Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
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Most recent entries
- Pavlova reflected in double glazing
- Out and about with GD1 (3): Baritone borrows my charger
- Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
- Unusual bench?
- More keeping up of appearances
- Cats and cricket – cats and drones
- Two strangers photoed by Mick Hartley and show there (and here) without their permission
- You can tell that drones have arrived because now they are being turned into a sport
- The Shard was looking very special today
- Windsor Castle from the top of the RAF Memorial
- Photoing old Dinky Toys in Englefield Green
- Cat picture on white van
- Smart face on smartphone
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Category archive: Digital photographers
For most of today I was without my computer, and yesterday I could only use it in “safe” mode, the most obvious and lamentable effect of which was that I couldn’t see or manipulate pictures properly. So, I couldn’t do pictures for the best part of two days.
Pictures like this one, which needed cropping because to the left of this young man (as I looked and snapped) was a close-up of another young man’s face, with nothing in the way and hence totally recognisable:
What I liked about this picture at the time when I took it, on Westminster Bridge two days ago, was that the guy’s smartphone had a banknote on it. And what I liked even more about this picture when I took another look at it just now with my restored computer is that the man on the banknote is Benjamin Franklin.
Franklin, an enthusiastic inventor, would surely have loved the idea of his face being, two and a quarter centuries after his death, on a portable instantaneous communication and computation machine, with the ability to create and transmit instantaneous likenesses of one’s companions and one’s surroundings and to record and transmit verbal messages, and to perform many other tasks and wonders. Or: whatever he might have called a smartphone.
My rule for violating anonymity here at this blog, by sticking up recognisable pictures of strangers, is that if they are making a spectacle of themselves, then it is okay for me to carry on doing what they started. Someone wearing a weird costume in public or doing something weird in public, or just very deliberately looking spectacularly beautiful in public, are fair game.
There is nothing weird about this guy’s costume, whom I spied at Oxford Circus tube station last night, but he was behaving rather weirdly. So I photoed him, and here he is:
He, I am sure, had no idea that I was photoing him while he was photoing. Any more than I would have noticed if someone else had been photoing me while I was photoing him. Which it would have made perfect sense, to me anyway, for someone else to do. If I saw a bloke photoing a bloke photoing in the tube, I’d have photoed the pair of them like a shot, and what a shot it might have been.
Maybe a Real Photographer would like the lack of advertising in the advertising spots there, preferring arty grunge to vulgar commerce. But I reckon that adverts might have added even more fun to those shots, especially if there had been some relevant slogan or slogans involved. But now I’m just being greedy.
You can tell that the bridge is Blackfriars Bridge because it has that written on it.
And then, moments later, I photoed someone else with the same combination of ideas:
Both photoed at that magic hour in the evening when everything is lit like it’s in a movie and when pictures on other people’s cameras show up in my pictures . Movie people call this magic hour “Magic Hour”, or so said a book I read a while back called Magic Hour.
Photographer on the upstream Hungerford Footbridge, me not on any Hungerford Footbridge:
Photographer on the downstream Hungerford Footbridge, me on the same Hungerford Footbridge:
Me on the downstream Hungerford Footbridge, photographer not on any Hungerford Footbridge:
The first picture is the most visually dramatic, but the third is the most mysterious.
Deck chairs on a deck makes sense, but why is there a pretend lawn on the deck? And why did the man need to be in the middle of the pretend lawn to take his photos?
I do not know.
One of my happier fancies here at this blog has been a category of photos called: I just like it! And I just like this:
The point being that the sort of things that I write about here, and investigate, and then photograph very purposefully and self-consciously, often begin just as things that I like. When I trawl through the photo-archives, I find things that I thought I only started noticing quite recently cropping up casually, years back.
So, what do I like about the above picture? It certainly isn’t how well those leaves have come out. (Although in my opinion out-of-control light in a photo at least tells you that it was very sunny.) Do I think the RSC is GENIUS? Only a bit. No, I think what I like is the way that the advert is about as pompous as it is possible for an advert to be, yet life goes on right next to it and indifferent to it. Or maybe not. Maybe something else completely.
It’s the top of one of those open top double-decker buses, by the way. And below that, the advert is for a show called Matilda.
Photoed by me a few days ago, in the Houses of Parliament area:
Like so many photographers these days, this lady is using a smartphone, and like so many smartphone users, she has a smartphone in a pretty case. I try to collect these, photographically I mean.
I like how I manoevred my way around this lady to make her face unrecognisable - at least, I hope, to a face recognition system. And I like how she’s wearing a pair of spectacles, by which I mean two pairs of spectacles. (A pair of pair of spectacles doesn’t sound right at all.)
But now, I want to ask about another pair that this lady is wearing. What I want to know is, what are those rubbery things on her hands? Are they something to stop her thumbs moving too much? That there are an exactly matching pair of these devices says to me a condition, rather than a pair of coincidentally matching injuries. But what might that condition be? Something like arthritis? Or am I way off with this guess? Anyone?
I only saw these rather strange manual additions when I looked later at the picture. As so often, my camera sees more than I do.
One of my favourite buildings that I’ve never seen is the recently completed (quite recently completed - 2008) Oslo Opera House, which looks like this:
Sooner or later, some big public building was bound to be built like this, with a roof that doubles up as a big public open space, where you can walk to the highest spot on the building’s roof, without once having to go indoors.
Oslo Opera has become a new landmark for the city and proved an instant success with both locals and tourists.
And of course, that roof doesn’t have to be the bland and featureless desert that this one is, in this picture. Sooner or later, it will acquire roof clutter! Perhaps it already has.
As entire cities compete with one another for tourists, buildings like this, with walkabout roofs, will surely become ever more common, as ever more tourists search, as I search, for places up in the sky from which to take tourist snaps. It is no accident that I found the above picture and quote at a site called Visit Norway. (Although sadly, this Visit Norway site fucks with the links and causes them not to work, and these fucked links also fuck with subsequent links which are none of Visit Norway’s damn business. This caused me major problems, until I just stripped out all Visit Norway linkage, at which point sanity was restored. So if you care, you’ll have to find the damn place for yourself. I think Visit Norway was trying to help. It failed. Norway, sort this out.)
Even as I praise this building, I make no judgement about what goes on inside it. The point of these “iconic” buildings - horizontal Big Things - you might say, is that they are fun to visit, regardless of their mere indoor contents. See also: Tate Modern. After all, one of the advantages of a roof like this is that the roof can be enjoyed even as the inside of the building can be entirely ignored.
What got me writing about this Oslo building was a recent posting at Dezeen, featuring another proposed building by the same architects, Snohetta (which has a forward slash through the “o") which uses the same trick, of people being able to walk up to the top in a big zig zag. This time it is a museum in Budapest:
And oh look, I went to the Sn o-with-forward-slash hetta website, and here is another Snohetta proposal, using the same trick, for another opera house, this time in Busan, South Korea:
With the design of the Busan Opera, the opera is no longer a passive playground for the elite but becomes interactive, democratic space, responding to the public’s ambitions and interests.
This is architect speak for:
People can walk about on the roof and take photos without having to sit through some stupid damn opera.
And oh look, again. Snohetta have also proposed that a new media centre in Vienna should look like this:
Look again, and you encounter the Barack Obama Presidential Center:
These last two are not so zig zag, but the principle is the same.
London awaits you, Snohettans.
And I don’t mean Twiggy.
I love it when a bald bloke photos a London Big Thing. So I loved it when this fashionably bare-headed gentleman photoed lots of little London Big Things:
This big old London model is in the process of being refurbished. If all goes as advertised, a big new London model will be ready to view at the end of this month.
People often say “I can’t wait”, when things like this are in the offing. What do they mean? That by the time it arrives, too much time will have elapsed and they will no longer be interested?
I know, it’s just what they say. They don’t really mean it.
I can wait, and I will wait.
Last night, I ventured out to dinner at Chateau Samizdata, hoping that my seeming recovery from flu would not be thrown into reverse. I felt okay all last night, and I still do. Not fully recovered, but okay. But, my sense of taste was and is a mess, in fact now I think about it, it has been for several days. I have always thought that I have good taste. Don’t we all? But just now, I don’t. Things taste somewhat nasty and metallic.
A little sickness-googling got me to this website, which tells me what would seem to have been happening. This is quite common, it would seem.
Dinner was great, really superb. Thank you Adriana. Even with my taste-buds misfiring, I could still tell that this was fabulously tasty food. But I couldn’t really appreciate it properly. It was rather like listening to great orchestral music, but in the Royal Festival Hall.
At least I was able to photo the food being photoed:
Nowadays, this being the twenty first century and all, I think this is the test of whether your cooking at least looks like it will be good. Do your guests get out their smartphones and take snaps? If so, success. If no, fail.
Today’s quota photo was taken on October 11th 2014. At first I thought that it was an example of a genre I have become increasingly fond of over the years, “Photographer (Crouching Down Right Next To Me)’s Head Photoed From Directly Above”. Actually, as I can tell from all the other shots I took of this lady, what is happening is that she has turned her head sidewise, pointing her hair towards me, and I just stood quite a way away from her and took the shot:
But, since just for the moment I am feeling somewhat better than I have been, here are some more photoer photos photoed that day, just after the one above. As you can seen, I once again make a point of showing very little in the way of recognisable faces:
What is on the Superman phone that he is holding up and that she is photoing? She is definitely photoing it. I am baffled by that one. But I do know the building on the screen, top left. That’s the terrible new office block they’ve built for the MPs, across the road from Parliament and Big Ben.
In these photos we once again see the inexorable rise of the mobile phone as a camera. Most of the cameras on show are mobiles. There are several big DSLR, Real Photographer cameras. And just the one old school little dedicated but cheap digital camera, the red one, top left.
Not long after taking those, I took the photos of the ice cream guys.
I imagine everyone else who gives this blog the time of day is bored with all my pictures of photographers, but I am not. Because “More photographers” had already been used here, I changed the title of this from “More photographers” to “Yet more photographers”.
As usual, there’s lots of fun stuff at Colossal, of which a piece about the Chicago Bean attacking a tourist by dumping a lump of snow on them, is my recent favourite.
Go here to see the whole wonderful thing.
I like how people in Chicago call The Bean The Bean, rather than “Cloud Gate”. I feel the same way about how The Wheel in London is The Wheel, rather than the “London Eye”.
Last Friday was another of those first days of Spring, which are coming thick and fast now. Spring has very nearly sprung, in other words. So, I was out on Westminster Bridge photoing the tourists and their cameras like it was 2006. Here are my favourites:
I’ve always been fond of the baglady look, and we see two more examples of the genre there.
For some reason, I feel that a photo of someone holding up a Cool Britannia bag is a lot cooler than a Cool Britannia bag. And the other baglady, dressed as David Hockney, looks really good in front of all that appetising verbiage, on the food kiosk next to Westminster Bridge at the Parliament end, right near where this photo was also taken. A favourite spot.
As for the lady in black, I’m not sure whether was actually photoing. Maybe she was just checking text messages. I hope she is having a good life. Here is a recent reminder that burqas can be bad news for those who wear them.
As for the group self-photoing themselves with a selfie stick, it really is time that I gathered up all the selfie-stick photos I’ve taken lately, and posted a group of them here. (But, I promise nothing.)
The selfie-stick is the latest photoing device to incur the wrath of all of those people who divert themselves by getting wrathful about the newly acquired habits of others, especially when those habits involve photography, and especially when they involve self-photography. The last such fuss involved using tablets to take photos.
Although, it seems that selfie sticks have been around for a bit longer than you might think.
It often happens with me that, while rootling around in the archives for one picture, I stumble across another which strikes me as worth showing to the massed ranks of BrianMicklethwaitDotCom’s readers.
Pictures like this, for instance, which I took at the top of the Monument, in November 2012:
Small, blurry, totally recognisable. Definitely a Big Thing.
As for all that wire netting (which I believe dramatically lowers the cheese content of the above shot), well, here is another shot, of how matters at the top of the Monument used to be not so long ago:
I took that in July 2007. (Note the pleasingly dated camera.) The change from prison bars to wire netting, which happened soon after that, was presumably because of different versions of health and safety. Originally there was neither, just some waste high railings. See this hand-done photo “by Canalleto (after)”, whatever that means. (His production line, but not him, maybe?) And see also this picture.
Somewhere between posting a photo of totally recognisable strangers that you took without their permission in 1930 and posting a photo of totally recognisable strangers that you took without their permission yesterday afternoon, there is a line. I took this photo ...
… in 2007. Did I cross that line? Perhaps. But they just look so great, and so happy. When it comes to totally recognisable strangers who look bad in the photo I took of them without their permission, I think I’d give it another decade or two.
I love all the white space behind and around them. It makes them look, in combination with the signpost, like a piece of sculpture. That spot often does that. Which is why it is one of my favourite photographic spots in London, up the steps that are attached to Westminster Bridge on the north side, looking up over the road towards the Houses of Parliament.
Whereas yesterday was the first first day of spring, today is right back to being just another day of winter, cold, damp, cloudy, miserable. So I am back rootling in the archives for sunnier memories.
Here’s a good one, of me (in the middle), Goddaughter 2 (on the right), and (on the left) a suitably anonymised photographer photoing a suitably anonymised group of people:
Taken last August, on one of the Hungerford Bridge footbridges.
When posting this, I was informed of a previous posting here entitled shadow photography. Also fun. Less anonymised strangers though.