Cross Processing Fuji Provia 400

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Earlier this year I shot a roll of expired Fuji Sensia 100 and cross processed it in C41 chemistry. The results certainly inspired me enough to want to experiment more with cross processing. This time I had a roll of expired Fuji Provia 400. I decided to shot it at ISO 100 as it was old, dated 2002. Not knowing if the ISO roll-back rule applied to expired transparency film, something that I always do with old negative films, it was a bit of a risk, but so what, it’s experimental after all.

I shot Natasha on a cloudy afternoon with some broken sunlight using my CONTAX RTS III and Vario-Sonnar 35-70mm, spot metering straight of her red coat, exposure was straightforward. The film was developed with Fuji Hunt X-Press C41 chemistry. Rather than the deep green of Sensia 100 the Provia 400 came off the reel a rich violet colour.

What surprised me though was unlike the Sensia that once scanned and inverted had a strong bias to red/yellow and required some post-processing to get the scans to look more natural, this Provia gave pleasant and accurate colours directly from the scanner. I was amazed at the skin tones and beautiful red and blues. The film grain is present but it's not disagreeable. In addition where there was more exposure the colours even started to give a pleasing pastel look. Based on this roll I will be keeping an eye out for more Fuji Provia 400.

Model: Natasha Bush

Barbican Portraits

This portrait series of Casey was shot at the Barbican on an overcast Autumn afternoon. It was the first outing for the CONTAX RTS III. The camera arrived with a non-standard FV-3 full matte focusing screen and although bright I felt I could not ‘snap’ the image in to focus. After this shot I found a FV-1 split image microprism screen which for me at least, is easier to use. Definitely a great debut from this beautiful pro camera of the 90s.

All shot with Kodak Portra 800 and Kodak TMAX 400. Scanned on Nikon Super Coolscan 8000ED.
Model: Casey Taylor Williams

A Confession

Portrait of my friend and former Detective Superintendent Steve Fulcher
June 2019

Meeting up with Steve for this portrait shoot had a particular poignancy, as it is not very often that a close friend is about to be portrayed by a Hollywood star in a prime time British TV drama.

Written by BAFTA award-winning writer Jeff PopeA Confession stars Martin Freeman as D.S. Steve Fulcher and details the 2011 police investigation of 22-year-old Sian O’Callaghan's disappearance after a night out in Swindon. At the heart of the story, however, is the moral dilemma between pursuing justice, doing the right thing and following the rules. I have known Steve for many years and followed his fight to bring to public attention shortcomings in the Police and Criminal Evidence Act (PACE). It’s a fight that has cost him his career and stripped him of his reputation and that will now, at last, be widely seen when in September ITV will air their six-part drama.

The story focuses on the events following Sian's disappearance in March 2011. After a huge police search investigators began to focus on local cab driver, Christopher Halliwell. As their prime suspect for her abduction, he was put on 24-hour surveillance in the hope that he would lead them to Sian, alive. When Halliwell was seen purchasing a potentially suicidal overdose police swooped in to arrest him. At this point, it became critical he was interviewed, because if Sian O'Callaghan was still alive, she needed to be found urgently. In these extraordinary circumstances, Steve, as the senior investigating officer decided that Sian's right to life trumped his suspect, Christopher Halliwell's, right to silence and legal advice upon arrest.

He ordered that Halliwell be bought directly to him at Barbury Castle, an iron age fort outside Swindon, where the search for Sian was focused. The belief that Sian could be alive necessitated an urgent interview at the site of the search with Halliwell, which is irregular, but legal and allowed under PACE regulations. It was there on that windy grey hill where the two men talked and talked that Fulcher eventually convinced Halliwell to free himself of guilt and to give up Sian. He confessed to her murder and agreed to take Steve and his team to the spot where he had left her body. Soon after leading police to Sian he volunteered further information, in his words 'Do you want another?' Believing that he had the trust of Halliwell in these intense moments, Fulcher did not immediately read him his rights, as he should have, because the provision of an urgent interview was no longer valid now that Sian's body was found.

By not immediately reading Halliwell his rights and deliberately breaching PACE rules he failed to remind Halliwell that he could, of course, stay silent or offer him a solicitor, almost a guarantee that he would stay silent. Instead, he allowed Halliwell to lead him and his team to a field in Gloucestershire. Once at the field, Halliwell paced out precise steps from a small stone wall leading to the shallow grave of Becky Godden-Edwards who he had murdered some eight years before. At the end of this long day, Halliwell finally arrived at Swindon's Gablecross police station, a solicitor was summoned, he gave no further evidence.

In October 2011 at Bristol Crown Court Christopher Halliwell's defence team was able to make inadmissible his murder confessions including the fact that he had indicated where Sian O'Callaghan and Becky Godden-Edwards bodies lay. Police did have other strong forensic, telephony and CCTV evidence that eventually meant Halliwell pleaded guilty to Sian's murder. However, Halliwell did not stand trial for Becky's murder. Why? Because after hearing 'Do you want another?' rather than allowing Halliwell to lead him to another murder victim, Fulcher should have read Halliwell his rights, taken him to the nearest police station and interviewed him in the presence of a solicitor. A solicitor whose legal duty is to ensure that his client does not incriminate himself. 

Because Christopher Halliwell did not face charges for Becky's murder Steve Fulcher was reported to the Police Complaints Commission. Eventually, Fulcher was found guilty of gross misconduct and he resigned from the police. Becky Godden-Edwards' mother, Karen Edwards, views are telling:
“Had it not been for the actions of Steve Fulcher I would never have known what had happened to my daughter, Steve Fulcher gave me the ultimately terrible news that I dreaded; what had happened to my long-missing daughter.” She saw Fulcher as a 'hero hung out to dry', a victim of rules that are not fit for purpose.

Steve was unrepentant stating:
My view is that I have brought two daughters back to their mothers and I’ve prevented other victims resulting from Halliwell’s continued pursuit of his career as a serial killer. But for my course of action, Becky would still be in that field, Sian would never be found and Christopher Halliwell would be walking the streets.”

The perverse outcome of this case meant a multiple murderer, who freely confessed to two murders, was able to have one confession made inadmissible and not even answer for the second. Very few of us, thankfully, will ever have to face the type of dilemma Steve did that fateful day. Fewer still, I suspect, would have shown Steve’s courage and conviction in his pursuit to do the right thing.

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In September 2016 Christopher Halliwell finally stood trial for the murder of Becky Godden-Edwards and was found guilty. Christopher Halliwell's original sentence of 25 years imprisonment was increased to a whole-life order, meaning he will not be eligible for parole and is unlikely to ever be released from prison.

Six-part drama A Confession will air on ITV starting 2nd September 2019

Stoke-on-Trent

Longton, Staffordshire.

All photographed with Hasselblad 500c/m on Expired 2009 Fuji Neopan 400

Kings Cross

 

A quick 45 minute shoot during London Fashion Week at the back of Kings Cross with Witchy Pixie

All shot with CONTAX S2 and Planar 85mm ƒ1.4 on Kodak Portra 800 and Kodak TMAX 400

Out of Season

winter in a coastal town

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Fuji Pro 400H film.

Ferrania P30 Alpha

Feeling a Bit Fellini Part II

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In September I shot my first roll of Ferrania’s new P30 Alpha black and white film. I developed this first roll using Tetenal’s Paranol S a developer that I was using at the time. Since then I have changed chemistry to Kodak’s TMAX developer and so for this second roll of P30 I was not able to follow my original recipe.  After a bit of head scratching and research I finally settled on:

• Kodak TMAX developer (1:4 Dilution) for 7:15 minutes at 20ºC with Continuous inversions for the first 15 seconds then 5 inversions every 30 seconds thereafter.

• Stop with Kodak Professional Stop for 30 seconds at 20ºC 

• Fix with Kodak Professional TMAX Fixer for 5 minutes at room temperature

• Wash for 10 minutes

• Scanned on Nikon CoolScan 8000

Looking at both sets of negatives side by side the film that was developed using Paranol S is more contrasty while the film developed with the Kodak TMAX looks lighter with more mid tones. I couldn't say that one developer is better than the other as there are too many variables for even the beginning of a true comparison, only that both recipes worked well enough to produce satisfactory photos.

I shot Talie at box speed - ISO 80 in moderately bright evening light. The back streets of Dalston, East London were by then either in soft shadow or glowing golden-hour light. For exposure, I metered from her skin using the cameras spot meter + 2 stops and confirming with the odd incident reading from a handheld. Most frames were shot at ƒ5.6 with 85mm Planar ƒ1.4 lens on a CONTAX S2.

Model: Talie Eigeland
All photographed with CONTAX S2 on Ferrania P30 Alpha film.

Revisit

Returning to Thamesmead

As a photographer, I’m always looking for new subjects to photograph. Sometimes though returning to a previous location can be just as rewarding. Revisiting a place will never result in replicating an earlier experience, things will always be different. Light, time, season and weather are near impossible to duplicate. Places evolve, walls, shops, buildings change. Using a different format or lens present new perspectives. Even being in a different state of mind and mood are factors that can lead to new photographic opportunities. So two years after my first visit, on a wet, cold and grey Sunday, I returned to Thamesmead. This time on a sharp and crisp winters day. With clear skies and cold blue light, I found low shadows and distinct contrast, this together with changes in the buildings and landscape resulted in a very different set of pictures. For me, once again proving the value of a revisit. 

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Kodak Portra 160 film.

The Pergola Portraits

Great to see some photos from my recent shot with Talie Eigeland taken at Hampstead's Hill Gardens and Pergola on Photo/Foto Magazine. Check out their site, there are over 150 folios and interviews from talented photographers all around the world.

Model: Talie Eigeland

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Kodak Portra 400 film.

Residence on Kloosterstraat

Antwerp, Belgium.

The net curtains and blinds draped heavy in the windows of lower floor apartments, like fabric guards protecting the privacy of the residences on Kloosterstraat.

All photographed with CONTAX S2 and Zeiss 28mm Distagon T* ƒ2.8 on Fuji Neopan 400 film.

Cropredy Bridge

This short series of photos was taken at Cropredy Bridge Cars based in rural Oxfordshire. Since 1972 Cropredy Bridge have specialised in the restoration of classic Jensen cars, in particular, the famous Interceptor. The Jensen Interceptor is a genuine British classic, built at their West Bromwich factory from 1966 to 1976 it was a truly international car with its Italian designed body and American V8 power, it is rightly considered one of the most beautiful cars of the last 50 years.

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Kodak Ektar 100 film.