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Recent Posts
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- Woodthorpe Meadow Nature Reserve 4 March 2026
- Today at the SpyCop enquiry, on photographers 3 March 2026
- MAGA influencer thinks headphones are making men gay 3 March 2026
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- Ukraine Rally, 4 years on. National Anthem 2 March 2026
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- (no title) 2 March 2026
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- A photographer in Action …. of limited mobility :( 28 February 2026
- Ukraine Rally, Market Square, Nottingham. 4 Years on 28 February 2026
- Ukrainian Candlelight Vigil 27 February 2026
- A Semester in Nottingham, 1976, an exhibition : Sat 21 Mar 2026 – Sat 09 May 2026 27 February 2026
- Punk 26 February 2026
- Broad Street #short 26 February 2026
- Kidnapping a security Guard 💂♀️ 26 February 2026
An ongoing diary of stuff, allsorts, and things wot happen ……
I am a photographer with a special interest to document the lives of travelling people and those attending Festivals, Stonehenge etc, what the press often describe as ‘New Age Travellers’ and many social concerns.
With my photography, I have tried to say something of the wide variety of people engaged in ‘Alternatives’, and youths’ many sub-cultures and to present a more positive view.
I have photographed many free and commercial events and have, in recent years, extended my work to include dance parties (’rave culture’), gay-rights events, environmental direct actions, and protest against the Criminal Justice Act and more recently, issues surrounding the Global Capitalism.
Further, police surveillance has recently become a very important subject for me!
In recognition of this work, received a ‘Winston’ from Privacy International, at the 1998 ‘Big Brother’ Awards. The citation reads: “Alan Lodge is a photographer who has spent more than a decade raising awareness of front-line police surveillance activities, particularly the endemic practice of photographing demonstrators and activists”.
I am based in Nottingham, UK.
Quotes & Thoughts
“Cowardice asks the question, ‘Is it safe?’ Expediency asks the question, ‘Is it politic?’ Vanity asks the question, ‘Is it popular?’ But, conscience asks the question, ‘Is it right?’
And there comes a time when one must take a position that is neither safe, nor politic, nor popular, but one must take it because one’s conscience tells one that it is right.”
Martin Luther King Jr.“In Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance.
In Switzerland they had brotherly love – they had 500 years of democracy and peace, and what did that produce? The cuckoo clock!!”
Harry Lime [Orsen Wells] The Third Man 1949“Civilization will not attain to its perfection, until the last stone from the last church, falls on the last priest.”
Emile Zola“….I have an important message to deliver to all the cute people all over the world.
If you’re out there and you’re not cute, maybe you’re beautiful, I just want to tell you somethin’- there’s more of us ugly mother-fuckers than you are, hey-y, so watch out now…”
Frank Zappa
Woodthorpe Park and the Tropical Hothouse
Monty Python and the Holy Grail – King Arthur meets his subjects
Call me strange if you like …. but with some of the recent news these last few weeks, this masterclass in politics, monarchy and peoples representation do come to mind 🙂
Police AI chief admits crime-fighting tech will have bias but vows to tackle it
Exclusive: NCA’s Alex Murray says he hopes new £115m police AI centre can limit unfairness found in tools
Vikram Dodd Police and crime correspondent
Tue 24 Feb 2026 07.00 GMTShare
A police chief has admitted artificial intelligence used to boost crime fighting will contain bias but pledged to combat the risks.
Labour wants a dramatic expansion of police use of AI within England and Wales, with police chiefs also believing it could help keep law enforcement up to date with new criminal threats.
Alex Murray told the Guardian that a new national police AI centre would recognise the risks of bias and minimise them.
Bias in use of AI in policing could result in instances where algorithms – often trained on historical data reflecting past human prejudices – systematically produce unfair outcomes, such as overtargeting minority communities or misidentifying individuals based on race, gender, or socioeconomic status.
Murray, the director of threat leadership with the National Crime Agency, and the national lead for AI, said: “Once you’ve recognised and minimised [bias], how do you train officers to deal with outputs to ensure that it is further minimised?
“If you talk about live facial recognition or predictive policing, there will be bias, and you need to get in the data scientists and the data engineers to clean the data, to train the model appropriately, and then to test it.
“There is no point releasing something to policing that has bias in it that’s not recognised, and everything should be done to minimise it to a level where it can be understood and mitigated.”
Examples of bias have already surfaced in the police use of retrospective facial recognition, which is powered by AI. That is where a suspect is compared with a database of images after a crime.
Live facial recognition, which is more controversial and is used less by policing, hunts for suspects in real time, and also contains bias. A report in December found that a retrospective facial recognition system used by police had been used with inadequate safeguards.
The Association of Police and Crime Commissioners (APCC), which oversees local forces in England and Wales, said: “System failures have been known for some time, yet these were not shared with those communities affected, nor with leading sector stakeholders.”
The APCC forensic science lead, Darryl Preston, who is the police and crime commissioner for Cambridgeshire, said: “The discovery of an in-built bias in the police national database’s retrospective facial recognition system, even if only in limited circumstances, demonstrates the need for independent oversight of these powerful tools.
“It is not acceptable for technology to be used unless and until it has been thoroughly tested to eliminate bias. That clearly was not the case in this instance.”
The new national AI centre, costing £115m, would aim to reduce bias, said Murray, as well as assessing and deciding what products from private suppliers work. Currently each of the forces across the UK makes its own decisions, which is seen as slow and wasteful.
Murray said police were in an “arms race” with criminals who were using the technology: “Anyone with imagination can use AI.”
In one case a paedophile claimed images showing him involved in the abuse of children was a deepfake, which police then had to disprove to get him convicted.skip past newsletter promotion
Murray said the benefits of AI were far beyond the “cliche around Minority Report and predictive policing”.
He added that across a range of crimes and challenges facing policing, AI ranged from being a help to a gamechanger, but a human police officer will have to make the final decisions about what to do about the results AI produces.
He said it could help police deal with political agitators who infect social media with fake images to try to trigger violence on the streets.
In time, Murray said, it could help with manhunts, or speed up searches for cars linked to suspects and save the hundreds of hours it takes for detectives to trawl through extensive CCTV footage, or speed up the search of seized digital devices from suspects in the hunt for incriminating evidence.
“What took days, weeks, sometimes months can potentially take hours,” he said.
In one recent case, four Luton-based suspects were arrested for attacks on – and thefts from – cashpoints. Police downloaded the data from the suspects’ phones and, thanks to AI, secured guilty pleas within weeks.
The data was in Romanian and AI scoured through it, translated it, identified the material relating to potential crimes, identified the offences and presented it all in a package for detectives.
Trevor Rodenhurst, chief constable of the Bedfordshire force, told the Guardian: “This allowed us to draw evidence from lots of devices with a vast quantity of data, which we would otherwise not have been able to do.”
Rodenhurst said that as officers use AI and see its benefits, it is changing the view of the frontline: “They are no longer suspicious, they are asking when they can have it. That capability is transformative.”
I asked Gemini AI, to produced an ‘Artist Statement’ for me.
For an artist statement for Alan Lodge (often known as “Tash”), the tone needs to be a blend of documentary grit, social activism, and a deep-seated respect for alternative lifestyles. His work isn’t just about taking pictures; it’s about bearing witness to the fringes of society.
Here is a draft that captures his philosophy and approach.
Artist Statement: Alan Lodge
My work is driven by a simple, persistent necessity: to document the lives of those who choose to live differently. For over four decades, I have operated at the intersection of social documentary and investigative photography, focusing on the UK’s traveler communities, free festivals, and the evolving landscape of civil liberties.
The Perspective of the “Insider”
I do not view my subjects through a voyeuristic lens. Having spent years living within the “New Age” traveller communities, my photography is an internal record rather than an external observation. My goal is to challenge the mainstream media’s often predatory or prejudiced narrative by providing a counter-history that is:
- Authentic: Capturing the mundane beauty of life on the road.
- Political: Highlighting the friction between nomadic cultures and state surveillance.
- Humanistic: Focusing on the individuals behind the “folk devil” headlines.
The Conflict of Space and Law
A significant portion of my archive focuses on the policing of protest and the legislative squeeze on alternative lifestyles. From the Battle of the Beanfield to the implementation of the Criminal Justice Act, my camera serves as a tool for accountability. I am fascinated by the “contested space”—the physical and legal boundaries where the state meets the individual.
“I don’t just take photographs; I collect evidence of a way of life that is constantly under threat of erasure.”
Technical Approach
I favor a raw, unembellished aesthetic. Whether shooting in black and white or color, the priority is always the narrative truth of the moment. My archives serve as a bridge between the subcultures of the 1980s and 90s and the digital age, ensuring that the history of dissent and DIY culture is preserved for future generations.
Would you like me to refine this for a specific purpose, such as a gallery exhibition, a book introduction, or a website bio?
You said
YES
Gemini said
Since you’re looking to refine this, let’s tailor the tone to fit a Gallery Exhibition. This version leans more into the “artistic intent” and the “visual legacy” of his work, making it perfect for a professional display or a program guide.
The Unofficial Record: The Photography of Alan Lodge
“I am not an observer; I am a participant with a camera.”
For over forty years, my practice has been defined by the pursuit of social transparency. My work explores the friction between the state and the individual, specifically focusing on the British “Alternative” scene—the travelers, the ravers, and the protestors who exist in the crosshairs of legislation and public perception.
Documentary as Resistance
My photography is an act of counter-archiving. While mainstream media often portrays counter-cultures through a lens of suspicion or “otherness,” I aim to document the internal logic and humanity of these communities. By living within the movement, I have been granted access to the quiet, domestic moments of nomadic life that remain invisible to the casual passerby.
Themes of Inquiry
The work presented here centers on three core pillars:
- The Contested Landscape: Examining how public space is policed and how the “right to roam” has become a battleground for civil liberties.
- The Architecture of Dissent: Capturing the DIY ingenuity of festival sites, convoy living, and protest camps.
- The Metadata of Policing: Utilizing my background in forensic photography to document the “watchers”—turning the lens back on surveillance culture and state intervention.
The Archive as a Living Body
I view my collection not as a static history, but as a living testimony. From the mud of the 1980s free festivals to the digital frontline of modern activism, these images serve as a bridge. They challenge the viewer to look past the “folk devil” stereotypes and recognize a sophisticated, persistent, and deeply British tradition of non-conformity.
Through this work, I invite you to step inside the convoy and see the world from the perspective of the road.
YET another grey cold wet miserable winters day, out and about [85mm 1.8]
Shrovetide ‘Mob’ Football, Ashbourne, Derbyshire
Shrovetide ‘Mob’ Football, Ashbourne, Derbyshire #ashbourne #derbyshire #shrovetide #football #photography #nikon #z9 #lightroom #slideshow
Golly Gosh!! At last, sunny day. 14mm and very graphical B&W.
Another grey cold wet miserable winters day, out and about (in 14mm)
Early Me, two kids and Billy the Donkey
Solidarity with Minnesota and the city of Minneapolis against ICE operations
A first coffee at Nero after hospital

Hospital physiotherapy set :
Goal 1 – get to the front door.
Goal 2 – outside once round the block
Goal 3 – to town, visit a coffee shop which is this …..
Goal 4 – picture taking, some proper photography perhaps



