Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
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- There’s a spiral staircase inside the Testicle
- Dernbach decisive again
- Windows in bright light
- When welfare means lavatories
- Another place to photo London’s Big Things from
- Crane with roof attached
- Another fine day at the Oval (4): Scoreboards old and new
- Street dogs
- Keeping their distance
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Category archive: Digital photographers
Sangakkara, having had time off to go and win the Caribbean Premier League with his team out there, has been back playing for Surrey in recent days, with his usual huge distinction. He made the highest score of the match in Surrey’s win against Warwickshire in the County Championship, and he made that match winning 130 not out against Northants, to get Surrey to the semi-finals of this year’s 50 overs tournament.
The best time for this photo-tribute to the great man would have been just after I took all the photos. But now feels like the second best time for it. Very late is not good, but it is a lot better than never.
The first lot of pictures are of Sanga scoring his 166, of him becoming increasingly tired while doing this, and of him walking off after getting out to first ball of the final over of the Surrey innings.
Several of these shots are of – ho ho – shots. One shot should be particularly noted. This is the so-called “ramp” shot, which is when the batsman scoops the ball right over where his head would have been, straight behind the wicketkeeper or thereabouts, hopefully for a boundary. Sanga did at least one of these last September, as you can see (2.2). And he did another, even more spectacularly, when he ramped a six in the last over of that one wicket victory over Northants. (Very short YouTube video of that here.)
I also particularly like the shot of Samit Patel of Notts congratulating Sanga (3.2), as he walks back to the pavilion.
And the second lot of photos are of what Sanga did after this great innings. He fielded (4.1). And oh look, who is that doing exercises in the foreground? That would be Jade Dernbach.
After the game had concluded with a narrow Surrey win, Sanga was given a Man of the Match medal (4.2), and a Man of the Match bottle of Champagne (4.4). Surrey commentator Mark Church interviewed Sanga (5.2). And then (5.3 to 6.4) Sanga mingled with us punters, and had his photo taken by lots of us including by a very happy me, who by then was but a few feet away from him:
Note in particular the Bald Bloke, with a very battered old-school looking camera, whom I managed to include in a couple of my shots (5.3 and 6.1). Maybe I am in some of his shots.
Finally, a bone weary Sanga decides that he really has done enough mingling, and he makes his bone weary way up the steps to the Surrey dressing room (6.3). But then, he gets ambushed yet again by an admirer, a kid (6.4), and he obliges with one last shot, before making his final exit.
Yes, I know, I show recognisable faces here. But a public sports ground is a very public place, and you don’t go there unless you are willing for your face to be included in photos and TV coverage of the event. Plus, if you place yourself right next to a Celeb, then you become fair photographic game, same as the Celeb himself is. Well, those are my rules.
One day, I will collect together all the photos I have from over the years, of … this kind of thing:
I love it when Asians get married and have a photoshoot to celebrate, in London. Quite when and where they get married, I don’t know, but this is definitely a Thing that they love to do. I took the above photo this afternoon. On a bridge. With a Big albeit Ancient Thing in the background. Weird reflections.
And because they are making such a spectacle of themselves, and doing it so very delightfully, I feel it’s okay to put my photo of one of these photoshoots here.
By which I mean: here are some more photographers who are anonymous, not that these particular photographers are any more anonymous than photographers shown here usually are.
Wandering through some recent photo-archives, I came upon this particular collection of anonymous photoers, photoed by me May of this year, which had already been gathered together, but not, I believe, ever shown here. I think I recall gathering them up, and then getting diverted into doing some postings about similarly anonymous photoers photoed rather longer ago.
Anyway, here they are:
Lots of mobile phones, with one tablet, one Real Photographer doing his Real Photography thing, and the odd old school specialised digital camera. That’s pretty much how things are these days.
I know what you’re thinking. You’re thinking that there I was, making my first visit to the Tate Modern Extension, and photoing from the top of it: Big Things, cranes, roof clutter, bridges, churches dwarfed by modernity, and so forth and so on, but I made no mention of other photographers. Did I perhaps ignore them?
This was the first picture I took of the new building when we arrived in its vicinity, not of the whole building, but of some people at the top of it, taking photos:
And when I got to the top myself, I was keen to photo more of my fellow photoers, and I did:
The first and last of those nine photos are of people taking photos of the building. All the others are, as you can surely see, of people taking photos from the building, from that excellent top level aperture.
Almost entirely smartphones. I didn’t pick them out that way. That’s just how it turned out. The only non-smartphone camera is in the top picture, the one taken from the ground, and even he has a smartphone snapper next to him.
Taken by me, middle of last month, outside Westminster Abbey:
Normally, I would bore you to death with why I like this, but: busy day gotta rush.
6k writes about the long journey from journeyman amateur snapper to Artist:
I don’t pretend to be a photo ninja. I can point, and I can shoot, and sometimes the results can be pretty good. Very occasionally, they can be startlingly good, but only very occasionally. I need to work more at not just pointing and shooting to increase the percentage of those startlingly good shots. We’ll get there.
There follows a picture of a bird spreading its wings. In other words, the capture of a fleeting moment.
6k photos his family quite a bit, as they do things like explore the spectacularly beautiful coastline near where he lives, in South Africa. Photoing your loved ones is also a matter of capturing the exact right moment.
With me, I think I get nearest to Art when I’m lining things up with each other. I have a mental list of things I like, and a picture counts double in my head, if I can line a couple, or maybe even more, of these things. The most characteristic of such alignments over the years have typically involved a digital photographer, with a London Big Thing in the background.
Here are a couple of efforts I might pick out to enter a competition, if someone told me I had to do that:
In these two cases, there is also an element of me waiting for the right moment, or more accurately me snapping lots of promising looking moments and picking out the best one.
Those two are from this huge collection of unrecognisable photographers, which I doubt many of you scrutinised in its entirety. So there are two of them again. I particularly like the one with the blue balloon.
And here is another exercise in lining things up, captured just a few days ago. This time, the object at the front is a plastic water bottle, resting on the anti-pigeon netting in the courtyard outside and above my kitchen window. Behind the bottle is a thing that regulars here will know that I like a lot, namely: scaffolding! This being the scaffolding at the top of the big conversion job that’s being done across the courtyard from me:
That picture involves something I don’t usually like to do, which is cropping. The original snap was rather bigger.
I don’t know what exactly I’ve got against cropping, but it feels to me like only one or two notches up from cheating. Maybe I take rather excessive pride in (the Art of) getting the snap I want to emerge straight from the camera, no muss, no fuss, no photoshop. The truth, of course, is that cropping is itself very much an Art. But because I don’t do cropping that much, I probably could have cropped this photo a whole lot better than I actually did.
And I’m back to trivia-mongering. Any day now, I’ll be back to opinion-mongering too:
It’s the first picture of these.
Engineer Thomas Selig, 28, set up his camera on a tripod 100 metres away from a cluster of female lions and cubs in the Maasai Mara National Reserve in Kenya. He then retreated to a safari vehicle to take pictures with a remote control. A lioness decided to make off with his camera, and proceeded to chew it!
Lucky someone had a second camera, to show what happened to the first camera.
Actually, according to what I am now reading, a lot of people never stopped opinion-mongering.
So I photo this guy outside Westminster Abbey who is wearing a Chicago Lions shirt:
Later I ask him what sport the Chicago Lions play. He doesn’t know, but the magic WWW in the sky knows, because it knows everything that there is to be known. Turns out the Chicago Lions play rugby. I couldn’t find any Chicago Lions shirts looking like that one, that colour. But I could find no other Chicago sports team called that, so that must be it.
In the course of googling I also came across some Lion statues in Chicago, and further news of how these Lion statues were made to wear Chicago Bears helmets (American football), and Chicago Blackhawks helmets (ice hockey):
Such is the world. Such is Chicago. Such is the internet.
To you, yes, I hope that you had one, but actually what I’m saying is: I did.
England came belting back against Sri Lanka at Lords. After sampling the London weather last night, I had a feeling that might happen. It was not bright and sunny, more overcast and sweaty. It felt like swing bowler weather, which made SL’s reply yesterday afternoon (to England’s 416) of 162-1 rather strange. Dropped catches apparently. Well, this morning, order was restored and SL are now 218-6. Woakes, luckless yesterday, got a wicket with his first ball. England now look likely winners of that series 3-0. The longer the series goes on, and the more the Lankans get acclimatised (following seriously inadequate practising games), the more it counts beating them. The first game, where SL collapsed twice, meant nothing, I reckon. I’ve been following the score here.
Deep thanks to Michael Vaughan, who mentioned on one of the bits of cricket commentary I listened to that England were also playing Australia. At rugby. Aus 28 Eng 39. Must have been some game, and according to the BBC live updates, it was.
And before all that, I even managed a quick (they’re often the best) Samizdata posting, about something odd I heard on the radio, about the EU.
Here is one of the funner pictures I took while out and about last night, this one taken at the Parliament end of Whitehall:
Great reflections in her sunglasses, right? On the left, as we look, the two devices she is holding, and on the right, you can just see a tiny Big Ben. Is that red thing she is holding a charger?
Plus an elephant.
The onward march of mobile phones into photography continues apace.
I haven’t always been blogging here as early as I’d like to in recent days, but today, I did it.
If you had as good a morning as I did, lucky you.
As I understand it, the big reason why miniature helicopters work is because modern computer magic can control all the propellers and stop them crashing. Proper big helicopter piloting is notoriously skilful. Now, a tiny little robot can fly a tiny little helicopter, all by itself. But, first generation consumer drones are going to look very foolish to later drone-flaunters, because so big, and because they are just so clunky and dangerous.
This looks much more of a serious prospect, especially for indoors:
If that does an Enrique Iglesias to you, it will do you far less damage and do itself far less damage, not least because humans are less liable to beat it to death after it attacks them.
Regular commenter here Michael Jennings is fond of enthusing about the miraculous advances in materials technology we’ve been having lately. I bet this gizmo is a fine example, especially those propeller covers. If they’re too heavy, they sink (literally) the entire idea.
I wonder how noisy it is.
Not very, if this quicky engadget youtube review is anything to go by:
You wait a decade for videos at BMdotcom, and now two come along at once.
LATER: 6k drone blues. Maybe cancel “Lily”, and get the above?
I love to write about digital photography, and have been tracking the selfie phenomenon since long before the mere word was invented, way back in the days when I referred to digital photographers as Billion Monkeys (which I don’t anymore (because some people thought I meant Muslims)). (But also way back in the days when I didn’t worry about showing the faces of strangers, the way I worry now.) And I also enjoy often public sculpture, especially of the more recent and less abstract sort.
So, I love this:
There have been complaints, of course, such as from all the commenters there at the Daily Mail. God forbid that vulgar people should find this vulgar statue so much fun. Sculpture is Art, and Art isn’t supposed to be amusing.
One of the Daily Mail’s other photos is of bloke photoing himself with his own mobile, in front of the selfie statue. But I prefer the more subtle response that consists of simply being photoed joining in, thus:
For once, the statueness, so to speak, of the statue, the fact that it is made of monochrome metal rather than realistically painted to look like real people, works really well, because it contrasts so nicely with the real people. It helps that it seems to be exactly life size.
One of the idiot grumpy commenters at the Daily Mail said that Sugar Land is a stupid name and they were obviously desperate for some attention, which they have never had until now. But wasn’t there a Goldie Hawn movie called The Sugarland Express, or some such thing? Yes there was. Early Spielberg. But, is Sugar Land the same as Sugarland?
According to a later Daily Mail report, it isn’t only their grumpy commentariat that objects to this statue. Could this be because a lot of people heard about this story partly through the Daily Mail, and those people being the sort that hears about things via the Daily Mail, immediately started objecting, because they object to everything. Whereas, the ones who liked it hadn’t heard about it so much.
I first found about the statue via Amusing Planet, so of course I was already self-identified as the sort who would be amused. It was just that the Daily Mail had better pictures.
Bad news: quota photo. Somewhat better news: this quota photo:
I got a better photo of her than she did, I think you will agree.
I took about half a dozen photos of these two, and in all of the other photos, you could (a) see the lady photoer’s face, and (b) not see the other lady’s … well, you know what I’m talking about. But then, her hand went in front of her face, and a gust of wind caught the other lady’s dress, and ...
I must have known that posting this on the www within only hours or only days of having taken it would not have been the proper thing to do, because I entirely forgot that I had taken this photo. Today, when I chanced upon it, clicking around at random in the photo archives, I had no recollection whatsoever of having taken it.
It was taken towards the end of the previous decade, in the month of never you mind. I reckon that the passage of that much time makes it okay to stick it up here, now. I hope you all agree.
Well, not quite a decade. I’ve been photoing photoers since well before this, but the first of these particular snaps was taken in July 2007. They illustrate that I have been concerning myself with the photoing of photoers while contriving, in one way or another, not to photo their faces, for a long while now. When I started taking photos of photoers, face recognition was a mere idea, used by implausibly attractive detectives on the telly but not yet a real thing in the real world. Now, with the social media and ubiquitous digital photography, faces (not just big faces but faces in crowds) can be dated and placed and identified, of everyone, and very soon by everyone.
I just picked out a few photos that I like (although, it soon became a bit more than a few). I like them because the pose is fun (6.2, 6.4), or because they’re strongly back-lit (1.1, 3.4), or because the screen is so clearly visible (6.1), or because the faces of photoers are hidden by bubbles (7.3), or by a coat (7.1), or by an orange bag with the Eiffel Tower on it (that one is the one snap of these that was not taken in London (that’s Paris, Feb 2012)), or because they’re photoing through some bars (in this case at the top of the Monument (1.3)), or because they were just too far away (in one of the pods of The Wheel and on the other side of the river (5.3)), or because they are simply facing the other way or holding their cameras (or their arms or their hands holding their cameras (1,2, 1.4, 4.1, 4.3, 5.1, 6.4, 7.2, 8.1, 8.2, 8.3, 8.4)) in front of their faces. My favourite face-blocking device here is the blue balloon (2.1) saying visit Mexico. The balloon goes very nicely with the Testicle (click and look on the blue square below if you are baffled). Happy times:
The most recent of these was taken when I was photoing that model of the City of London (8.4). Someone else was also.
After assembling these thirty two snaps, I did more browsing, and I soon realised that I could easily have found another thirty two more, and more, many more, of equal fun-ness.
Like with everything else, good photography comes from doing the same thing again and again.
Today I attended Deirdre McCloskey’s talk for the Adam Smith Institute. I know what you’re thinking. Okay, okay, photos, as per usual. But: What did she say? Fine. Go here, and you can find out. What I can find no link to is any information about the event – when, where, and so on. It’s all now gone. Maybe it was never there in the first place.
But the Man from the Adam Smith Institute told me to send in some of my snaps, and these are the ones I sent them:
McCloskey’s basic point was what is rapidly becoming the libertarian orthodoxy, to the effect that (a) the world started getting humungously rich in or around 1780 (Yaron Brook‘s preferred date for this is 1776 (to coincide with America starting and Smith’s Wealth of Nation’s getting published)), and (b) we did this. Our enemies tried to stop us and they failed. We know how to make poor people rich, and we’ve been doing it ever since. Our enemies only know how to make rich people less rich and poor people more poor. Bastards.
My recent favourite example of enrichment is a very tiny one offered at today’s talk by McCloskey, which is that you can now use your smartphone as a mirror. Better yet, McCloskey said, before the talk she was giving, she spotted Steve Baker MP doing this exact thing with his smartphone, while perfecting his appearance prior to doing his MP socialising bit.
The reason I particularly like this is that I just recently learned about this trick myself, when I saw someone doing it, and took a photo of it:
If you photo someone looking in a mirror, they can see their face, but you can’t. (Unless it’s a crap movie, in which case the audience sees the face and the person with the face doesn’t. I know. Ridiculous. But this is truly what often happens.) But, if you photo someone using their smartphone as a mirror, both you and they can see their face.
McCloskey’s point was that enrichment doesn’t only come in the form of more money, but also in the form of the ever more amazing things that you can buy with your money. Like a phone that is also a NASA circa 1968 supercomputer. And a face mirror.
Finally, here are a couple more photography-related photos. On the left is the official photographer for the McCloskey talk:
And on the right there is a photo which I also took at the venue for the McCloskey talk, which I will not name, because the people in charge of this place might then learn of this blog posting and see this picture and then who the hell knows what might happen? Are you wondering what I am talking about? Click on the picture and work it out. I only realised what I had photoed after I had got home.
And I was deliberately retracing steps I used to do make a lot of around eight or ten years ago, to see what had changed and what had not. A lot had changed, in the form of a few big new buildings. The rest had not changed.
Did I say that that sunset I recently posted photos of was last Saturday? Yes. Actually it was the Friday. Get ill and you lose track of time. That evening I also took a lot of other photos, on and from the south bank of the river, between Blackfriars road bridge and Tower Bridge, and here are some of the ones I particularly liked:
That array of small photos (click on any you like to the look of to get it a decent size) really should not now be misbehaving, on any platform. If it is, please get in touch, by comment or by email.
As to the pictures themselves:
1.1 A Deliberately Bald Bloke standing at the bottom of 240 Blackfriars. (You can see the top of 240 Blackfriars in 3.1 here.) That Deliberately Bald look is, I think, fair game photo-blogging-wise. The guy is choosing to look this way. It’s a fashion statement, not an affliction. Blog-mocking the involuntarily bald is not right, but blog-celebrating those who embrace their baldness is fine. Especially if the guy obligingly turns his face away.
1.2 is one of my favourite weird London sites, namely the topless columns of the Blackfriars Bridge that isn’t, in between the two Blackfriars Bridges that are, the one on the right now sporting a new station on it. The twist is that this was high tide, and waves were rhythmically breaking against a corner in the river wall and filling the air between my camera and the bridges with bits of water.
1.3 is a building on the other side of the river. Just beyond the Blackfriars Station bridge. I do love what light and scaffolding and scaffolding covers sometimes do.
1.4 and 2.1 illustrate the universal photography rule to the effect that if you want to photo something very familiar, like St Paul’s Cathedral, you’d better include something else not so familiar, such as some propaganda for a current Tate Modern show that I will perhaps investigate soon, or maybe four big circles that you can see at the Tate Modern end of the Millennium Bridge.
2.2 is an ancient and modern snap, both elements of which I keep meaning to investigate. Those two buildings, the office block and the church, are like two people I frequently meet, but don’t know the names of. Luckily, with buildings, it’s not embarrassing to ask, far too late.
I know what that Big Thing behind the Millennium Bridge in 2.3 is, under wraps, being reconditioned, improved, made worse, whatever, we’ll have to see. That’s Centre Point. It even says most of that on it. I have always been fond of Centre Point, one of London’s early Big New Things.
2.4 features something I have tried and failed to photo several times previously, a Deliveroo Man. Deliveroo Men are usually in a great hurry and are gone before I can catch them, but this one was taking a breather. Deliveroo Men carry their plasticated corrugated boxes on their backs like rucksacks, which I presume saves valuable seconds.
3.1: Another ancient/modern snap. The very recognisable top of the Shard, and another piece of ancientness that I am familiar with but have yet to get around to identifying, see above. I reallyl should have photoed a sign about it. I bet there is one.
3.2: The golden top of the Monument, now dwarfed by the Gherkin and by the Walkie Talkie.
3.3: A golden hinde, which is to be found at the front of the Golden Hinde. I’ve seen that beast before, but never really noticed it.
3.4: Another ancient/modern snap, this time with Southwark Cathedral dominating the foreground. The combined effect yet again vindicates Renzo Piano’s belief that the Shard would blend into London rather than just crow all over it. Those broken fragments at the top echo the four spikes on the nearby Cathedral. It looks that way to me, anyway.
4.1: Another delivery snap, this time of the old school sort. A White Van. But with lots of propaganda all over it, notably the back door, in the new school style.
4.2: Yet another ancient modern contrast, this time the Monument, again, with a machine for window cleaning. Note that small tripoddy object on the top of the Monument. I suspect that this is to give advance warning if the Monument starts to wobble.
4.3: Two exercises in power projection, now both lapsed into tourist traps. Behind, the Tower of London. In front, HMS Belfast.
4.4: Finally! Modern/modern! The Walkie Talkie and the Cheesegrater, and probably my favourite snap of all these. Not a view you often see in other photos, but there it was. Should the bottom be cropped away, to simplify it even more. I prefer to leave photos as taken.
5.1 shows that thing when reflected light is the exact same colour when reflected as originally. Photography is light, so photography sees this. But eyes always try to create a 3D model of what is going on, rather than just a 2D picture. Eyes deliberately don’t see this.
5.2 and 5.4 take me back to my beautiful-women-taking-photos phase, which was big last decade. These two were too good to ignore. They were just so happy! But, mobile phones, which is very this decade. Just like my cameras, the cameras in these just get better and better.
5.3 is another view of that amazing cluster of footbridges.