafe.  At 201 Frank Frost Street (shown here) I took a shot of a building which I later found out was featured in the documentary ‘In Search of Robert Johnson.’   It had broken windows and a large sign saying ‘NO LOITERING’.  I walked, entranced by the near ghost town, until there was no more light.  At that point the slightly spooky nature of Helena was greatly amplified and I returned to my vehicle in a hurry, suddenly keen to return to the bright lights of Memphis, Tennessee.

The Blues Trail – Memphis, Tennessee

February 4th, 2018

At the age of 14 I was listening to a Pirate radio station broadcasting from the North Sea when I heard a track from George Thorogood and the Destroyers.  It was probably a song from from their self-titled album of 1977.  George was playing furious electric slide guitar and I had never heard anything like it.  The power of that sound, along with that of punk, especially the Sex Pistols, inspired me to get an electric guitar and play it hard.  Guitar driven music, especially the blues, has been part of my life ever since.

Nearly forty years later I found myself in Nashville, which is only a 3 hour drive from Memphis, which in turn is close to Mississippi and the Delta, so I took the opportunity do something I had wanted to do for many years: get on the blues trail.

Sun Studio

I started at Sun Studio, Memphis, one of the most revered landmarks in blues, country, rockabilly and rock and roll.   Originally the Memphis Recording Service, Sun was founded by by the equally legendary Sam Phillips  in 1950.  Elvis, Johnny Cash, Carl Perkins, B.B. King, Jerry Lee Lewis and many others started their recording careers there.  Once our tour guide arrived, the few of us that had gathered in the adjacent cafe which is the rendez-vous point for the tour, went upstairs to the museum where he told us the story of Sun – an extraordinary tale of one man’s vision and persistence.   Then he took us down to the studio to finish the story.  He told the tale well – with knowledge, humour and great timing.  The studio itself is tiny, but it is at is was in the 1950s, right down to the original acoustic tiling.  One wall is lined with guitars (including Scotty Moore’s) and there is a stack of vintage Fender amps against another.  When the tour finished, I got talking to the guide (or preacher as he refers to himself) and he was kind enough to show me the interior of the minuscule control room.  As I had a recording on my phone of  a track dedicated to Scotty Moore I asked him if I could play it in that hallowed space and he agreed.  It was a magic moment.

The Blues Trail MemphisBeale Street

There is a shuttle that runs from Sun Studio to Beale Street, which stops close to the Gibson Factory.  The factory offers a tour of Gibson’s Memphis facility, and being a guitarist who plays a Gibson ES-Les Paul made in the same factory, I was keen to see how it was created.   The tour guide walked us through the factory, pausing at the various stations dedicated to the shaping, assembling and finishing the instruments and providing us insights into the process.  It takes about three weeks to make one of their hollow body guitars .  Sadly, the facility is moving from Beale Street at some point, though Gibson say they are committed to retaining a presence in the Memphis area.  From Gibson I walked to Beale Street proper.  The area was created by an entrepreneur in 1841, and by the 1860s black traveling musicians had begun to perform there.  By the 1900s, Beale Street was largely African-American owned, lined with clubs, restaurants and shops and the home of W. C. Handy, known as the Father of the Blues and the creator of the “Blues on Beale Street”.  It continued to be home to the blues, and between the 1920s to the 1940s, Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B. B. King, and other blues and jazz musicians played there, contributing to what became known as Memphis Blues.  B. B. King got his famous initials from his billing as there as “the Beale Street Blues Boy.”

Today Beale Street is a very much a tourist destination, but it has a unique look and feel and if you get into a bar with live music it is really special.  Of the shops, easily the most interesting is the old fashioned general store A. Schwab Trading Company, established in 1876.  It is housed in the oldest remaining building on Beale Street and contains the Beale Street Museum and two floors of quirky merchandise, including some hoodoo (folk magic) items.  Seeking give music, I found Vince Johnson and The Plantation All Stars at the atmospheric Blues Hall Juke Joint.  The picture of them was taken with a Leica Q, (f2.8, 1/100, ISO 3200).  I also saw Eric Hughes (solo) at the rather oddly-located wrestling themed King Jerry Lawler’s Hall of Fame.   Both were excellent.

Also on Beale Street is the Memphis Rock ‘n’ Soul Museum – an exhibition by the Smithsonian Institution, which opened its doors in 2000.  The museum provides a journey from the rural origins of blues and soul in the 1930s, through the explosive growth driven by Sun and Stax labels up to the 1970s.  It’s worth a look, not least because it provides some insights into the lives of the black and white sharecroppers whose music so influenced blues and soul music.

Memphis BBQ

Still on Beale Street, I had lunch at the Blues City Cafe, a pint of Guinness at Silky O’Sullivan’s (you have to go to see the goats), and dinner at BB Kings Blues Club.   Much of the food on Beale street is Memphis-style barbecue, which is distinct from the other US regional BBQ styles of Kansas City, Texas and Carolina.  Memphis-style barbecue is usually pork ribs slow cooked in a pit prepared either “dry” or “wet”.   I had no idea what this meant before coming to Southern US.  The difference was explained to me at a visit to the One & Only BBQ. “Dry” ribs are covered with a dry rub and eaten without sauce, whilst “wet” ribs are covered with sauce throughout cooking.  Half wet, half dry is usually an option, and is what I tried. Portions are huge and the sides include devilled eggs, black-eyed peas and slaw mac-n-cheese.  There are many starter options, but I particularly enjoyed the Polish Kielbasa sausage – which was smoked, dusted in dry rub and grilled and served as part of a sausage and cheese platter – a Memphis tradition.   Being a tourist location, you’ll inevitably eat better off Beale Street than on it, but the location and live music more than make up for it.

Blues Trail MLK Room 306Room 306 of The Lorraine Motel

The story of the blues, and of the South, is closely entwined with the story of black Americans and their struggle for equal rights, so it no is surprise that the National Civil Rights Museum is located in Memphis.  In fact, the location is that of the assassination of Martin Luther King at The Lorraine Motel.   Dr King was staying at the motel in April 1968 when he came to Memphis to support a strike.  He was standing on the balcony of room 306 when he was fatally shot.   The room has been preserved exactly as it was during his stay, a wreath hangs from the balcony and two white cars from that era – a 1959 Dodge and a 1968 Cadillac are parked in front of the motel.   The picture of them and room 306 was again taken with a Leica Q (f8, 1/200, ISO 200).  The air of regret and respect from visitors is tangible as you stand in front of room.  The Motel is now the home of the Museum which guides visitors through five hundred years of history, from early slave resistance to the protests of the civil-rights movement.   It is a very worthwhile visit.  Reading about the motel afterwards, I learned that it has a strong connection to the blues as black musicians would stay at there while they were recording in Memphis, due to its long standing status as a safe haven for black visitors to Memphis.

The Blues Hall of Fame

Only two minutes walk from the National Civil Rights Museum is the Blues Hall of Fame.  Initially this was not a physical building, but a listing, started in 1980 by the Blues Foundation.   Many of my favourite blues artists were inducted in that first year, including Lightnin’ Hopkin, Son House, Howlin’ Wolf, Elmore James, Robert Johnson, B.B. King, Muddy Waters and T-Bone Walker.  The Memphis museum opened in 2015, and pays tribute to the 400 or so inductees. There are several galleries with interactive touchscreen displays for visitors to listen to music, watch videos, and read stories of the members of the Hall of Fame, and each gallery houses some memorabilia.


No visit to Memphis is complete without a trip to Graceland.  From the perspective of any musical journey, Elvis’s fusion of blues and country into rockabilly was a unique achievement.  It also laid the foundations for rock and roll.  The visit completed the circle from my start point on the blues trail at Sun Studio.  That was where owner, Sam Phillips, who in 1954 was looking for a white singer with a black blues feel, put Elvis, guitarist Scotty Moore and bassist Bill Black together.  This resulted in their first single, a cover of blues singer Arthur Crudup’s 1949 blues standard “That’s All Right Mama”.  The song was recorded with just the trio playing, without drums.  The single sold around 20,000 copies, which was not enough to chart nationally, but it reached number 4 in the local Memphis charts and Elvis, Scotty and Bill were on their way.  Graceland is about 9 miles from Downtown Memphis, close to the Mississippi border. It is preserved as it was appointed and decorated last, in the mid 1970s.  That was when Elvis transformed the Southern Colonial mansion into a Rock n Roll palace.  Accordingly, it is fabulously over the top.  The Jungle Room has green shag pile carpet not only underfoot…but on the ceiling. The TV Room, with its mirrored ceiling and multiple TV screens, was apparently inspired by a comment from the President at the time who watched multiple televisions at once.  The Pool Room has some 350 yards of fabric covering the walls and ceiling. It is hugely opulent, which is in strong contrast to the next part of the blues trail which took me deep into Mississippi and across the river into Arkansas.


Fan Ho – the Great Master

November 5th, 2017

Brassaï’s Dark and Beautiful Realm

October 31st, 2017

Darkness in Las Vegas

July 1st, 2017

Dark Vegas

Through the eyes of a lifetime resident

There are still plenty of people in Las Vegas who remember the days when the mob ran Las Vegas.  On my last trip I met a couple of them – a barman and a taxi driver.  The taxi driver had a business card that described him as ‘driver and lifetime Las Vegas resident’.  He described how he and his mother had both worked for in mob-run casinos and lamented the decline in standards and increases in petty crime in the city since the mob had lost control.  Asking a few questions the apparently utopian picture turned out to full of darkness.  He admitted that now and again those on the edge of the city would find that their dog would bring back a human body part “sometimes a femur, sometimes a skull” from a desert burial.  I commented that this was a pretty significant downside but he was adamant that this was not a real issue on the basis that everyone knew that if you were stupid enough to steal from the mafia you would be killed.  I remained unconvinced.  He told me about the mob museum (Formally know as ‘The National Museum of Organized Crime and Law Enforcement’ which is well worth a visit.

A .38 revolver, a wad of hundreds and a small bag of white powder

The barman, who I’ll call Michael,  told me a couple of stories about legendary mobster  Anthony Spilotro portrayed in the Martin Scorsese movie Casino as Nicky Santoro.   Michael was sitting next to Spilotro at a bar where he was working but off-duty.  There was a lot of talk in the city about a very senior level falling out between Spilotro and his fellow mobsters, Michael slid down a couple of stools saying ‘I hope you don’t mind Tony, I just don’t want to catch a bullet’.  Spilotro laughed, but two days later he was found dead, buried in a cornfield.  In the movie he was buried still breathing, but this the facts are less remarkable; later mob testimony revealed he as beaten to death in a basement and moved to the burial site.  Michael was also asked to retrieve and return Spilotro’s wife’s handbag (or purse as he put it) from a bar where she had left it.  He couldn’t resist taking a peek at the contents.  Inside the handbag was a .38 snub nose revolver, a huge wad of hundred dollar bills and a small bag of white powder…

Spilotro’s story is an interesting one: he came into contact with organised crime at an early age as his parents ran a Chicago restaurant that was adopted by the mob.  He became a “made” man in the 1960s and was sent to act as the mob representative in Las Vegas in the 1970s.  He founded a burglary operation, known as the Hole in the Wall Gang with his brother; it was their unsubtle entry methods that earned them the gang nickname.  Unfortunately for Spilotro this overt criminal behaviour led to him being blacklisted by the casinos, which compromised his official mob representative role.   This did not sit well with his bosses and associates.  In January 1986, at a high level mob the problem of Spilotro and Las Vegas was debated and the agreed conclusion was ‘hit him’.

A Lecia Q in downtown Las Vegas

On that trip I spent most of my spare time in Downtown Las Vegas, which for me is by far the most interesting part of the city; it is full of character and rather gritty in comparison to the high end experience of the strip.    You can find the pictures from this and my other trips at the Las Vegas gallery on this site.  There is also an earlier blog on Las Vegas.  The accompanying picture for this post was shot with my Leica Q at f1.8, 1/5000 of a second with -0.6 EV, using the electronic shutter.   The leaf shutter on the Leica Q is virtually silent and will go to 1/2000s after which the electronic shutter takes over on the way to a maximum 1/16000s – making the Leica’s fast aperture usable even in bright conditions.   What I like about this shot is the strong full-length shadow, the inclusion of the big Fremont street neon signs in the background and the gentleman’s white jacket, hat and shoes which contrasts nicely with the dark tones that dominate the shot.  The Leica Q’s incredible sharpness on the subject compared to the background helps make that contrast even stronger.

Encounters with Japanese Dragons

June 23rd, 2017

Encounters with Dragons screenThe r

“In Japan, the dragon is a good guy, not a bad guy.”    This was the comment of our guide in Kyoto on a recent trip across Japan, where we had a few memorable encounters with Japanese dragons.

Benevolent, auspicious, just, a bringer of good fortune and wealth, the Japanese dragon (Ryū), like its Chinese ancestor, is an ancient mythical creature that is very different from its malevolent, treasure-hoarding Western equivalent.  Like many mythological creatures, it is a composite beast and has the head of a camel, the eyes of a hare, the antlers of a deer, the neck of a snake, the scales of a carp, the paws of a tiger and the claws of an eagle.

Our first dragon encounter was in Shinjuku, Tokyo, a name that refers to both one of the 23 city wards in the metropolis and more commonly to the large entertainment, business and shopping area around Shinjuku Station – the world’s busiest railway station.  Painted on a wall behind a statue of a female deity playing a lyre lurked a fabulous white dragon on a black background surrounded by stylised swirls, it looked like some great, nameless tattoo artist had decided to take their artwork to a much grander scale.   I was mesmerised and spent some time shooting the combination of the statue and the dragon mural with my Leica Q whilst my companions retired to a nearby bar.  You can see both this image and the others mentioned in this post in the Japan Gallery.

A long history

The Asian dragon’s origin predates written history, but had achieved its present form of a long, scaled serpentine body, small horns, long whiskers, bushy brows, clawed feet and sharp teeth by the 9th Century, by which time it was part of Buddhist mythology as a protector of the Buddha and Buddhist law.    These traditions were adopted by the Japanese and the character for dragon (龍) is much used in temple names.  Dragon carvings also adorn many temple structures and most Japanese Zen temples have a dragon painted on the ceiling of their dharma halls, often painted inside a circle in the centre of the ceiling.

In Kyoto

At the Zen temple of Kennin-Ji, in the Gion district of Kyoto, we had two dragon encounters in rapid succession.  The first was an incredible dragon painting on a sliding fusuma door, which is shown in this post.  The horns are larger than normal, the whiskers are so long they look almost like tentacles, and the dragon appears to be swimming through time and space; peering at us with us eyes that give a hint of otherworldly vision and knowledge.   The second was the vast painting of Twin Dragons that covers the entire ceiling of the Hattou (dharma hall) of Kennin-Ji, the oldest temple in Kyoto.  Kennin-Ji was founded in 1202, though the earliest surviving structure the is the Chokushimon (Imperial Messenger or Arrow Gate) that is dated to  from the Kamakura Period  of 1185-1333.  This building still bears the scars from the Onin War that reduced much of Kyoto to ashes during the 15th century in the form of  arrow marks.  The dharma hall that houses the Twin Dragons was constructed later, in 1765.  The dragons themselves were painted in ink on paper by Koizumi Junsaku (1924 – 2012), a noted painter and pottery artist, between 2000 and 2002, and installed in 2002 to mark the 800th anniversary of the founding of the temple.   The dragons cover 175 square meters rather than occupying the usual circle in the centre of the ceiling.  This was at the bidding of the abbot of Kennin-ji who requested that the artist make dragons “rampage across the ceiling”.  They rampage in spectacular fashion and I spent a good while admiring them.  A bought a copy of the painting and it is now framed and up on the wall at my home in Oxfordshire.

In modern Japan, Zen temples and Shinto shrines often stock their garden ponds with carp, which grow to great size in a spectacular range of colors.  Keeping them is partially inspired by Koi-no-Takinobori, the Japanese name for a Chinese legend of a carp that became a dragon after swimming up a waterfall.  We saw many incredible Koi in Tokyo and Kyoto, but I will not count them as dragons.

A water spirit

Unlike the Western dragon which is essentially a winged fire-breathing lizard, and a creature of the earth, the Japanese dragon is a wingless (but sky dwelling) water spirit.   At the Hakone Shrine (Hakone Jinja), at the foot of Mount Hakone and along the shores of the lake Ashinoko, our dragon encounter was at a Shinto shrine dedicated to the deity Ryujin (龍神).  Ryujin is associated with rain, good catches for fishermen, and with agriculture.  According to the Encyclopedia of Shinto ‘The dragon kami is connected with agriculture because of its characteristic as a water kami. Prayers for rain were performed at rivers, swamps, ponds, and deep pools which were regarded as the abodes of the ryūjin.’  At the shrine is an extraordinary  Chōzuya (purification basin), where holy water spouts from each of the nine dragon’s heads.  It was the dragon highlight of the trip.  Four dragon encounters is not a large number, but they were of the highest quality and I will never forget them.

10 Days in Japan

June 15th, 2017

trees gardenBetween 13th and 23rd May 2017, I travelled across Japan with a small group of friends on a trip organised by Trailfinders.  I have wanted to go for more than a decade and my expectations were sky high, and I am happy to say I wasn’t disappointed.  I wasn’t sure what lenses to take with me, so I took both my Leica Q and the Nikon Df with 20mm, 35mm and 85mm fast primes.  I ending up using the Leica Q (28mm) and the Nikon Df with the 85mm fitted almost exclusively, both slung across my chest in readiness.  You can see the gallery here.  This was our itinerary:

Day 1 – Arrival in Tokyo

We flew from London to Tokyo on British Airways.  Given the time difference we arrived with time to spare on our first day, which gave us the opportunity to explore the area around the excellent Park Hotel in Shiodome, our base in the metropolis.  Shiodome is close to the Ginza District, the upmarket shopping area of Tokyo, so had a short walk around the area and a lunchtime beer at the Ginza Lion Beer Hall with an accompaniment of delicious hoho-niku (tuna cheeks).  We noticed the displays of plastic food (sampuru) outside the beer hall, which seem to be ubiquitous in Japan.  None of us had slept well on the flight and our rooms had not been ready on arrival, so we headed back to the hotel to clean up and rest.  On the way back we came across Hakuhninkan Toy Park, which introduced us to the mad world of Japanese toys and collectables.  That evening we ate at Tsukada Nojo which was most notable for moromi-miso; a chunky condiment made from miso served with raw vegetables, of which we could not get enough.

Day 2 – Tokyo

  • On our first full day in Tokyo we were accompanied by our guide Akiko, who was very knowledgable and helpful.  We headed for the Meiji Shrine (Meiji Jingū), in Shibuya, a Shinto shrine dedicated to the Emperor Meiji and his wife.  Entering through an enormous Torii gate (made from a 1,500 year old tree) we passed into a large forested area which covers 175 acres and consists of around 120,000 trees of 365 different species from all over Japan.  It is both tranquil and beautiful.  There is also a huge decorative display of sake barrels (kazaridaru) in the grounds,  which relates to the offering of sake every year to the  deities at Meiji Jingu Shrine.  As we walked though the three Torii gates, Akiko told us that we should not walk through the centre line of the gate.  This is called the Sei-Chu and is the area designated for the enshrined gods to pass through.
  • Being British and in need of a restorative cup of tea we stopped at a Cat Cafe located near the entrance to the Shrine.  Japan holds the record for the most cat cafés in the world, with as many as 39 in Tokyo.  I took a bit of a risk entering the place – I am asthmatic and allergic to cats, which is not a great combination, but observed the rather bizarre spectacle without consequences.
  • Next was Takeshita Street or Takeshita-dōri, a shopping street in Harajuku, which was packed with fashion concious teenagers, followed by Omotesandō, an upmarket tree-lined avenue, once the official approach to Meiji-jingū. These days it is a fashionable and architecturally notable shopping strip.
  • After a spot of excellent sushi we moved on to Sensō-ji, an ancient Buddhist temple located in Asakusa. The temple is dedicated to Guanyin, the Buddhist Goddess of Mercy, and is one of the most widely visited spiritual sites in the world.  We approached it though the spectacular Thunder Gate, and a walk down the wonderful Nakamise Shopping Street.  I found a gorgeous picture of the Thunder Gate in one of the stalls, which I was keen to buy, but the price tag was far out of reach as it was an original.  Prints will, the vendor, told me be available in about 30 years.  Not far from the temple we came across a small park with the most spectacular collection of koi we had ever seen.
  • We moved on to Kappabashi, or Kitchen Town and visited the Kamata knife shop. I enjoy cooking, and love Japanese steel, so I purchased a very beautiful chef’s knife made by Ryusen.
  • We returned to the hotel via a cruise of the Sumida river and ate in the hotel, quite worn out.

Day 3 – Tokyo

  • The Tsukuji fish market is the biggest wholesale fish and seafood market in the world and is located within walking distance of Shiodome, between the Sumida River and Ginza.  Visiting it involves making a choice of either arriving at 3 AM to queue to see the tuna market open at 5 AM, or arriving by 10 AM to see market wind down.  We chose the latter.  The market handles more than 400 different types of seafood (many of which look like nothing on earth) and the place is a whirr of activity – most notably the ‘Turret Trucks’, which are extremely hazardous to the unwary.   Whilst we missed the tuna market, we did see tuna being carved with extremely long knives, variously called called oroshi-hōchō, maguro-bōchō, or hanchō-hōchō.
  • We took the tube to Shibuya Crossing, considered a must see for many visitors, and located outside the Hachiko exit of Shibuya Station. This exit is named after a famous dog, whose statue has become a popular meeting place.  Shibuya Crossing effectively is a crossing point at the meeting of five roads in one of the busiest parts of the most populous city in the world, and the spectacle of up to 1,000 people crossing the road concurrently is quite astonishing.
  • I was keen to visit a guitar shop in Japan, particularly as Fender Japan are noted for being quite innovative.  G’Club, Shibuya did not disappoint and I purchased a low cost, light weight Japan-only Fender Telecaster that plays extremely well.
  • That evening we took in Akihabar (or Electic Town), which is  famous for its many electronics shops, its otaku (diehard fan) culture, and many anime/managa shops before exploring East Shinjuku/Kabukichu, in all its neon splendour.  It is a red light district and supposed to be somewhat edgy, but we were so mesmerised by the neon lights, if there was any menace there it passed us by.  We were not tempted to enter any of the establishments that beckoned us.


William Klein and The Zero Degree of Street Photography

April 1st, 2017
© William Klein
Dance in Brooklyn 1955 © William Klein

I came across the work of William Klein when browsing though photography books in a book shop.  It didn’t take many turns of the pages for me to decide to buy the book and learn more about the man and his photography.  I found his raw, ironic, high contrast and grainy street photography vibrant, often strange and compelling.

The anti-photograph

William Klein came to the notice of the world in the 1960s after he was talent spotted by the art director of Vogue who saw an exhibition of his early abstract work and offered him a job on the spot.  Klein had studied painting in Paris but was untrained as a photographer and considered himself an an outsider – lacking any respect for the photographic technique he didn’t possess.  In later years he ascribed this to a contrarian instinct: “Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.”

Fashion photography is traditionally highly polished, and his untutored, highly dynamic and ironic approach was revolutionary.  Vogue subsequently financed a street photography project in New York where Klein, encountering culture shock after his time in Paris – which he feared would soon wear off – went “in search of the rawest snapshot, the zero degree of photography”.  To get there he employed “A technique of no taboos: blur, grain, contrast, cockeyed framing, accidents, whatever happens…” and adopted the role of  “a make-believe ethnographer”.

Life is good…

The resulting book ‘Life is Good and Good For You in New York’ (1955)  became a prize winning route to celebrity, though no American publisher was willing to publish it (and didn’t for 40 years), considering it unflattering to the point of being anti-American.  Instead it was first published in Paris, Klein’s adopted home.  He followed up with books on Rome, Moscow and Tokyo all in the same inimitable, rebellious style.   Despite his success he became restless and turned to film making.  His first film was Broadway by Jazz, described here in an article in the Financial Times in 2012:

Broadway by Light is often described as the “first pop film”, and to watch it now is still an exhilarating 11-minute roller-coaster ride through the neon of Broadway and Times Square. Klein invented his own kind of visual jazz – violent, vulgar, seductive and beautiful, with a soundtrack to match. The camera moves ceaselessly in and out of the alphabet of signs as the bulbs bloom and fade into abstract blobs of pure colour: Coca-Cola, Budweiser, Rock Hudson, The New York Times. Fascination. Continuous till 4am. Orson Welles said it was the first film in which “colour was necessary”.

Klein only returned to photography in the 1980s, where his pioneering role was recognised.  Since then he has won many more awards and become known for his graphic design work, which applies bold slashes of paint to the enlarged contact sheets he had marked up in pencil years before.

Street style

In his street photography William Klein likes to get into the thick of things; filling the frame with the chaos of the city.  He mixes and moves with his subjects, embracing a wide lens for close up shots and motion blur in a way no one has before.  As he said: “sometimes, I’d take shots without aiming, just to see what happened, I’d rush into crowds – bang! bang! I liked the idea of luck and taking a chance. Other times I’d frame a composition I saw and plant myself somewhere, longing for some accident to happen.”  An article in the  Independent in 1998 sums up his approach:

In Klein’s New York people press themselves up against the lens, dancing around the photographer, pulling faces, pretending to shoot each other, or the photographer, with toy guns. It is the kind of photography that is impossible to do today: people are no longer delighted to be snapped in the street, do not dance or horse around in Harlem on Easter Sunday for a photographer. They were intrigued by this white guy with his beautiful French wife.

William Klein
“Moves + Pepsi”, Harlem © William Klein

His preference for the wide angle lens came from the “contradictions and confusion” that it revealed, and enabled him to include many subjects in his innovative composition.  Of the blur he said: “If you look carefully at life, you see blur. Shake your hand. Blur is part of life“.   His prints use extreme contrast and grain complete the visceral effect.  The combined effect is perfect for street photography, as this post in Streethunters from 2015 describes:

Perfection. We all strive for it when it comes to photography. Perfect exposure. Composition. Tack-sharp images. But, street photography isn’t about perfection. At it’s core, street photography is about capturing life. And life is far from perfect. William Klein, in his own way, mastered imperfection within street photography and became a trailblazer.

Klein’s maverick work has an immediate impact but is difficult to interpret. This is apparently by design.  In what has become my favourite William Klein quote he said: “My photographs are the fragments of a shapeless cry that tries to say who knows what… What would please me most is to make photographs as incomprehensible as life.”  Or maybe not as, in an interview in 2013, when asked which is the most gratifying medium he chose film on the basis that “people don’t know how to read photographs. There isn’t this dialogue….What you put in a photograph is not always perceived by the other people who look at them as what you wanted to say. There isn’t a culture of photography. You learn about music appreciation at schools or go to museums, but I found that generally people don’t study photography. There are a lot of things that can be said in photographs but people don’t relate to them.”

Many photographers have been inspired as much by his attitude as his photographs, which is why you will see so many William Klein quotes in posts and articles about his life and work.  More artist than photojournalist, his lack of respect for the established order, his raw technique and the way he interacts with his subjects make him  one of photography’s great sources of inspiration.


Alcohol, Ether and Gun Cotton

March 11th, 2017

Ruined Manor Hampton Gay

Gun cotton photography

Early photography was not easy.  The wet- plate collodian  process used between the 1850s and 1880s uses a solution of gun-cotton in ether and alcohol and requires the entire photographic process including coating the plate, exposing and developing it to be completed within fifteen minutes.

These and other challenges faced by early photographers were brought home to me by the the recent BBC documentary ‘Britain in Focus’, produced in partnership with the National Media Museum and presented by Eamonn Mccabe.  The first episode covered the earliest period of Photography in Britain – from polymath inventor Henry Fox Talbot in the 1840s to Peter Henry Emerson in the last years of the nineteenth century.  The journey surveyed some of the greatest pioneers of early photography in their most famous locations: Fox Talbot in Lacock Abbey, David Octavius Hill and Robert Adamson in Newhaven, Roger Fenton in the Crimea, Julia Margaret Cameron at Little Holland House, Robert Howlett in the Isle of Dogs and Peter Henry Emerson in the Norfolk Broads.

Roger Fenton

I am familiar with the work of most of the photographers in the program, but curiously I had not come across Roger Fenton.  I was hugely impressed by his images and a little research showed him to be an extremely important photographer.  Born into a wealthy banking family in 1819, he studied law at Oxford and painting in Paris before he took up photography, learning the early Calotype process developed by Fox Talbot.  Fenton was a founder member of the Photographic Society (later the Royal Photographic Society), the first official photographer of the British Museum and quite possibly the world’s first officially appointed war photographer, photographing the Crimean War in the first systematic coverage of a conflict in 1855. 

Alcohol Ether and Gun Cotton
Roger Fenton’s Wagon

The Crimean war

Fenton’s connections led to his commission by the British government to photograph the Crimean war – a conflict that pitted the Russian Empire against a somewhat unlikely alliance of Britain, France, the Ottoman Empire, and Sardinia.  He took a photographic assistant, a servant and a large horse-drawn van converted from a merchant’s wine wagon to carry his cumbersome large format glass plate photographic equipment (see image, right).   The wagon offered a good target for Turkish artillery and Fenton also suffered from the high temperatures, broken ribs and cholera.  Nevertheless, and despite the long exposures and rapid processing required, he was able to capture 350 images, most of which were later exhibited across Britain and displayed to the British and French royal families.  Fenton was a technically accomplished photographer and his large format images from Crimea are striking.  They consist mainly of posed portraits and scenes and landscapes of battle sites including the iconic The Valley of the Shadow of Death.  Though he saw plenty of horrors during the conflict, he did not record any with his camera, most likely because his government patrons wanted the images that could be used as part of a campaign to counter reports of wide spread military incompetence in a war that was unpopular with both the press and the public.

The depth of field made possible by the large format, together with marvellous tone and composition make Roger Fenton’s work quite extraordinary.   In addition to his war photography he shot royal portraits, architecture, landscapes (such as those of Bolton Abbey covered in the documentary) and still life.   He regarded photography as both art and business and abandoned it entirely in 1863 to return to law when he saw its status was diminished to a craft – illustrated by the 1862 International Exhibition’s placement of photography in the section reserved for instruments and machinery.  He died only a few years later in 1869.

Large format film photography

Large format film photography, and particularly wet-plate collodian images, have a unique look that can not be reproduced with 35mm cameras – the shot of Roger Fenton’s wagon clearly shows this.   However, the supporting image in this post is an homage to it.  The shot of the ruined manor at Hampton Gay (which burned down in 1887) gives the impression of a shallow depth of focus at distance using motion blur.  It was sepia toned and I added some grain and lens falloff in post production.  The shot was taken on a Nikon Df DSLR mounted on a tripod with a 40 second exposure at f13 using a black glass ND filter.  At some point I’d love to take a large format camera out to shoot the ruined manor, preferably a glass plate camera.  I doubt I will ever mange it, but if anyone in Oxfordshire has the equipment and expertise and is open to hiring both, I’d be very open to it.



The Windmill at Brill

November 12th, 2016

The windmill at BrillA windy weekend

One weekend when the weather was cloudy with very strong winds I thought I’d try out my long exposure technique, so I drove out to Brill with my Nikon Df.  Brill is a location well known to photographers all over Oxfordshire and Buckinghamshire, and attractively perched on top of a steep hill, with an excellent view over the plain below.  The result is shown to the right, I was quite pleased with it.


The origin of the name of the village is derived from both the Anglo-Saxon and Celtic words for hill (Bre-hyll). In the reign of Edward the Confessor it was called Bruhella.  It is notable for its old post mill, the timbers of which reputedly date from 1685 and the clay pits were dug for the production of pottery and Brill bricks.   The clay pits were in use from Roman times until the last bricks were produced in the 1920s.   Roman occupation in the Brill area is highly probable as suggested by finds of tiles and pottery and the square earthworks believed to have been a Roman look-out.  The village is also close to the Roman road of Akeman Street.  It was a royal manor of the kings of Wessex in the Anglo-Saxon period and there was a Royal Palace at Brill until it was destroyed by the Parliamentarian John Hamden in 1643.  Edward the Confessor, Henry II, John, Henry III and Stephen all held court there in the 12-13th centuries.

Brill was the scene of a battle during the English Civil War. After the Battle of Edgehill in November 1642 a royalist force occupied the village. Parliamentary troops were sent to oust the royalists, and on January 27th 1643 the two forces met in the Battle of Brill.

The royalists had thrown up sturdy earthworks, perhaps using remnants of Brill Castle. The Roundheads launched a fierce canonnade, but called off the attack after several hours when the Royalists lit damp straw on fire, creating a wall of choking smoke. Residue of the Royalist defenses can be seen in the village.  During the 1830s an attempt was made to turn Brill into a spa town, as there is a spring between the nearby village of Dorton and Brill but royal patronage favoured Tunbridge Wells and Leamington Spa over the rather isolated village.

The Pheasant

The Pheasant pub has outside seating that provides access to the view over a pint, which is very pleasant in the summer.  The site of the windmill is a popular spot for a picnic, with children and dogs often scampering about amongst the undulations of the old clay pits, and of course there are plenty of photographers…

Caravaggio – The original master of darkness and light

October 28th, 2016

Always the same Jesus

Beyond Caravaggio

Beyond Caravaggio at the National Gallery is an exhibition that examines the influence of one of art’s true originals, Michelangelo Merisi da Caravaggio (1571-1610). Whilst the exhibition focuses on his influence on art via the Caravaggisti and later followers (Only 6 of the 49 paintings in the show are actually by Caravaggio), Caravaggio’s influence reaches well into to the present day; his use of everyday subjects and of dramatic lighting are cited as an influence on director Martin Scorsese, the photographer David LaChapelle and visual artist Mat Collishaw.

A turbulent life

Caravaggio lived a short, turbulent life that was celebrated and notorious in equal measure.  He was orphaned to the plague as a boy of six.  At eleven he apprenticed in Milan but left in haste after wounding a police officer.  At 21 he moved to Rome and gained fame with the success of his first public commissions, but he was regularly in court and jailed on several occasions.  He was known for his drinking and whoring as well his brawling.  His powerful supporters helped smooth things over with the authorities but there was only so much they could do to contain a man overflowing with violence.  According to the German art historian Joachim von Sandrart (1606–88) Caravaggio spend his time in Rome “in the company of his young friends, mostly brash, swaggering fellows—painters and swordsmen—who lived by the motto nec spe, nec metu, ‘without hope, without fear.’”  He was, as Time Out noted, a real Baroque and Roller.

In 1606 he had a death sentence pronounced against him by the Pope after he killed a well known pimp in a knife fight.  He spent the rest of his life on the run in fear of his life in Malta, Naples and Sicily. He slept in this clothes and always had his dagger to hand.  His art, unsurprisingly, became darker and he was horribly mutilated by his enemies when they caught up with him in Naples in 1609.  It is likely that they inflicted a sfregio (facial wound), as a visible sign of revenge. He died, still on the run, in 1610 aged 38.


Caravaggio is most famous for his dramatic use of light, an extreme variant of chiaroscuro, using dark shadows to produce strong contrasts between light and dark with an incredible tonal range.  With this he captured form and added drama to his scenes in a way that no one before him had accomplished.  The scenes he painted were spot lit from above; he once had a run in with a landlord for breaking a ceiling to let in light.  It is so modern looking that David Hockney has referred to it as  ‘Hollywood lighting’.   There are claims by Italian researchers that his chiaroscuro is based on a form of photographic technique – the suggestion is that Caravaggio projecting the image of his subjects onto canvas using a lens and mirror and that he treated the canvas with a light-sensitive substance made from crushed fireflies, in order to fix the image.  This hypothesis remains unproven.

A new kind of naturalism

He combined dramatic lighting with a new kind of naturalism – painting people from the streets directly from life, and with incredible levels of often dirty hyperrealism created without drawing beforehand.  He populated biblical scenes with Roman prostitutes, beggars and thieves, bringing the sacred and the gutter together as he did so and dividing popular opinion.  He also applied the same level of detail and realism to still life as to the people in his paintings.  Great emphasis can be seen in the still life on the table in front of Christ at the ‘The Supper at Emmaus’ (1601), for example.  It was this combination of dramatic lighting and realism that created the pictorial and narrative power he became renowned for.  In an era when great art required powerful visual story telling, he elevated this to new heights.
Caravaggio was hugely influential throughout Italy and this spread to France, Belgium and the Netherlands and the exhibition seeks to show his influence by bringing together a collection of Caravaggio-inspired pieces.  These are my top three highlights of the show:
  • The Taking of Christ, Michelangelo Merisi da Caravaggio.  Painted at the height of Caravaggio’s fame, The Taking of Christ is a high contrast, dramatic treatment of the familiar biblical story of betrayal.  It is set in the garden of Gethsemane rendered as indeterminate, dark space, lit by the moon and, weakly, by lantern held by Carravagio who peers in from the edge of the scene.   (The shot on this post shows that image of Caravaggio in the background).  The painting offers a flash illuminated freeze frame of three soldiers in black armour, their faces largely hidden, who have come with Judas to seize Christ  – one of them grasping his throat with a mailed fist.  The brutality of the state is in contrast with the calm and meek Christ, who offers no resistance, whilst St. John the Evangelist flees from the violence in anguish.   It is dense, mysterious and incredibly dramatic.
  • Christ displaying his Wounds,  Giovanni Antonio Galli (nicknamed Lo Spadarino because his father was a sword smith).  Perhaps the greatest work of one of the most talented and inventive of Caravaggio’s disciples, this painting is as hyper real is it is strange.   A pale Jesus, lit by light that appears to come from nowhere, and naked except for his shroud, holds the wound on this side apart with hands holed by nails.  He makes direct eye contact with us with an expression that is full of accusation
  • The Martyrdom of Saint Bartholomew by Jusepe de Ribera.  Saint Bartholomew’s executioner sharpens his knife in preparation of the flaying his about to perform – the knife and steel forming a symbolic cross.  Bartholomew stretches out his arms to heaven, creating a powerful diagonal, his face lit by grace as much as light.  The executioner’s expression is inscrutable, which makes the painting quite frightening.

A lucky shot

I was looking for an image to accompany this post from my day’s shooting when I came across the shot above, which was taken outside the gallery after I had visited it.  I hadn’t considered it as  a candidate for this purpose as I hadn’t noticed the image of Caravaggio’s face from The Taking of Christ in the background.  When I did I was delighted, as the subject of the shot is carrying a placard reading ‘JESUS CHRIST the same yesterday today and for ever.’  This combination was pleasing to me; there is Caravaggio, in a detail from a painting from 1602, linked to a message about Christ being the same today as he was in the past.  The picture was shot with a Leica Q at f2.8 at 1/8000 sec.  The sunlight was very bright after the heavy rain that had fallen earlier so I used -1 ev of exposure compensation to stop the highlights blowing out.   It is a high contrast shot, which is entirely appropriate for the purpose.  Between the man with the placard and Caravaggio there are also two figures that bring something to the shot.  A woman, dressed in light clothing,  scrutinises the street preacher, who is dressed in black, whilst in the middle distance a girl shades her eyes as she looks at him also.  Both these figures provide detail on different planes, which is generally desirable.


Fox Talbot and Early Photography

September 24th, 2016

Fox Talbot Early Photography

Fox Talbot at dawn

The recent exhibition Fox Talbot: Dawn of the Photograph at the Science Museum in London which ended on September 11th 2016 was described as ‘magical to behold’ by  Time Out  and ‘ground-breaking’ by The Times.  I found it extremely enjoyable as it told the story of the pioneers of early photography very capably as well as displaying a great body of their work.

Central to the story of early photography is William Henry Fox Talbot, who was born in February 1800.  He attended Cambridge University in 1817 and went onto become a gentleman scientist, inventor, Egyptologist, member of parliament, mathematician, astronomer, archaeologist and transcriber of Chaldean cuneiform texts as well as a pioneer of photography.

It was a struggle with his sketchbook that put him on the road to photography: in 1833 at Lake Como in Italy, he found it difficult to capture the scenery adequately by sketching it with the aid of a Camera Lucida (an instrument used by draftsmen at the time which uses a prism to direct rays of light onto paper producing an image and from which a drawing can be made.)  This started him on the journey of discovery with light-sensitive paper to automate the process that he was to pursue at his home in Lacock Abbey in Wiltshire.

Science, silver and sunlight

Investigations with silver nitrate and sunlight actually go back as far as Angelo Sala (1576-1637).  Johann Heinrich Schulze (1687-1744) was the first to create photograms (a process that does not require a camera) with paper masks and Talbot would have been well aware of the work of Thomas Wedgwood (1771-1805) and Sir Humphry Davy (1778-1829) who also worked on photograms of leaves and other objects.  These could not adequately fixed and faded quickly. Talbot built on this work, experimenting with plants and lace on paper coated with silver nitrate and fixing the images with salt to produce sciagraphs – drawings of shadows.

Talbot created the first negative in 1835, which minimized exposure time considerably compared to previous methods.  He had help from his friend Sir John Herschel (1792-1871), one of the leading British scientists of the time, and another formidable polymath, who was an astronomer, mathematician, chemist, inventor and experimental photographer. It was Herschel who solved the problem of ‘fixing’ pictures (used by both Talbot and Daguerre) and was also the first to use the terms ‘photography’ and ‘negative’.

Inventors and pioneers

There is some debate as to is the inventor of photography or even who was the most influential of the pioneers.  France can claim Nicéphore Niépce (1765-1833), inventor of a process known as heliography, who used a Camera Obscura to record an image of his country estate in 1826 via an eight-hour exposure.  Better known is Louis-Jacques-Mandé Daguerre, (1787-1851), a former architect and artist who collaborated with Niépce, and who had used the Camera Obscura to assist with his paintings in his earlier career.  He developed the Daguerrotype process after Niépce‘s death – a process based on light-sensitive, silver-plated copper, unique in the family of photographic process, in that the image is produced on metal directly without an intervening negative.   Hippolyte Bayard (1801-1887) also holds a claim as the developer of the direct positive process and the first in the world to hold a photo exhibition.  Bayard’s story embodies the struggle for recognition and adds a human dimension in the midst of all the science on show at the museum.   It also serves up one of the most interesting images of the exhibition. Bayard was persuaded to postpone announcing his new positive process to the French Academy of Sciences by a friend of Daguerre, which cost him the recognition he deserved, and led him to create the first staged (or faked) photograph entitled, Self Portrait as a Drowned Man, which was on show at the Science Museum exhibition. The image portrays the photographer as a corpse, and M. Bayard wrote a fake suicide note on the back:

“The corpse which you see here is that of M. Bayard, inventor of the process that has just been shown to you. As far as I know this indefatigable experimenter has been occupied for about three years with his discovery. The Government which has been only too generous to Monsieur Daguerre, has said it can do nothing for Monsieur Bayard, and the poor wretch has drowned himself. Oh the vagaries of human life….! … He has been at the morgue for several days, and no-one has recognised or claimed him. Ladies and gentlemen, you’d better pass along for fear of offending your sense of smell, for as you can observe, the face and hands of the gentleman are beginning to decay.”


Shooting Las Vegas

June 21st, 2016

Gambling Las VegasOrigins

Las Vegas is undoubtedly one of the stranger places in the USA.   Its sheer scale, the juxtaposition of replicas of famous landmarks, the relentless 24 hour gambling and the fantasy element of the place all contribute to that strangeness.  It is also hard for me to get over it’s origins, summarised here by

A desert metropolis built on gambling, vice and other forms of entertainment…the city was founded by ranchers and railroad workers but quickly found that its greatest asset was not its springs but its casinos. Las Vegas’s embrace of Old West-style freedoms—gambling and prostitution—provided a perfect home for East Coast organized crime. Beginning in the 1940s, money from drugs and racketeering built casinos and was laundered within them. Visitors came to partake in what the casinos offered: low-cost luxury and the thrill of fantasies fulfilled.

The chain of events that led to Mafia involvement in the development of the city is straightforward enough. The state of Nevada legalized gambling in 1931, but no one paid attention until after World War II, when the Mafia, in the form of Meyer Lansky and Bugsy Siegel, saw business potential.   Siegel opened the showcase 105 room Flamingo Hotel and Casino in December 1946 and whilst he paid the ultimate price for skimming from Mafia operations the Flamingo was successful under Lansky and other crime families moved in.  Properties such as the 1,000 room Stardust, the Desert Inn, and the Riviera followed.   In 1959 the Revolution in Cuba removed President Batista, who had been in league with Lansky, and with him the gambling concessions he had made to the mafia.  It also made Havana a no go destination for many high rollers who re-routed to Las Vegas, accelerating its development.     Today a significant proportion of the largest hotels in the world are on situated the Strip.


Downtown Las Vegas, the original site of the town and gambling district of Las Vegas, centres on Fremont Street.  It has had significant investment of late but still appears to be the poor relation to The Strip, or offers a more vintage experience, depending on your perspective.  On one trip I had breakfast with a fellow photographer before heading out to Fremont Street and we discussed our approaches to photography.  Fred is an out-and-out street photographer; his interest is in people, pure and simple and he has a practised technique to get in close and yet not be noticed.  I work differently as I am very interested in the relationship between the background and people in the frame.  I suppose that makes me more of a travel photographer; I want to capture something of the spirit of place wherever I am at the time.  In the shot here I wanted to combine the large ‘Gambling’ sign with the women dressed as show girls. For this shot I used a circular polariser, which required an ISO setting of 2,500 for f8, but the boost in contrast was worth it.  The noise the Leica Q produces is relatively filmic and if it appears excessive I apply Topaz DeNoise.   The other shots from my various trips to the desert metropolis are in the Las Vegas gallery.

A Game Changing Camera: The Leica Q

May 14th, 2016

Objects, Deal MarketBefore the Leica Q

Before the Leica Q, I have never considered owning a Leica.  I have been 100% loyal to Nikon for film SLRs and DSLRs (I am now on my 4th generation – the Df), though that isn’t the case when it comes to compact cameras, where I’ve typically used Canon ultra compacts like the Canon S120.   Recently I started to wonder about getting a large sensor compact camera which would be more suited to street photography than my DSLR or the Canon S120.  This interest was triggered by a friend of mine purchasing a Sony RX1 which packs a full frame sensor into a relatively small package.  Initially I didn’t consider the Sony due to cost – at £2,700 this was no trivial purchase and instead looked closely at the The Fujifilm X100T and Olympus OMD 5 Mk II.  Both of these cameras have retro looks and plenty of external controls, which personally I prefer and were far less expensive than the Sony.


The Fujifilm X100T resembles a Leica range finder, is competitively priced and is equipped with an APS-C  16.3MP  sensor, a 23mm f/2 lens (35mm equivalent) and a hybrid electronic/optical EVF. Its image processor is effective in low-light and at high ISOs and there is a well regarded film simulation mode.  If you do a search for ‘best camera for street photography’ it features well and so looked like a strong contender.  The OM-D E5 Mk II is a rather different camera, as it offers a choice of lenses with a 16MP Four Thirds CMOS sensor.  It has an electronic EVF and is also equipped with a tilt screen, 5 axis stabilisation and environmental sealing, none of which are present on the Fujifilm.  It also had its fans when it came to street photography, not least because of its tilt screen and image stabilisation.  Lastly, the f2.8 APS C Ricoh GR II (one of the few fixed 28mm equivalent cameras) is also viewed by many (notably Erik Kim) as an ideal street photography camera.


Then I read started to read reviews of the Leica Q.  Pocket-Lint described it as “the best fixed-lens full-frame compact ever made” but it was Craig Mod‘s blog that really got me thinking.  It was a six month field test in Asia and was one of the positive and compelling reviews I have ever read of a camera.

“Make no mistake: The Q is a surgical, professional machine. It pairs best-of-class modern technology (superb autofocus, an astounding electronic view finder, workable isos up to and beyond 10,000, a fast processor, beefy sensor) with a minimalist interface packed into a small body, all swaddled in the iconic industrial design for which Leica has become famous. The result is one of the least obtrusive, most single-minded image-capturing devices I’ve laid hands on.”

“If the gf1 so many years ago set in motion an entirely new genre of camera with micro four-thirds, the Q epitomizes it. If the iPhone is the perfect everyperson’s mirrorless, then the Q is some specialist miracle. It should not exist. It is one of those unicorn-like consumer products that so nails nearly every aspect of its being — from industrial to software design, from interface to output — that you can’t help but wonder how it clawed its way from the r&d lab. Out of the meetings. Away from the committees. How did it manage to maintain such clarity in its point of view?”

I believe that in hindsight… the Leica Q will be seen as one of the greatest fixed-prime-lens travel photography kits of all time.”

After reading that review I realised I wanted a Leica Q quite badly – but at close to £3,000 could I justify the purchase? (more…)

Back to Film with The Nikon F3

May 7th, 2016

V and A Museum Knight's TombIt’s been a while

It has been a long time since I shot with film.  My last film camera was a Canon IXUS, an automatic compact which took APS film 20 years ago.  Though I have always had a camera to hand since I was a small boy I was strictly a point and shoot photographer until I moved to digital, and didn’t move to an SLR until after I had turned to digital.  Recently, whilst staying with friends in Stockholm, I came across an Aladdin’s cave of a camera shop, which had a number of film cameras for sale, including Kodak Instamatics, Rolleiflex TLRs and Nikon SLRs, including several F3 models, some fitted with external motor drives.  The Nikon F3 model I picked out was somewhat worn and had a hole in the bottom of the body (which I later discovered was due to a missing motor drive coupling cover) but I was very taken with it and bought it on impulse together with some Ilford black and white film.

That evening I did a bit of research and discovered that the F3, the successor to the legendary F and F2, was the last of the manual-focus, pro 35mm SLR cameras; it was introduced in 1980 and stayed in production until 2001.   Unlike its predecessors, which had always been entirely mechanical, the F3 uses an electronically controlled shutter which requires batteries.  This dependance on the battery power was initially quite controversial and adoption was not universal amongst Nikon professional shooters.  Those fears turned out to be unfounded as the F3 turned out to be of the same bulletproof nature as the F and F2 and very reliable.

Styled by a genius

The F3 was styled by Italian design genius Giorgetto Giugiaro who styled the Ferrari 250 GT SWB Bertone (1960), the Aston Martin DB4 GT Bertone ‘Jet (1961) as well as motorcycles and firearms.  It was the first Nikon to use a red accent – in this case a vertical red line near the hand grip – which has subsequently become an integral part of the design language of Nikon cameras.  The dials on the top plate were familiar looking to me as I have been using the retro styled digital Nikon Df for some time.

As the F3 is electronically controlled it offers aperture-priority automation as well as manual operation.   The metering system is TTL and reads the light over the entire focusing screen but 80% of metering sensitivity is set to the central 12mm area, whilst the outer area of the screen only gets 20% consideration.  As I am completely accustomed to matrix metering, this might require some change of technique to get accurate exposures. There is a small LCD readout that shows the shutter speed.  The camera is of modular design, which enables a wide choice of focusing screens and finders.    The  electronically controlled shutter is of the horizontal-travel focal-plane type and is made of titanium.


Before I could get to use my new purchase I needed to get it serviced and replace the missing motor drive coupling cover.  Reading a little more I learned that my camera was fitted with an unusual focusing screen, a plain matte screen which lacked the usual split image rangefinder spot.  The F3 can take over 20 types of screens and mine was apparently fitted with a Type D, which is used for close ups and for use with long lenses.  I called Greys of Westminster and ordered the more usual Type K type screen and a new coupling cover and took the body into my local camera shop, imagex, who sent it away for a much needed service, which cost a very reasonable £69.

Once the camera was back I bought some Ilford HP5 400 film and headed for the Victoria and Albert Museum, where I shot some of the statues in various galleries, whilst I also visited the excellent Paul Strand photographic exhibition.  The shooting experience is good on the Nikon F3, especially the manual focusing, but I did have a few exposure issues.  I probably could have pushed the film speed of the HP5 further than I did, but I put that down to experience.   I also kept looking at the back of the camera to see what I had shot, only to be greeted by cardboard film type insert on the camera back.   My first keeper is shown above – I really like the grain and the tone of film and plan to continue to experiment with it.

The Many Pleasures of Oxford

April 24th, 2016

Radcliffe Camera OxfordAn ancient place

The exact date of the foundation of the city of Oxford is uncertain, but the place is ancient.  Sited on an important crossing point across the Thames, which formed the frontier between the Anglo-Saxon kingdoms of Wessex and Mercia, Oxford started as a ford for oxen (Oxenaforda).   The castle (now just a mound) dates from 1071 and the oldest standing building, the Saxon tower of St Michael at the Northgate, was built in 1040. The Domesday book records the right of the town’s Freemen to graze animals in Port Meadow free of charge – a right still exercised today. The University started in monastic halls, though none of these survived the suppression of the monasteries in the 1530s. The city was well established as an academic centre by the 13th century with University, Balliol, and Merton Colleges all founded during that century.

Academic life in Oxford was characterised by murder in the stories of ’90s TV detective Inspector Morse, and this violence in academia was foreshadowed by a turbulent relationship between Oxford’s town people and students. The most notorious incident occurred in 1354 in the Swyndlestock Tavern (a bank today), when two students took issue with the innkeeper about the quality of his wine. This dispute quickly escalated into an armed conflict that lasted three days and resulted in around 90 deaths.  Despite incidents like this and regular scholastic riots, by the mid 14th century the University was well established enough for Edward III to pay tribute to it for both its contribution to learning and the services to the state of Oxford graduates.  Several colleges were founded every century and there are now 38 in total.


Oxford’s growth was inevitably accompanied by some  reversals.  In the 12th century a fire burned the city to the ground and the black death of the 14th century reduced the population heavily; as did the sweating sickness epidemic of the 16th century.  The university benefited from these depopulations by buying up vacant property and continuing to grow its estates.

In the late 18th century Oxford connected to Coventry and the Thames, and in the mid In 1844, the Great Western Railway linked Oxford with London.  The city became more industrial when the automotive industry was established in nearby Cowley by William Morris, who built the Morris Garage in Longwall street in 1910.  The need for more space bought a move to a factory 1913 at Cowley and mass production followed, resulting in  Cowley expanding into a large industrial centre.  Despite its canal and railway links, the city had remained a tight knit , conservative and academic town, with the the university press the only large-scale employer.  The car industry transformed Oxford into one of the major industrial cities of southern England, though happily the architectural gems of the old city have been well preserved, also being spared the devastation meted out to so many other cities during World War II.

The sights of Oxford

As you might expect from such a historic city, there are numerous sights to be enjoyed in Oxford, which particularly photogenic, though it is often very crowded, especially in the summer. Here are my top ten:

  1. Cowley Road Festival OxfordThe cobbled Radcliffe Square containing the iconic Radcliffe Camera (part of the Bodleian Library), and surrounded by the ancient trio of Brasenose College, All Souls College and the University Church of St Mary the Virgin, with its excellent view from the top of the tower.
  2. The old pubs of the city, including the Kings Arms (1607), near Radcliffe Square; the Eagle and Child, frequented by J. R. R. Tolkien and C. S. Lewis and located on St Giles; the old coaching inn of the Lamb and Flag, also on St Giles; the 13th century Turf Tavern, and the Bear, one of the oldest of all, with its wood panels and collection of 4,500 ties.
  3. The Covered Market, which opened in 1774 and contains a fantastic selection of fresh produce, cafes and boutique stalls.
  4. Bohemian Jericho, which contains Freud, one of the most notable cocktail bars in the city, located behind the ancient looking Greek columns of St Paul’s Church on Walton Street and the excellent Indian cuisine of the Standard, also on the same street.
  5. The Sheldonian Theatre, designed by Christopher Wren for the University with its busts of the Philosophers or Emperors.
  6. Christ Church Meadow which borders the Rivers Cherwell and Isis (the local name for the Thames) which is ideal for a stroll.  The buildings of Oxford’s largest college are also very beautiful, though even busier now with visitors since the filming of the Harry Potter films.  Alice’s Adventures in Wonderland were also inspired and written there.  The Tom Tower is one of the most imposing sights – the upper part of the tower was which was designed by Sir Christopher Wren, who had himself been a student at the college.
  7. The eclectic collection of the Pitt Rivers Museum, founded by Lieutenant-General Augustus Pitt Rivers, an anthropologist who collected more than 20,000 objects from around the British Empire.
  8. The Ashmolean Museum of Art and Archaeology, on Beaumont Street, which was the world’s first university museum, and will content the culturally curious for several hours at a time.
  9. The ethnically diverse restaurants, shops and people of Cowley Road, with its annual carnival. This started in 2000 and now attracts crowds of up to 45,000 people, with live music and food stalls outside the many restaurants.
  10. The ancient grazing land of Port Meadow and the nearby pub The Trout, located on the banks of the Thames.

I lived in Oxford in the late ’80s and early ’90s, moving up from Deal in Kent, my home town.  Initially I rented a room in a crumbling gothic mansion in Norham Gardens, where I taught English to foreign students.  It was post graduate house populated by academics including a semiotician, several mathematicians and a philosopher.  I was asked to show my rather less distinguished Degree certificate to the landlady before I was able to move in.  Later, as Academic Representative for a German language school, I lived in a damp basement flat in Iffley Road – which gave me the opportunity to get to know the nearby Cowley Road.   During that time I came to be very fond of the City of Oxford and have lived in the county ever since.  I have been photographing the Radcliffe Camera for over 20 years, but the image included in this post is the first one I actually feel does it any justice.  It was taken on a wet, cold evening in January 2014 when hardly anyone was around and the sky was full of drama.  I took the shot with an old school 24mm  ƒ/2.8D prime lens originally designed for film cameras mounted on a Nikon D600 (a troublesome body I intend to trade in for a D500 at some point).  The Emperor’s head and the Cowley Road Festival shots were both taken on a Nikon Df with an AF-S 24-120mm ƒ/4 lens.

The Timeless Quality of Black & White Photographs

March 5th, 2016

Timeless Quality of Black and WhiteA lack of visual clues

Black and white images often possess a timeless quality that is more difficult to achieve with colour images. This is largely because colour provides more visual clues as to when a photograph was taken. Variance in the colours themselves can sometimes suggest a specific era –  the difference between the colour renditions of the 1970s for example, and today are often discernible; this is due to differences in colour processing, which have changed significantly over time.  The first permanent color photograph was taken in the 1860s using the colour separation method, which required shooting three separate black and white photos using three different coloured filters which are then projected together to create a color image.   By the first decade of the twentieth century colour separation using the Autochrome process which used millions of tiny colour filters made of potato starch spread over the surface of a plate of glass was available.  In the 1930s multi-layered colour film was developed, the first of which was Kodachrome.  The 1960s saw the development of instant photographs by Polaroid, and in the 1970s the C-41 chromogenic colour negative process replaced the C-22 process that Kodak had introduced in the 1950s.  Printed colour images may also be subject to varying degrees of instability as they age, which is also helpful in dating them.

With the advent of digital photography these clues have disappeared, but colour is also an element of fashion which inevitably gives a better sense of when the picture was taken.  Regardless of changes in fashion, colour provides a level of detail absent from black and white pictures – there is just less information for us to process, making a picture more difficult to date.   This is helpful in many genres of photography but is especially so for travel, street and portrait photography.  Whilst we know the approximate date we took our pictures, if when these photos were taken is difficult to discern, it seems to imbue them with additional value.  Why this should be a virtue is largely attributable to the notion of the ‘classic’ – something long-standing that does not date with age.  Synonyms of the word classic give us a clue to the value implied by the term: simple, elegant, understated, uncluttered, restrained, time-honoured, timeless, ageless, abiding, enduring and immortal.   Portrait photographer Anne Geddes made the point well when she said: “The best images are the ones that retain their strength and impact over the years, regardless of the number of times they are viewed.”

Photographing souls

Another aspect of timelessness, although more subjective, is that many photographers consider black and white photography promotes a stronger emotional connection with people.  Canadian photographer Ted Grant’s quote on this is well known: “When you photograph people in color, you photograph their clothes. But when you photograph people in black and white, you photograph their souls!”
   Souls being more durable and important than clothes (to all but the fashion industry!) this quality naturally creates a more timeless photograph.  Black and white photography preceded colour and so many of the pioneering masters of photography from Adams to Weston shot in black and white.  This adds a significant pedigree and a degree of nostalgia to black and white images.

The accompanying photo is of Newcastle based photographer Irena Childers and was shot in Garth Park, Bicester, as part of a camera club shoot.  It strikes me that the picture could have been taken at any time between from 1950 and the present day, but this only became apparent when I performed the mono conversion with Silver Efex.  The colour version just didn’t have the same timeless quality…

All About Tone

February 1st, 2016

Converting a pianist

Colossal head of Constantine

When a photograph is converted to mono and the colour removed, what remains is tone. Tone is in fact one of the reasons black and white photography has continued to be popular after the advent of colour.   It was the tonal quality of Paul Strand’s work that inspired landscape legend Ansel Adams to make a career change from classical pianist/hobby photographer as a hobby to full time professional.  It was the“full, luminous shadows and strong high values, in which subtle passages of tone were preserved” in Strand’s photography that Adam’s found so compelling.

Tonal range

Tonal range refers to the range and distribution of tones in an image from the darkest to the lightest values.  An image with a wide tonal range will include very dark (black) and very light (white) elements, whereas as one with a narrow tonal range will be limited to a more restricted area and will have less contrast.    Lighting conditions have a great impact on tonal range.  On a misty day in Oxford, UK the difference in brightness between the lightest part and the darkest parts of the scene will be relatively insignificant, but under the harsh light of the mid day sun in Arizona the range will be much greater.  Extremes such as that aside, images with a wide tonal range tend have both greater contrast and greater appearance of drama and depth. A narrower tonal range makes the image look flatter, though this may be by design.  Tonal range is influenced by the amount of and quality of light (harsh or soft) and the reflectance of the subject.  The addition of a polarising filter, something I use extensively, improves contrast and can thus help expand the tonal range.   Tonal range is different from dynamic range which refers to the ability of the camera’s sensor to capture shadow detail from the darkest values and highlight detail from the brightest values in the same shot.   Dynamic range is maximised in RAW format which records all the image data the sensor is capable of recording, and is one of the main reasons this format is used. describes the the tonal range of a digital image as “the number of tones it has to describe the dynamic range”, which helpfully describes the difference between the two.

Tonal contrast

Tonal contrast is created when light tones and dark tones are adjacent to one another – it has the effect of directing the viewers attention to the contrasting area and is the basis of the success of many black and white images.  It is an essential element of composition, but is not as well known as other compositional rules such as leading lines, the rule of thirds, framing, and diagonals.

A tonal curve is typically applied to the image by the camera by default as the image data from the photo sites is linear (the values are directly proportional to the light received), whereas human vision is non-linear.    The process is known as  (tone curve correction aka gamma correction) and makes the pictures look right to the human eye on a screen display. This process generally lightens the midtones.  This default tonal curve can be adjusted in the curves tool of RAW  conversion programs (such as the ageing but excellent Aperture, which I still use).  The Aperture user manual describes the use of the Curves tool quite well:

“You use the Curves adjustment controls when you want to manually set the tonal values of the shadows, midtones, and highlights in an image using a tonal curve. Unlike the Levels adjustment controls, the Curves controls do not reapportion the luminance values in the image by constraining the white and black points. Instead, you use the Curves controls to precisely remap the position of the midtones relative to the white and black points. Because the human eye’s perception of light is logarithmic rather than incremental, a curve is necessary to distribute the luminance values across all tonal ranges in an image in a way that matches how the eye perceives light in nature.”

Applying a tone curve

Applying an S-shaped curve to the data, which is initially shown as a straight line, applies a steep curve in the mid tones, which increases contrast and give the image greater impact.  A correctly exposed film image has an inherently more S shaped tone curve than a digital image, and film, being based on a chemical process, and therefore essentially analogue, also creates a smoother continuum of tones than digital cameras.  This difference diminishes with every generation of sensor.  As much as I care about tone, the advantages of the digital dark room, for me at least, vastly outweigh any disadvantages of digital photography.  Let’s take the example of dodging (applying reduced exposure locally) and burning (applying additional exposure locally), both of which are important techniques to modify tone.  To quote Ansel Adams once again: “dodging and burning are steps to take care of mistakes God made in establishing tonal relationships.”  Both are fiendishly difficult to master with film to the level Adams used, and far simpler with image editing programs such as PhotoShop.  It is worth noting that some photographers also consider that dodging and burning can give a more natural impression than adjusting the tonal curve.  I use both techniques.

The black and white advantage

Here are some of the advantages that the various attributes of tone confer over colour:

  • With only tones to work with, black and white forces the photographer to pay closer attention to composition – which is in itself an advantage.
  • The simplicity of a race of tones makes the subject easier to focus on, which is one of the reasons so many street photographers eschew colour.
  • Simplicity can be enhanced by discarding extraneous detail more easily in monochrome images.  I often burn out distracting detail in dark areas to further simplify the image.
  • Editing a photo converted to black and white provides a much greater opportunity to redistribute the light to create finely graduated tones, which can make architecture and sculpture both more three dimensional and more beautiful.
  • In portraiture, skin tones are evened out.
  • Graphical elements and patterns are more evident.
  • Abstract images are stronger.
  • Textures often appear to have more depth.
  • Black and white photography is more effective in low contrast situations, such as under heavy cloud

My example of tone from Flash of Darkness is the Colossus of Constantine in the Courtyard of the Palazzo dei Conservatori of the Musei Capitolini (Capitoline Museums) on the Capitoline Hill  in Rome.  The statue, built c. 312-315 AD is truly immense and once stood at around 40 feet high.  I have experimented with many different versions of this image, from low key to high key and with varying tone curves and application of dodge and burn.  The image I prefer however is the one on this page which is fairly neutral, with only a slight increase in contrast; it seems to be the most effective at describing the shading of the marble forms and the subtle changes in the tones of the painted plasterwork.

The Importance of Form

January 16th, 2016

Marina City ChicagoWe have had colour photography since the 1930s and the invention of Kodachrome, though it took until the 1970s for it become the norm.  So why has black and white photography persisted?

Perhaps the most obvious difference between colour and b&w photography is that unlike their colour equivalents, black and white images are not direct renditions of their subjects.   By omitting colour and substituting shades of grey, black and white photography presents an abstract and therefore less realistic image.   This takes us into the representational world of art, where the artist tries to portray what is perceived and interpreted with the mind rather than what is seen directly by the eye.  Both the artist and the photographer are working with a 3D subject in a 2D medium and this is where black and white photograph has an advantage over a colour rendition – black and white excels at tone; which describes the darkness or lightness of a particular area of an image.  This is important as tone is essential to convey the illusion of form – or how the subject looks in three dimensions.  Black and white draws more attention to the shadows and lines that depict form and gives a better illusion of depth.    This is one of the reasons that black and white is often an effective medium for both landscapes and architectural shots as it can emphasise the shapes and forms within the scene.  The case for black and white is even stronger with a side lit photo where light  intensity varies across the person or object and the scene is subject to strong shadows.  This is one of the reasons why I am fond of film noir which uses a lot of side lighting, shadow and contrast as opposed to the the more evenly exposed lighting of mainstream Hollywood.

On to my example, which is a shot of the columnar and iconic Marina City Towers on Chicago’s Riverfront, designed by architect Bertrand Goldberg.  This is one of Chicago’s most notable buildings and was designated a city landmark in 2015. I was much taken with this 65-storey building complex, the tallest residential concrete building in the world at the time of completion in 1964, and known locally as the ‘corn cobs’, as I was driven to my hotel in a taxi.     At the time I thought it was the world’s most elegant car park, but actually only the lower 19 floors are used for parking, whilst the upper floors contain apartments, restaurants and a concert hall.  The towers were used as a back drop for a chase scene in Steve McQueen’s 1980 film ‘The Hunter’ .  In his last film appearance, McQueen played a bounty hunter who is himself being pursued by a psychotic killer and chases a fugitive up the parking ramp in one of the towers before the car he is pursuing skids off the edge into the Chicago River.

I shot the towers from several locations, including the river, whilst on an architectural tour of the city, and eventually captured this image, which I felt depicted the organic form of the building best – the contrast between the light edges of the circular elements and the dark background, together with the sweeping curves of the tower in the foreground, draw the eye  and help describe its form.  It was shot in the morning, and, as usual,  I used a circular polariser to darken the sky and increased the contrast between the building and its background.  I took the shot with a Nikon Df with a ‘walk around’ 28-300 lens at ISO 200/45mm/f11/1/250 sec.  The towers have a constantly changing pattern of light and shadow over the course of the day and are an ideal subject for black and white photography as well as a great piece of architecture.  I was much taken with Chicago, which I visited for the first time in 2015 – it is undoubtedly one of the finest cities for modern architecture in the world and I am keen to return to capture more of it, but my enduring memory of my first visit is those iconic, sci-fi columns of Marina City.