Tony Ray-Jones and the white-ish cliffs of Bournemouth, part 3.

For those that followed my rambling voyages of partial discovery regarding this Tony Ray-Jones picture from 1969 ...


Bournemouth, 1969, Tony Ray-Jones

... I have come across a postcard on the Real Bournemouth web site from 1948 that puts the scene in context (click photos for larger images). The red spot is my estimate for where Tony Ray-Jones took the photo 21 years later. Although there is no path visible here in the 1948 photo, the diagonal rising wall and cliffs look right.


Bournemouth postcard, 1948

As I suspected (eventually), Ray-Jones was facing eastwards in the direction of Bournemouth Pier when he took the photo. Maybe the red spot should be further down, but I’m puzzled by what the white blocky things are below my red spot – they seem to be almost as big as the two benches further down, and hence bigger than anything visible in Ray-Jones’s photo... Or maybe they were removed and Ray-Jones was on the path clearly visible below them in the photo... Any thoughts? Am I going crazy?

My initial confusion about the image stemmed from the fact that I thought the cliffs in Ray-Jones's photo looked huge and distant, which doesn't tie in with any view I know in Bournemouth. Instead, it seems that the cliffs in the background in the image are quite close, and are now covered in vegetation or degraded. Either way, they are not visible now. A shame – I think the white/orange cliffs are more dramatic than the vegetation that covers most of the present-day cliffs.

To confuse matters further, the garden was replanted in the mid 1990s and an area of the gardens in the region of where I think Tony Ray-Jones took the photo was completely re-paved to form a round-ish viewing platform.

The blue spot in the old postcard marks the approximate spot where I took the photograph (BELOW) last year. Having now come across the 1948 postcard, I will try to take a photo closer to the spot where Ray-Jones was standing.

Update February 2014: Looking at this post again, and I've changed my mind - I think my photo below is pretty close to where Tony Ray-Jones was standing. The only really constant feature is the strong diagonal wall. The position of the bench with the wall arching behind it is a reference point, and is clearly visible in mine and peeping out behind vegetation in the Ray-Jones (it is not the same bench though - that has been replaced). Looking at Ray-Jones' photo and mine below at 100% I can match up some of the more distinctive shaped rocks that form the top of this wall to the right of the bench exactly. Bingo.


Bournemouth, 2009. Paul Russell photo: the same spot but the white cliffs have gone - the soft sandstone probably degraded. The garden has been replanted. The diagonal wall sloping upwards to the right, and arching over the bench, is the main constant reference point.

Gordon Brown: an iconic* photo dissected

In this Guardian article, Ian Jack analyses a powerful image taken during the last few minutes of Gordon Brown's reign as Prime Minister. The photo is by Martin Argles for the Guardian. (I read the article in Saturday's Guardian but unfortunately can't find a link to a bigger pic online, or the key used in the printed version.)

Ian Jack
"The place: Downing Street's 'war room'. The time: 19.17, according to the wall-mounted TV. Three minutes later, Gordon Brown resigns. At least one person is crying in this remarkable photograph, but plenty more have cried at the sight of it. Look at the detail, and you see why."

The photo is from a series by Martin Argles

*I believe that The Guardian style guide advises that the word "iconic" should be used sparingly, but it would be appropriate if one of these photos ends up with this label.

I spy – on the trains

As a frequent train traveller, I was delighted to be asked to contribute to a new edition of the I-Spy book of train travel. I have started jotting down some notes for the book:

(1) A group of middle-age ladies in hats get on the train at 10 am and crack open some little bottles of champagne. They are off to London to “take in a show” – 20 points

(2) Not getting your ticket checked on Friday and Saturday night because the guard is too scared to walk down the train (and who can blame him?). – 10 points

(3) You get a seat. – 20 points

(4) The person who you’ve been chatting to mentions that he’s just got out of prison for murder. – 100 points

(5) Someone is smoking in the toilet. – 10 points

(6) You successfully ignore the family who are lingering near your table kingdom in the vain hope that you will move for them. – 30 points

(7) Seeing elation turn to despair in the face of the revenue protection officer when you ask to buy a ticket, only to reveal that you are joking and are fully ticketed up. No penalty fare joy for him today. – 50 points

(8) The automated announcement system makes over 100 announcements during your journey. – 20 points

(9) You see some bunnies and a moo cow out of the window. – 10 points

(10) The buffet attendant is a bit rude to you. – 20 points or 200 points for use of the actual c– word.

(11) A person leaves the Quiet Zone in order to make a phone call – 50 points.

(12) The automated announcement system tells you about the Quiet Zone again. – 20 points

(13) You are sitting opposite someone famous, like Ken Russell. – 50 points

(14) You are sitting near a person who keeps looking at you just to check that you are not looking at them. – 30 points

(15) Part of the train comes away in your hand. A door handle, for example. – 40 points

How did you do?

In Camera: now showing at Bank Street Arts, Sheffield

Now showing at Sheffield’s Bank Street Arts is the first instalment of In Camera – a series of photography and video exhibitions.

The current exhibition features thematically driven slideshows located around the gallery, displaying street photography, portraiture, landscapes and documentary work from photographers and videographers the world over (even Sheffield). The show has been curated and organised by James Dodd, and marks an expansion of the centre’s photographic activities.

I have a picture in this show – possibly the one used in the flyer above. The presentation runs until 10 May 2010 (the run has been extended since the flyers were produced). Other photographers featured include Chuck Patch and Kramer O’Neill.

Motherland
The In Camera exhibition will be followed by a show of prints from Simon Roberts’ Motherland (10 May to 9 June 2010). The work is a result of Simon’s travels throughout Russia between July 2004 and August 2005, and is one of the most extensive photographic accounts of this vast country by a Westerner. The show consists of 15 large-scale prints.

“I hope Motherland may be read as a footnote to the current debate about Russian identity during a time of major geo-political, economic and social change. Ultimately these images are a celebration of Russia, aiming to deepen our understanding of a country and its people.” – Simon Roberts on Motherland

ELECTION SPECIAL: Those leader speeches condensed

For those that missed the televised UK election debate yesterday, here’s the condensed version – there wasn’t a lot of difference between the three parties:

“Real fair choice for all. Forward not back. A classroom in every school. The right for failing schools to be taken over by successful police forces. And failing police forces to be taken over by successful schools. And accountability. If the police force fails to reform the under-performing school, real power for parents to take over and run their own school. Like Toby whats-his-face. Above all, every school to be a good school, and equal, whether a New Look retail academy school, a faith school or a bog-standard shithole. And a freshly painted giraffe on every roundabout.

British jobs for British workers. And some carefully managed, locally-targeted immigration. Like foxy Spanish lawyers. Wa-hey! The right for voters to sack their MPs and take it in turns to be an MP for a day. We can be heroes – just for one day. Real choice for local accountability. Real change that works for you. Real you that works for loose change. Longer prison sentences for those who deserve it. But prisons that are centres of rehabilitation excellence, not ‘schools’ for crime. Failing prisons to be taken over and modernised by Joanna Lumley and Esther Ranzten [check this]. A guaranteed no. 1 hit single for every prisoner to raise self-esteem, and a ring-fenced HMV voucher for every 18-year-old, to buy that no. 1 hit single.

And finally, let’s make dreams come true for people like the black, disabled teenage pensioner I met in Hull yesterday*. Let’s go forward with this together.”


*Edit, 19 April: since I wrote this, as you probably are aware, a random "David Cameron met" generator has been created.

Candid photography: it's a fair cop

The frequency with which UK photographers are being stopped, searched and questioned by police officers and (especially) PCSOs for Being in Possession of a Large Camera has received a huge amount of media coverage recently. So at an outdoor exhibition at the weekend I was interested to see a few photos on display taken by a member of a police camera club. The photos were mainly candid photos in a busy seaside setting – although not very good (sorry, but then again that portfolio review was completely free).

I like to imagine the police camera club outings involve a bit of photography and then a bit of stop-and-searching of fellow members...

What is England?

I'm currently involved in Stuart Pilkington's 'What is England project', the first phase of which is now online.

Following on from Stuart's 50 US states project, 'What is England' features 50 photographers, each representing an English county through six themes: person (online), group, work, play, urban and rural.

A wide range of photographers are taking part, with the brief to represent their own style of photography as well as their designated county. I am the Dorset participant. On 1 May the responses to 'group' will be published online, on 1 July 'work', 1 September 'play', 1 November 'urban' and then on 1 January 2011 'rural'.

As Stuart says "hopefully by the end of 2010 the 300 images submitted over the course of the year will help to answer the brief 'What is England?'."

The initial images certainly make for fascinating viewing...

In-Public: 20 shooters + 10 years = 2010

I'm very pleased to become a member of the In-Public international street photography collective. American photographer George Kelly has also just joined, which takes the tally of photographers up to 20, in the group's 10th year.

There will an exhibition of In-Public photography at Photofusion in Brixton, London in the summer.

Reasons to be cheerful in 2010: the Third Floor photography gallery in Cardiff

Maciej Dakowicz and Joni Karanka are starting a new photography and visual arts gallery in Cardiff. In between obsessively photographing Cardiff’s nightlife, the pair have somehow found time to convert a 100 square metre premises in Cardiff Bay into a gallery and artist work spaces.

It’s opening on the evening of Friday 12 February with the exhibition ‘Love UK’ by Peter Dench. The show runs until 7 March.


Photo copyright Peter Dench


Photo copyright Peter Dench

Gallery details:
Third Floor Gallery
102 Bute Street
Cardiff CF10 5AD, UK
** Wednesday to Sunday: 1–7 pm **

Directions:
Close to Cardiff Bay Train Station.
Bus routes nos 8, 11, 35 and 36 (probably)
If you’ve been to Cardiff, you’ll have taken a photo of that stainless steel water feature tower thing. It’s near there. Here’s the view from the gallery with the tower visible to the left:


Photo copyright Joni Karanka

The gallery's web site is taking shape, and you can also keep track of proceedings at the Facebook page.

Cardiff seems to be the place to be at the moment, with Dr Who leading the way for an increasing number of TV programmes being filmed there and possibly “the largest concentration of media jobs in the UK outside London”.

The last day of Borders bookshops. Part 1.

I was surprised to find out in December last year that Borders UK was going into administration. It all seemed quite sudden, with little of the speculation and slow death that accompanied Woolworth’s demise. No tentative offers and rumours of takeovers. One minute it was open – the next minute it was closing. Kaput. Closed. Didn’t even make it to Christmas.

Borders had always struck me as a place with great potential for taking interesting photos of people. The English don’t really have much of a life on the street or indulge in everyday ‘street theatre’ as in some other countries, such as Italy (or am I imagining this?). The English urban street is typically a zone that people traverse quite quickly in order to get to somewhere else – usually shops or their office. People rarely linger or let their guard down on the English street.

However, in Borders – the new libraries of the late 1990s – people made themselves at home, grabbed a few obscure magazines, a coffee, and a seat at the table. Maybe spread out some coursework. Maybe dozed off for a while.

Gradually, however, the home comforts began to disappear – tables became fewer and further between, and pianos were carted off. As the financial situation tightened, the meet-the-author evenings became rarer. But, let’s face it, Borders was still a different universe to W H Smith, which if you’re out in the sticks is probably Hobson’s choice. And Borders was still open reasonably late in the evening.

I had certainly seen some good photos in Borders, but had never attempted to take any. For a start, I wasn’t keen on getting banned from my local-ish branch – I had witnessed quite a few Emo kids get barred (for essentially taking the piss and abusing this novel communal space). And I wasn’t that keen on getting permission to photograph inside a branch either – a request that seemed unlikely to be granted, or if it was granted would probably come with all sorts of tedious caveats.

So with the closure of Borders imminent it seemed like a good opportunity to take a few pictures. I popped in about a week before the closure of my nearest branch and took the picture above – already the downstairs was just about empty. I asked a few of the members of staff when they thought would be the last day (still up in the air), and hoped I would be able to return for the final day.

My year in pictures: 24 photos from 2009

Twenty-four of my photos from 2009:


























That's it.

Martin Parr's photobooks of the decade

Courtesy of the British Journal of Photography

The Kids Are Alright – Ryan McGinley, self-published, 2000
Pretend You’re Actually Alive – Leigh Ledare, ppp Editions, 2008
Berlin in the Time of the Wall – John Gossage, Loosestrife, 2004
Flamboya – Viviane Sassen, Contrasto, 2008
Utatane – Rinko Kawauchi, Little More, 2001
Slime the Boogie – Dash Snow, Peres Projects, 2007
Checked Baggage – Christien Meindertsma, Soeps Uitgevererij, 2004
Hackney Wick – Stephen Gill, Nobody, 2005
Why Mister, Why? – Geert van Kesteren, Artimo, 2004
A Shimmer of Possibility – Paul Graham, Steidl/Mack, 2007

Take 2: Jumping the shark...

Sharks have no swim bladder - they have to keep moving to avoid sinking. These photos were taken in 2008 and 2009.


Photo: © Paul Russell, 2008



Photo: © Gary Shrimpling, 2009

Print "giveaway" - December 2009, no. 1

As part of my occasional print "giveaway" series I have four sets of the above two photographs available for a total of £20 including postage if you're in the UK, or £25 if you're outside the UK. The prints are 15 by 10 inches (image sizes approximately 13 by 9 inches) and are printed on Fujicolor Crystal Archive paper. Pictures are despatched in a poster tube, and sent via first-class post (UK) or air mail (Europe and USA).

If you would like one of the four sets of the two prints, please email me on paul.russell99@btinternet.com, stating your country location. Payment is via PayPal -- so you just need a credit or debit card. Please email me first, as this will be first come, first served!

Edit: 17 December: two of the four sets have been sold. Two still available.
Edit: SOLD OUT.

Now that's what I call 2009

Tis the season of the round-up, so here are the most significant photographic events of this year, from where I'm standing:

1. Blake Andrews introduces mixer reviews into his blog.

2. Borders UK closes down, as people treat it like a library and forget to buy the books that would have kept it open, just to save a few quid by ordering those books on Amazon. Boo hiss.

3. Nick Turpin’s Publication magazine is published. It’s nice.

4. Some new compact digital cameras are released. They look promising, but prove to be rubbish.

5. Edgar Martins gets into a bit of trouble, and then uses some elaborate waffle in the hope that everything will just go away.

6. Shepard Fairey gets into trouble for something else, involving a photo and an election.

7. I fail to take a good picture of a pig.

8. Colin Pantall takes half the year off (because he’s worth it).

9. The police hassle a load of people for taking photos. After a few journos are questioned, it becomes news. Good!

10. Joni Karanka’s Print Stravaganza continues.

11. Erm, that’s it.

That Olympus EP-2 Press Release in full...

I’m a bit late to this but the new Olympus 4/3rds camera sounds very tempting. I’ve cut and pasted the press release below (sorry, more lazy journalism):

London, 5 November 2009 – Welcome back to the PEN story and the next chapter: "Back in Black".

Hot on the heels of the Olympus EP-1, which was widely acclaimed as a ground-breaking photo enrichment device, Olympus are proud to introduce the Olympus EP-2.

Building on the strengths of the EP-1, the new EP-2 offers a host of new iconic features. The inclusion of a "model village" art filter fully realises the unique photographic and video potential of the legacy Pen series. In addition, the cross-processing, fisheye microphone socket will allow tomorrow's users unlimited leverage into a vast arena of gaping emptiness.

This second digital model takes f-utility even further with diverse, fresh functionalities including:

– Wi-Fi transmission teasmaid port.

– In-camera selective desaturation (red bow and black-and-white puppy mode).

– Remote probability fun control (via HDD-XRT).

– Elephant stun gun.

– Scratch 'n' sniff padlet for mood enhancement (smells include crystalised lemongrass and essence of David Bailey's old camera bag).

– Two new art filters – the model village filter, and the Vettriano filter, which can transform even the most ordinary photo into a fourth-rate watercolour heritage art piece that celebrity chef Gary Rhodes will take off your hands for a couple of grand.

The new model is cloaked in classic retro hyper-babble and is available from larger John Lewis stores.

ENDS

Sounds great! Hopefully Olympus will send me a review copy.
Source

The Axe Vale Festival, joined up transport, and the great horse of Emo

A few months ago I made the journey to the Axe Vale festival on the outskirts of Axminster, billed as ‘probably the best gardening and crafts festival in the southwest’. Enticing!

Planning the journey, my natural instinct was to check the train times first. In a frustrating case of not-at-all-joined-up transport policy, it turned out that I could get a train from Weymouth to Yeovil Pen Mill and then a train from Yeovil Junction to Axminster. The two Yeovil train stations are separated by a couple of miles but despite being joined by a working train line, no passenger trains currently run between them.

Trains occasionally tootle along the line as an emergency measure when flooding occurs, or if a steam train needs to turn around at the Yeovil Junction turntable but there’s no passenger service. Possibly the fact that one station is run by Southwest Trains and the other by Great Western Trains doesn’t help integration.

I spent hours on Internet forums trying to work out how to get between the two stations. Looking at Google maps, the direct route looks like a pleasant stroll along a river, but it turned out to be private property, containing the splendidly named Jack the Treacle Eater folly. There is a road between the two stations but my new contacts on Internet forums told me there was no footpath or verge at all, so it would involve a quite dangerous walk. (At this point, I like to think that Lord Adonis is getting interested.)

So the options were taking a bike to cycle between the two stations, or walking into Yeovil town centre and walking back out, or getting a taxi, or waiting for a bus that might not come. Or a million other combinations that made my brain hurt.

Then, somehow, after spending about half a day researching how to travel between two train stations, 2 miles apart, I realised that there was a bus that would take me directly from Weymouth to Axminster, although the journey time was ominously long relative to the distance covered.

On the Sunday, reaching the bus stop I grabbed some cheapo coffee as the shops were opening and was puzzled by the sight of people crouched over pints in the Weymouth seafront pubs. Had they just started drinking, or were they winding down from last night?

From the top of the bus a series of interesting scenes presented themselves. A civic-minded lady with a small white dog was clearing beer cans and litter from a cricket pitch near Dorchester. Crows loitered ominously around a garden bird table in a front garden in Poundbury. At Martinstown, a Little Egret reared up right in front of the bus – strange to think that just a few years ago these birds were a rare sight in England. At some point I passed a sign that said ‘Revolutions’ next to one that ‘ironically’ said ‘No turning’, which I had previously seen only on the Internet. I didn’t bother to photograph these scenes – the reflections and dirt on the windows means that it’s usually a waste of time.

At last, and feeling a bit travel sick, I arrived in Axminster, and took a few photos at the festival.






After a pleasant day’s shooting I meandered around the town a little, waiting for the vomit-inducing bus journey back. My last view of the town was a group of emo kids leading a very large horse along a pavement.

Clone towns and lazy journalism

Yesterday I paid a quick visit to Dorchester, which like most English towns has been adversely affected by the credit crunch. The town has always had a sizable proportion of independent shops, some of which closed down in the recession. However, more than 20 new businesses and shops have moved into the county town in the last year. I bought a tasty leek and cheese lattice thing from the newly opened Joshua’s, a ‘wholesome natural food’ shop.

In 2004, Dorchester appeared in the Top 10 of UK clone towns in a story that was widely reported in the UK press. ‘Clone town’ is a term for a town or city dominated by chain stores. Puzzled by this, I looked at the source of the data, a report by the New Economics Foundation (NEF). Their ‘methodology’ was a request, via their web site, that members of the public fill in a questionnaire based on a walk down their local high street. One hundred and thirty usable questionnaires were received. Southampton, clone town extraordinaire, presumably doesn’t appear anywhere in the report because no-one filled in a form.

Not exactly rigorous stuff – relying on unverified reports from random people off the Internet. The inclusion of Dorchester is obviously completely incorrect. However the top 10 was reported by the serious press as if it was authoritative research:

BBC
‘Researchers found chainstores dominated the main shopping street...’
Researchers? Not really. It was based on questionnaires sent in by members of the public.

The Independent
‘according to a report published today’
Sound quite official, doesn’t it?

The Guardian
‘It found 42 of the 103 towns it surveyed in England, Scotland and Wales...’
‘It surveyed’? Well, the NEF didn’t survey the towns itself, it just compiled the information received.

In the book Flat Earth News, journalist Nick Davies describes how much ‘news’ consists of press releases regurgitated without question by overworked journalists. At least, I think that’s what he says – in the true spirit of lazy journalism, I haven’t actually read the book or spent much time writing this blog post, to be honest.

While agreeing with the NEF’s polemic against clone towns, I think what this shows is that the media love a good list, and any old press release with a top 10 will get published without question. Meanwhile, good luck to Joshua’s and all the other new and old independent shops in Dorchester.

Vivian Maier – lost photos from Chicago

These fascinating photos are by Vivian Maier, a French-born photographer who died in April 2009 in Chicago, where she had lived for 50 years.

A Chicago photographer, John Maloof, recently purchased around 40,000 of her negatives from a small auction house that was selling all her possessions, including furniture. He is gradually going through the negs, which date from the 1950s to 1970s and posting selected pictures on a blog.

The pictures do not seem to have shown in her lifetime; in fact Maloof only found out her name as it was written on a photo-lab envelope. Also, there are around 1000 rolls of her 120 film that were never developed, which Maloof is working his way through.

Research into the photographer’s life has yielded few details so far – she seems to have no living family, and an obituary that appeared in a Chicago paper was probably placed by people she worked for as a nanny. Maloof was contacted by a researcher who said that she was a Jewish refugee from wartime France, was a loner and poor.

Shocking to think that this collection could easily have ended up in skip and never seen...

Edit: 15 October 2009 - John Maloof has now added a more detailed account of how he came by the pictures on the blog...

The ongoing characters (continued)

Going through my country show pictures can throw up surprises as the same faces turn up again and again in different guises...

2009:

2006:

Don't give up the day jobs: multi-tasking with Philip Glass

I came across this interview with composer Philip Glass in The Independent the other day.

Interesting to note that while Glass started composing in his teens, he relied on driving taxis, plumbing work, and removal jobs as sources of income until his 40s. Only after 20-odd years of composing did he start to make enough money not to feel the need to renew his taxi licence.

[quote]

"At 20, he went to study composition at the Juilliard School of Music (where Steve Reich was a fellow student) and then enrolled in a composer-in-residence scheme for two years in Pittsburgh schools. In 1964, he moved to Paris to study with the composer Nadia Boulanger and in 1967 moved back to New York where he founded the Philip Glass Ensemble. Looking at his CV from this time on, it would be tempting to say that the rest is history, but artistic output, as so often in life, did not automatically translate into money.


Glass didn't earn a living from his music, in fact, until he was 42. Until then, he drove cabs, shifted furniture and worked as a plumber. "I was careful," he explains, "to take a job that couldn't have any possible meaning for me." Stories of famous-composer-actually-working-man-shock from that period abound. The art critic Robert Hughes was astonished to find the avant garde composer mending his dishwasher. On another occasion, a woman tapped on the side of his cab and told him that he had the same name as a "very famous composer.

Gradually, the commissions trickled in and, by the time Glass was 44, he realised that the cab driver's licence that he'd renewed as a precaution might not be needed."

[unquote]

Continuity errors

Two photos taken at the Melplash Show in Dorset.

Can you spot the continuity error(s)?