East Ender.

redwall_(c) Martin Usborne

© Martin Usborne.

Joseph Markovitch:

I was born right by Old Street roundabout on January 1st, 1927. Some of the kids used to beat me up – but in a friendly way. Hoxton was full of characters in those days. The Mayor was called Mr. Brooks and he was also a chimney sweep. Guess what? Before the coronation, he was putting up decorations and he fell off a ladder and got killed. Well, it happens. Then there was a six-foot tall girl, she was really massive. She used to attack people and put them in police vans. Maria was her name. Then there was Brotsky who used to kill chickens with a long stick. His son’s name was Monty. That’s not a common one is it? ‘Monty Brotsky’.

cafe (c) Martin Usborne

© Martin Usborne

I worked two years as a cabinet maker in Hemsworth Street just off Hoxton market. But when my sinuses got bad I went to Hackney Road putting rivets on luggage cases. For about twenty years I did that job. My foreman was a bastard. Apart from that it was OK. But if I was clever, very clever, then I would have liked to be an accountant. It’s a very good job. And if I was less heavy … you know what I’d like to be? I’d like to be a ballet dancer. That would be my dream.

Joseph (c) Martin Usborne

© Martin Usborne

I don’t mind people taking pictures of me. But I wouldn’t let a girl take a picture of me. She might have a boyfriend. I don’t want any trouble. And who knows, he might think she wants to run off with me. You got to be careful where you go nowadays. Martin, if you want to take this picture you had better be quick. I don’t take a good picture when my bladder is full.

exciting (c) Martin Usborne

© Martin Usborne

If I try, I can imagine the future. It’s like watching a film. Pavements will move, nurses will be robots and cars will get smaller and grow wings … you’ve just got to wait. They will make photographs that talk. You will look at a picture of me and you will hear me say: ‘Hello I’m Jospeph Markovitch’ and then it will be me telling you abut things. Imagine that! I also have an idea that in about fifty years Hoxton Square will have a new market with an amazing plastic rain cover. So if it rains the potatoes won’t get wet. I don’t know what else they will sell. Maybe bowler hats. Nothing much changes round here in the end.

Joseph M (c) Martin Usborne

© Martin Usborne.

There’s no point crying about things is there? People don’t see you when you’re sad. Best just to keep walking.

Do you know that I can’t eat lettuce? I’ve got no teeth, not for ten years. It’s hard to like lettuce if you haven’t got teeth.

… taken from I’ve Lived In East London for 86.5 Years, photographs by Martin Usborne, the debut publication of Hoxton Mini Press. More details may be found on their Kickstarter page.


Jeremy Ramsden.

Jeremy-Ramsden

Jeremy Ramsden in his darkroom at Labyrinth, Bethnal Green. © David Secombe 2011.

David Secombe:

One of the things that is being lost in our back-lit, screen-bound digital world is the texture associated with older forms of image-making. As someone who became a photographer because I liked the idea of making something, of leaving something tangible behind me, I mourn the gradual passing of the physical photograph: the transparency, the negative and the print.

Traditionally, the relationship between photographers and their printers was not always easy; not every photographer could print their images like Eugene Smith or Don McCullin, and even if they could, they couldn’t always spend hours in the darkroom when they were busy shooting. Some printers would – justifiably – resent having to fix their clients mistakes or deal with photographers who didn’t really know what they wanted their prints to look like. But others took a more lenient view of photographers’ foibles and would, where necessary, give them an informal technical training to go with their prints. And from the mid-1980s,advances in reproduction technology and an increasing acceptance of colour negative film as a serious format for serious photography ushered in a new era of image-making. Professionals were liberated from the unforgiving tyranny of the transparency – more room for manoeuvre after the shoot, more latitude of exposure and expression, a level of freedom previously available only to those who shot black and white. It was in this arena that colour printers like Brian Dowling and Jeremy Ramsden reigned supreme.

Jeremy Ramsden, who died last week, was one of the finest colour printers of his generation. Jeremy could take a frame of anyone’s film and turn it into a work of art on paper. The quality of Jeremy’s work is only partially discernible on a website, because the sheer physical beauty of his prints, their intensity and almost holographic clarity, can only be experienced by personal appointment. Jeremy’s fanatical attention to detail was apparent in the way he would, as a matter of course, produce a variety of prints from the same frame, with each print having its own distinct mood and character. Variations on a theme, if you like, the creation of totally different images from a single piece of film.  And when you got your negatives back, you’d see his meticulous notes written on little strips of masking tape affixed to the protective sheets. Jeremy went to these lengths because he cared, because he was an enthusiast for photography. And when you consider the names on his client list – which included the likes of Tim Walker, Elaine Constantine, Harry Borden, Brian Griffin – the breadth of his achievement becomes clear.

Jeremy was Australian (not for nothing was his erstwhile lab in Shoreditch called Outback) and he arrived in London as a merchant sailor in the early 1970s. He knocked around London’s photo scene in a variety of capacities – studio assistant to the likes of Brian Duffy and Angus Forbes, freelancing as a photojournalist (he was a very fine photographer in his own right) and mastering all aspects of the arcane art of colour printmaking. His experiences of the glory days of Soho in the advertising boom of the 1970s and 80s would have made a very interesting book. Jeremy had a stereotypical Ozzie enthusiasm for travel, people and a good story – but, above all, he liked sharing his enthusiasm for the world and how we see it. He was generous with his time and, like our friend John Driscoll, who died last year, he was a champion of photographers. Having Jeremy or Brian or John in your corner was like having a secret weapon; if you had the nod from them, you could breathe a little easier. They knew the score. I always thought it was important to earn the respect of the people who handled my pictures, and I think most photographers would agree – although there were some ‘celebrated’ photographers who relied a little too heavily on the expertise of darkroom staff to produce their meisterwerks. But Jeremy spoke of his clients very warmly, and this was because he was reluctant to print for anyone he didn’t respect; so an unsolicited compliment from Jeremy was worth far more than one from almost any picture editor.

It is hard to write a piece like this without sounding nostalgic or merely old; but it seems to me that apart from the loss of the tactile aspect, the ubiquity of digital imaging has led to the erosion of a social element within photography. I’m not the only one who misses that. It is hard to think of Jeremy not being there to work his magic on a print, to offer his take on it, see the potential of a negative fully realised – and then discuss the competition and swap stories over a pint. A couple of years ago, Jeremy co-founded Labyrinth, a darkroom in the East End which has become a mecca for new and established photographers. Jeremy was full of excitement for the young talents who were bringing their pictures to him, the brave ones who had chosen to render their images on film rather than as pixels on a chip. He was rejuvenated by the challenge and, apart from anything else, it is a tragedy that he will not see his fledglings develop and mature.

He gave a great deal and asked for very little in return. Personally, I owe him a huge amount – and the shock of his sudden passing still hasn’t sunk in. I can’t quite believe it. The industry will feel a lot colder without him. The world will too.

… for The London Column.


A Psychogeographical Christmas. Photo & text: David Secombe.

Cleveland St Workhouse Telecom Tower The Cleveland Street Workhouse and the BT Tower. Photo © David Secombe 2011.

The Cleveland Street Workhouse was built in 1775 as a workhouse infirmary and ended up as part of the Middlesex Hospital until that institution closed in 2005. According to  The Cleveland Street Workhouse it ‘has survived largely unchanged since the Georgian era. Its austere appearance is a rare testimony to the bleak and utilitarian institution it was designed to be. Its back yard was a graveyard for the poor, full of dead to a depth of at least 20 feet.  Recent research has revealed that the building was the likely inspiration for Charles Dickens’ Oliver Twist, since the famous author lived a few doors away, on the same side of the road, for nearly five years of his young life, before he became famous as ‘Boz’’.

As it is Dickens’s bicentennial year, I offer here a glimpse of the grim edifice that loomed over the infant Dickens’s early years in the city. He was only two years old when his parents, fresh from Portsmouth, found lodgings in Norfolk Street – now Cleveland Street – in 1814. At that time the area still had a semi-rural character, with fields and farms lying just east of Tottenham Court Road – although the grand houses of Fitzroy Square were under construction and the churning awfulness of Oxford Street was only a few yards away. Dickens’s friend John Forster said that the novelist was able to recall vivid details of his early childhood, so it is an attractive proposition to believe that the workhouse in the picture above marked itself indelibly upon young Charles’s imagination during the three years (not five) in which he and his family lodged in the district. By 1817, Charles’s father had got a job in Chatham, and it was another five years before Dickens returned to the city, leaving his idyllic years in the Kent countryside for a more permanent engagement with ‘the great wilderness of London’.

The traditional Christmas is in many ways Dickens’s own creation, marked in particular by his characteristic juxtaposition of seasonal conviviality against the bleakness outside: ‘exaggerating the darkness beyond the small circle of light’ as Peter Ackroyd puts it. Dickens described composing A Christmas Carol whilst walking ‘the black streets of London, fifteen and twenty miles, many a night when all the sober folks had gone to bed’ and, for all its fairy-tale sentiment, it succeeded in rousing the conscience of his contemporary audience. The following year he produced The Chimes, another seasonal polemic. According to Ackroyd, The Chimes was partially inspired by a complacent review of A Christmas Carol and also by a story in The Times concerning a young woman, terrified of the workhouse, who had thrown herself and her baby into the Thames – the baby drowned, but the mother was rescued and condemned to death for murder of her child. The Cleveland Street Workhouse was Grade II listed in 2011 and, given Dickens’s agitating for reform of the Poor Law and his disdain for old buildings in general, he would probably have been appalled that this symbol of misery had been preserved for the nation – but there’s no question that the building retains its cruel power, an emblem of the darkness and suffering against which Dickens created some of his most brilliant effects..

Further north on Cleveland Street is the BT Tower, built as The Post Office Tower in 1961, the tallest building in London for nearly 300 years (it was taller than St Paul’s), its construction flattening a block of Workhouse-era buildings on the corner of Howland Street, including the one where Paul Verlaine and Arthur Rimbaud had lived during their stay in the city. The cylindrical form of the Tower was intended to lend stability in high winds – especially, it was darkly muttered, those from a nuclear blast. The Tower is also Grade II listed, and it too is an emblem of its time, redolent of the Cold War and the avowed technological modernity of the MacMillian/Wilson ‘White Heat of Technology’ era. When it opened in 1965, it boasted a revolving restaurant at its top, a concession operated by Billy Butlin; but if a nuclear exchange had taken place, the Tower would have been essential in maintaining contact between whatever was left of Britain and whatever was left of everywhere else. Today, advances in communication technology and the end of the Cold War have left the Tower almost as obsolete as its neighbour the Workhouse. The revolving restaurant was closed after an IRA bomb incident in 1971, and plans to re-open the venue for the 2012 Olympics were quietly shelved – which is a pity, as it would have made a suitably elevated position for the ego of some superchef or other. But, as this is a Christmas post, it is pleasing to report that on Christmas Day 1984, Noel Edmonds’s Live Live Christmas Breakfast Show was broadcast from the top of the Tower, an event described by its coiffed and beaming host as ‘one of the greatest communications projects ever put forward’. Noel went on to present several such Christmas Day TV events from the Tower throughout the 1980s, thus associating an icon of post-war modernity with the traditional late-20th Century Christmas: bored, over-fed and in front of the telly.

(NB: My friend and colleague Chris Brand has just pointed out that I have overlooked the Post Office Tower’s finest moment, in The Goodies’s Kitten Kong episode. Was this a Christmas special? Who cares.)

And on that tenuous and tortuously established link, we would like to wish all our readers a very Happy Christmas.

… for The London Column.

See also: The London Nobody Knows – revisited, Christmas on Greek Street


Up My Street. Photo: Dylan Collard (3/5)

The Archway Cafe. © Dylan Collard.

David Secombe writes:

The genius of photography is the commemoration of the ephemeral; this is the reason why some of us are beady on the subject of digital photography, as it represents the commemoration of the ephemeral by means of the even-more-ephemeral. No such qualms arise from this week’s images by Dylan Collard, which were made using defiantly old-school methods. For his photos documenting the Holloway Road, Dylan lugged his massive Gandolfi ‘field’ camera (a device the size of a large hatbox, bolted to a hefty tripod) up and down that windswept, Stalinist boulevard to record scenes as quotidian as one could imagine.

In today’s photo, the proprietor (it can be no-one else) of the Archway Cafe poses for the camera in a way that we believe – we know – to be characteristic. Of course, he is having us on; he is playing the part of a surly cafe owner for our benefit, he knows that he is being memorialised for posterity – and Dylan’s limpid image preserves the shrewd glance of this short-order chef as if in amber.

Yet, if current trends continue, this commonplace scene is likely to disappear within a few years. The formica and the plastic condiment bottles already look like period pieces in this context, where they are employed as functional items rather than archly retro decor.  This is not a cafe for budding screenwriters with their MacBook Pros, or middle-class mums with Range Rover-sized prams and Orla Kiely infants, but it can only be a matter of time. The hipster-friendly make-over of the Holloway Road is upon us with the inevitability of a melting ice shelf. And perhaps that is why our man in the Archway Cafe is so watchful, he might be keeping an eye out for the wrecking hordes: the girls with oversized glasses, cut-off shorts and day-glo leggings, the thin young men with buttoned-up plaid shirts, skinny jeans and implausibly bushy boybeards … an army of destruction as potent as any in history.

… for The London Column. 

Up My Street is Dylan Collard‘s project documenting shops between Kentish Town and Archway. His exhibition The Twelfth Man is currently showing at Exposure Gallery, 22-23 Little Portland Street, London W1. Dylan is represented by the Vue agency. 


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