There is much current debate around photography and ethics. Despite the fact that I’ve been asked in several interviews over the years, I don’t necessarily think of myself as any sort of paragon of virtue. I’m sceptical of any set of ethical guidelines that are set in stone for a particular place and time and for me, I think my ethical guide has always been to treat people fairly and try and be a decent human being.
Ironically, that is exactly the notion that I contributed to Paul Lowe’s new book, Photography Rules: Essential Do’s and Don’ts from Great Photographers.
Paul asked me to contribute my thoughts on how to behave as a photographer and he accompanied it with a sensitive image of mine, a man being dressed by his mother in a secure ward in a mental health facility in New Delhi.
Over the summer, I wrote on this blog about my series, the Heirs of the East London Group, the inheritors of the almost forgotten group of working-class, realist painters who had depicted life in a changing East End at the start of the twentieth century.
This week, Amateur Photographer magazine published a piece written by me about the work and, I’m delighted that the publication has been dedicated to, as I hoped, the late Ronald Morgan who passed away some months ago and whose image dominates the feature.
I’ll publish some of the text of that interview here next week if anyone would like to read it and hasn’t, by then, had the chance to buy a copy of the magazine.
On this anniversary, I thought I’d show images from a remarkable story that I illustrated for a Channel 4 documentary many years ago. Titled The Last Jews of Berlin, the film featured Jewish survivors of the Reich that had successfully lived undercover in Berlin for years. I present two images from that set.
I was very sad to read that the Delhi government has, under the pretext of the violation of ‘environmental laws’ closed the protest site at the Jantar Mantar in New Delhi. The order was carried out this morning evicting and razing the temporary shelters of protestors.
For those that don’t know, the street was a kind of Speakers Corner crossed with an Occupy site that allowed a very limited amount of protests to be carried out by those with a grievance. The street – adjacent to the famous monument – was chosen as a protest site in 1993 after the Ayodhya-Babri Masjid movement raised security concerns and the government banned protests at previous demonstrations sites. The Jantar Mantar site was one of the few places where people in the city could protest and let off steam. It was also a fascinating place to walk through and see just what kind of issues affected everyday Indians – and their faith in their democratic right to that protest.
I’d been to a few demonstrations at the Jantar Mantar over the years. They never made great pictures – the gatherings – the pushing and shoving with the police were formulaic and regimented by the authorities. However, it was always heartening to see the faith that especially the rural poor – many of whom had come from all over the country to shout about their (usually myriad) grievances – displayed. Heartening but of course ultimately futile: policy in India is rarely affected by such organised protests and increasingly one sees that cold, hard hand of the State for what it really is. As a symbol for where modern India is moving the broken tents and the tarpaulin of protesters scattered across the street that I’ve seen this morning in the Indian media could not however be more telling. How similar they look to the scenes that I’m reading about in Kathputli Colony as well today as the authorities seem to have finally decided to tear that Colony down for ‘development’. You can read about my previous writings on Kathputli here.
I leave you with two images. The first from the Jantar Mantar, not of a protest but of what I remember best from the place – engaged activists talking and debating. Creating a space where people were able to discuss their city. The second, from Kathputli in 2014 of local residents discussing the future of their slum colony that had clearly already been decided long ago for them.
Both of these spaces – so crucial to cities are now areas where the poor and voiceless are systematically excluded – and thus from the narrative of Delhi. It’s enough to make you wonder who these cities are actually for…
I’m delighted to say that my new book, The Englishman and the Eel will be published by Dewi Lewis this November.
A sort of companion to my last book (also with Dewi), The Palaces of Memory – Tales from the Indian Coffee House, it explores the eel, pie and mash shops of my childhood. In doing so it examines the rich, largely undocumented cultural heritage of generations of working-class Londoners in a city whose only constant is change. After spending the best part of twenty-five years working in Asia and Africa, this marks a departure and a conscious effort to return home and examine Britain at a crucial juncture.
You can order the book from Dewi’s site or directly from me.
Here’s one of my favourite, but less obvious images from the book…
Whilst looking through my archive yesterday for something completely different, I happened to chance upon this image that I think, whichever way you voted in the EU Referendum, might sum up today’s triggering of Article 50 by the British government. It was from an assignment for the Times Magazine on David Miliband in 2008. I’d travelled with him to Kiev, Brussels and errr… Birmingham as well as shooting a portrait at his home in London. This was taken after a rather laborious interview in the European Parliament’s TV studio. Everyone else had cleared off and just the dying buzz of the tv feed remained in the air. Clearly weary, he held his face in his hands as the lights started to dim. It’s never been published before and I’d forgotten all about it but I thought today it might have some … resonance.
Amateur Photographer Magazine recently asked me what image that I’ve made, had had a profound effect on me. I told them about photographing a deeply disturbed boy forced to commit atrocities by the Lord’s Resistance Army in Uganda. Here’s the full piece …
There was some inevitability about it of course but after thirty years, The Independent Newspaper has decided to close the print edition(s) and move online. In the late 1990s and early 2000s I worked on quite a few stories for the excellent Sunday Magazine picture desk that was Victoria Lukens and Susan Glen.
Susan, now a respected photography consultant is featuring some of the Independent’s work on her site and has just published my story about the mental landscape of war amongst child soldiers in Africa, The Lord of the Flies
You can see the full set here
On Saturday I gave a lecture about my work at the Photographers Gallery to a group of talented young photographers. I was delighted that one student, Melissa Fund encapsulated those couple of hours in an excellent diagram with my portrait at its centre. I thought I’d share that here.
Thanks to her and the excellent Lottie Davies for the opportunity.