The Value of a Photograph

Last week I wrote a brief post about an online Guardian piece by Rowenna Davies reflecting on a 2003 school student protest in which she took part. There's a little back-story, about the photo that accompanies it, that is also worth telling.

The Hand Up For Peace (HUFP) article originally appeared with a generic demonstration photo from Getty Images. In this context, the shot was a space-filler: it didn't add any new information, and was only marginally related to the text. The picture of mine that replaced it later the same day was one of a set I had taken of the HUFP campaign. Why the delay?

The Guardian pays the writers who contribute to its Comment Is Free pages - not a lot, but enough to make the effort worthwhile. But when they called on the morning of publication to ask for one of my photos, I was told they had “no budget for pictures”. I wasn't prepared to collude with the implication that photographs are worthless, and declined the invitation to send one in for free. Hence the image from Getty, with whom, presumably, the publisher has some form of bulk-buy, eat-as-much-as-you-can-stomach deal.

However, I have known Rowenna a long time. She is a friend of my daughter, and both were very active in the HUFP campaign, which I supported. She also recognised the value of having the right photograph to complement what she had written. So when she phoned me to offer – very honourably - to pay for the photo herself, I had to concede defeat and send one in. I didn't take the money. I don't normally turn down offers of payment but, to be meaningful, this one had to come from the publisher. Why does the Guardian (along with so many others) appear to hold photography in such low regard? Why wasn't there a budget for such a significant element of the story?

It seems that the present-day hyper-abundance of digital imagery - much of it available at little or no cost - has desensitised editors and back-room bean-counters to the power and purpose of photojournalism. If quality is no longer a concern, with newspapers under severe pressure from the web, and many associated web-based ventures failing to generate adequate revenues, why pay for the right photo when you can fill the space for nothing?

The HUFP pictures were some of the last I shot on film. Quite apart from the thought and effort I put into taking them, in order for the Guardian to find and use them, I also had to process the films, scan the negatives, optimise the digital files, caption and keyword them, upload them to my website and keep them there. For ten years. All these things cost time, money, or both. If nobody pays up, it's not a sustainable way of earning a living.

This is not just a result of the precarious economic situation. After all budgets, although cut, are still there for writers - it's only photographers who are ever asked to work for free. But budgets reflect priorities, and suggest that the real problem is the failure of many publishers to recognise the journalistic value of the right photograph. How we ensure that they do is not obvious, but doing what I did in this (I plead, special) case is not the way to go, for which I apologise to my fellow photographers.

Ten Years On

Rowenna Davies has written a Guardian Comment Is Free piece about the school student protest against the invasion of Iraq held in Parliament Square ten years ago this week.

Like the 2 million who had marched against the war the previous month, the protest failed to influence the gung-ho Blair government, clearly committed all along to doing whatever Washington asked. But, as Davies spells out, the Hands Up for Peace campaign did have an impact on the participants (of whom she was one), influencing, long-term, attitudes to politicians, and to methods of political action. Interestingly, even before the existence of Facebook and Twitter, it managed to go viral, with school students sending in hand prints emblazoned with anti-war slogans from across the country.

Famously, when asked his opinion of the significance of the French Revolution, Chairman Mao thought it “too early to tell”. Ten years on from the invasion of Iraq, and twelve from the start of the war in Afghanistan, not many people would hesitate before giving their judgement of the consequences. The kids were right, of course.

Foodbank

Patrick Butler reports in the Guardian this week that the government has launched an inquiry into the recent explosion of foodbanks, soup kitchens and school breakfast clubs. The country's finest minds will seek to understand why, with falling wages, cuts in benefits, and rising prices, increasing numbers of people are having problems feeding themselves and their families. It's real puzzle.

Foodbank was the result of my own inquiry, conducted last year. It was prompted by outrage that such widespread charitable giving should be necessary in one of the wealthiest countries in the world – particularly one with a well-established welfare system set up to act as a supposed safety net. The video is a quick snapshot of some of the problems faced by users of three London foodbanks, all run under the franchise of the Christian charity the Trussell Trust, and of the work of the volunteers who run them.

Foodbanks shouldn't be necessary, and many of the volunteers feel the same way. Watching these (mostly church-based) charities giving handouts to the needy seems like a throwback to Dickens, and the horrors of pre-welfare state Britain. It is a glimpse of what the country would look like if the coalition government succeeds in its attempt to dismantle state provision, leaving philanthropists and charities to pick up the pieces. A preview of what they mean by 'The Big Society'.

The very existence of these centres is shocking, and I set out to make a critique. But I found it difficult to say anything other than the totally obvious – much like the inevitable outcome of the forthcoming government inquiry – and cut the project short. For although I have strong reservations about the return to church-based welfare provision, I couldn't fault the generous impulse that lies behind it. The video ended up almost looking like a promo, and has been used as such by those that took part. Make of that what you will.

To Hell in a Dust Cart

The financial crisis in Spain has been top of the agenda for European finance ministers for some time. But it was not EU-imposed austerity measures that provoked the recent 13 day strike by street cleaners and refuse collectors in Granada. 

The dispute, over cuts to wages and reduced terms and conditions, was not the result of spending cuts by the city authorities, but of an opportunistic attempt by private contractor Inagra to boost profits. The company is a subsidiary of Cespa, the ninth largest waste company in Europe, itself a division of Spanish construction group Ferrovial, owner of BAA (which runs Heathrow) and Amey (the main contractor building Crossrail).

The stoppage appears to be part of a wave of strikes across Spain. According to a report by the Public Services International Research Unit (PSIRU), the big European waste disposal companies are attempting to restore falling profits by cutting costs in their contracts with municipalities, as the industrial and commercial waste markets have shrunk in the recession. 

The episode in Granada ended in defeat for the workers a few days before I arrived there last week (thus, regrettably, missing scenes apparently reminiscent of our very own Winter of Discontent). With unemployment in Andalucia the highest of any region in Spain and even, according to one report, anywhere in the EU, they were in an unenviable position. Now they are back on the streets (above) with a 2.5% pay cut, eight days less annual leave, and an increase in the working week from 35 to 37.5 hours.  As in the UK, it is a balanced economy: the poor get poorer so the rich can get richer. More pictures here.

 
"Take to the Streets Against the Cuts"

Not Really a Camera Review

I have returned to a project I began thirty five years ago and rediscovered the joys of working in black and white with a small camera. Only this time, instead of film and a Leica, I'm using a digital Fuji X100.

The photo above was taken with the Fuji a few weeks ago; the one below is a scan from a B&W negative shot in 1993.

I took my first pictures at Speakers' Corner in 1977, and have continued to photograph there sporadically ever since.  However, when I switched to digital in 2003 and film processing fell out of my daily workflow, the occasional visit to Hyde Park with heavy and obtrusive DSLRs produced immaculate but unappealing colour images that I filed away and forgot about.

My recent purchase of the X100 coincided with my involvement with a new Speakers' Corner oral history and archiving project, Sounds from the Park, but it wasn't until I revisited the place with it that I realised I had in my hand an almost perfect digital replacement for my old M6.

The camera was clearly designed to appeal to photographers nostalgic for the retro look of knurled dials, exposure rings and chrome finish. But it's the small size, virtually silent operation, and high quality files that make it such a pleasure to use.

For any non-photographer reading this, that's pretty much all you need to know about the camera itself. For me, its most significant feature is that it doesn't look like the weapon of a paparazzo. Like a Leica, nobody – apart from the occasional camera buff – pays it any attention.

For those after a bit more detail, I can add that even its limitations are a plus. It has a fixed lens (equivalent to a 35mm on a full frame camera), so no time is wasted selecting a focal length: the only option is to find a 35mm shot that works. And because it's not the fastest camera to focus or write to card, it encourages care in choosing the decisive moment.

For most of the work I do, the specifications of the equipment I use are irrelevant – I just need to make sure the particular bits and pieces I bring along are capable of producing the required image quality. What is different about fly-on-the-wall documentary projects like Speakers' Corner is that the intrusiveness, or otherwise, of the camera is also a factor, and can make a big difference to the process of making pictures. The DSLRs I have been using for the last ten years are great machines, and produce fantastic pictures, but they are big, heavy and noisy. It's hard to pass unnoticed with one hanging from your neck. Not so the X100. Its innovative design has enabled me to continue my old project in the same spirit in which it was originally conceived, without having to take the radical step of re-activating my long-neglected darkroom.

Speakers' Corner has changed over the years. It has got smaller; there is a narrower range of speakers. The demographics have shifted: there is still a predominance of preachers, although now at least as many are Muslim as Christian. But it still has the buzz generated by the energy and eccentricity of face-to-face argument. There is nowhere else you can get that with such intensity. I love it.

And in case you're wondering, the Fuji is great in low light, has a brilliant hybrid optical/electronic viewfinder, and produces very nice colour too.

Dormant History

There must be many photographers whose working lives began before the digital era and who, like me, have shelves of black and white negatives lying dormant, the stories they tell hidden from view.

To be visible, images now need to be online, or at least on-screen. But unless they are in immaculate condition, digitising black and white negatives is either expensive (commercial rates start at around £35 + VAT per scan), or extremely time-consuming - an average of about an hour a frame, in my recent experience.

Why does it take so long? The tonal adjustments that need to be made to the raw scans, and the captioning and keywording that make the finished files accessible, take a while. But it is dust and scratches that are the killer. They seem to be unavoidable on film, although careful processing and storage can minimise the damage. Film scanners equipped with the right technology can remove them from most colour films, but not from silver-based black and white. The clean-up must be done by hand, spotting each blemish of the scanned file with a mouse click. On a high resolution scan there can be hundreds of them. There are Photoshop short-cuts that work on parts of some images, but they can degrade grain pattern and sharpness if used too liberally. Having just scanned a small set of 30 year-old photos of the campaign over the status of political prisoners in Northern Irish gaols, it is evident that my early rolls of Tri-X were not always well processed or cared for.

On the plus side, there is satisfaction in knowing that, unlike the retouching of paper prints, each scan only needs to be processed once. And still being in a position to do all this must count as some sort of success: the need to digitise their collections was what bankrupted many of the smaller photo agencies during the transfer from film to pixels, and led to the closure or takeover of so many of them. At least I'm still here.

But it's important not to forget the point of all this technical stuff: what happened 30 years ago is still relevant today. The government is currently pushing through plans for secret courts (back then it was internment without trial and juryless Diplock courts), and only this week the prime minister indicated that, despite a ruling by the Special Immigration Appeals Commission, he doesn't have a problem with the potential use of evidence obtained by torture (back then it was commonplace in the Six Counties). History is always worth a look, especially if you like repeats.

Georgia On My Mind

Following elections earlier this month, it is unclear how far Georgia's new government will go in honouring a pledge to reform the draconian labour code introduced by the previous regime. Although opposition coalition leader Bidzina Ivanishvili is now Prime Minister, Mikheil Saakashvili, whose United National Movement lost its parliamentary majority, remains President.

As I wrote at the time, the effects of the code were apparent when I visited the former Soviet republic last year to document the work of public sector unions. Trade unionists were already complaining of intimidation by both government and employers. Now a friend, recently returned from Tbilisi, tells me that, in the last 18 months, membership of the Georgian health workers union has fallen from 27,000 to 3,000 - a catastrophic collapse that suggests the situation has deteriorated further.

The legacy of Cold War realpolitik meant that the UK was quick to leap to the defence of Saakashvili's misguided attack on South Ossetia in 2008, whilst his attacks on workers' rights, in contravention of article 23 of the Universal Declaration of Human Rights, went unremarked. However, despite the lack of pressure from its western allies, a recent report suggests things may be about to get better. More pictures here.

The People's Library

Local residents and a group of activists from Occupy London, who took over the empty Friern Barnet Library a few weeks ago, have already filled its shelves to overflowing with books donated by supporters. The newly restocked People's Library and community hub is open six days a week and hosts a range of events for children and adults, as well as running a trust-based book-lending service.

A court hearing in December will determine whether Barnet Council can evict the community librarians and sell off the building as part of its One Barnet £1 billion outsourcing programme. Until then, at least, volunteers and users have an opportunity to demonstrate how such a service might operate without local government support. A couple of months is one thing, but it's hard to see how it can survive in the long term without a regular source of income. In the meantime, it's a great advert for community solidarity and co-operative action. More pictures here (and more to follow).

Don't Applaud, Just Throw Money

Down the road from the Tate Modern gallery in Southwark, London, is an animatronic sculpture by the public art collective Greyworld. Monument to an Unknown Artist (above) looks out over cranes and the rapidly rising towers of a new residential development called Neo Bankside. Apartments in the blocks are on sale for prices ranging from £1m to £6.5m. A quick Google search (my Latin is rusty) reveals that the inscription on the monument - Non plaudite modo pecuniam jacite - translates as: Don't applaud, just throw money. Neat placement.

Consultation? No Thanks!

Consultation is very popular with the authorities in west London. Residents in Earls Court are still fighting to prevent the demolition of their homes following a deeply flawed consultation exercise by Hammersmith and Fulham Council. Now the local health service is under threat.

In the last couple of weeks there have been two big demonstrations by residents and health workers in Hammersmith (above) and Southall (below) over proposals to close the A&E departments of four local hospitals: Charing Cross, Central Middlesex, Ealing and Hammersmith. As with the Earls Court redevelopment scheme, the plans are 'out for consultation', but it is clear that NHS North West London has already made up its mind. In the current climate the powers that be will have a hard time convincing anyone that 'reorganisation' isn't just a euphemism for cuts in services. The demonstrations are likely to continue.

The New Localism

Last night Hammersmith & Fulham Council agreed to sell West Kensington and Gibbs Green estates to developer Capital and Counties, who intend to demolish them to make way for an £8 billion Earls Court regeneration scheme.

A very large majority of the residents of the 760 homes on the two estates are strongly opposed to the plan, and have put in a rival bid through a resident-controlled housing association, West Kensington & Gibbs Green Community Homes.

Despite the council's approval, the plan requires the go-ahead from the Secretary of State for Communities and Local Government. Which way will Eric Pickles jump? It would be a good opportunity for him to showcase the new localism his department has been championing so vociferously for the last couple of years. Will he rule for the local residents, or for Capital and Counties? His decision will finally reveal whether localism means real new powers for communities, or whether it's just business as usual. If it goes against them, the residents won't give up. It could be a long campaign. More photos here and here.

Where the Money's Gone

Last week's sale of Getty Images by one private equity company to another doesn't change much, but the figures bandied about in the financial press make interesting reading for any photographers wondering where their once-reasonable earnings have disappeared to.

The Carlyle Group paid Hellman and Friedman $3.3 billion for a controlling stake in what is now the world's largest image and video stock agency. Hellman and Friedman bought it for $2.4 billion in 2008, extracted $950,000 in dividends, and walked away from their latest trade with a total profit of $1.85 billion, minus debt charges (half the original purchase price was borrowed money).

That's a pretty spectacular return. Almost as spectacular as the fall in reproduction fees paid to photographers over the same period. A transition from print to web that has seen many publications' advertising and other revenues plummet, coupled with a chaotic overabundance of digital imagery, has brought image prices to an all-time low. Editorial pictures that would have fetched a fee of £100 or more ten years ago, now commonly sell for £20 or less via bulk-buy agency deals.

The market dominance of Getty and the (very) few other big players allows them to set prices that are, in the long term, unsustainable for those who produce the so-called 'content' they so profitably distribute. Either a very large number of photographers are going to go out of business, or a lot more of the money that is being generated needs to find its way back to the people who create the value.

Is there a silver lining? According to a report by Reuters “....the prices commanded online are still lower than in print. But as the resolution on screens of portable and desktop devices becomes ever higher, Getty expects online pricing to improve.”

Well, in the middle of negotiating a sale that big, they would say that, wouldn't they? Can prices paid for photography go up as well as down? It's been one way for such a long time, I've forgotten. And if they did go up, who would walk away with the cash?

The Emperor's New Clothes?

The Photographers' Gallery, which re-opened in May following an 18 month refit, is currently showing work by the four finalists in the gallery's annual Deutsche Borse Photography prize. Last year's exhibition (held at the University of Westminster during the gallery closure) came in for some strong criticism for its narrow, overly-conceptual focus. This year is no different.

The text panels which introduce each photographer set the tone. The “interventions” of John Stezaker, who hasn't actually taken any photographs (just cut up other people's), “present us with a dislocated view of the world”. Pieter Hugo “presents us with a world that is characterised by complex relationships and interdependencies, somewhere between modernity, tradition and myth”. And Rinko Kawauchi has the ability to “turn the mundane into the extraordinary and poetic...”, a cliché that has prefaced countless other exhibits with nothing to say.

Perhaps the grandest claim is for the work of Christopher Williams, whose series “addresses the impact of the Cold War on our society”. The picture chosen for the catalogue (and the only one I can remember of, I think, three exhibited) is a large colour print (the favoured form for this sort of thing) of red and green darkroom trays. Perhaps the blurb is right when it goes on to state that “Williams' projects defy easy reading as they involve multiple sub-texts and themes, layers of connotations and background stories”.

Although I am a documentary photographer with a desire to use images to communicate, I am not averse to the poetic, subtle, ambiguous, or elegaic. However, even if it is any or all of these things, an exhibition also needs to have a coherent purpose. Only Pieter Hugo's (visually very strong) photographs (above), of Ghanaian slum dwellers recycling electronic waste, come close. But because they aspire to the status of 'art' rather than photojournalism, they are not presented in a context sufficient to fully explain what is going on, and why, or how such an unsatisfactory situation might be remedied.

It's the only game in town, though. Galleries are flourishing, even as newspapers fold. Auction house prices rocket as reproduction fees plummet. Everyone is a photographer now. Except Martin Parr - the one-time photographer and Deutsche Borse Prize jury member is now listed on the gallery wall as an 'artist'. Wise move.

Cryptic Lighting

Even when not shooting for editorial, I regard myself as a photojournalist, reporting the world as I find it and, unless it's unavoidable, I prefer not to use artificial lighting. But there are times when the available light just isn't of the right quality, quantity or direction to make a picture that will tell the story.

The crypt of St.Mary Magdalene Church in North Paddington, which I was asked to photograph recently, is a dank, dark place with a trickle of daylight filtering through narrow windows high up one of its dripping walls – and a surprising secret. To one side of the roughly rendered brick arches that support the nave and aisles above is an extraordinarily ornate chapel. Its crumbling plasterwork is painted sky blue; the intricate altarpiece is covered in gold (paint, not the real thing, I assume). It has been disused for years, but the contrast with the gloom that surrounds it is still startling. All this can only be seen with the help of three plug-in builders' lamps, the crypt's only regular light source.

The photos above and below were taken using two off-camera flashguns and one of the builders' lamps. The lighting has undoubtedly changed the look and feel of the crypt and its decaying chapel, but it has brought out striking architectural features that would otherwise have been lost in the murk. Did I go too far in letting my lights colour the arches blue (above)? I don't think so. In my book, it's an acceptable manipulation of reality, given the purpose at hand - the pictures will accompany an application by the Paddington Development Trust to the Heritage Lottery Fund, for money to renovate the building and create a community arts centre.

Another Way of Telling*

The ability of my point-and-shoot camera to record video was not a feature to which I had paid much attention until about three years ago, when I was asked to do some simple 'talking head' interviews to accompany a photo story. Since then HD video has become standard on professional DSLRs, and a growing number of photographers have begun to experiment with it, producing short movie and multimedia pieces. The form is ideally suited to the web, the dominant medium of the age, and it seems that more and more publications and organisations are commissioning this sort of work instead of stills.

The evidence is only anecdotal, but given the popularity and flexibility of online video, coupled with the negative impact on many photographers and writers of the ongoing shift from print to cyberspace, a move towards multimedia and video-based journalism makes a lot of sense. What are the implications?

Multi-skilling is not new to photographers who, over recent years, have had to adapt from film to digital and keep up with continual hardware and software upgrades, but shooting video is a substantial leap into a medium with some very different dimensions. For many, dealing with audio is a whole new ball game, as is getting to grips with video-editing software.

With regards to equipment, although the new DSLRs are capable of producing seductively high movie quality, they have some serious limitations as video cameras, particularly in relation to ergonomics and focussing. On many models monitoring and controlling sound quality requires clumsy workarounds. These factors make them very good for some purposes, and very bad for others, with implications for both the style and content of what can be done with them.

For freelancers whose incomes have already been hit by falling reproduction fees and fewer commissions, finance may be a problem. Even assuming ownership of an appropriate, video-enabled camera, there are significant additional costs: tripod heads, microphones, stands, editing software, hard drives and other bits and pieces. In my case, a more powerful graphics card was needed to run Final Cut Pro on my Mac.

For some people there may be another issue. In old-fashioned trade union jargon it was known as 'demarcation'. Are photographers taking the work of videographers and film-makers? We complain when regional newspaper employers send their writers out with cameras. Is this any different? As a photographer who writes, I've never known how to answer that question – other than to say that, with some notable exceptions, writers with cameras tend to produce pretty poor pictures.

In fact, the context of what we might call the 'new video' is very different. This is not newspaper owners trying to cut costs at the expense of jobs, but photojournalists – particularly freelancers - adapting to the enormous changes brought about by the growing dominance of the web. The content that has migrated from print to webpage has not done so unchanged, but is increasingly exploiting the richer possibilities of the digital medium, and is prompting a realignment of skills from all concerned in the process. There is a niche here for low-budget video and multimedia produced with a photojournalistic sensibility. Not cut-price BBC or Wardour Street, but something specifically suited to the new website-oriented universe.

Why am I writing this now? Because I've moved on from my point-and-shoot and recently completed a commission shot on a DSLR. The form offers another way of adding words to pictures, and I find it very attractive. Suddenly the subject has a voice. Although the maker still controls the final output, the balance of power is shifted. The video (above), about the reorganisation of Camden Council's housing repair programme, is really a piece of reportage, shot in much the same way I would have gone about a photo story. The subject may sound like the topic of a tedious Powerpoint presentation, but it really isn't: the voices of public service workers talking about what they do each day and the quality of the service they provide, are totally engaging. At just under nine minutes, it's probably a bit longer than a typical made-for-web piece – the target is often between two and five minutes - but it was shot to a brief, and around nine minutes was what was required.

For me, this is doing what I have always done - visual storytelling - using the most appropriate technology available. I'm still a photojournalist working on my own. I am not attempting the complexities open to a four-person film crew, but can offer instead a photojournalist's eye and understanding, and a cost more appropriate to the limited purpose at hand – in this case a showing at a conference and extended use on the council's intranet.

I don't think I'm taking anyone's bread from their mouths, or at least no more than any freelancer competing for work. The fact that I sometimes shoot stills and sometimes shoot video doesn't really make any difference. The internet is steadily reshaping the way journalism works, offering both threats and opportunities to those whose living depends on it. In the move away from print, much advertising revenue has gone AWOL. Although there is big money to be made on the web, not enough of it is filtering down to creators (particularly photographers) to compensate for that loss - the extraordinary proliferation of still imagery online has also contributed to devaluing its currency. It's an adapt-or-die situation. But it's not just necessity driving change: the new microphone in my bag has added another dimension to what I can do, and I really like it.

* apologies to John Berger

Grassroots Government

Last week the residents of Queen's Park ward in Westminster won a two year campaign to establish a Community Council, the first such local elected authority in London since parish councils were abolished in the capital in 1963. In a referendum made possible following a change in the law introduced in 2007, 64% voted in favour of a precept which will add between £39 to £44 a year to typical council tax bills and provide the new body with a budget of £100,000.

The area has a long history of community activism. Its current most visible manifestation is Queen's Park Neighbourhood Forum, a residents' organisation set up with the help of Paddington Development Trust. The forum began the campaign for the new council after its funding was cut by the coalition government. Although situated in one of the wealthiest boroughs in the country, the ward is one of the 10% most deprived - in marked contrast to the 'other' Queen's Park, the upmarket area across the tracks in Brent.

Elections for the new council will take place in 2014. More pictures here

60,000 Journalists

According to the Metropolitan Police, 60,000 journalists (20,000 accredited and 40,000 unaccredited) are expected to be covering the London Olympic Games in July. That's enough to three-quarters fill the main stadium. When I first heard the figure quoted by Assistant Commissioner Chris Allison at a press briefing last month, I found it hard to believe - but then I remembered Kari Kuukka's 360 degree panorama shot at the Olympic stadium in Beijing four years ago. It's not my idea of fun.

Of course, the 40,000 unaccredited writers, photographers and videographers won't even be able get inside the 11 mile, £80 million fence that circles the Olympic Park, let alone the stadium itself. And if they're seen loitering nearby, they're likely to attract the attention of the police and the vast army of security guards hired for the duration – as I did recently.

If you're an NUJ member and one of the 40,000, it would be well worth coming to the next meeting of the London Photographers Branch on 29 May, when human rights and public law solicitor Chez Cotton will be discussing how best to negotiate police, security and military personnel, and the various public order and other laws likely to be deployed in the capital during what promises to be an interesting few months.

The photos above and below were taken during the recent London Prepares series of test events. More pictures here

Smart Phone

Passing through the new extension of Kings Cross station for the first time yesterday, I was struck by the roof and the light, but the only lens I had on me was the one peeking out of the back of my Android smartphone. Although I've had it for almost a year, I've hardly used the inbuilt camera, unwilling to waste time making images with its tiny sensor. Seen in full magnification, the 14.5MB files reveal sharpening artefacts, highlight clipping and a fair bit of noise - but the Kings Cross ceiling looks surprisingly good on a screen at normal viewing size. I can see the attraction of the Instagram, Lightbox, and Urbian's Retro Camera apps – all ways of acknowledging the limitations of the form, whilst at the same time making the most of them. It's pretty obvious why sales of compact cameras are plummeting, but I won't be getting rid of my Nikons any time soon.

London Calling

At last night's Mayoral Accountability Assembly, tightly orchestrated by London Citizens, the four candidates seeking election to City Hall were asked to commit to the community organisers' 'City Safe' programme, and to policies on the Living Wage, social housing and youth employment.

Boris Johnson did his usual Billy Bunter act, blustering his way through awkward detail, waving his arms about and generally playing the buffoon. In sharp contrast, Ken Livingstone responded carefully to each of the points put to him by the selected delegates, but looked worn down by his non-stop electioneering schedule. With only a week to go, it's neck-and-neck.

The other two candidates on show, Jenny Jones of the Green Party and Brian Paddick for the Lib-Dems, seemed eminently reasonable. Neither stands a chance. More pictures here and here.

Dependency Culture

Public libraries around where I live in Cricklewood, north-west London, have been hit hard by the government's austerity programme, but my photo library, an essential part of my daily workflow, is safe, hosted far away in New York by Photoshelter. At least I hope it is: at the end of March the company implemented the first phase of a four stage re-vamp over eight hours of a Saturday night - and caused consternation among many of its 70,000 users (myself included, for a short while) when they logged back in on Sunday morning.

The Photoshelter portal offers photographers a well designed web platform on which to present their work, making it as accessible as that of corporate giants Getty or Corbis. It is flexible in design and functionality: I use my site both as an archive and as a means of presenting and delivering commissioned work to clients. Its behind-the-scenes architecture allows for different ways of organising images in galleries and collections, with a powerful system for granting or limiting access to them. It looks good, and clients find it easy to use. The staff on the help desk respond quickly to queries. It is very good value for money.

So what went wrong with the re-vamp? The 'update to a brand new Photoshelter', as the company billed it, not only involved a radical re-structuring of the user interface (UI), but also a move to new solid-state servers. The latter meant shifting a very substantial quantity of data, and it took longer than anticipated. Faced with a new UI and files that hadn't yet arrived at their final destination, some users were understandably alarmed – their life's work apparently lost in cyberspace.

Once the dust had settled, however, I found all my files back where they belonged. A number of site features were missing: most were restored over the following days; some are still pending. I'm not a software engineer, but it seems likely that more real-world testing before going live would have been a good idea. Was it worth all the bother? As Mao said of the French Revolution - it's too early to say. This was only part one of the four part 'upgrade'. My site is working fine - but it worked fine before. To the outside world, nothing has changed. Behind the scenes, the new UI is simpler but, for the moment at least, at the expense of some minor losses of functionality. Overall, I haven't noticed any significant benefit from what was, for many users, a major disruption. But I haven't noticed any significant negatives either: Photoshelter is still a very good platform.

What the upgrade has demonstrated, however, is just how dependent we - as photographers and, more generally, as citizens of the world wide web - have become on services over which we have little control. I first came to Photoshelter as the result of a real online disaster (OK, no lives were lost, but it caused a lot of people a lot of distress): the collapse of Digital Railroad. That photo archive platform, also based in New York, went belly-up in 2008, sacked its staff and wiped its servers. Large quantities of data were permanently lost - an electronic equivalent of the current state of my local public library.

The Photoshelter episode is entirely different, an attempt to improve services for its clients. In the weeks leading up to the changes, the company ran explanatory webinars and provided plentiful written documentation. Some of the alarm expressed on the help forum and elsewhere suggests that quite a few users had not been paying sufficient attention. But that is entirely understandable. One of the great things about Photoshelter is its off-the-shelf, almost instant, usability. Photographers have enough to worry about without concerning themselves with the arcane details of a new interface. Unfortunately, that's how the web works. It provides us with amazing new tools, but it can be hard work keeping up. Innovation is relentless. There will be more to come.