A Line Runs Through It

A project by PDBarton where he explores the places and people around part of the Prime Meridian line as it enters England and passes down part of the east of England.

“A Line Runs Through it”  home page


“After Dark”

Matteo Ceschi
After the dark… the darkness remains. That’s my personal reading of Steve’s suggestion for this new project.
In Milan, as in every town around the world, violent events leave a deep and sad mark in the places where they happened. After centuries and years you can still feel the shadows of these events.
Milan – you have understood that by now! – is a noir/dark city, so for me it’s easy to go looking for that kind of places full of dark memories.
The “after the dark” tour started at “Villa triste” (Sad villa) an early XXth century house in a peripheral neighborhood of Milan, where, in 1944, a group of fascists, named Banda Koch, tortured people, resistance fighters. For me that was the most terrifying visit of the whole tour.
The second stop, was in Piazza Fontana: on December 12, 1969, a bombing attack organized by far-right terrorists exploded at the headquarters of Banca Nazionale dell’Agricoltura, killing 17 people and wounding 88. That event was the beginning of “Strategia della tensione” or “Anni di piombo”, one of the darkest period in modern Italian history.
With the third and fourth stops we go back further in the past. Vicolo Bagnera in the second half of the XIXth century was the scene of the murders of Milan’s first serial killer, Antonio Boggia, “The Monster of Milan”. The Piazza Vetra public gardens cover the area where the gibbet used to be for a long period (until 1840 circa).
Final Stop: Via Palestro, July 27, 1993. A car bomb placed by the Mafia killed five people: 4 Italians and 1 Moroccan.
People every day frequent each of these places: many people ignore their history; others feel the ghosts of the past. The elusive and marginal human presence in my frames is a bookmark, a yellow bookmark, for all those who don’t want forget the shades of darkness that inevitably accompany everyone’s life in town.
Keith Goldstein
I took the subject of “After Dark” somewhat literally. This post allows me the opportunity to publish some work I don’t usually show. My nighttime work lets color to blend the artificial and ambient light. My nighttime wanderings are few these days unless it is with family in tow, to and from an evening out. Familial responsibilities at night keep me closer to home. Night allows me the time to let dreams wander.


Steve Coleman

So….’After Dark’ or to me EAT, DRINK and PLAY!

Well I’m usually an interpretive kind of guy with projects, but here I completely wanted to take the literal road.
I have lived in Liverpool, UK for about 25 years now and if there’s one thing I hold dear to my heart is the city at night! Liverpool like many cities on this Island comes alive at night. I’ve spent many hours inside and outside of it’s bars and nightclubs. It truly caters for whatever music, volume or style you could wish for, and of course it has a place called Matthew Street, which if you didn’t know is where those four cheeky scousers with mop tops played their pop in a club called the cavern. Do I need to tell you it’s The Beatles?
Of course this only scratches the surface of this wondrous place, but I felt drawn to head to this part of town for some technical reasons. The pictures you see here were shot on a Nikon FE film camera, using Cinestill 800T film. I’ve long been a huge real film advocate in photography. I find it has magical properties for me…. I think I forgive myself for what I achieve using film, I can be very self critical when I shoot digitally for reasons I’ll struggle to explain, but give me a roll of film and I’m back where I like to be, taking pictures, memories without a care in my 35mm world!
So…here you are… If you are so inclined and wonder why you see such fantastic halation in these images it’s because Cinestill is actually a motion picture film that’s had the Remjet layer removed which usually prevents this. I sometimes feel like this is how the real world looks at night in my eyes…at least after a few whiskies in those bars and clubs I was telling you about…Steve – www.streetframe.co.uk


**The idea of this “After Dark” post, comes from member Steve Coleman.


Since most of the world commutes one or another, either to work, family, or holiday, I thought it would be an interesting take if some of us would care to share images of that endeavor.

Matteo Ceschi

The commuters’ dimension, wherever they are and wherever they are directed, is so close to Marc Augé’s non-places. The commuter, in my photographic vision, becomes a sort of ghostly island surrounded by a sea of indifference. He’s protected by an invisible and anonymous armor; he doesn’t care about the world all around him; she goes by the places and people she encounters during her daily travel. Sometimes the commuters appear intangible; other times it seems they could come straight out of an advertisement poster, like flesh and blood survivors. In this way, commuters in turn become a series of non-places.


Steve Coleman

So commuters, or commuting… Well personally I drive into work at 4.30am every morning so I hardly see anybody on my commute! But not to be deterred I actually got a bus one day, a strange but rewarding experience.
As ever with my pictures I tend to focus on the isolation of people, emotionally and mentally rather than physically. I don’t often find myself shooting people engaging with each other…I prefer the feeling of people engaged within their own minds for some reason. I think it’s a reflection of myself.

I did find that the bus was a great place to illustrate this however, we shared the same space, we sat next to each other with only inches separating us, but we never talked, we awkwardly avoided contact. We kept our thoughts private and our daydreams secrets. Just the way I like it!


Peter Barton

A ticket to ride.

I have no ‘work’ to commute to. But, I regularly travel on public transport filled with commuters and fellow passengers.

There is a sort of vacuity evidenced in the faces of some as they travel. They are still and yet, paradoxically moving. There is a stasis in their bustling world.

I’ve been capturing images of ‘My Fellow Passengers’ for a while now. In my own city, my own country and whilst travelling overseas. We are one species. People are people wherever you are and whatever the surroundings.

People watching is a fascinating, endless occupation. All you need are your eyes, a camera and a ticket to ride.


Keith Goldstein

These images are from an ongoing series, “Across the Aisle”. I’ve been working on this series on and off for quite a few years. Images of commuting, especially in New York, have a wonderful history. From Walker Evans, Stanley Kubrik, Bruce Davidson, to many others working contemporary.

For me, the subway becomes a private space once one enters. We shield ourselves from closeness with strangers, as we enter a private space within ourselves. I try to wait until that moment happens. I never ride the subway to just photograph. These images are taken as I commute to and from work, appointments, etc.. I never hide my intention. People look as if they notice, but many don’t see me as I am occupying that same internal space that they just entered.


Horror Noir

Matteo Ceschi

The idea of this new f/50 project arises from the curiosity to see horror and noir movies mixed together. Think about the classic George Romero Night of the Living Dead frames overlapping Michael Curtiz’s Casablanca iconic scenes…
BOOOM! My brain goes crazy! Double exposure technique and a hard b&w is my way to illustrate this “surreal universe” where two worlds come together and merge. Zombies take care, Detective is now on your tracks! Suggested soundtrack: “Can It Be All So Simple” by Wu-Tang Clan.
Steve Coleman
I’ll be honest, I don’t know whether to thank my F50 colleague Matteo or not for his suggestion of ‘Horror Noir’! I didn’t find this particularly easy at all, but I do like a challenge so below you’ll find my interpretation of this project.
I won’t say too much, but I tried to take my usual candid street style and find individuals in locations that portrayed a sense of solitude and anxiousness, that seemed ambiguous or even a little lost.
I definitely tried to concentrate on a feeling or emotion above anything else and I think I captured some tension in my shots.
So…Thanks Matteo! Perhaps your next suggestion could be a little easier!! Lol.


Keith Goldstein
I’ll have to be honest as well. When Matteo proposed this idea for a post, I was quite hesitant. Instead of making images specifically for this idea, I acted like a somnambulist. I just let things be. Keeping Matteo’s idea in the recesses of my brain.


*The idea of combining horror/noir with street, was from our member Matteo Ceschi.



America is all around me. America is following me through the streets of Milan and my travels: from Greece to Britain to Sweden. The eyes search for old TV series frames, brands and icons, looking for what now also belongs to me. I look at the photos, I hum David Bowie song and I feel that here I am elsewhere, in America.




For this new f/50 project Keith and I have investigated the elusive concept of “fluidity”. We started from Webster on-line dictionary definition and we have developed the “interpretation” through three shots each.

FLUIDITY: The quality of being fluid or capable of flowing; a liquid, äeriform, or gaseous; opposed to solidity. “It was this want of organization, this looseness and fluidity of the new movement, that made it penetrate through every class of society” J.R. Green

KEITH’S NOTES: Let’s images talk!


MATTEO’S NOTES: Fluidity is all about change and movement. Freezing this change with a camera is a hard challenge but it’s not impossible. Photography usually doesn’t “play” with movement so I’ve tried to recreate motion looking for contrast. In the first shot, sky-clouds (so fluid they look solid)-buildings-humans; in the second one, a light fog “running” over the water deleting shadows; in the last frame, the illusion of a man swimming in an ad I caught throught a futuristic invisible wall. In all three shots human presence — direct or indirect or even marginal — becomes an important element of the change, probably the most significant in contrast to the others.