Monday, 26 April 2010

Transmission

Transmission
This is the playout area for a well known International TV network.
The facility currently hosts 57 channels (48 live playlists and 9 delay feeds) that cater for the whole of Europe, Africa and the Middle East.

I was trying to shoot it in order to provide some PR shots for the said Newtork and this is a preliminary test shot.
The facility itself is actually remarkably hard to shoot given it’s size and lack of light, resulting in a rather painful trade off between aperture, exposure and ISO.
I was shooting with a 400D which doesn’t really deal with low light particularly well as anything shot on higher than ISO 400 is pretty much unusable. Pairing this I had only brought the Sigma 10-20mm F4-5.6 lens which is not a lens known for its sharp results.

This image is a composite of 3 bracketed exposures to balance out the highlights/shadows

Strobist: bare 285 @ 1/16 power laid on desk near closest Transmission controller triggered by cactus v4

Thursday, 22 April 2010

Nixa


Nixa, originally uploaded by Harry Sewell.

Strobist: 430EX on boom @ 1/1 power through white umbrella above the lads triggered by cactus V4

Yes they were actually neck deep in freezing cold winter water.

This is a mock up for a forthcoming E.P by rock band NIXA



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Jess going macro


Jess going macro, originally uploaded by Harry Sewell.

Jess likes to borrow the biggest lens she can find

Mean girl


Mean girls, originally uploaded by Harry Sewell.

He/She was giving me the eye

Tabacco Dock

Tabacco Dock
Tobacco Dock is a grade I listed warehouse in Wapping, London Docklands. It was constructed in approximately 1812 and served as a store for imported tobacco. It is a brick building with many brick vaults and some fine ironwork. It was adjacent to the particular set of docks named London Docks, which have largely been filled in.

In 1990 the building was converted into a shopping centre which had cost £47 million to develop and was intended to create the Covent Garden of the East End but the scheme was unsuccessful and it went into administration. The property is not in a major retail area and has only moderately good public transport access. Since the mid 1990s the building has been almost entirely unoccupied with the only tenant being a sandwich shop, and a plan to convert it into a factory outlet did not come to fruition. However the site is still highly maintained which includes the employment of cleaners, a full time security staff and even a kestrel to discourage pigeons from this site.

Josephine Rogers


Josephine Rogers, originally uploaded by Harry Sewell.

Strobist; 430EX @ 1/2 power off silver umbrella above camera, two 285's through 1/4 CTB gell square to model

triggered by cactus V4's

shot with a 400D and the canon 85mm F1.8 prime lens

Cable street mural


Cable street mural detail, originally uploaded by Harry Sewell.

The Battle of Cable Street Mural was created by artist Dave Binnington.

He began his research in 1976 and set up a small studio in the basement of St George's Town Hall with the Basement Project Community Arts Workshop. Inspired by the location of the west wall of the old Town Hall, he decided to create an image that would commemorate the famous occasion when, on 4 October 1936, the people of the East End prevented Sir Oswald Mosley and the British Union of Fascists from marching through Cable Street in Stepney, then mainly a Jewish area.

Binnington, who had studied the murals of Siquieros and Rivera, conducted intense historical research. He looked at books, films and photographs of the Battle and worked much of what he found into the design: the dramatic uniforms of the BUF, the eggs, milk bottles, tools and the contents of chamber-pots coming from the upper windows, the mounted police 'cossacks' with long weighted clubs surging through the crowd, the use of marbles and ball bearings against the police horses, the overturned lorry, the chairs and mattresses of the barricade and the police autogyro flying overhead. Binnington interviewed and drew many local characters, including them in the design to show that this famous victory was won by the people of the East End of London.

The work was well advanced when, in 1980, fascists climbed the scaffolding and daubed the mural with the words 'British Nationalism not Communism - Rights for Whites. Stop the Race War' in six foot high letters. The bottom two thirds of the painting was ruined. Binnington had spent more than two years up on the scaffold, he felt completely unsupported, and retired. Another artist, Paul Butler, became involved in the project and brought in Desmond Rochford and Ray Walker to complete the mural. There were modifications to the original design and interpretation, and the work was finally completed in October 1982.

The mural immediately attracted more fascist vandalism. Green paint was thrown across it. This was removed and repainted by Ray Walker. Later, black and white paint bombs in plastic bags were thrown, causing considerable damage that was eventually repaired in 1985 at a cost of £8,000. Vandalism continued and in June 1993 a roller was used to smear paint across the bottom half of the picture and the initials of the British National Party were left as a calling card. The repainting cost £18,000, raised by a public appeal and from Tower Hamlets Council. A special varnish was applied so that any future attacks could be easily cleaned off. The mural stands as a powerful symbolic reminder of anti-fascism in the East End. 'They shall not pass!'

Cable street mural