

A photographer in Action …. of limited mobility at the Ukraine Rally, Market Square, Nottingham. [thank you Liam]


A photographer in Action …. of limited mobility at the Ukraine Rally, Market Square, Nottingham. [thank you Liam]
300 gathered at the Brian Clough Statue on Tuesday the 4th anniversary of Putin’s imperialist full scale invasion of Ukraine.
On Saturday we’ll gather there to rally and then march from 1.30pm to 3.30pm. The General Secretaries of Unite, Unison, GMB, NEU, PCS, USDAW, UCU, Musicians Union, ASLEF and NUM have signed the statement below – bring your banners, placards and solidarity.
Statement issued by UK trade unions, in association with USC, on 23 February 2026, for the fourth anniversary of Russia’s full-scale invasion of Ukraine on 24 February. All the signatories are General Secretaries signing on behalf of their unions, all of which have policy in support of Ukraine made by their members through their democratic structures. In addition to support from the Trades Union Congress (TUC), the ten unions supporting the statement represent a clear majority of organised workers in the UK.
On the fourth anniversary of Russia’s full‑scale invasion of Ukraine, UK trade unions reaffirm our solidarity with Ukraine, its workers and their unions. Ukraine’s workers are not only defending their country but are standing up for democratic rights, freedoms and labour standards that underpin our movement. We send our greetings to our sister organisations, the FPU and KVPU, and commit our continuing support for them.
As Putin’s war of aggression enters its fifth year, Ukraine’s workers continue to face unrelenting violence. Systematic attacks on the energy system have plunged towns and cities into darkness, shutting schools and hospitals and placing entire communities at risk. Energy workers are restoring power under fire, often at immense personal danger, to keep people safe through severe winter conditions.
Russia’s deliberate targeting of civilians and infrastructure is a grave breach of international law and is deepening Ukraine’s humanitarian crisis as temperatures fall well below freezing.
Working people always bear the heaviest cost of war. On 1 February, fifteen miners were killed when a Russian drone struck their bus in the Pavlohrad district. In territories under Russia’s illegal occupation, reports expose forced labour, the suppression of trade union freedoms and the violent mistreatment of workers, alongside the wider killing and torture of civilians.
Tens of thousands of children have been abducted by Russia and subjected to abuse on an industrial scale. As always, women, oppressed minorities and children also bear the brunt of war.
We stand with Ukrainian unions in their call for the restoration of labour rights and for a socially just reconstruction that embeds collective bargaining and rejects deregulation and privatisation.
We also stand with Ukrainian and other refugees in the UK and insist that their rights and safety are upheld.
The UK trade union movement has a proud history of standing in solidarity with victims of fascism and imperialist aggression.
A victory for Putin’s regime would embolden authoritarian and far-right forces globally.
We therefore reaffirm our support for the Ukrainian people’s right to determine their own future, call for the immediate withdrawal of Russian forces from all occupied territories, and support Ukrainian trade unions’ appeals for the UK to provide the aid necessary to help secure a just and lasting peace.
Paul Nowak, General Secretary, Trades Union Congress
Andrea Egan, General Secretary, UNISON
Sharon Graham, General Secretary, Unite
Gary Smith, General Secretary, GMB
Daniel Kebede, General Secretary, NEU
Joanne Thomas, General Secretary, USDAW
Fran Heathcote, General Secretary, PCS
Jo Grady, General Secretary, UCU
Naomi Pohl, General Secretary, Musicians’ Union
Dave Calfe, General Secretary, ASLEF
Chris Kitchen, General Secretary, NUM
Bonington Gallery presents A Semester in Nottingham, 1976, an exhibition of photographs by Baltimore-based John Dean. Captured during his time as a visiting student to Nottingham Trent University (NTU) in 1976, these photographs offer a powerful glimpse into Nottingham life during a transformative era.
This exhibition marks a poignant return to the institution — formerly Trent Polytechnic — where John studied as a visiting student nearly fifty years ago.
Armed with a camera and a quiet curiosity, John immersed himself in the rhythms of Nottingham life. Over the course of a single semester, he wandered the city’s streets and parks — Hyson Green, Market Square, the Arboretum — capturing striking black-and-white portraits of residents going about their daily lives. The resulting images are both documentary and deeply personal, offering a rare and intimate glimpse into the everyday lives of Nottingham’s people during a transformative era.

First developed in Trent’s own darkrooms (situated next door to the gallery), these photographs have remained largely unseen for decades. Now, they return to the place of their origin, standing as a testament to the power of observational storytelling, told through the eyes of a visitor to the city.
John has since built a distinguished career as a producer and videographer, creating historical and educational media for museums and non-profit organisations across the United States and beyond. Yet photography remains his first and most enduring creative language — a medium through which he continues to explore the intersections of memory, environment, and human experience.About John Dean
John Dean is a Baltimore-based photographer, videographer who graduated with a BFA from the Maryland Institute College of Art. He regularly works with museums, non-profit organisations and editorial platforms on the creation of educational and historical media and content.
In addition to institutional work, John’s independent photographic practice has taken him across the world, exploring historic and cultural sites of significance, such as excavation sites in Greece and sacred spaces in Istanbul. As a long time mentor and arts advocate, John is consistently guided by a curiosity for human stories.
Sat 21 Mar 2026 – Sat 09 May 2026
Fri 20 Mar 2026 – Fri 20 Mar 2026
Nottingham Trent University
Bonington Building
Dryden Street
Nottingham
NG1 4GG

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 🙂
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.”
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.
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.
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:
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.”
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.
You said
YES
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.
“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.
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.
The work presented here centers on three core pillars:
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.
Shrovetide ‘Mob’ Football, Ashbourne, Derbyshire #ashbourne #derbyshire #shrovetide #football #photography #nikon #z9 #lightroom #slideshow