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Stefan Wolff, Elīna Šteinerte and Hervé Ascensio have investigated Russia’s military indoctrination of Ukrainian children in its occupied territories: "The headteacher of the local school, accompanied by heavily armed soldiers, went from house to house to question parents who do not send their children to school and had not yet applied for Russian passports. He threatened them with the removal of their parental rights. He also said their children would be placed in institutions if they didn't yield to the pressure to do so."

"The university’s own financial reports show that 16 members of the University Executive Board are paid an average of £241k – a 27 per cent increase over three years while the institution has been going through financial difficulties. We have also seen the recruitment of highly paid and non-academic 'professors of practice', who are often industry figures without teaching and research experience. New managerial roles with grandiose titles such as 'associate pro-vice chancellor for education and student experience' have been created across the institution." John Heathershaw takes us inside the crisis at the University of Exeter.

"Deaths, misconduct in public office, rat infestations, and a climate of fear." Emma Guy reports on Leicester's privately run HMP Fosse Way.

Gawain Towler explains Rupert Lowe's sudden interest in cooperation with Reform UK: "A  man of sixty-eight, a man elected twice on the coattails of Nigel Farage, who has spent eighteen months declaring that his purpose was the destruction of Nigel Farage, has looked at 8.7 per cent in a nationally ignored by-election and concluded that his moment is now or never. It is not unity he wants. It is relevance, and he is in a hurry for it."

"Works such as Robert McFarlane's The Old Ways, Tom Cox's 21st Century Yokel, Benjamin Myers' Under the Rock, and Edward Parnell's seminal Ghostland explore the connection between the self, the landscape, and the stories and histories that permeate and in many ways 'haunt' these landscapes." Scarlett Butchers considers the role of environmentalism in recent 'folkish' English writing.

Fed Kandi photographs the public art on the campuses of Lougborough University and the University of Leicester.

Will Nigel Farage be made to pay for sharing that photograph?

Here's an unexpected twist: the man who took the photograph of that "Making plans for Nigel" T-shirt is suing people – one N. Farage in particular – for using his work. It has, after all, been spread all over the internet.

Alan Robertshaw, whose videos I post here occasionally, takes the opportunity to give us a quick guide to copyright law.

My advice to fellow bloggers is to steer clear of photographs from the big agencies that cater for newspapers, because they will find you and invoice you.

Liverpool Lib Dem boss accused of using "sex appeal to build fanbase" in cover shoot

Today the Liverpool Echo walks off with our Headline of the Day Award.

The judges requested several copies of Attitude. #JustSayin

Stanley Kubrick began as a teenage street photographer

Before he was a film director, Stanley Kubrick was a photographer. 

And he never lost his interest in photography. I remember Keith Hamshere, the first boy to play Oliver Twist in Oliver! and later a leading Hollywood stills photographer, saying he learnt to keep out of Kubrick's eyeline if he was on set during one of his films.

If he didn't, Kubrick would notice him and say something like "Is that a new lens? How are you finding it?", the film suddenly forgotten.

Christopher Frayling on the making of The Innocents (1961)

The Innocents, Jack Clayton's adaptation of Henry James classic ghost story The Turn of the Screw, is a wonderful film, and this documentary is worthy of it.

You don't see many of them here, but it's rightly been said that even monochrome behind-the scenes photographs of The Innocents are terrifying.

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"By restricting jury trials, removing protest rights and expanding surveillance, Labour is entrenching an authoritarian legal infrastructure that a far-right government will not hesitate to exploit." Karl Hansen says Labour is building Farage's state for him.

Phoebe Weston reports on the French ski resorts that are closing as the snow line in the Alps edges higher: "In France, there are today 113 ski lifts totalling nearly 40 miles (63km) in length that have been abandoned, nearly three-quarters of them in protected areas."

Catherine Rampell says Trump is misusing Norman Rockwell's art to promote Gestapo tactics and nativist ideas: "The works have been endlessly parodied since their introduction in 1943. In the internet age, they’ve become ubiquitously memed. (Freedom of Speech, for example, is nowadays widely known as the 'unpopular opinion' meme.) But originally, they served as wartime propaganda, meant to help rally support for America and its cause during the years of war against the Nazis."

"Take Me High's unexpected legacy is to act as a kind of Brummie Rorschach test: what do you see in its depiction of the angular 'new' Birmingham of 1973? An ugly, car-worshipping mess that, like Cliff's career, needed desperate reinvention? An ambitious feat of post-war planning? Or a nostalgic vision of your childhood? It’s a question that becomes more poignant with each landmark razed and every area redeveloped beyond recognition." Shaun Patrick Hand has discovered the Cliff Richard film from 1973.

"Raynor’s efforts simply render the magnificent landscapes of Devon and Cornwall as joyless, grey backdrops to her own ceaseless complaining. The South West Coast Path should sue for defamation of character." Finlay McLaren takes aim at The Salt Path.

Andy Marshall chooses and photographs his all-time best pubs.

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"Humiliation is not 'merely' symbolic. It is an immoral act that has serious, long-lasting consequences. The effect of it is the destruction of our status claims. Even the most desperate among us try to present themselves with a certain amount of dignity. Humiliation removes that. It also isolates us from other  people, makes us feel more alone, and leaves a deep and lasting anger." Toby Buckle argues that humiliation has moved to the center of the reactionary project under Donald Trump.

Nick Cohen on the right's abandonment of law and order: "Conservatives used to support the forces of law and order. Now they equivocate. They treat the police and courts as the coercive arm of the liberal elite – just as leftists once viewed them as the coercive arm of the capitalist class."

"Places where children commonly used to play, such as streets and local neighbourhoods, have been transformed into car-only spaces where traffic and parking take priority. Likewise, city spaces frequently 'design out' children by prohibiting skateboarding, ball games and other kinds of play." Michael Martin looks at ways of giving children the freedom to play all across cities, not just in playgrounds.

Will Tavlin explains the economics of Netflix: "For a century, the business of running a Hollywood studio was straightforward. The more people watched films, the more money the studios made. With Netflix, however, audiences don’t pay for individual films. They pay a subscription to watch everything, and this has enabled a strange phenomenon to take root. Netflix’s movies don’t have to abide by any of the norms established over the history of cinema: they don’t have to be profitable, pretty, sexy, intelligent, funny, well-made, or anything else that pulls audiences into theater seats. "

" The last hostile invasion of mainland Britain took place in south-west Wales on 22 February 1797. The French revolutionary force, led by an Irish-American colonel, William Tate, were captured two days later. The initial plan had been a three-pronged attempt to liberate Ireland but various misadventures meant that the landing of a rump force in Pembrokeshire, planned as a distraction, was all there was to be – a disconsolate arrival on the wrong island." Gillian Darley visits Fishguard to see a locally produced tapestry that records this failed invasion.

Jamie Evans remembers the ghost photographs that frightened him to his core as a boy, but also imparted a lifelong love of horror.

To celebrate St Pancras Day: The Beatles at Old St Pancras and a 1983 Steve Winwood interview

Today is St Pancras Day. To celebrate it, here's another showing for this video recreating the Beatles' visit to Old St Pancras churchyard on their London Mad Day Out in 1968. You can read more about their time in the churchyard in an old Guardian article.

When you add in the fact that today is also Steve Winwood's birthday, it's clear 12 May should be a public holiday in the Midlands. 

Certainly, it's a big deal here on Liberal England. To celebrate, here's a 1983 interview with our favourite musician.

Winwood talks about his past with the Spencer Davis Group, Traffic and Blind Faith, and about his then burgeoning career as a solo artist.

Victorian photography and some top Victorian snark

Tom Crewe writes about 19th-century photography in the London Review of Books - Camille Silvy was an early and fashionable practitioner of the art:

The apparent sombreness of most Victorian sitters has fostered many modern myths, the most common being that their expression is a product of long exposure times, which required people to remain tense and still. In fact, exposure times were already short by the 1860s, especially if the light was good, and later in the century almost instantaneous. 

Victorians kept their mouths shut largely because the conventions of portrait photography were those of the painted portrait: you didn’t smile for Reynolds, so you didn’t smile for Silvy. (Sometimes people did. We even have a photo of Queen Victoria grinning, though she didn’t know she was being snapped.)

And later he quotes some top Victorian snark:

William Moens, a gentleman photographer travelling in southern Italy in 1865, was kidnapped by brigands along with his clergyman companion. One man was to be set free to raise the alarm and the ransom, and the two friends drew straws. Moens lingered in captivity for 102 days before paying £5100 for his freedom. 

When he shortly thereafter produced his two-volume English Travellers and Italian Brigands: A Narrative of Capture and Captivity, the Pall Mall Gazette hoped the brigands’ next victim would be "a gentleman of greater literary ability".

As ever, the Victorians prove to be less Victorian than we imagine.

Sharp practice in the orphan trade: The dodgy Dr Barnardo

Mary Hannity, in the new London Review of Books, reviews a work on the social care of children between 1870 and 1920.

In the process she reminds us that Thomas Barnardo ('Dr Barnardo') was not all be purported to be - and not just because he never qualified as a doctor. 

Barnardo opened his first children’s home in Stepney in 1870. Children were not "taken out of the gutter" but most often accompanied to the institution by a parent who used it as a last resort, having "drifted downward" after illness, had an accident, or suffered the death of a breadwinner. They had probably already appealed to extended family and neighbours for support. 

By 1877, hundreds of children were being brought up in homes operated by the association. In the same year, Barnardo was reprimanded at a court arbitration hearing for what were described as "fictitious representations of destitution" (among other things). He had established a photography studio at the Stepney home in 1874 and over the next three decades commissioned around fifty thousand photographs of children admitted to his homes. 

The earliest of these – the photographs discussed at the arbitration hearing – were 'before and after' images that claimed to show the transformation on offer at a Barnardo's home. Filthy boys and girls, looking sullen or sad and dressed in rags, emerged clean, healthy and properly dressed. But the pictures, it turned out, were staged, with both photography sessions taking place on the same day. 

Samuel Reed told the hearing that Barnardo tore his clothes with a penknife for his 'before' photo, and then put him in new clothes and told him to smile for the 'after' photograph.

As Hannity emphasises, care for poor children was often motivated more by a fear of the threat they posed to polite society than by a concern for the children themselves.

Still, the voice of the child does penetrate the review:

One letter ... written by a nine-year-old boy, tells readers that "we have a live rabbit, and we keep a pig and he is growing such a big one, and we went picking up leaves for it, and he romps and rolls in them because he likes them so ... we have got a cat, and she follows us to church, and waits for us till we come out".

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Phil Brickell, Labour MP for Bolton West, argues that the rules on foreign donations to political parties must be tightened to help restore voters' confidence in politics.

"Perhaps we should think about the social workhouse, which is productive of stigma, fear, and forcing unwell people into work. This isn't primarily to make money out of the disabled and the ill, but to reinforce the discipline wage labour depends on. Clamping down on benefits is Labour's way of telling their bourgeois backers that the management of class relations is safe with them" A Very Public Sociologist on why Labour won't leave the disabled and long-term sick alone.

"A generation of kids who grew up online, spent lockdown in their bedrooms, and all too often started their first jobs dialling remotely into Zoom meetings, now seems to be actively trying to teach itself to socialise the analogue way." Gaby Hinsliff says gen Z is logging off.

William Ralston visits the Rainham volcano - a waste dump is constantly on fire in East London: "By January 1999, dozens of tipper lorries were hurtling through Rainham every day, on their way to Arnolds Field. Unlike the lorries that would regularly collect gravel from local pits and transport it to construction sites, these ones were not emblazoned with a company name. Their trailers had high metal sides so you couldn’t see what was inside."

"I do remember O’Toole coming up to me. He’s taller than me, and I’m quite tall. And he goes [grabs by the shoulders], “Get into your light, son.” And he picked me up and plonked me where the light was because I wasn’t in the [right spot]. A lot has been said about Peter O’Toole, but he was a fabulous guy." Timothy Dalton reminisces to Vanity Fair.

Andy Marshall has been photographing the churches of Romney Marsh.

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"Buying stuff we didn’t know we wanted, with money we don’t have, to impress people we don’t know has become a cultural obsession, made worse by the fact that prices are going up and incomes are flat lining." Neal Lawson says Keir Starmer and Rachel Reeves must abandon their Trumpian obsession with economic growth.

Alexandra Hall Hall finds signs of Trumpist culture wars and a woeful lack of realism in Kemi Badenoch's set-piece speech on foreign policy. "Does she really believe that other countries around the world won’t see through the double standards if we turn a blind eye to abuses when they are committed by 'our allies', such as Israel, whilst simultaneously arguing we all need to take a tougher stance towards Russia?"

"'Trump' is a quintessentially Dickensian name, its crude monosyllable suggesting not only trumpeting or boasting but trumping in the sense of winning, as well as trumping something up in the sense of inventing falsehoods." Terry Eagleton sees Donald Trump as a Dickensian rogue.

Carrie-Anne Brownian has no time for a popular myth about the Victorians: "Until fairly recently, I believed, as many people do, that the Victorians constantly posed corpses as though they were alive, and used lots of fancy tricks to achieve this. ... If someone in a Victorian photo has a creepy look, odds are, it’s a postmortem photo! Except that’s a total myth, perpetuated by people who uncritically believe everything they hear or read."

Ray Newman reads I Saw Two Englands by H.V. Morton, and finds a portrait of the English pub at the outbreak of the second world war.

"The 1960s saw several landmarks in Leicester’s popular music scene. Having paid his dues in local pubs and clubs in the late 1950s and early 1960s, Gerry Dorsey finally hit the big time as Engelbert Humperdinck and became a global star." Colin Hyde reviews Leicester’s music scene, from dance bands to hip hop.

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"The lesson of the 1974 reorganisation is not that it put in place a robust system of local government which would survive for 50 or 70 years like the previous arrangements, but that it heralded a near-permanent revolution of structures and types of leadership." Tony Travers on the perils of reorganising local government.

Freethinking Economist asks why Labour expects to improve Britain's record on economic growth when its policies are so similar to those that have been tried in the past.

"In the years AD ('after Dennett'), the story continues and - in large part because of Dennett - philosophy of mind divested itself of its obsession with our ordinary thought and talk about the mind, and instead took its inspiration from science - in particular, neuroscience." Tim Bayne examines Daniel Dennett's contribution to philosophy.

"When the Prince of Orange marched in triumph into London, in December 1688, he did so after ordering all the remaining English troops in the capital to withdraw a minimum of 20 miles from the city. The bulk of the Dutch army was brought into, or placed around, London; Dutch Blue Guards took up all the posts around Whitehall and Hyde Park; and London remained under Dutch military occupation for 18 months." An old article by Jonathan Israel challenges the Whig account of the Glorious Revolution.

Olivia Petter explains why digital cameras are back.

Jonathan Nunn argues that the East End's pie and mash shops were responsible for their own demise: "Outside the East London hipster stereotype, there is still a working-class in Cockney heartlands – in Bow, in Whitechapel, in Dagenham, in Romford – they just happen to not all be white. Pie and mash shops could and should have adapted to bring this demographic in. They could have ensured their survival by instilling a new generation with some sense of ownership over it. Instead, they have chose"n to become ossified.

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"Labour’s recent creative industries plan, published in March, avoids any talk about new horizons or radical change, either in the country or the wider world. Rather, it presents arts and culture as an existing 'part of 'our national story' and 'our sense of national pride.' References to technology are always balanced with something more traditional." Wessie Du Toit reminds us that Labour has lost Tony Blair's faith in creativity and the future.

Anno Girolami looks at the Flixborough disaster and its place in the battle for workplace safety: "Fifty years ago, at tea time on a Saturday in June, the Nypro chemical plant near the North Lincolnshire village suffered an explosion that killed 28 of the 72 people on site and seriously injured a further 36. Had it been a weekday, many more people would probably have died."

Stuart Whomsley on being a working-class professional: "When a person enters clinical psychology as working class, they are taking on more than a job role; they are entering a culture of middle-class professionalism where the values and way of being in the world of the middle class are the norms."

Children's playgrounds are part of the solution to many problems, argues James Hempsall.

Philippe Broussard searches for a mysterious photographer who snapped occupied Paris and mocked the Nazis.

"No writer before T.H. White, I think, had been so flamboyantly anachronistic in fantasy. The Sword in the Stone (1938) is rooted in anachronism, steeped in it, inhabits it as its element. The clash of periods is embodied in Merlyn, the ancient wizard, who not only lives backwards ... but seems to have lived for hundreds of years, since he remembers all the major incidents and changes of fashion between White’s lifetime and the fifteenth century." Rob Maslen accounts for the magic of The Sword in the Stone.

Who else is in that photograph of John Lennon and Jimmy Tarbuck as boys?

This photo has been floating about social media for years, and I tweeted it myself the other day because Jimmy Tarbuck was trending. This led to some debate about who is in it.

I have always understood that the three boys from the left are the future journalist and newsreader Peter Sissons, John Lennon and Jimmy Tarbuck. I've also seen it suggested that the tall boy at the back is the future Everton and England centre back Brian Labone.

But it's not Labone. As he explains in the video below, it's Michael Hill. He was to remain a friend of Lennon's through their teenage years and grew up to become "a well-known figure in the international business of marine insurance," according to this page promoting a book he wrote about the teenage Lennon.

He also explains the photo's provenance. It was taken in 1951 on a Dovedale Primary School trip to the Isle of Man and not discovered until about the year 2000, when the teacher who took it died.

What made me nervous is that Hill doesn't mention Peter Sissons, who was a couple of years younger than Lennon and Tarbuck and to become a good friend of Paul McCartney's at secondary school.

But it is him. A reader kindly tweeted me the cutting above from the Mail, which names all six boys. (Apparently the Mirror had it first, but didn't get further than Lennon and Tarbuck.) And also in the photo are Ivan Vaughan, who was to introduce Lennon and McCartney, and the future professional footballer Jimmy Blain, who didn't make it at Everton but was to become an Exeter City legend.

There remains only for me to remind you that Frank Duckworth, co-deviser of the Duckworth Lewis method, lodged with John Lennon and his Aunt Mimi.

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"The default assumption about a photo is about to become that it’s faked, because creating realistic and believable fake photos is now trivial to do. We are not prepared for what happens after." Sarah Jeong says the world we grew up in, where photographs provided strong evidence for the truth, is about to disappear.

Kate Moore argues that allotments beat food poverty, boost mental health and bring back the insects and bees.

"The 1902 Metropolis Water Act set up the Metropolitan Water Board. Eight existing private companies – plus the water undertakings of Tottenham and Enfield Urban District Councils – were taken over, with £30m compensation paid to the shareholders. Henceforth, London’s water would be provided by a public utility with an indirectly-elected board comprising 67 members from all the affected local authorities." A Municipal Dreams article on the municipalisation of London's water supply has many contemporary resonances.

"Sven took over an England team that had long been the international equivalent of a domestic ‘yo yo’ club - a Norwich, Fulham or West Brom - who go up and down, down and up. And he quickly transformed them into an embedded upper top-tier club which might just one day win something again: like an Arsenal, Aston Villa or Tottenham of today." John Sturgis pays tribute to Sven-Göran Eriksson.

Adam Scovell goes on a pilgrimage to discover the locations used for the filming of Powell and Pressburgere's A Canterbury Tale: "Relying on some fictional places as well as some camera trickery and illusion, the picturesque German Expressionist-influenced cinematography of Erwin Hillier brings the settings a fantastical, mysterious, even spiritual character."

Steve Richards has some remarkable photographs from 1973, when trains bound for Ruddington Ordnance & Supply Depot had to reverse at Weekday Cross in the heart of Nottingham. 

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Elon Musk is not posturing as a deluded conspiracy theorist, argues Jeremiah Johnson, he really is one: "He essentially never posted about trans people or the gender wars five years ago. But one of his children came out as trans a few years back, got into left politics, completely cut contact with Musk and even changed her last name. And mysteriously, right around that time, Musk began to obsess about how progressive schools were turning kids trans."

Joe Lepper reports a University of Glasgow study that suggests child mortality and the number of  looked-after children could be slashed by around a third over the next decade if measures were put in place by the government to tackle child poverty.

"It is no longer possible to continue there without feeling like an under siege resistance fighter, trying to preserve humour, conversation, raising matters of personal and public interest, and frankly keeping self-respect, in the face of what has become a brittle, facile, deceitful, stupidly anger-driven culture that won’t leave you alone." Giles Peaker explains why he's leaving Twitter.

Janice Heppenstall on Robert Blincoe, 'the real Oliver Twist': "Throughout his fourteen years’ servitude he tried several times to escape and to alert the authorities to the sadistic torture and working conditions endured by the children.  Often, this resulted in even worse treatment for himself, yet he continued."

Martin Banks backs the campaign to restore Eurostar services to Ashford International and Ebbsfleet.

"For me, what has been lost with the digital age is the ‘magic’: the sense of wonder associated with the early history of photography, the physicality of the process and the relationship of maker to that which is made. I do not reject digital practices - on the contrary they are very much part of how I work. But I have chosen a dual path where analogue and digital work to each other’s strengths to achieve outstanding results." Katayoun Dowlatshahi shares the pleasures of analogue photography and the lost art of the darkroom.

Lady Maud Montgomery and the barefoot Irish boy

Embed from Getty Images

Lady Maud Montgomery, nee Farrar, wife of Bishop Montgomery and mother of Field Marshal Bernard Law Montgomery, out shopping in Moville, Ireland. A barefoot young boy helps her with her purchases. Original Publication: Picture Post - 1556 - Lady Montgomery Goes Back Home - pub. 1943 (Photo by Leonard McCombe/Getty Images)

The camera never lies, which is why someone tweeted this photograph and its blurb from Getty Images, adding "No words."

Except, as a couple of replies to that tweet and to people who commented on it show, there are words, and those words show the picture is not what it seems.

It doesn't do for the English to make light of poverty in Ireland, but that's not what's being shown here.

The photograph is presenting a backward picture of Ireland - one which find a particular market in the US - and it's hard to see that being useful to anyone.

Another tweet, further down the thread, shows the best response to this attitude.

Incidentally, Field Marshall Montgomery hated his mother. He refused to allow his son David to have anything to do with her, and refused to attend her funeral in 1949.

That's from Wikipedia, so we know it's true.

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"Give or take the odd percentage point, and Sir John tries to persuade the media not to sensationalise small, meaningless poll movements, Labour has a solid lead of around 20 per cent over their Tory rivals. ... Parties in Downing Street during lockdown and the disastrous 49-day Truss premiership helped make up a lot of minds and the electorate don’t show any signs of forgetting or forgiving." John Curtice sees no signs of a Conservative revival in time for the next election.

John Jewell looks at three key moments in the phone-hacking scandal and at what happens next.

Mark Gatiss on the enduring appeal of the BBC’s Christmas ghost stories: "James’s stories do lend themselves very well to television shorts. They’re very clever short stories and, with the exception of ‘Casting the Runes’, they’re not epic. They’re very contained, which is very handy as you can achieve a lot with them on a small budget."

"For someone essentially leading the tempo and measuring impact of 50 other musicians, he made it look like he was doing all the work, sweating like he was carrying a grand piano single-handed up a flight of stairs. You looked at him more than you listened to the music." John Podhoretz on Maestro - and Leonard Bernstein.

The Gentle Author looks again at old photographs of London: "The slow exposures of these photographs included fine detail of inanimate objects, just as they also tended to exclude people who were at work and on the move but, in spite of this, the more I examine these pictures the more inhabited they become."

"The 'hobby horse' as we know it today is a children’s toy, a stick with a wooden horse’s head held between the legs and 'ridden” — but, in common with many activities and rituals we now relegate to children, hobby horses were once part of adult festivities. They were also particularly associated with Christmas time, and took a wider variety of forms than we see today. Francis Young argues that 'animal guising' customs offer important insights into British festive culture.

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"Heaving, oversubscribed, besieged by lobbyists and engulfed by the scent of power wafting from around the corner, the Labour conference this year was unlike any other I have ever attended. It was also the most mind-numbingly boring one yet." Jonn Elledge went to the Labour Party conference.

Rob Parsons reviews Johnson at 10: The Inside Story by Anthony Seldon and Raymond Newell.

"Young people are often excluded from decisions about mental health research and interventions. They tend to be seen as simply participants in research projects developed by academics who are often much older than they are. As a result, young people who have experienced a problem lack opportunities to influence the development and design of interventions that aim to help." Alex Lloyd and Manveer Sadhra argue that young people should have a say in the development of the mental health interventions they receive.

Imagine what Afghanistan could do if they played international cricket regularly, says Abhishek Mukherjee.

"A Venice that has less in common with Canaletto than with the slightly grubby canvases of Francesco Guardi, Don’t Look Now's locations are one of several things that’ll come to mind when asked to recall Roeg's masterpiece. Other elements include a terrifying sequence where John is almost killed when the scaffolding in the church he’s repairing collapses, and the abrupt, brutal finale which I won’t spoil through either discussion or dissection." Richard Luck marks the 50th anniversary of Nic Roeg's film Don't Look Now.

Andy Marshall on photographing the churches of Romney Marsh.