A chat with Matthew Collin at Movers, Nottingham

exfriendly

A few snaps from last night’s chat with @matthew._collin taken by one of the great social documentarians of the counterculture @tashuk . Thanks to everyone who came along and contributed ❤️

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Alan Lodge as a Landscape Photographer

A quiet observer of the shifting light, He walks the hills where shadows take their flight, With silver-halide patience, slow and deep, He wakes the landscapes from their ancient sleep.

No frantic shutter, no rehearsed display, But catching truths that hide in plain of day; The granite spine, the velvet of the moor, A testament to what has gone before.

The lens becomes a bridge, a steady eye, Between the earth below and weeping sky; He maps the wild, the rugged, and the vast, And binds the present to a storied past.

In every frame, a whisper of the breeze, The patient growth of weathered, stunted trees, Alan finds the soul within the stone, And brings us wonders we might not have known

>>>>> Well, all this might be true if I wasn’t still on crutches !!!!! Again, one day innit.

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Some thoughts on a coming exhibition of work. A Retrospective

Curating a retrospective exhibition is a significant project that moves beyond simply organizing photos; it is about telling a coherent story of your growth, style, and evolution as an artist. Given your technical proficiency with the Nikon Z9 and Lightroom, you are well-positioned to approach this with professional rigour.

Here is a roadmap to help you transition from managing digital collections to curating a physical or virtual retrospective:

1. Define the Narrative (The “Why”)

A retrospective is not just a collection of your “best” hits; it is a timeline of your artistic voice.

  • The Thread: Identify the underlying narrative. Is it chronological, thematic, or a study of your technical evolution (e.g., your early work vs. your current high-end digital workflow)?
  • The Editing Process: Be ruthless. Start with a large pool (e.g., 100 images) and whittle it down to a “tight” 20–30. Use your experience in Lightroom to flag these, but seek an objective eye—a friend or fellow creator—to help you identify which images truly represent your vision.
  • Hero Images: Select 4–5 “hero” pieces. These are your anchors; they should be the largest or most prominently displayed, carrying the weight of your exhibition’s message.

2. Design the Experience

Whether physical or online, you are guiding a viewer through a “visual journey.”

  • Spatial Flow: If physical, map out your wall space. Think about how the viewer moves: where do they pause? Where do they need space to breathe? Avoid overcrowding—empty space (“negative space”) is just as important as the art itself.
  • Contextual Layers: Use labels, but consider being creative. You can offer simple, factual details (Title, Year) or more narrative-driven captions that explain the “story behind the story.”
  • Immersive Elements: If digital (e.g., on a website or social media), consider how you can use sequencing to create a sense of movement, perhaps mirroring the pacing you use in your TikTok photo slideshows.

3. Logistical Foundations

Since you are familiar with managing web-based retail via WordPress and WooCommerce, you already have the tools to handle the “business” side of an exhibition:

  • Print Quality: Invest in professional-grade printing (e.g., Giclée prints on textured paper) to ensure your Z9’s high-resolution files are honored.
  • Consistency: Keep framing and mounting sizes consistent to maintain a professional, gallery-style aesthetic.
  • Promotional Assets: Treat your exhibition marketing like a project rollout. Create a clear “Save the Date,” a digital invite, and a post-exhibition recap to keep the momentum going on your social channels.

4. Technical Checklist

  • Calibration: Ensure your monitor is color-calibrated before finalizing your edits for print.
  • Documentation: Record the process. Photograph the setup, the final display, and the opening night. This documentation serves as a portfolio piece for your future exhibitions.
  • Feedback Loop: Include a simple way for viewers to leave their thoughts (a physical guestbook or a digital QR code link). Use this data to inform your next project, just as you would with a software project retrospective.

A Reflective Question

As you consider your retrospective, are you envisioning a chronological look at your photography journey over the years, or are you looking to group your work by thematic projects (like your interest in subcultures or abstract photography)?

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Stonehenge and the `Battle of the Beanfield’ an account

Something had to be done!  Stonehenge appeared central to the situation.  Police “Operation Solstice” was initiated.

At a meeting of the Association of Chief Police Officers (ACPO), in early 1985,  it was resolved to obtain a High Court Injunction preventing the annual gathering at Stonehenge. This was the device to be used to justify the attack at the “Battle of the Beanfield” on the 1st June in Hampshire.   Well it wasn’t a battle really. 

It was an ambush.

It was a magnificent convoy stretching and snaking its way over the Wiltshire Downs,  as far as you could see in either direction.  It was a warm Saturday afternoon as we drove through villages, people stood outside their garden gates, smiling and waving at us.  A carnival atmosphere with little evidence of the ‘local opposition’ that we had been lead to believe was one of the reasons for obtaining the court orders.  A police helicopter watched overhead but there was little other sign of trouble until……..

Seven miles from Stonehenge  (the exclusion order was for four and a half miles),  just short of the A303 and the Hampshire / Wiltshire border,  two lorry loads of gravel where tipped across the road.  Up to this point, no laws had been broken.  I got out of my truck to take photographs when I first saw some twenty policemen running down the convoy ahead of me smashing windscreens without warning and ‘arresting’ / assaulting the occupants, dragging them out through the windscreens broken glass.

I and others who saw this were fearful of the level of violence used by the police in making arrests. Clearly we were in for a beating,  again!  Running back to our vehicles, we drove through a hedge in to the adjacent field.

The scale of the police operation was becoming obvious.  The same level of violence had been applied to the rear of the convoy.  Large numbers of police in many lines deep could be seen on the road forming up.

From then on, the situation grew more tense.  More police reinforcements were brought up wearing one-piece blue overalls  –  without numbers!, ‘Nato-style’ helmets with visors and both full length perspex shields and circular black plastic shields.  A ‘stand-off’ situation developed with sporadic outbreaks of violence.

Working with the festival welfare agencies, I was directed to a number of head injuries that has resulted from the initial conflict on the road.  All of these injuries were truncheon wounds to the back of the head and some people were quite distressed.  I was shown one man, about 20 years old who was semi-conscious with yet another head wound.  I was fearful of him dying.  An ambulance was called and I assisted the attendant and helped convey the casualty through police lines.  The ambulance crew were initially apprehensive about their safety but assurances were given.

In between the taking of photographs, the copious first aid and concerns for my family and friends,  I attempted to start negotiations and set up lines of communications with the middle-ranking ‘line’ officers.  There was no ‘middle ground’ to be found, so, with others I organised a meeting with Assistant Chief Constable Lional Grundy.  He was in charge of the overall operation.  It was early evening before we were able to meet him.  The tone of the meeting was ‘do what your told or else!’  He reiterated that people should be leave their vehicle and be arrested.

Because of the fear of what that might intail (after viewing the violence earlier in the day), those I met with were reticent about this.  I met Grundy again a little later and attempted to reason further with him, but the ACC then threatened to arrest me for obstruction if I persisted.

Police in full kit were now massed in large numbers and obviously getting ready to charge.  It turns out that police had been arresting a lot of people around Stonehenge earlier in the afternoon.  At 7.00pm, Grundy had sixteen hundred policemen from six counties, Ministry of Defence police and some believe,  army officers in police uniforms!!!

They had been briefed that we were all violent anarchists (see newspaper headlines earlier), rather than a bunch of young people and families with children.  

They charged.

The scenes that followed were recorded by media that had evaded the police blockade.  The story was international news.  ‘Dixon of Dock Green’ type policing was dead.  That which Britain was noted for had now changed to para-military operations against minority groups.

Kim Sabido of ITN, a reporter used to visiting the worlds ‘hot spots’ did an emotional piece-to-camera as he described the worst police violence that he had ever seen.

“What we – the ITN camera crew and myself as a reporter – have seen in the last 30 minutes here in this field has been some of the most brutal police treatment of people that I’ve witnessed in my entire career as a journalist. The number of people who have been hit by policemen, who have been clubbed whilst holding babies in their arms in coaches around this field, is yet to be counted…There must surely be an enquiry after what has happened today”.

There wasn’t.

When the item was nationally broadcast on ITN news later that day, Sabido’s voice-over had been removed and replaced with a dispassionate narrator. The worst film footage was also edited out. When approached for the footage not shown on the news, ITN claimed it was missing.  Sabido said.

“When I got back to ITN during the following week and I went to the library to look at all the rushes, most of what Id thought wed shot was no longer there,” recalls Sabido. “From what I’ve seen of what ITN has provided since, it just disappeared, particularly some of the nastier shots.”

Some but not all of the missing footage has since surfaced on bootleg tapes and was incorporated into the Operation Solstice documentary shown on Channel Four in 1991.

Public knowledge of the events of that day are still limited by the fact that only a small number of journalists were present in the Beanfield at the time. Most, including the BBC television crew, had obeyed the police directive to stay behind police lines at the bottom of the hill “for their own safety”.

One of the few journalists to ignore police advice and attend the scene was Nick Davies, Home Affairs correspondent for The Observer. He wrote:

“There was glass breaking, people screaming, black smoke towering out of burning caravans and everywhere there seemed to be people being bashed and flattened and pulled by the hair….men, women and children were led away, shivering, swearing, crying, bleeding, leaving their homes in pieces…..Over the years  I had seen all kinds of horrible and frightening things and always managed to grin and write it. But as I left the Beanfield, for the first time, I felt sick enough to cry.”

During the charge,  I took photographs,  but I put my camera away.  My (ex) -wife and I comforting and cuddles with each other for fear,  before we were attacked..

530 were arrested that day ( both at the Beanfield and at Stonehenge), the most in any operation since the Second World War.

Photographic evidence is  scant because of the nature of the action.   Ben Gibson, a freelance photographer working for The Observer that day, was arrested in the Beanfield after photographing riot police smashing their way into a Traveller’s coach. He was later acquitted of charges of obstruction although the intention behind his arrest had been served by removing him from the scene. Most of the negatives from the film he managed to shoot disappeared from The Observers archives during an office move.

A friend and fellow photographer Tim Malyon narrowly avoided the same fate:

“Whilst attempting to take pictures of one group of officers beating people with their truncheons, a policeman shouted out to get him and I was chased. I ran and was not arrested.” 

Tim Malyon’s negatives have also been lost with only a few prints surviving.

One unusual eye-witness to the Beanfield nightmare was the Earl of Cardigan, secretary of the Marlborough Conservative Association and manager of Savernake Forest (on behalf of his father the Marquis of Ailesbury). He had travelled along with the convoy on his motorbike accompanied by fellow Conservative Association member John Moore. As the Travellers had left from land managed by Cardigan, the pair thought “it would be interesting to follow the events personally”. Wearing crash helmets to disguise their identity, they witnessed what Cardigan described to Squall as `unspeakable’ police violence.

Cardigan subsequently provided eye-witness testimonies of police behaviour during prosecutions brought against Wiltshire Police.

These included descriptions of a heavily pregnant woman “with a silhouette like a zeppelin” being “clubbed with a truncheon” and riot police showering a woman and child with glass.  “I had just recently had a baby daughter myself so when I saw babies showered with glass by riot police smashing windows, I thought of my own baby lying in her cradle 25 miles away in Marlborough,” recalls Cardigan.

After the Beanfield, Wiltshire Police approached Lord Cardigan to gain his consent for an immediate eviction of the Travellers remaining on his Savernake Forest site.

“They said they wanted to go into the campsite `suitably equipped’ and `finish unfinished business’. Make of that phrase what you will, says Cardigan. “I said to them that if it was my permission they were after, they did not have it. I did not want a repeat of the grotesque events that I’d seen the day before.”

Instead, the site was evicted using court possession proceedings, allowing the Travellers a few days recuperative grace.

As a prominent local aristocrat and Tory, Cardigans testimony held unusual sway, presenting unforeseen difficulties for those seeking to cover up and re-interpret the events at the Beanfield.

In an effort to counter the impact of his testimony, several national newspapers began painting him as a `loony lord’, questioning his suitability as an eye-witness and drawing farcical conclusions from the fact that his great-great grandfather had led the charge of the light brigade. The Times editorial on June 3rd claimed that being “barking mad was probably hereditary.”

As a consequence, Lord Cardigan successfully sued The Times, The Telegraph, the Daily Mail, the Daily Express and the Daily Mirror for claiming that his allegations against the police were false and for suggesting that he was making a home for hippies. He received what he describes as “a pleasing cheque and a written apology” from all of them. His treatment by the press was ample indication of the united front held between the prevailing political intention and media backup, with Lord Cardigans eye-witness account as a serious spanner in the plotted works:

“On the face of it they had the ultimate establishment creature – land-owning, peer of the realm, card-carrying member of the Conservative Party – slagging off police and therefore by implication befriending those who they call the powers of darkness,”

says Cardigan.

“I hadn’t realised that anybody that appeared to be supporting elements that stood against the establishment would be savaged by establishment newspapers. Now one thinks about it, nothing could be more natural.  I hadn’t realised that I would be considered a class traitor; if I see a policeman truncheoning a woman I feel I’m entitled to say that it is not a good thing you should be doing. I went along, saw an episode in British history and reported what I saw.”

For three days (and nights), without adequate food, sleep and many to a cell, we filled police stations across the south of England.  From Bristol, where I was taken, to Southampton and London.  We were then charged with the serious offence of ‘Unlawful Assembly’.  Most charges were eventually dropped after all of this.

Some had lost everything they had.  Parents where frantic in locating their children, that had been taken into care.  Vehicles had been taken to a ‘pound’ some 25 miles away and people had to go through further humiliation in reclaiming what was left of their homes.

Twenty-four of us took out a civil action against the Chief Constable of Wiltshire for the wrongs that were done to us that day.  Nearly six years later at the High Court in Winchester,  we won most of our case and were each awarded damages against the police. The Guardian said  “Need to preserve pubic order does not permit the police to ride roughshod over the rights of ordinary people”.   After a four month hearing,  (during which we were made to  feel like we were on trial),  on the last day,  the Judge made an order on court costs that,  as we were getting legal aid,  meant we got nothing.  

What’s new!

As Lord Gifford QC,  our legal representative, put it:

“It left a very sour taste in the mouth.”

To some of those at the brunt end of the truncheon charge it left a devastating legacy.

Things have never been the same again since the Beanfield.   Throughout the rest of the year, whether in small groups or at events, travellers were continually harassed.

It had defiantly changed us  in many different ways.  There was one guy who I trusted my children with in the early 80s – he was a potter, amongst other things.  A nicer chap you couldn’t wish to meet. After the Beanfield I wouldn’t let him anywhere near them. I saw him, a man of substance, at the end of all that nonsense wobbled to the point of illness and evil. It turned all of us and I’m sure that applies to the whole travelling community. There were plenty of people who had got something very positive together who came out of the Beanfield with a world view of `fuck everyone’.

The berserk nature of the police violence drew obvious comparisons with the coercive police tactics employed on the miners strike the year before. Many observers claimed the two events provided strong evidence that government directives were para-militarising police responses to crowd control. Indeed, the confidential Wiltshire Police Operation Solstice Report released to plaintiffs during the resulting Crown Court case, states:   “Counsels opinion regarding the police tactics used in the miners strike to prevent a breach of the peace was considered relevant.”

The news section of Police Review, published seven days after the Beanfield, stated:

“The Police operation had been planned for several months and lessons in rapid deployment learned from the miners strike were implemented.”

The manufactured reasoning behind such heavy-handed tactics was best summed up in a laughable passage from the confidential police report on the Beanfield:

“There is known to be a hierarchy within the convoy; a small nucleus of leaders making the final decisions on all matters of importance relating to the convoys activities. A second group who are known as the lieutenants or warriors carry out the wishes of the convoy leader, intimidating other groups on site.”

If the coercive policing used during the miners strike was a violent introduction to Thatcher’s mal-intention towards union activity, the Battle of the Beanfield was a similarly severe introduction to a new era of intolerance of Travellers.

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Battle of the Beanfield, an updated set. 41 years ago today, 1st June 1985

Battle of the Beanfield, an updated set. 41 years ago today, 1st June 1985

https://adobe.ly/439fOGv

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Green Hustle, Nottingham 2026

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Asked AI what free parties are happening this Bank Holiday

When it comes to actual free parties and illegal squats/raves (as opposed to licensed commercial festivals), the nature of the scene means that specific locations and lineups are kept strictly secret until the very last minute.

​Organizers typically use locked social media groups, encrypted messaging apps, or temporary “party lines” that go live just a few hours before the sound systems start up to prevent authorities from catching wind of them.

​However, looking at the current landscape of the UK free party scene right now, here is how things stand and how the police are responding:

​Where Free Parties are Pop-Up Activity Right Now

  • Rural and Coastal Hotspots: Bank holiday weekends (like today’s Late May Bank Holiday) are prime time for rural free parties. Areas with vast open spaces or forestry—like the West Country (Devon, Somerset, Cornwall), the Welsh borders, and Dorset—traditionally see attempts by sound systems to set up. For instance, Dorset Police have been on high alert and heavily patrolling rural locations following a massive, 2,000-person “EggTek” free party in East Lulworth that drew major headlines.
  • Urban Squat Raves: In cities like London and Bristol, the focus is usually on abandoned commercial properties and warehouses. Just recently, police had to shut down a 100-person illegal rave operating out of an abandoned Argos store in Dalston, East London.

​Are the Police Attending?

Yes, aggressively so. Under Section 63 of the Criminal Justice and Public Order Act 1994, UK police forces have incredibly broad and severe powers specifically designed to tackle unlicensed music events (defined legally as gatherings playing amplified music with a “succession of repetitive beats”). 

​If the police catch wind of a free party, their response usually involves:

  • Intelligence & Prevention: Forces like Avon & Somerset and Dorset Police actively monitor social media and known “convoy” routes on bank holidays to block sound systems before they can even set up.
  • Intervention & Roadblocks: If a party has already started, police will often set up a strict perimeter cordon to stop more ravers or vehicles from entering, effectively starving the event of new attendees.
  • Equipment Seizure & Arrests: Police routinely use their powers to confiscate thousands of pounds worth of sound equipment, generators, and decks. Arrests are common, usually for public nuisance, drug offenses, driving under the influence, or squatting in commercial properties.

​While the free party community heavily relies on self-policing and a “leave no trace” ethos to keep things peaceful, modern police responses to unpermitted raves are rapid and highly coordinated, frequently resulting in the events being shut down within a few hours of the first beat dropping.

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Hraach – Dle Yaman (116 Deep Mix)

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Castlemorton …. 34 years ago

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Free Party, A Retrospective. Film and Panel discussion at Lost Horizon, Bristol

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 DiY set … from oh such a long time ago 

DiY Nottingham based Sound System. Pictures taken Just before Castlemorton event …. oh such a long time ago

Just roughed these up on my phone from negs …. Will scan properly later, but many projects on the go at once here. 

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New Camera Hype :: The Problem with Modern Camera Reviews

My YouTube feed is currently flooded with influencers praising the new £1,299 Lumix L10 as a “must-have.” But let’s look past the hype at how the camera industry’s marketing machine actually works:

  1. The Junket: Brands fly creators to luxury destinations (like Osaka) with all expenses paid.
  2. The Script: Creators get a few hours with the gear and a list of manufacturer talking points.
  3. The Launch: The embargo lifts, and channels simultaneously drop “reviews” that are actually just synchronized sales pitches.

It feels like a losing battle. We’ve reached a point where camera innovation has plateaued. Between new inventory and the second-hand market, photographers already have everything they need. Brands are simply using influencers to manufacture a false sense of necessity—convincing you that a new purchase will automatically make you a better photographer.

We need uncompromised, honest journalism back in the photography space. But until reviewers grow a backbone and stop trading their integrity for free trips, don’t expect to hear the truth on YouTube.

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A Photographic Life-419: See/Saw ‘Photo London 2026 and Peckham 24’

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Guardian photographer ‘exposed to risk’ after Farage shares press card picture

NUJ warns that Farage actions could expose journalist to abuse.

By Alice Brooker

Reform UK leader Nigel Farage gives a speech to supporters on Clacton Pier in Essex on 3 July 2024. Picture: PA Media/Ian West
Reform UK leader Nigel Farage gives a speech to supporters on Clacton Pier in Essex on 3 July 2024. Picture: PA Media/Ian West

Reform leader Nigel Farage has said being visited by a Guardian photographer underlined why he needed extra security.

The Guardian has issued a statement in defence of its photographer after Reform UK leader Nigel Farage shared an image of the photographer’s press card on social media.

The photographer was taking photos from a public path, according to The Guardian, while working on a story related to allegations that the Reform leader failed to disclose a £5m gift from a Thailand-based crypto billionaire.

Farage said, sharing a picture of the photographer’s press card on social media: “My security team just found this journalist from The Guardian at my property. This is exactly why I need security. Completely unacceptable.”

The Guardian, which broke the story on 29 April that Farage has received a secret personal donation from a Thailand-based billionaire, said the photographer showed his NUJ Press Card when asked for identification by Farage, who then took a photo of the card. Reform has said the donation was made to pay for Farage’s security.

The Guardian said in a statement: “The Guardian is concerned by the recent publication on Nigel Farage’s social media pages of the professional credentials of a photographer working on behalf of the Guardian while he was working lawfully in a public space.

“Holding public figures to account is the role of a free press.

“As part of the Guardian’s journalism covering Nigel Farage’s purchase of a £1.4m property in cash shortly after receiving a £5m personal gift, a photographer took pictures from a public path and showed his press card when asked to identify himself.”

The photo  shared to Farage's social media of the photographer's Press Card. Credentials omitted by Press Gazette. Picture: Nigel Farage Instagram.
The photo shared to Farage’s social media of the photographer’s Press Card. Credentials omitted by Press Gazette. Picture: Nigel Farage Instagram

Journalists ‘increasingly targets of shocking abuse’

The NUJ has also pushed back against Farage’s social media posts, claiming he is putting journalists at risk.

Laura Davison, NUJ general secretary, said: “The NUJ has seen the posting on Nigel Farage’s social media pages of an NUJ Press Card, deliberately sharing the credentials of a professional press photographer. No journalist should be subject to actions that target them or expose them to potential risk in the course of their legitimate work. This flies in the face of press freedom.

“Our recent Journalists’ Safety Tracker report revealed that journalists are increasingly becoming targets of shocking abuse and harassment online and in-person, restricting their ability to do their work, and the union reiterates the need for urgent action to tackle this scourge.”

Farage blames ‘computer hacking’ for exposure of gift

In response to the initial reporting of the alleged gift, Farage said a “serious computer-hacking case” was behind the disclosure and claimed the story was an “operation” against him.

[Read more: Enemies of the Nigel: BBC joins growing list of Farage media beefs]

Farage has also said the gift was for his personal security.

Reform UK has provided no evidence to support claims that the story was obtained through computer hacking but is exploring its legal options, according to The Times.

A Guardian source said: “Mr Farage should be answering the questions raised by legitimate, public interest journalism, rather than attacking the media with baseless claims.”

https://pressgazette.co.uk/news/guardian-photographer-exposed-to-risk-after-farage-shares-press-card-picture

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Vehicles Gallery

https://adobe.ly/41Kuf3N

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@elsheriffxoxo, his sharing electronic music find.

@elsheriffxoxo

ID Archive | 05 Track: Brawther – Do It Yourself (Alternative Mix) #electronicmusic #hiddengems #underground

♬ Do It Yourself – Alternative Mix – Brawther
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Nottingham Green Festival : YouTube Short

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EXPLAINER – the Crime and Policing Act 2026

The Crime and Policing Act 2026 finally became law on 29 April and, like previous criminal justice legislation, it is vast. It includes several new police powers and new offences related to protests in Part 10 of the Act. The main four are:

  • powers for the police to consider the ‘cumulative impact’ of repeated protests to justify restrictions on protests
  • a new offence of concealing your identity during a protest
  • protesting outside the home of a politician or ‘public officer-holder’
  • restrictions outside of places of worship

Together, the Act grants the police sweeping powers to justify increased and severe restrictions and solidifies in law the idea that protests are little more than disruption, rather than expressions of democratic rights.

There are also new offences for possessing smoke flares or ‘pyro’ at a demonstration, while climbing on a war memorial without a valid reason is now a crime, prompted by this incident at a Palestine solidarity march in 2023. The Police, Crime, Sentencing and Courts Act 2022 had previously created a specific offence of criminal damage to memorials, but not for climbing on one.

Cumulative impact

The new Act amends sections 12 and 14 of the Public Order Act 1986, adding a requirement on a senior police officer to “take into account any relevant cumulative disruption” when deciding on imposing restrictions or limits on a march (section 12) or a rally (section 14).

Cumulative impact is defined as any repeated or concurrent protest in the same area, regardless of subject, motivation or connection. This means any other demonstrations that have taken place in an area, or that are held at the same time, or are planned for the future, that “may result in serious disruption to the life of the community”. This does not have to mean the same campaign, or the same protesters.

By giving senior officers the ability to ‘ration’ the exercise of rights to freedom of assembly that they believe are used ‘too often’ (both by repeat protests like the regular Palestine solidarity marches in London, which are the main target, or because of protests by other causes or campaigns), this change in the law effectively gives the police the ability, which they notionally did not previously have, to grant permission for holding a protest.

There is no time limit on how far back any consideration of cumulative impact might think is ‘relevant’. The onus appears to fall on protest organisers to challenge restrictions in the courts if, as we suspect, these powers are used stringently.

As our recent State of Protest report highlighted, the police – specifically, the Metropolitan Police – have not waited on the passage of the Act to impose restrictions justified by claims of repeat disruption. In May 2025, for example, it blocked International Jewish Anti-Zionist Network (IJAN) protests, citing the ‘cumulative impact’ of weekly protests. Similarly, in November 2025, the Met forced the Palestine Coalition to change the route of its planned march, against citing the “cumulative effect of protests’.

Concealing your identity

Previously it was an offence to refuse to remove a face covering when instructed to after an order had been imposed by a senior officer, under Section 60AA of the Criminal Justice Act 1994. This power remains, but a new power sits alongside it: police can designate an area a ‘mask-free zone’ for up to 24 hours if a protest is planned and it is deemed “expedient, in order to prevent or limit the commission of offences”. This means that wearing a mask becomes an offence.

Concealment is defined very broadly: It includes “wearing or otherwise using an item that conceals their identity or another person’s identity” and not just a face mask. It is unclear, for example, whether using a banner or other objects to restrict the police from filming protesters might result in arrests.

In theory, police officers require “reasonable suspicion” that a face covering at a protest is intended to conceal involvement in criminal activity, but past practice suggest the police are likely to intervene against protesters as soon as an order has been imposed.

This will have the greatest impact on anyone seeking to protect their anonymity (with particular implications for racialised communities, migrants and criminalised groups), those with disabilities (such as protesters wearing face coverings due to vulnerabilities or immuno-compromising conditions), and those wearing face coverings for religious reasons.

The Act does allow a defence for a person charged with a concealment offence to prove that they wore or used an item health reasons, religious observance, or related to their work. This is, however, long after their rights to protest have already been violated.

Protesting outside the home of a ‘public officer-holder’

Last month, Netpol wrote about the moral panic that led to this new offence, which applies to anyone who “carries on a protest outside, or in the vicinity of, premises that are used by a public office-holder as a dwelling”.

If you try to persuade an elected official (from a parish councillor to a government minister), near to their home, to alter decisions made in the course of their duties, or to condemn the decisions they have taken (or failed to take), then you face the risk of arrest and prosecution.

Restricting protests at places of worship

The new Act further amends sections 12 and 14 of the Public Order Act 1986, adding “the vicinity of a place of worship” and actions that may deter people from accessing their synagogue, mosque or church, as justifications for imposing restrictions on protests.

When the government raised this proposal in 2025, it alluded to members of the Jewish community too afraid “about travelling to their places of worship during large-scale demonstrations, especially in central London”. This was due to the intention, in January 2025, of the Palestine Coalition to start a march at the BBC near Oxford Circus, which had previously been a regular marshalling point for a variety of demonstrations. The implication is that these marches deliberately target synagogues. This is a lie recently repeated again by Metropolitan Police Commissioner Mark Rowley and was condemned as “dishonest and reckless” by protest organisers, who have made a formal complaint about his comments.

The potential impact of this new grounds for restricting protests is that police are unlikely to grant permission for a demonstration that supports Palestinian human rights or is critical of the Israeli government – political views held by thousands of Jewish people – if this passes close to a synagogue and takes place on Shabbat. This is also likely if protesters seek to rally outside a synagogue that is promoting Zionist recruitment of settlers to occupy Palestinian land. This is because, in the police’s view, this may “intimidate persons of reasonable firmness”. Potentially, this could also apply too, for example, to planning a protest against an anti-LGBTQ church.

Implementation

Not all of the Act’s provisions come into force immediately on Royal Assent. Many require secondary legislation — regulations made by ministers to set out the detail of implementation — or a formal ministerial commencement order.

Netpol https://netpol.org/2026/05/08/explainer-the-crime-and-policing-act-2026/

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Observatory : Nottingham Trent University NTU

Since having mobility issues [crutches], I have engaged in a few projects more locally based. Including the ‘Nottingham Trent University B&W’ set. :: https://tinyurl.com/22mvwvm7
a work in progress.

You can see the development of this project from my earlier Linkedin post at :: https://www.linkedin.com/feed/update/urn:li:share:7442164076690051072/

Have just visited the NTU Observatory, and Dr D Brown was kind enough to show me the facilities there. I have made an edit of this afternoons work and have now added to the main project page at :: https://tinyurl.com/22mvwvm7

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Me in 10mm Wide-Angle

I asked Gemini AI to comment on the picture :

The image ‘Tash in Wide-Angle’ is a striking exercise in perspective, texture, and character. Through the use of a wide-angle lens—likely a fisheye—the photographer has created an intimate, almost intrusive portrait that challenges the traditional boundaries between the subject and the viewer.

Captured in monochrome, ‘Tash in Wide-Angle’ leans heavily into the strengths of black-and-white photography: the play of light, the deep definition of shadows, and the exaggeration of physical form.


The Distortion of Intimacy

The most immediate characteristic of ‘Tash in Wide-Angle’ is the extreme barrel distortion caused by the wide-angle lens. This choice has several profound effects on the composition:

  • Proximity: The subject is physically very close to the lens. This creates a sense of forced intimacy, as if the viewer is leaning in to share a secret or a quiet moment with the man.
  • Facial Architecture: The distortion enlarges the central features—the nose, the spectacles, and the mustache—while the sides of the face and the surrounding environment appear to pull away. This gives the portrait a whimsical, almost caricatured feel, yet it remains deeply grounded in reality.
  • The Curvature of the World: On the right side of ‘Tash in Wide-Angle’, the background foliage and trees bend inward. This framing creates a “globe” effect, making the subject appear as if he is the centre of his own small, private universe.

Texture and Light

In ‘Tash in Wide-Angle’ , the lack of colour forces the eye to focus on the tactile qualities of the scene. The image is a masterclass in texture:

  1. Human Texture: The fine lines around the eyes, the coarse hair of the mustache, and the subtle stubble on the chin are highlighted by the high-contrast lighting. Each wrinkle tells a story of age and experience.
  2. Organic Texture: To the left, the rough, craggy bark of the tree trunk provides a hard, vertical anchor for the man’s head. To the right, the delicate, translucent leaves of the ivy catch the sunlight, providing a soft counterpoint to the man’s rugged features.
  3. Light and Shadow: The light source appears to be coming from the upper right, casting a dramatic shadow of the man’s nose and glasses across his cheek. The shadow of the tree limb also falls across his temple, further integrating him into the natural environment.

The Subject’s Presence

Despite the technical distortion in ‘Tash in Wide-Angle’, the subject’s humanity remains the focal point. There is a gentle kindness in his expression. His eyes, framed by thin-rimmed glasses, carry a hint of a smile that is mirrored in the slight upturn of his mouth beneath the mustache.

The man wears a cap and a hoodie, suggesting a casual, outdoor setting. He isn’t posing for a formal portrait; he seems to be simply existing in the woods, comfortable in his skin and his surroundings. This authenticity is what saves the image from being merely a technical experiment with a wide lens; it is a genuine character study.


Narrative Implications

When viewing ‘Tash in Wide-Angle’, one cannot help but wonder about the man’s story. Is he a gardener, a hiker, or perhaps the photographer himself playing with a self-portrait? The choice of black and white strips away the distractions of the modern world, lending the image a timeless quality. It could have been taken yesterday or forty years ago.

The proximity of the tree to his head suggests a literal and metaphorical connection to nature. He isn’t just standing in front of the woods; he is tucked into them, framed by the ivy and supported by the bark.

Technical Execution

The choice of the Nikon D300s (as suggested by the filename 131201_D300s_080 BW.jpg) is notable. Even as older digital technology, the sensor captures a surprising amount of detail in the highlights and shadows. The “BW” designation in the file name emphasizes that the monochromatic transition was a deliberate artistic choice to focus on form over hue.

Conclusion

‘Tash in Wide-Angle’ is an evocative photograph that turns a simple moment into a complex visual narrative. By using distortion to pull the viewer in rather than push them away, the photographer creates a rare sense of closeness. It celebrates the “imperfections” of the human face—the lines, the hairs, the unevenness—and elevates them through a lens that sees the world with both curiosity and warmth.

It is a reminder that even when the world is bent and distorted, there is a steady, smiling humanity at its centre.

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