A Confession

Portrait of my friend and former Detective Superintendent Steve Fulcher
June 2019

Meeting up with Steve for this portrait shoot had a particular poignancy, as it is not very often that a close friend is about to be portrayed by a Hollywood star in a prime time British TV drama.

Written by BAFTA award-winning writer Jeff PopeA Confession stars Martin Freeman as D.S. Steve Fulcher and details the 2011 police investigation of 22-year-old Sian O’Callaghan's disappearance after a night out in Swindon. At the heart of the story, however, is the moral dilemma between pursuing justice, doing the right thing and following the rules. I have known Steve for many years and followed his fight to bring to public attention shortcomings in the Police and Criminal Evidence Act (PACE). It’s a fight that has cost him his career and stripped him of his reputation and that will now, at last, be widely seen when in September ITV will air their six-part drama.

The story focuses on the events following Sian's disappearance in March 2011. After a huge police search investigators began to focus on local cab driver, Christopher Halliwell. As their prime suspect for her abduction, he was put on 24-hour surveillance in the hope that he would lead them to Sian, alive. When Halliwell was seen purchasing a potentially suicidal overdose police swooped in to arrest him. At this point, it became critical he was interviewed, because if Sian O'Callaghan was still alive, she needed to be found urgently. In these extraordinary circumstances, Steve, as the senior investigating officer decided that Sian's right to life trumped his suspect, Christopher Halliwell's, right to silence and legal advice upon arrest.

He ordered that Halliwell be bought directly to him at Barbury Castle, an iron age fort outside Swindon, where the search for Sian was focused. The belief that Sian could be alive necessitated an urgent interview at the site of the search with Halliwell, which is irregular, but legal and allowed under PACE regulations. It was there on that windy grey hill where the two men talked and talked that Fulcher eventually convinced Halliwell to free himself of guilt and to give up Sian. He confessed to her murder and agreed to take Steve and his team to the spot where he had left her body. Soon after leading police to Sian he volunteered further information, in his words 'Do you want another?' Believing that he had the trust of Halliwell in these intense moments, Fulcher did not immediately read him his rights, as he should have, because the provision of an urgent interview was no longer valid now that Sian's body was found.

By not immediately reading Halliwell his rights and deliberately breaching PACE rules he failed to remind Halliwell that he could, of course, stay silent or offer him a solicitor, almost a guarantee that he would stay silent. Instead, he allowed Halliwell to lead him and his team to a field in Gloucestershire. Once at the field, Halliwell paced out precise steps from a small stone wall leading to the shallow grave of Becky Godden-Edwards who he had murdered some eight years before. At the end of this long day, Halliwell finally arrived at Swindon's Gablecross police station, a solicitor was summoned, he gave no further evidence.

In October 2011 at Bristol Crown Court Christopher Halliwell's defence team was able to make inadmissible his murder confessions including the fact that he had indicated where Sian O'Callaghan and Becky Godden-Edwards bodies lay. Police did have other strong forensic, telephony and CCTV evidence that eventually meant Halliwell pleaded guilty to Sian's murder. However, Halliwell did not stand trial for Becky's murder. Why? Because after hearing 'Do you want another?' rather than allowing Halliwell to lead him to another murder victim, Fulcher should have read Halliwell his rights, taken him to the nearest police station and interviewed him in the presence of a solicitor. A solicitor whose legal duty is to ensure that his client does not incriminate himself. 

Because Christopher Halliwell did not face charges for Becky's murder Steve Fulcher was reported to the Police Complaints Commission. Eventually, Fulcher was found guilty of gross misconduct and he resigned from the police. Becky Godden-Edwards' mother, Karen Edwards, views are telling:
“Had it not been for the actions of Steve Fulcher I would never have known what had happened to my daughter, Steve Fulcher gave me the ultimately terrible news that I dreaded; what had happened to my long-missing daughter.” She saw Fulcher as a 'hero hung out to dry', a victim of rules that are not fit for purpose.

Steve was unrepentant stating:
My view is that I have brought two daughters back to their mothers and I’ve prevented other victims resulting from Halliwell’s continued pursuit of his career as a serial killer. But for my course of action, Becky would still be in that field, Sian would never be found and Christopher Halliwell would be walking the streets.”

The perverse outcome of this case meant a multiple murderer, who freely confessed to two murders, was able to have one confession made inadmissible and not even answer for the second. Very few of us, thankfully, will ever have to face the type of dilemma Steve did that fateful day. Fewer still, I suspect, would have shown Steve’s courage and conviction in his pursuit to do the right thing.


Six-part drama A Confession will air on ITV starting 2nd September 2019


Longton, Staffordshire.

All photographed with Hasselblad 500c/m on Expired 2009 Fuji Neopan 400

Out of Season

winter in a coastal town

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Fuji Pro 400H film.

Ferrania P30 Alpha

Feeling a Bit Fellini Part II

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In September I shot my first roll of Ferrania’s new P30 Alpha black and white film. I developed this first roll using Tetenal’s Paranol S a developer that I was using at the time. Since then I have changed chemistry to Kodak’s TMAX developer and so for this second roll of P30 I was not able to follow my original recipe.  After a bit of head scratching and research I finally settled on:

• Kodak TMAX developer (1:4 Dilution) for 7:15 minutes at 20ºC with Continuous inversions for the first 15 seconds then 5 inversions every 30 seconds thereafter.

• Stop with Kodak Professional Stop for 30 seconds at 20ºC 

• Fix with Kodak Professional TMAX Fixer for 5 minutes at room temperature

• Wash for 10 minutes

• Scanned on Epson V500

Looking at both sets of negatives side by side the film that was developed using Paranol S is more contrasty while the film developed with the Kodak TMAX looks lighter with more mid tones. I couldn't say that one developer is better than the other as there are too many variables for even the beginning of a true comparison, only that both recipes worked well enough to produce satisfactory photos.

I shot Talie at box speed - ISO 80 in moderately bright evening light. The back streets of Dalston, East London were by then either in soft shadow or glowing golden-hour light. For exposure, I metered from her skin using the cameras spot meter + 2 stops and confirming with the odd incident reading from a handheld. Most frames were shot at ƒ5.6 with 85mm Planar ƒ1.4 lens on a CONTAX S2.

Model: Talie Eigeland
All photographed with CONTAX S2 on Ferrania P30 Alpha film.


Returning to Thamesmead

As a photographer, I’m always looking for new subjects to photograph. Sometimes though returning to a previous location can be just as rewarding. Revisiting a place will never result in replicating an earlier experience, things will always be different. Light, time, season and weather are near impossible to duplicate. Places evolve, walls, shops, buildings change. Using a different format or lens present new perspectives. Even being in a different state of mind and mood are factors that can lead to new photographic opportunities. So two years after my first visit, on a wet, cold and grey Sunday, I returned to Thamesmead. This time on a sharp and crisp winters day. With clear skies and cold blue light, I found low shadows and distinct contrast, this together with changes in the buildings and landscape resulted in a very different set of pictures. For me, once again proving the value of a revisit. 

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Kodak Portra 160 film.

An Overcast Summer Afternoon

Brightlingsea, Essex.

An Overcast Summer Afternoon was featured on the website of  Milan based C41 Magazine on 20th September 2017

All photographed with Hasselblad 500c/m on Kodak TMAX400 film.

The Pergola Portraits

Great to see some photos from my recent shot with Talie Eigeland taken at Hampstead's Hill Gardens and Pergola on Photo/Foto Magazine. Check out their site, there are over 150 folios and interviews from talented photographers all around the world.

Model: Talie Eigeland

All photographed with Hasselblad 500c/m on Kodak TMAX400 & Kodak Portra 400 film.

Residence on Kloosterstraat

Antwerp, Belgium.

The net curtains and blinds draped heavy in the windows of lower floor apartments, like fabric guards protecting the privacy of the residences on Kloosterstraat.

All photographed with CONTAX S2 and Zeiss 28mm Distagon T* ƒ2.8 on Fuji Neopan 400 film.

Cropredy Bridge

This short series of photos was taken at Cropredy Bridge Cars based in rural Oxfordshire. Since 1972 Cropredy Bridge have specialised in the restoration of classic Jensen cars, in particular, the famous Interceptor. The Jensen Interceptor is a genuine British classic, built at their West Bromwich factory from 1966 to 1976 it was a truly international car with its Italian designed body and American V8 power, it is rightly considered one of the most beautiful cars of the last 50 years.


All photographed with Hasselblad 500c/m on Kodak TMAX400 & Kodak Ektar 100 film.

Expired 1987


A couple of years ago I wrote about shooting a roll of 21-year-old expired Fuji Velvia 50. A friend had given me a couple of rolls that had expired in 1993 and I used one somewhat unconventionally for a series of portraits. I'm not much of a photographic experimenter but I do enjoy using expired film. Last month I was given a bag of various long expired films from a photographer who had converted to digital in the early 2000's. He had kept them in his attic hoping one day he might shot some film again. Finally realising that this would probably never happen he decided to give them to a good home, me. Now in my fridge, the bag is a mishmash of 35mm and 120 films all dating from the late 80's. What caught my eye were some rolls of Kodak Varicolor III Professional 160.  I wasn't familiar with this film and so did a bit of research online. Discovering that it was sold as a professional grade general portrait film and was described by Kodak as "Medium speed color negative film designed for fine portraiture, it combines a “soft toe,” moderate contrast, and moderate color saturation. For fine portraiture, these characteristics maximize the retention of highlight and shadow detail, with exceptional flesh-tone reproduction under controlled lighting".  I was pretty sure that I wouldn't get any soft toe whatever that is from my rolls of 29-year-old Varicolor, but it would be interesting to see what I could get. So in a pool of strong evening light and after shooting Rosie with some fresh Kodak Portra 800, I shot a roll. 

I exposed the ISO 160 Varicolor at ISO 64 and developed it in Tetenal Colortec C41 at 38ºc for an extra 45 seconds; 4:00, not the usual 3:15. The developed roll had a distinct blue sheen when wet, something I've not seen before however it did eventually dry back to orange. The negatives were very thin, apparently, an issue with Varicolor even when new. Kodak's own notes stated  "Because of the film’s “soft toe” and moderate contrast, photographers (under many circumstances) prefer to “build” slightly higher contrast and color by exposing the film at ISO 125. This also provides additional protection from potential underexposure". After scanning I made some simple post-processing adjustments with curves and some local burning-in of the dark areas to produce the final photos. What struck me were the flecks of blue sky coming through the trees, the intensity of this blue is curious. This for me is a kind of signature. Overall the final photos are a true testament to photographic film's ability to withstand the passage of time and still deliver beautiful images.

Model: Rosie Gregory

All photoigraphed with Hasselblad 500c/m on Kodak 160 Varicolor film.

Tripod... It's a Monopod

On a recent family day out we visited Hampton Court Palace the famed Tudor residence of King Henry VIII.  Sited on the River Thames at Hampton some 11 miles from central London this 500-year-old royal palace remains one of the largest Tudor buildings in England.  I don't usually take a camera on outings like these, beautiful palaces and castles don't whet my photographic appetite.  Even though I live very close to the palace I had not been there since I was at school and at this rate, I may never go again, and so as a sort of challenge, I thought why not?

Shooting Kodak TMAX 400 film I was fairly sure that there would not be enough light to hand hold and so I bought a monopod with me.  Sure enough in the interiors rooms at ƒ8 I needed 1/8, well within the usable limits of a monopod.  Before shooting any interior shots I asked the staff if it was okay to use a monopod.  The staff member consulted with a colleague on her walkie-talkie and said that a monopod was okay, however for future reference a tripod was not.  At this point, I also established that the photos were not for commercial use and that in effect I was a tourist like the hundreds of others visitors surrounding me, all happily shooting away with their phones and DSLR's - on ISO6400 no doubt.  Albeit I was using a rather strange contraption, a film camera.

A little later I was in another wing of the palace and a guard came up to me to say that I was not allowed to take photos using a tripod, I told him it was a monopod and that I had sought permission and that it had been granted.  Of course, he went off to check and so as I wondered out of the room yet another guard stopped me and asked if I could wait (and not leave the room) while they awaited their response.  "No, if you want to find me I will be in the next room" I told them.  Having no desire to stand about waiting because they didn't know their own rules.

10 minutes later while standing in the garden with my wife and daughter a senior guard came up to me and politely told me that photography is not permitted in the palace with tripods.  It's a monopod I explained.  He said that they were not allowed either.  Okay no problem, “But can you tell me why I had been told it was permitted when I asked and now it’s not?"  He pointed to the two bands around the cuff of his red jacket in a puerile implication that he was in charge and went on to say that tripods are a health and safety concern as other visitors can trip on them and that they damage the floor - like shoes don’t!  Furthermore, he went on to say that basically, they don’t like “proper" photos been taken by photographers, "Only tourist with point and shoots cameras really".  Apparently, the people at Historic Royal Palaces get snooty when unofficial photos appear on the web and in publications he added.  Er… what do they think it is, the 1980’s?  It could be argued that phones can take a perfectly good photo of an interior and moments later it will be on Facebook, Instagram, Flickr or any other website.  All this, while I'm still loading a film in the back of my camera and fiddling about with my light meter.  He even asked me what type of photos I was taking?   I couldn't see the relevance of the question but my response was measured and polite "I’m taking photos of the palace, like everybody else."  Later at home I looked on the official Historic Royal Palaces website and this is the one and only rule surrounding the whole debacle, nothing about health and safety, nothing about monopods and certainly nothing about “proper” photography.

• The use of tripods inside the building is not permitted unless arrangements have been made in advance with our conservation team (to protect the floors from the tripod base so that it doesn't cause damage).

The protection of cultural treasures and valuable antiques is an important job no doubt, but hassling paying visitors who have not done anything wrong I'm sure is not. I might just go back to photographing empty doorways in Staines at midnight! 




A couple of weekends back I met up with fellow photographer Andy Feltham for a wander around one of London’s largest 1960's housing estates, Thamesmead. I'm still trying to understand what attracts me as a photographer to this type of brutalist architecture. The buildings are often formed in geometric modular blocks linked together by skywalks and surrounded by parklands or in the case of Thamesmead, a large lake. I guess it's the mixture of forms that appeal to me along with the symmetrical lines and shapes. This together with the concrete!  Concrete with its grey, raw and often unfinished surfaces cast into brave shapes, strong blocks and open expanses. On closer inspection surfaces reveal details of their casting method, impressions of wooden planks can often be seen, a tiny bit of natural interest on an otherwise unremitting manmade construction. All this mathematical design interacts with perspective and along with the texture and lines work with light and shadow which for me, almost create photographic compositions automatically.    

I don’t necessarily see beauty in the style itself, in fact it appears to me that unless scrupulously maintained the surfaces are very prone to unsightly weathering, pollution and water staining.  Constant cycles of hot and cold crack facades and rust streaking from the internal reenforcing bars mark walls and surfaces. However these details have their own photographic qualities and contrast strongly with the modernist and utopian ideals of their original designers.

While wondering around we met a guy from Leeds who's girlfriend was at a conference in London. He chose to spend his morning visiting Thamesmead! In conversation he asked if we were members of the Facebook group 'The Brutalism Appreciation Society' a group with over 30,000 members, so it looks like I'm certainly not alone in my attraction to brutalist architecture after all.