The First Day Of Autumn by Lucy Young

The first day of Autumn. The first day of Autumn in 2010 was marked by wet weather for London. Picture: A squirrel sits on top of a stack of deckchairs in St James’s Park.

  • Framed / Mounted

    From £192

    • £

    Print Only

    From £95

    • £

    This is Classique, at its longest edge the print will be 35.5 cm long with an overall length of 51cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 160 £

    This is Forté, at its longest edge the print will be 60cm long with an overall length of 77cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 310 £

    This is Alu-Forté, at its longest edge the print will be 60cm and floats on the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 310 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 425 £
    51cm X 41.5cm
    51cm X 41.5cm
    51cm X 41.5cm
    51cm X 41.5cm
    77cm longest edge
    77cm longest edge
    77cm longest edge
    77cm longest edge

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 79.166 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 95.833 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 108.333 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 137.5 £

    (Rest of the World £40)


    (Rest of the World £15)

About Lucy Young

I moved to London from the Midlands when I was 22. I’d just finished my degree, which was in Documentary Photography and thought I’d take my chances in London to see if I could succeed in finding a photojournalist job there.

I landed a job as a staff photography for a group of newspapers in North London within the first month of moving, covering local events and news stories. I’d just swapped over to digital from film and was given a set of digital Nikon equipment to work with. I was lucky to work with a good editor, Gary O’Keefe who was happy to let the photographer’s explore their own style as well as their own picture stories which would feature across the centre spread of the paper each week. After 3 years there I’d learnt a lot on the job but felt it was time to move on to something more challenging.

I worked night and day; taking any extra work I could find and bought my own equipment before taking a job with National News and Pictures in Central London. Many a photojournalist have passed through National on their way up and it was known as a place where you’d earn your stripes on Fleet Street. After 6 months of pounding the streets of London with my cameras I’d built up a decent portfolio of publications and took the decision to leave National.

I did the rounds talking to picture editors from national newspapers, showing them my work and asking if they could throw some shifts my way. I remember speaking to the assignments editor at The Times, Paul Bellsham who asked me to cover a job for The Times that very evening and asking him if I could pop back in a few minutes as I had an appointment with John Edwards at The Sun which happened to be in the same building. I’d had a picture printed in The Sun that day of a female police officer who was caught up in the student riots at Millbank Tower, the headquarters of the Conservative Party. She was staggering out of the building with a blood-stained cotton pad Gaffa taped to her head, her police hat perched on top. I was offered a week’s trial at The Sun then hopped on a train for the Times to do a feature on the coast somewhere.

I finished up my trial at The Sun and took a gamble on quitting my regular shifts at National to go freelance, spending the next three month doing features for The Sun before moving over to The Times on a regular basis. Since going freelance in 2010 I’ve also worked regularly for The Daily Telegraph, The Independent, The Metro and the Evening Standard covering politics, live news, features and portraits. My personal highlights include covering the revolution in Libya in 2011, travelling to rural Kenya to photograph projects with Islamic Relief and shooting images of the Royal family and top political figures in the UK for national newspapers.

I’ve always loved being in the middle of a news story as it’s breaking, before the public know anything about it and then seeing the pictures in the paper the next day. Now it’s possible to see your work published even sooner with the popularity of online news but nothing beats seeing your pictures in print.

About Lucy Young

I moved to London from the Midlands when I was 22. I’d just finished my degree, which was in Documentary Photography and thought I’d take my chances in London to see if I could succeed in finding a photojournalist job there.

I landed a job as a staff photography for a group of newspapers in North London within the first month of moving, covering local events and news stories. I’d just swapped over to digital from film and was given a set of digital Nikon equipment to work with. I was lucky to work with a good editor, Gary O’Keefe who was happy to let the photographer’s explore their own style as well as their own picture stories which would feature across the centre spread of the paper each week. After 3 years there I’d learnt a lot on the job but felt it was time to move on to something more challenging.

I worked night and day; taking any extra work I could find and bought my own equipment before taking a job with National News and Pictures in Central London. Many a photojournalist have passed through National on their way up and it was known as a place where you’d earn your stripes on Fleet Street. After 6 months of pounding the streets of London with my cameras I’d built up a decent portfolio of publications and took the decision to leave National.

I did the rounds talking to picture editors from national newspapers, showing them my work and asking if they could throw some shifts my way. I remember speaking to the assignments editor at The Times, Paul Bellsham who asked me to cover a job for The Times that very evening and asking him if I could pop back in a few minutes as I had an appointment with John Edwards at The Sun which happened to be in the same building. I’d had a picture printed in The Sun that day of a female police officer who was caught up in the student riots at Millbank Tower, the headquarters of the Conservative Party. She was staggering out of the building with a blood-stained cotton pad Gaffa taped to her head, her police hat perched on top. I was offered a week’s trial at The Sun then hopped on a train for the Times to do a feature on the coast somewhere.

I finished up my trial at The Sun and took a gamble on quitting my regular shifts at National to go freelance, spending the next three month doing features for The Sun before moving over to The Times on a regular basis. Since going freelance in 2010 I’ve also worked regularly for The Daily Telegraph, The Independent, The Metro and the Evening Standard covering politics, live news, features and portraits. My personal highlights include covering the revolution in Libya in 2011, travelling to rural Kenya to photograph projects with Islamic Relief and shooting images of the Royal family and top political figures in the UK for national newspapers.

I’ve always loved being in the middle of a news story as it’s breaking, before the public know anything about it and then seeing the pictures in the paper the next day. Now it’s possible to see your work published even sooner with the popularity of online news but nothing beats seeing your pictures in print.