An Archival Impulse

Committee Meeting, 510 Centre, North Paddington 1978

In the spirit of archivism, I'm making accessible an article I wrote for the British Journal of Photography in 2010 to mark the demise of Photoworks Westminster (formerly North Paddington Community Darkroom), a community-based photography project that I set up in the 510 Centre, a busy grant-funded advice and community centre at 510 Harrow Road, in 1976. A PDF of the piece can be downloaded here. 

A PDF of my book, That Was Then, This Is Now, which describes North Paddington context in which the project evolved, can be downloaded here.

This archival impulse has been prompted by a request from the Four Corners project in Bethnal Green which, in addition to documenting the heritage of its own film work, is creating a new archive exploring the photographic practice of its onetime neighbour, the Half Moon Photography Workshop (later Camerawork), from its creation in 1972 to its closure in 2004.

The travelling exhibitions, workshops and, above all, the roughly quarterly issues of Camerawork magazine (1976-85), were hugely influential at a time when a wave of community-based photography projects were springing up in various parts of the capital and elsewhere. As a self-taught photographer working in uncharted territory, the opportunity to read about and discuss the work of those with greater knowledge and experience was invaluable. I contributed what I could, but learned a lot more.

For those wishing to explore this bygone world further, there is now also a North Paddington Community Darkroom Archive at the Bishopsgate Institute, which includes a collection of laminated exhibition panels dating from the late 1970s and early 1980s.

Meanwhile Gardens, North Paddington 1983

Dominica Democratic Association meeting, 510 Centre, 1977

The Dustbin of History: Kodachromes

It feels like sacrilege, but I am in the process of binning large numbers of Kodachromes.

In the days of colour film, Kodachrome was the gold standard. It's what the National Geographic photographers used, despite its now unthinkably slow speed (64 ASA, unless you were a masochist and went for the 25). It had other drawbacks: it had to be sent back to Kodak for processing, so couldn't be used on jobs that required a fast turnaround, and, to get the best out of it, accurate exposure was essential. But, correctly exposed, it produced transparencies with great colour, contrast and sharpness, and reputedly better archival stability than any other film. I used it on virtually all my foreign trips through the 1980s and 1990s.

It was only when picture desks started going digital, and image distribution switched from Royal Mail or motorcycle courier to FTP and email, that another disadvantage was revealed: Kodachrome's unique emulsion structure made it quite tricky to scan. Getting the colour and contrast right was not straightforward, and Digital ICE automated dust-removal, which worked well on other colour film stocks, could not be used. That meant dust and scratches had to be removed by hand in Photoshop. Scanning Kodachromes was hard work.

However, that's not why they're in the bin. Distributing images shot on colour transparency film to multiple publications meant shooting multiple frames, or making duplicates after the event.  After each trip one set went into my own filing cabinet, and selections of 'similars' went off to the various picture libraries that also distributed my work. Over the last few years they have all come back, like long lost homing pigeons: many agencies have closed, and those that haven't no longer deal in hard copies.

Once an image has been digitised, identical copies can be made effortlessly, with no loss in quality. There's no need for 'seconds' or spares. So, although I can't bring myself to throw away the original of anything worth scanning, I've finally got round to trawling through the stacks of returned suspension files, comparing 'similars', keeping the best, and dumping the rest.  What I'm doing is completely logical - it just feels like an unforgivable sin.

Pictured above is a binful of hundreds of slides from two trips to the Dominican Republic, for Christian Aid in 1983, and Oxfam in 1991. Scans of some of those I've kept are here.

Dominican Republic 1991

Sounds from The Park

Sounds from the Park is about to launch a unique archive documenting the post-war history of Speakers' Corner.

The project, a collaboration between oral history group On the Record and the Bishopsgate Institute, was funded by the National Heritage Lottery Fund, and over the last year has collected oral testimony, historic and contemporary photographs, recordings and other material from orators, hecklers and other regular frequenters of the public speaking area in Hyde Park.

The formal opening of the archive, an exhibition and an accompanying booklet, includes a free lunch and contributions from the archivists and other participants.

I have a vested interest:  I've been on the project steering committee for the duration, and the collection includes around 150 of the photographs I have taken at Speakers' Corner since 1977, a number of which feature in the exhibition.  The experience has greatly enriched my own archive, enabling me to put names and stories to faces in photographs shot more than 30 years ago.  I feel a book coming on.

You can book a free place at the launch on 020 7392 9200.
It runs from 1pm - 5pm on Saturday 7th December, in The Great Hall, Bishopsgate Institute, 230 Bishopsgate, London EC2M 4QH.  The exhibition continues until 30 April 2014.  More details here.

Flickr Commons

                                                      Photo courtesy of Tyne and Wear Archives and Museums

No, it's not one of mine. It's part of Criminal Faces of North Shields, a striking set of portraits held by Tyne & Wear Archives and Museums.The image is one of almost a quarter of a million on the Flickr Commons site, set up in 2008 to enable cultural heritage institutions to share photographs that have no known copyright restrictions. You can read more in an article I wrote for the current issue of the British Journal of Photography to mark the site's fifth anniversary.