A varied, strong session. We began with Anthony Mallett showing B & W prints of images taken in and around Canary Wharf over the last ten years: broad scenes, detail, some with an element picked out in colour. People appeared rarely and were then treated in monumental manner, their shapes not dissimilar to the architecture. Discussion included the question of whether we can see in B & W. I think yes, but we were divided.

Anthony Mallet

Allan Grainger followed, introducing the thoughts behind a new project ‘Selling the City’ with three central themes: the way art is co-opted by capital to sell a place, the use of space after it has been developed and how spectacle is used to continually manipulate a place for capital. Just three constructed images from around the O2 served to spark discussion of how to give as near objective as possible a handle on the place and these issues. This included some thought on how the image format contributes to this, seeing constructed images with an aspect ratio of approximately 1:3.3

Allan has provided the following crucial info re the aspect ratio:

The issue is with the specific reference to the 1:3 aspect ratio. The picture that is shown on the LIP website has a different aspect ratio than 1:3 and although I talked about the way this 1:3 aspect ratio affects the reading of the image – creating a claustrophobic feeling by compressing the picture format and consequently establishing a counterbalance to the picture’s panoramic perspective that attempts to set-up an uneasiness in the viewer – the point about aspect ratio or format is that it is part of the language of photography that helps to inform the content.

I think the picture I submitted works best on the webpage. I was just a little concerned that there might have been some confusion as this is clearly does not have an aspect ratio that is 1:3.

Allan Grainger

Sarah Hickson showed photos taken while with the Calais Sessions, a band of musicians working in the Calais migrant camp, finding musicians among the migrants, playing with them and recording on site. Her photos covered the camp site conditions (which we have seen from other photographers) as well as the musicians playing both outdoors and in the studio, showing an aspect which we have not seen elsewhere. Conditions for photography were difficult but the images were compelling. Further Calais sessions are planned and a related project among refugees here, too.

Stefan Lubomirski is along-standing member of the Greenwich Group and we have had the privilege of viewing the changing trajectories of his photographic practice. Stefan is a professional photographer but he has never been one to settle upon a signature style and stick to it until death. He is also not one to cold-shoulder a challenge. The night-club was a challenge. The fun comes over too.

Report by Peter Luck. Additional material by John Levett