Saturday, December 07, 2013

New home

Hi, thanks for stopping by. You'll be able to find more up-to-date stuff from me on my new site and my new portrait and interview project

Sunday, November 10, 2013

Loughton Veterans Cross Country


I just bought a new camera, a Fuji X-Pro1. It's lovely, it really is, so I wanted to get out and shoot something this weekend. I've been running a lot recently too, and in researching running clubs, I discovered that there was an inter-club XC race taking place in Loughton.

Those were all the details I could find though - a time and a nearest tube station. After a bit of digging I discovered last year's race had been held in Roding Valley Meadows, which I googled and got a vague reference to a nature reserve. I rode my bike there in the hope that 60-odd runners would be pretty obvious.


After twenty minutes of riding around, I eventually discovered the race, albeit, the final half.

I got chatting briefly to one of the marshals who told me they don't need to say where it is because everyone who needs to know, knows. He wasn't being an arse, just stating a fact. It made me think how good cycling is nowadays, with one online events calendar (that I use at least, as I'm not bothered about TT's) that tells you exactly what's going on, when and where. When I first started road racing back in the mid-nineties, it was still in the predicament running is in now.

And for all that, I really fancy giving competitive running a go again. And I think the first thing to do will be to join a club so I can find out exactly what's going on.





Thursday, November 07, 2013

Thatcherism and "getting on your bike"

Another day, another columnist taking a pop at cyclists. This time it’s Rod Liddle in the Spectator; in the recent past it’s been Matthew Parris in the Times, Melanie Phillips and James Martin in the Mail and Harry Wallop in the Telegraph. There are more of course – regional papers have noticed the cycling lobby’s speed and agility when it comes to jumping on any bandwagon of outrage and they’ve begun producing inflammatory columns of their own, rarely well-written or passably sincere, but profitable linkbait nonetheless. Clicks, comments and shares are the currency of the modern media, and a column condemning cyclists a kind of quantitative easing. Need a quick fix for flagging page impressions? Knock out an anti-cycling rant.

One noticeable trend in all this is that the criticism comes universally from the right – it’s rare to see cyclists criticised in this way in the Guardian, the New Statesman or the Independent.

So how did cycling become a political issue, and particularly one of right against left?

I ask this because, as a child of the eighties, I see a direct correlation between cycling and Thatcherism. For example, Thatcher was quoted as saying:

“A man who, beyond the age of 26, finds himself on a bus can count himself as a failure.”

I couldn’t agree more – bus travel is horrible. As an able bodied young man I’d far prefer to be on my bike, in charge of my own destiny, not reliant on handouts from the state (because although I’ll use roads, paid for out of taxation, on a bike I can travel over virtually any surface. If Upper Street in Islington suddenly returned to dense forest, I’d enjoy the singletrack – I can’t see taxi drivers being so happy) and progressing towards my destination unhindered by bureaucracy, like traffic jams caused by poorly timed traffic lights. Because let’s face it, traffic lights are a purely bureaucratic invention to stop car drivers killing each other and other road users.

The argument made by the right is that cyclists are stuck up hypocrites, too poor to drive, too lazy to walk and too stupid to realise that they’re not actually saving the world.

“They think that they are different. No — you’re not. You just can’t afford a car or are deluded about the impact cycling a few miles makes to the environment. And you can’t be bothered to walk.”
Rod Liddle, the Spectator

Can’t afford a car? False – I even pay road tax and insurance, I just can’t afford to park the bloody thing. Or find the time it takes to get anywhere through London’s revolting traffic. Deluded about the environment? Far from it! I own enough bikes made overseas to recognise that any saving in CO2 emissions made by my cycling over driving, has probably been negated by the shipping and manufacturing process of all those bikes and components. Can’t be bothered to walk? Well, you’ve got me there. Time is money, Rod – we can’t all get by on the income accrued from a 500 word weekly column.

To be a cyclist is to associate yourself with a libertarian ideal, one of individual freedom, and personal responsibility (contrary to the columnist’s schtick, most cyclists don’t take crazy risks on their bikes because crashing hurts and tends to be deadly), an ideal ensconced within Thatcherism. I’ve never voted conservative, but I did grow up in the eighties, and like many people who grew up under Thatcher I see no shame or contradiction in riding a bicycle in my thirties and I can’t see why that will change as I get older.

Is cycling a political issue? If it is, it’s as right wing as it it left, and draws in right thinking people from both sides of the political divide. And Boris Johnson. Maybe its time the columnists got on their bikes for once?

Tuesday, August 20, 2013

Wednesday, August 14, 2013

Big Walk

Big Walk, originally uploaded by Andy Waterman.

Via Flickr:
18 miles into Essex, sleep, return

Wednesday, July 24, 2013

Advice to photographers

The other day a young photographer contacted me asking for some advice about going freelance, and what I'm looking for when I commission people for Privateer. Once I started writing, well, I lost track of the time a little and my email reply got pretty long. So long I figured it might be worth sharing on here...
Hey XXX, I think the biggest - BIGGEST - thing for me is getting photographers who have ideas of their own and the wherewithall to actually put those ideas into practice. 
I get quite a lot of portfolios sent to me and they nearly always have great shots, but by and large they expect me to find them a subject to photograph. Generally speaking, if I've got an idea, I'll shoot it myself and save the contributors' budget to spend on something special I couldn't/wouldn't have thought of.

Here's a list of thoughts in no particular order...

1: I commission on the strength of someone's ideas – technically perfect photos of boring/over-done subjects are ten a penny. Original ideas and a unique viewpoint aren't. 
2: Ideas are free, don't hog them. Talking to editors/other photogs about ideas will lead to more, better ideas. Collaborate. Everyone likes an excuse to go for a coffee and talk shit, don't be afraid to give people a call and ask if they want to go for a coffee, it will lead to good things. Working together with writers particularly – having a writer/photographer team that comes to us ready to work together – is a major plus. 
3: Ideas are easy, getting a project started isn't. If you've got an idea for a project or a feature, get it started, even if you only get the very bare bones of it. If you go to a mag like Privateer with the beginnings of a project, we will be able to see the potential in it, and if it looks good he'll commission it and support you for the duration.

4: Do the stuff that interests you. Chances are if you're passionate about something, you won't be happy with "good enough" and you will go the extra mile. That will come across in the work and the way you're able to sell that work to editors, which in turn will get you a good reputation.

5: Show editors the stuff you want to do, not the stuff you've done for money that came out looking good.

6: Don't think that once you've sent your shots in you're part of the job is over, be a control freak and demand to see proofs of how they have treated your work and don't be afraid to demand changes. In fact, if you've got an idea of how you want them to treat your work, send it over with the shots – we quite often get sent sample layouts with the photos. We always laugh at them, but at the same time, it's reassuring that the photographer has thought about the narrative of the story, and I reckon most of the time, the art ed will take that on board. 
7: Keep your edits tight, and only show the best shots. I've had photographers send me 400 images in the past, their whole memory card. If I wanted to be a dick – or I just had really bad taste and a bad eye – I could use the most poorly exposed shots, all out of focus with non-existent composition. That shows a complete lack of care, confidence and competence on the part of the photographer. Only submit shots you'd be happy to show to biggest paying clients – hide the rest on a hard drive, and bury that hard drive somewhere no one will find it.
Erm, I reckon that will do for now. What do you reckon? Anything in there you hadn't thought of? I think the biggest thing is to be proactive, put ideas into practice, socialise and be entrepreneurial about it – you've got to be a salesman as much as an artist.

This isn't really relevant but it looks like a cool movie.