Guest blogging

I am excited to announce that I have been asked by the good folk over at Foto 8 to contribute to their daily blog coverage here of the New York Photo Festival. The promise of an access all areas press pass, free gargle and some loot was just too good to pass up.

So with that we will be on the ground in Dumbo for the 5 day duration and will partake in as much of the fun and frivolity as we can handle. Expect my daily report on all the happenings over there at Foto 8 with a little something something over here on the Jackanory. Hopefully we wont be all photod out by the end of this thing, might have to check myself into photo rehab when all is said and done. Anyways don't forget to say hello if you are out and about.

Fashion Friday

If you were as enamored as we were with the fist issue of New York Magazines fashtacular companion publication New York Look (review post here) fear not because issue 2 is here and lives up to all the promise of the inaugural issue. And what do you know those clever people at New York have kept with the winning formula and created another masterpiece with yet another masterclass in photo editing.

First time around it was Magnum photog Paolo Pellegrin who was responsible for almost the entire magazine; this time around its another Magnum alumn Christopher Anderson who gets a crack. Oh and yeah he turns in another tour de force hitting it out the park just as Pellegrin did. Anderson is all colour for this pairing and I have to say his talent really shines through. It all just looks so much better in the printed matter where it belongs not in a slideshow on the web so treat yourself if you can its breathtaking ! Makes you wonder what you could accomplish if handed the same brief and circumstance.

Whatever will become of Magnums own annual Fashion Magazine ? Which illustrious member of the cooperative do you think will get the green light for next seasons New York Look ?





Photos © Christopher Anderson

Heres to you New York Look and Christopher Anderson, nice one !

London calling

Seeing as its all the rage here on the photo blogosphere to have a 'conversation' or a Q+A with our peers; I didn't want to be left out of the party so here's my first serious contribution to the genre ! A little back and forth with inspirator and friend Chris Floyd.

AH: Hey Chris I have been trying for sometime now to come up with a decent post on the state of British photography after your comment over on APE a couple of weeks back, here. I think a lot of us would be interested to hear your take on the U.K. scene; in particular the editorial market and how it differs from your experiences working this side.

CF: To be honest, it's in a dire way these days, editorially speaking. Well it is if you're talking about paid editorial. I am working quite a bit but the lack of vision and imagination is so depressing, especially having lived in NY for over half a decade. British editorial photography is really an exercise in page filling. What's important are the ad pages, as always.

AH: From my experiences things work a little differently over on your side of the Atlantic.

CF: Thinking about it now, the most immediate reason for this is the impotency of the British editorial photo editor. The title is there on the mastheads but, by and large, the photo ed here is really just a glorified researcher who calls in pictures of teenage celebrities drunk and showing their knickers for the pap pages. Maybe that's overstating it but, at the heart of it, no one higher up the editorial publishing tree is thinking "Ooh I wonder what our director of photography will make of the fabulous shoot we are trying to set up with Mr XYZ." The commissioning and editing of photography is not a consultative or well thought out process.

AH: I noticed that myself when I went on go sees in London a few years back. A different experience then what I am used to in New York. When ever I did meet with a photo editor I always got the impression that they didn't in fact have any power to hire, there was another commissioning force responsible. I went to GQ once thinking that I was meeting with the PE but they escorted me up to see Tony Chambers the Creative Director at the time.

CF: Your mention of GQ is the perfect example. It's so perfect, as an example, they should put it in a museum. It crystallizes everything I'm thinking about. Tony Chambers is the single most influential creative director I've ever met. His influence on me in terms of aesthetic, attention to detail, approach and overall philosophy is something I shall always be thankful for. However, Tony is unique. He's very well read and that's because he's innately curious. You should see the bookshelves in his apartment. He views all these things - art, design, music, photography, graphics, use of space, writing, ideas, fashion - as strands that all converge in a place called magazines. He sees his job as fighting for the consideration of the visual. He also has a fantastic sense of history and lineage. He knows and understands how things came to be the way they did. How this person influenced that person and on and on. He is the only creative director I've met who seems to actually read the stuff in the magazines he designs. And he influenced all the people around him in that way. As much as a hard taskmaster as he could be, you learned stuff from Tony that you would use time and time again. So when you have someone like him running the art department it works because he knows how to pull all the elements together. But he is gone from there now. Modern magazine publishers don't really know or understand what qualities a great art director needs. As long as the girl on the cover is showing plenty of flesh and has her tongue hanging out it doesn't really matter. So they appoint people who are perfectly competent....graphic designers. But they are not art directors as I would define them. Yet they are given business cards that say they are art directors or creative directors so they must be those things. What a great magazine needs to make it great is an editor in chief and a creative director that must pull and push their respective sides - words and visuals. However, the E-i-C's and the publishers are appointing people who don't have the desire to be in that role. They are picking people who like and want the job title and will do the bidding of the E-i-C. It's a separation of church & state situation that's required but it's not happening here. The editor's decision is first and last, as well as everything.

It's no surprise to me that Tony is now an editor in chief (at Wallpaper*). When he got the job lots of people were surprised because the notion that someone who comes from the visual side could, heavens above, edit a magazine was a bit of a shock to some.

He's an exception though. 90% of the rest of those in the creative director position are not well read or curious about what is going on outside of their own narrow field. They don't read the copy. They're just thinking about fonts. Come on, who gives a toss about fonts ? A font is where you christen your baby. Not where you lay out the altar of your life. I have a great story that illustrates this. A friend of mine who is the features editor at one of the best selling men's mag in the UK told me how the current creative director told him that the first letter of the first sentence of a feature they were running on a female celebrity had to begin with the letter'L' because he had designed the most wicked upper case 'L' ever. When my friend laughed him off the guy had a proper hissy fit and stormed off. I mean, this is the level of intellect we are dealing with here a lot of the time.

There is a good interview with Tony on magCulture here.

AH: How has your work flow changed since you moved back to old blighty ?

CF: When I lived in NYC all my work was enviroportraiture and reportage style portraiture. No celebs at all.

Now I'm back here the bulk of my work is celebrity stuff. I can't complain, the resale of it does me well. I have a daughter and a wife who wants another so I really am not bitching at all. When I lived in NY I did ok but I was doing work there that I LOVED. Buffalo farmers in N.Dakota. Military cadets at West Point. Illegal immigrants in Arizona. Really great stories of modern America. There is nothing of that here and that is because there is no money for this stuff. It's exactly how Simon Roberts put it in his talk at KlompChing. You've got to assign yourself and then treat it as an art project almost, with books and print sales foremost in your mind.

AH: I loved your comment on how the Russians could have taken Britain with a phone call. You obviously enjoyed the vast American experience; are you just as jazzed these days by a spin up the M1 or is a lot of what you do now in London ? Or do u get around a bit ? Europe for instance.

CF: No, not really. 95% of my work is in London. Britain is not like America. The UK media market is London, London, London. Trailing a distant fourth place is London. Although, today I'm writing this in Cardiff, the capital of Wales. This is my first trip outside of London for a job since last July. Oh wait, that's a lie. I was in Toulouse, France a week ago to shoot a portrait of the chief engineer at Airbus.

AH: Following our phone discussion it would be safe to say that the U.K. has a stronger newspaper culture and that the U.S. has a stronger magazine culture. I just finished Don McCullin's terrific autobiography 'Unreasonable Behaviour'. Reading it reminded me how the British print media has had a long tradition of ground breaking photo journalism.

I remember the epic newspaper strikes growing up and subsequent shuttering of the Times for a year over its move to new printing technologies. McCullin has a great line when he noticed the shifting tides in his own career with the changing visual needs of his employer, "lifestyles rather then life were coming into fashion". I couldn't think of a better sentence to describe what was happening at the time and how relevant these words are today. Not only a description of how photography was being repackaged for the masses but also the major socio and economic changes going on throughout the country.

CF: Yes. Bang on. Please don't bring us anything that might make the advertisers baulk. The commissioning of big stories is gone. If you are working for UK mags then no one is going to send you off somewhere for a month to work on the equivalent of the great American novel. The content is kind of irrelevant. It's not important, as long as the skin looks ok. I just did a job for someone. It was a big bunch of teenagers. Real kids. Not models. What do all teenagers have the world over ? Acne ! Guess what they wanted me to do ? Retouch out the acne and smooth the skin. This isn't reportage. It's advertising interspersed with infomercials. News International (Times/Sunday Times) has just dictated this new rule: All photos are to be digital. They will not pay for film and processing or prints. You can shoot on film but your final submission must be a digital file and they will pay a maximum of £150 towards the cost of your digital equipment.

The publishers of the Sunday supps - Guardian, Telegraph, Times, Independent, Observer have all taken the attitude that what they operate are platforms for advertising and new media. The content is relevant only up to a very low threshold. Ultimately people like us are merely content providers and there are millions of us.

I did a shoot for Sunday Times on the 3rd Jan. The wold champion female track cyclist. A Brit. Big hopes for the Olympics. Great ! A job immediately after the new year - it gets your confidence up and your new year is out the traps. I got £250 fee. One of my very first commissions ever was for The Sunday Times in 1993. My fee was £250. In 15 years they have held down their costs 100%. What an amazing achievement. The chief picture editor of the whole newspaper - a man I've never even heard of or met - so the boss over and above the PE's in all the sections/magazines - was so impressed with my picture that he got his p.a. to call me and "ask" me if it was alright if they could hold on to the pictures for a little bit longer as they were so good he felt that they were very syndicatable. How long for? Not long, just a while, well until after the Olympics. Is there going to be a split in it for me? We'd give you 10%. The institutional disrespect for photographers and photography cannot be over emphasised.

AH: Same as here, there has been little change in rates since I started. Have you noticed a difference in your clients usage demands too ?

CF: So they not only are paying me the same rate as they were 15 years ago. They are then demanding to take away the thing that would financially render the gig worthwhile - the right to re-sell the work elsewhere. I could barely conceal my rage at this Murdochian crushing of the little freelancer and finished by suggesting that I was being financially penalised for producing work of a sufficient quality to be noticed by the guy at the top of the photo food chain in Murdoch Towers, E1. Then I tag teamed Getty into it and he relented. However, I still need to be able to work for them so I had to give him a way out of his position by allowing News International the right to re-use the pictures in any of their own publications for 6 months for free.

I've spun away from the state of British photography here into the state of the British photography industry but there you are.

AH: No worries man, you are obviously passionate about your art, you have referred to yourself as a journeyman. I liked that, care to elaborate ?

CF: Sure. I take a great deal of pride in the fact that you can send me anywhere and I will bring you something that is a) compelling and b) will tell you something vital about the subject. I can find something to be curious about in pretty much anyone. It's like that line "How can you justify your fees ?" It only took you 20 minutes to do it!" - "Yes it did but it took me 20 years to learn how to do it in 20 minutes."

I also have a fundamental mistrust, suspicion, dislike of and animosity towards anyone who defines themselves as an artist without very good reason. It is too easy now to say "I AM AN ARTIST." All the greatest people were, to a large extent, artisans. If someone were to call me an artisan that is what I would be most proud of. If you called me an artist I would have to leave. The job Michelangelo did on the ceiling of the Sistine Chapel was a commission. A gig. Shakespeare was really just a guy with a quill trying to make some dough. The Mona Lisa -La Giaconda- was a commission. How possible can it be to create something so beautiful and for it purely to be inspired by something so common as a pay check ? One of my great heroes is George Orwell. Some of his greatest writing was commissioned journalism. When you try to exist in your own self defined vacuum you are entering dangerous waters. There has been this great shift towards "art" photography, particularly in New York. Some of it is good and some of it is terrible. Most of it.....what is the point ? What does it say outside of the fact that Kathy Ryan thinks it's awesome ? Gregory Crewdson ? Is it good ? I don't know. What I do know is that it is a fantastic exercise in production. What is he doing for us that Edward Hopper or Stephen Spielberg haven't done ? That's all it is to me. Edward Hopper's tableaux married to Spielberg's lighting and production values. And...?

There can be, not always - some of my best friends are artists- this weird attitude of condescension towards those of an artisinal bent from those who define themselves as artists. When I lived in New York I was commissioned by the Guardian in London to spend 2 or 3 days with this band, the Arctic Monkeys. At the same time Rolling Stone had sent along a very well known and young American photographer who takes a lot of pictures of his friends cavorting naked and jumping off of idyllic rural bridges into far below rivers on cross country summer road trips.

We got to chatting while the band were sound checking and I asked him how he came to be there. He said that he just did whatever he felt like doing and this was a band he was really into and he called up Rolling Stone and told them so. So they got him the access and hey ho... Then I asked him who else he worked for, bearing in mind I totally knew who he was, he got a little superior on me and said "well I don't really accept commissions..that's not my thing. I just tend to create my own projects. I'm self assigning."

The fact is I think his pictures really are fantastic but what I baulked at was this idea that an idea is only valid if it is self generated. A commission was like a dirty word. But what that statement also said to me was that this was someone who had never had to earn a living from his work. He was privileged. There is nothing wrong with privilege. My daughter gets what she wants all the time but if you are privileged you need to show respect towards those that need to earn a living from their trade. In France, to become an artisan is a process that takes time and ends in an official recognition and status. To call oneself an artisinal baker, for instance, means that one has been through a period of learning. There is a respect there.

AH: It would appear difficult or almost impossible then for fine art to cross over into editorial as it has done here. There simply isn't the market ? Or does it all stop @ Martin Parr ?

CF: There isn't that level of ambition. I'm convinced Martin Parr has some form of Asperger's syndrome. Can I say that ? Is that actionable ? I've met him half a dozen times. He doesn't know who I am. His eyes glaze over when he's not talking about himself.

AH: You have said Britain doesn't have a magazine culture although style bibles like Arena, I-D, Dazed and Confused and the now defunct Blitz and the Face were considered the cutting edge. Did the average man in the high street give a shit or he more inclinded towards a bit of tit and ass and a healthy dose of Maxim ?

CF: I think that, historically, those mags (Face, Arena, Blitz, i-D, Dazed) will come to be seen as an anomaly. All those people that started those mags, and were on the outside of the establishment and vocally proud of it, are now very much a part of the establishment and they are certainly not letting anyone else in. What they did do was pave the way for popular culture to be taken seriously by broadsheet newspapers. All the broadsheets now have pop music columnists and reviewers, fashion coverage etc. Ironically, considering this discussion, not one of them has a proper, serious full time photography reviewer. And that is probably the single most defining aspect of what we are talking about when it comes to British photography and the public attitude towards it. Photography ? Paparazzi or weddings?

AH: So tell me this then why then are there so many British fashion photographers at the top ? Must be the accent right ? Goes down a treat over here.

CF: Hmmm...there is a very strong art school tradition in Britain. Some of our greatest bands came out of art school. The Beatles, The Who, Roxy Music to name 3. There is a great unofficially vertically integrated fashion scene at work in this country. Music, clubs, fashion, design. Out of that mind meld come incredibly hipped up people with cameras. However, a lot of those mags that were great in the 80's and early 90's started to eat themselves. Instead of generating great ideas at street level they started to get above themselves and they became trade mags. Fashion mags by fashion people for fashion people. They froze out the 16 year old kid in Leeds with 8 quid in his/her pocket and instead said "oh wow we have great shots by Craig (McDean) of Kate (Moss) wearing Stella (McCartney) that were styled by Katie (England) which will help all of us get a great new campaign from Karl (Lagerfeld)". The minute they started using first names only was the minute they entered Marie Antoinette territory. And at that point they all moved to New York anyway for the massive cash bonuses on offer. That's what you have now. The generation that made it big in the 90's are now shooting all the big stories and campaigns for the international fashion brands - mags and labels. I'm not sure what there is here now in the way of mags to help breed a new crop though? No one is going to make it big in Japan by shooting for British InStyle are they.

AH: Can you tell me a little about the effect the photo blogs have had on you ?

CF: Oh man ! They have opened my eyes to the fact that I....am....not.....alone. What we do, us photographers, is so solitary. To be able to engage with other people at an intelligent level of discussion is just awesome. Part of me feels like Tom Hanks. I've been sitting here growing a beard and talking to a fedex box for 15 years and now there are people that I can engage with who live time zones away.

AH: You obviously enjoy the new found interaction. This was evident when you were lamped on a little for that infamous early comment of yours over on APE, here . You know the one where you wrote talked about how fabulous your life is. The chatter with Olivier Laude and then his anonymous alter ego was great.

CF: Ha ha. Indeedy deedy !! That little contretemps was in answer to APE's post about how being a photographer can be one of the greatest jobs in the world if the chips fall in your favor. What I was saying was how right he was. However, the chips don't fall in your favor all the time. The day before that posting of APE's (can we call him Rob now?) I had just won the highest paying job of my life. Enough money to pay the mortgage and keep the wolf from the door for several months. It was a big publicity shoot with Gwyneth Paltrow for Paramount Pictures. On top of that I had several other tasty things in the pipeline. That was in October I think. From January to March of last year I just about kept my head above the parapet so this was a complete turnaround. This is a career with unutterably high highs and intolerably low lows. I said it myself in one of the back and forths with Olivier. "Sometimes weeks go by where the best part of the day is the bit where you get to go to bed intoxicated and numb with self loathing." I've been doing this for 15 years as a professional. So having had the strength of character and conviction to see out those periods which are regular visitors to my door, without bitching, then you've got to allow me the honour of feeling a little pleased with myself when the tide turns in my favor considerably from time to time. The insecurity and worry never goes away. No matter how pleased one feels at any given moment I am smart enough to know that the weather can change like that. You see, the thing about what we do that our friends with safe, secure 9 to 5's will never quite grasp is that, although, to them, our lives look sweet and easy going, we get no sick pay, no holiday pay, no guaranteed income or pay cheque and most importantly, no one to talk to or share problems with in the office or the pub after work. Those fears are always there. In the evenings, before bed, at weekends, on holiday, on Christmas Day, while you're having sex, in the shower, at dinner, in a cab, while I'm cuddling my daughter, in the garden, on and on and on and on. We do this alone, as I said just now, talking to a fedex box for company. And going back to the APE posting, if you read all the comments from people, you'll see that the vast majority responded in my defence and I felt vindicated there. Those that know what it's like...they know. The buzz from this job can be incredible but can you take the solitude and doubt ? We lay it all out there and have to survive on each and every roll of the dice. What is a photo editor after all ? A professional opinion holder, although Rob is one of the good ones it seems.

AH: Do you run into many of your peers, gallery openings etc ?

CF: What gallery openings ? That just does not exist here at any level of significance.

AH: Lets get away from all the rambling, time to answer some of the more obvious questions.

Photographers you admire ?

CF: Martin Parr & Gregory Crewdson. Seriously. For the soup they make from their base stock.

From the then: Stephen Shore, Joel Meyorowitz, Joel Sternfeld. All the bona fide canon fodder. Chris von Waggenheim, David Bailey for making me want to be a photog in the first place, Avedon, Penn, William Klein, Eggleston (duh!), Slim Aarons, Harry Callahan, Bob Richardson

From the now: Martin Schoeller, Glen Luchford, Mario Sorrenti, Simon Roberts, Larry Sultan, Chris Buck, James Nachtwey......

AH: Any pre-shoot rituals ?

CF: Coffee. No food at all. Good music.

AH: Most annoying celebrity subject ?

CF: John Mayer - by a country mile.

AH: Least annoying Most awesome celebrity subject ?

CF: Lots actually but probably Christopher Reeve for incredible warmth, humor, optimism, enthusiasm, curiosity and attention to detail in the face of the most permanent and debilitating adversity.

AH: If you weren't a photographer what would u like to be ?

CF: A good father.

AH: Any other silly/clever questions u can think of ? Don't worry I will take the credit.

CF: "Can I go now ? It's 1am here."

AH: Chris it's been a real treat, I really appreciate you taking the time and making the effort. You know this has been really great for me, a meaningful creative way for us to collaborate other then doing a Mert and Marcus or an Inez and Vinoodh. Thanks man.

Nice one . . . . New York Look

Photo © Paolo Pellegrin

Wow ! That's what I said to myself when I saw the inaugural issue of Look magazine; a spin off courtesy of the fashion department at New York. This side project which I believe will be published twice a year takes their usual newsy fashion week coverage and follows it up with a more thorough, digested review of the season from the runways of New York, Milan and Paris.

So if that isn't enough to whet your passion for fashion fear not, the photographs are terrific with one man responsible for the bulk of the issue: all hail Paolo Pellegrin who has turned in a stunning performance with 40 amazing images. I am not even a huge Pellegrin fan to be honest but he nails it here.

I picked up the magazine at the supermarket the other day more out of curiosity then anything else. I didn't even browse through it just brought it home, a little something to amuse myself over lunch, if nothing else Mrs H would enjoy the read. Anyways the cover looks fine so I wasn't overly expectant of too many surprises on the inside; another precious avant guard look at the fashion world me thought.

Well fuck me Pellegrin is on another planet. His refreshing and revealing approach to an oft tackled subject is magical. He was in the thick of the action, Paris, Milan, New York; backstage, front stage, on stage and has turned in a powerhouse portfolio. Black & white and color this is a true master at the top of his game, if nothing else this makes me realize how far I have got to go. As I mentioned already I am not a huge fan of his work but he really brings the funk and the noise here. What an inspired bit of photo editing, not only in choice of photographer and in the edit/layout but also in having the balls and vision to commission one photographer to tackle an entire magazine. Oh and have I said award winning yet, if this doesn't mop some up I don't know what will.

Unfortunately the web version of Look is not up yet but is due in the next few weeks and the pictures are not yet available online. The magazine retails for $5.99 on news stands and while readily available in New York, Barnes and Noble would be your best bet elsewhere. Do yourself a favor and check it out I promise you will not be disappointed even if your not too keen on the fashion.

Here's to you Paolo !

Nice one . . . . Monocle

Photos © Andres Gonzalez

While I can't really make my mind up on Monocle magazine as a whole they sure are commissioning some interesting work covering a broad spectrum; a little bit of everything as their ABCDE mantra dictates: affairs, business, culture, design and edits. I have a review of their 3rd issue here.

So I got to say I was most impressed when leafing through the latest issue to see a terrific piece from 'Whats the Jackanory ?' inspirator and friend Andres Gonzalez. Andres recently relocated to Istanbul Turkey on a Fulbright Grant and I had the pleasure of meeting with him over a few pints before his departure, recap here. He did promise to stay in touch and give me the scoop on all the goings on by the Bosporus. Naughty naughty Andres you could have at least given me the heads up on this one !

I have always been a huge fan of Andres's work so it was a real treat to discover he is being put to further use while residing at the crossroads of Europe and Asia. Obviously not one to shy away from a challenging assignment Andres trekked north to the Tajik-Afghan border one of the most dangerous spots on the planet to document its central role in the trafficking of heroin out of Afghanistan and on to the rest of the world. See slideshow with commentary here, unfortunately the whole article is only available for subscribers online but Andres has all the pics up on his site here.

Another fine Hetherington

Well as it turns out I am not the only photographer Hetherington. I am aware of at least two more (un-related) and am really bummed that I will not be able to meet one of them this coming weekend as an assignment takes me out of town.

The Alice Austen House Museum on Staten Island is hosting a reception for Tim Hetherington to coincide with his 'No Condition Is Permanent: Photographs From Liberia 2003 - 2007' show this Sunday September the 30th from 1:00pm till 9:00pm. The show which is currently up at the museum will be running through December 30. This will be followed at 5:30pm by a special showing of his documentary 'Liberia: An Uncivil War' at the historic St.George Theatre.

Tim Hetherington's raw, emotional, sometimes beautiful photographs force us to pay attention to Liberia, a nation often portrayed as being in a state of mindless chaos. By documenting the fall of Charles Taylor in 2003, the election of Ellen Johnson in late 2005, and the early work of the Truth and Reconciliation Commission, Hetherington attempts to inflict some order to conflicting events. By capturing personal lives, irrevocably changed by war, he insists we care. But he does not try to explain; instead his images ask the question of how democracy can take hold in a country ravaged by violence.

Tim was born in 1970 just a short ferry ride from me across the Irish sea in Liverpool. Heres hoping hes not a Toffee. But more seriously I have come upon his thought provoking work many times. He is a truly gifted story teller whos work has won him numerous awards and accolades. Tim is based in West Africa and as well as documenting many of the continents struggles he has found the time to run photography workshops for young semi-professional African photographers; providing them an opportunity to enhance existing skills while also helping develop visual literacy as manifested in photojournalism and documentary practice.

Expanding on a theme

'Castles of Ulster' is another interesting book on the fortified police stations, army barracks and watchtowers in Northern Ireland. Photographer Jonathan Olley secured remarkable access during the late 90's to photograph these buildings while they were still in use. Many of these structures have since been dismantled as part of the peace process.

'These structures are like Martian spacecraft, one breaks the terraced main street of what looks like a country town and shows that the irenic structures of ordinary architecture must give way to these armed gods, meshed objects that represent the failure of political and civil values.' Tom Paulin


The book is available directly from the publisher Factotum and you can go here to see more of the pictures. Click on the text to get more insight and background.


I think I may have preferred the pictures in colour but there is no doubt the effect these structures had on a landscape and a people.