Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
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loony sports on Standing on boxes to interview Irfan
Brian Micklethwait on Standing on boxes to interview Irfan
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MarkR on Couple photoing their own shadows
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- Bell end?
- Couple photoing their own shadows
- Standing on boxes to interview Irfan
- What is this iceStone device?
- Filling in a Meaningless Triangle near Kensington High Street tube
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Category archive: Digital photographers
Two more additions to the Bald Blokes Taking Photos collection. On the left, a Bald Bloke photos Big Ben, in 2006:
On the right, in 2010, a Bald Bloke photos the Wheel, above, with Big Ben in the background.
Today I finally managed to get back to Kings Cross, and I even got there before it was dark. But I couldn’t choose only a few pictures from that to show you, so maybe tomorrow with rather more than a few.
So meanwhile, a quota couple quota photoing their quota shadows, in the quota year of 2007:
This happened on the south bank of the Thames, between Westminster Bridge and the Wheel. These pictures make me fell smug and superior, on account of how much more complex and multi-layered my pictures were compared to theirs.
More remembered sunshine. It’s been grey and grim for so long now it seems like for ever.
So there I was, in the bath I think it was, listening to the cricket in Dubai, and Agnew mentioned what sounded like a rather interesting photo, of a very tall cricketer called Mohammad Irfan, being interviewed. The particular fun being that Irfan is very tall, and both the interviewer and the cameraman are standing on boxes:
Agnew mentioned that he had seen this photo on Twitter, and that was enough of a clue for me to find it (scroll down to Nov 15 until you get to the bit where it says: “Love this pic of Irfan being interviewed") very quickly:
Bonus: another photographer in the shot.
More and more, the world is following me, in no longer wanted to exclude other photographers from its photos, but instead to include other photographers.
A few months ago, when the sun was shining and I was in the habit of leaving my home and wandering about in London, I took what i thought at the time was a photo of a bald bloke taking a photo:
I cropped half the guy’s face out of this photo, to make him non-machine-recognisable.
But looking at this photo again, I realise that the real mystery is what the guy has on his left wrist:
As so often, my camera saw more than I did.
When I started googling, to try to find out more about that device, I was pretty confident that I would soon learn. But, I couldn’t find anything called that that looked like that. Presumably it is some sort of Androidy iPhoney Watchy Thingy. But I was unable to go beyond that vague presumption.
So I had gathered together a little clutch of photos of photoers that I took in 2007, about a dozen of them, and I was going to shove them up here, and call them something like: Photos of photoers taken in 2007. But then I noticed that five of them - five - were all taken on 18/07/2007. In English: on July18th 2007. And apparently all within the space of a few dozen minutes.
So I dug up the original directory I’d got (quite a while back) those five pictures from, and here are (insert how many (it’ll be a lot (42))) of them, all taken between 6pm and 7.30pm, from outside Westminster Abbey to Westminster Bridge:
And note this. These were only those pictures which did not feature computer-identifiable faces. There were that many again that were just as nice, but with clearly recognisable faces. By that I mean both eyes and the nose and mouth all simultaneously visible.
And there you were thinking I had got bored with showing you photos of photoers. Well, I have got a bit bored with taking such pictures, and have been taking rather fewer of such snaps lately, although maybe my interest in snapping snappers may reignite. I don’t know. But I now have a huge archive of such photos, and as the cameras in them get more and more obsolete, and as fashions begin to change, these pictures become ever more enjoyable with the passing of time, like good wine or so everyone says.
Normally I don’t go on about what sort of camera I used for a picture or for a bunch of pictures, but I must say I am impressed with what my Canon PowerShot S5 IS was doing, with its x12 zoom, all those years ago. This camera has of course been discontinued, but as of today, you could get a “used - good” one, not boxed but in good condition, for fifty quid.
August 15th of this year was a good photography day for me. I did particularly well on the Blokes photoing front, although I’m not sure if all the male humans here pictured are actually Blokes. Bottom Middle and Bottom Right definitely. But Top Middle and Top Right are probably what you’d call Guys. Bottom Left might well be a Gent, if we looked at his face, and the face of his lady. And as for Top Left, well, you decide.
Once again, I have confined myself to subjects whose faces are not visible. Apart from the subject Top Left. That Top Left one was taken in one of my favourite Strange London Places, which is the little market space, off to the left of the trains (as you look towards the trains) in the concourse of Charing Cross Station. From it, you can then walk along the side of the street towards the river, but at about second floor level, looking down on the street, until you arrive at the down-stream half of the new Hungerford Footbridges, which are on both sides of the old Hungerford railway bridge. It’s one of my favourite little London walks.
The two definite Blokes are both photoing Big Ben, I think. The Bloke holding a “selfie stick” is, I believe, not actually using it as a selfie stick. I’m pretty sure he is photoing what’s in front of him rather than himself. Big Ben, in other words. Could he be far-sghted?
The fountain, being photoed by a Guy, is the one outside the Royal Festival Hall. The other Guy is photoing that Citroen DS23 that has already been shown here.
The bald Gent photo is not technically very good. But he too is photoing Big Ben, as you can see on his screen, which is what makes the photo non-banal.
Nobody ever comments on my photo-collections-of-photoers postings. Which makes me suspect that I am the only one here who really likes them. But, that’s all it takes for a posting here to be a posting.
Yes, because that was when I took this photo:
One of the ways I have got (I think) better as a photographer is that I have gradually identified more classes of object or circumstance to be worth photoing.
This often starts with me just photoing something, because, what the hell, I like it, or it’s fun, or it’s interesting, or it’s odd, or it’s getting more common, or nobody else is noticing it and talking about it, or whatever and I just photo it, without even telling myself why, in conscious words.
Later, often much later, the conscious, verbalised thinking starts. Perhaps because, as in this case, someone else starts talking about it. Guido having a go at that Labour politician was what got my conscious brain into gear on the subject of White Vans. And I then decide to get more systematic about photoing whatever it is.
Mobile Pet Foods is still going, and if that link doesn’t convince you, then note the date on the latest piece of customer feedback here. (That this feedback may be fake doesn’t alter the fact that the dates are recent.)
There is, of course, a cat angle to this.
Indeed. An Asian couple, photoed this afternoon, in Green Park.
The hooded guy crouching in the middle of my shot was the official photographer. The photographer standing on the right was an interloper. As was I of course. Sorry about all the muck on my lens. Photoing into the sun will do that. Personally I think that can actually add to the sunny feeling of things.
Next, my definite favourite shot of this photo-session. The guy running off stage right, has just thrown the white thing into the air and is trying to get out of the picture:
And here is one more, for luck, taken moments later:
Sometimes leaves are okay.
Sometimes, even rather pretty.
I wish them well.
On a sunny afternoon in June, this was the big picture, complete with Big Things, and a bridge, in the background:
I homed in on that photosession, down by the river there.
There were making a bit of a spectacle of themselves, so their recognisable faces would have been fair game, but I took lots of pictures of them, and am able to show you only faceless pictures like these:
My favourite faceless photo being this one:
There was a big crowd looking down on all this. They really can’t complain, and I don’t believe they will, in the event they see those pictures.
When I took this snap, this afternoon, ...:
... all that I thought I was snapping was a selfie session, done by two ladies with conveniently face-hiding hats of agreeably contrasting colours.
When I got home and saw the above photo on my giant home screen, I got two nice surprises. First there was the surprise of how well the photo had come out on such a dull day. But there was also the surprise of what that clip-on thingy is on the iPhone. As so often, my camera saw more that I saw.
A little googling soon got me immediately to such places as this. That’s right, a clip-on, fish eye lens. £10.99.
Only a smartphone camera is thin enough for a lens to be just clipped on like this. Did you see that device coming? Me neither.
I’m guessing that taking a selfie with such a lens makes it much more likely that you will be in the picture, which is presumably quite a problem if you can’t see the picture you are taking. It also gives you a panoramic view in the background.
I wonder if they clocked the bloke photoing them, in that background.
A lot of my postings just now involve me showing you photos I took quite a while back, and this one is also one of those.
What happens is, I rootle through all my past photos, and then sometimes get an idea for a posting about a certain category of thing or human conduct or mode of transport or some such thing, and I start gathering photos to illustrate this, in a separate directory. I am careful to copy photos into the new directory, rather than just transfer them there. One of my rules is, keep all the photos you took on a certain day on a certain expedition all in one place. But, no harm in copying from those directories into other ones which are about particular things rather than particular trips or particular times.
However, what often then happens is that I forget about it all. So, the directory sits there, sometimes for years, and then years later I come across it again. This happened last night, when I encountered a collection of photographs, assembled in 2010, of photographers who were also holding guide books. I could tell that I had never used them in a blog posting, because when I do that, I always give photos different names.
Here are four of those photographers-holding-guide-books photos, all of which involve guide books with the word “Londres” on them:
Click to get the bigger pictures.
I’m guessing that both the French and the Hispanics spell London as Londres, with the French calling it Londr and the Hispanics calling it Lon Drez. But that’s only a gez.
And, yes (google google), I gezzed right:
Londres, the French, Spanish, Portuguese, Catalan and Filipino language name for London, capital of the United Kingdom and England
The guide book while photoing thing always appealed to me, not least because even then I was looking for ways to not photo people’s faces, and guide books often achieved that outcome for me very nicely. But the phenomenon is also interesting because, slowly, it is fading away. You do still see photographers flaunting guide books, but it is rarer now.
Instead, the smartphone is the new guidebook. And, of course, increasingly, the new camera, for people like those shown above. Makes perfect sense.
As for the lady above (in the picture bottom right) whose face I do here display (if you click), well, she was wearing a T-shirt saying, in London’s own language and therefore to attract the attention of Londoners like me: “believe me… i’m incredible”. Somehow I don’t think it was “incredulous”. Ergo, she was attracting attention with her own attention-attracting behaviour, ergo she was and is fair game for her face to go up, totally recognisably, (but nearly a decade later) on my blog.
Nearly a decade later because these photos were taken by me in 2006 and 2007.
This one (number 9) is among the most vivid:
What (I think) makes this such a remarkable image is that, by showing how totally the cars have all been wrecked, the nature of what hit them is, as it were, permanently recorded, the way it might not have been registered by mere empty ground. And because they are cars rather than buildings, each one a regular and very small distance from the ground, every ruined car is clearly visible, the way wrecked buildings might not have been. It’s as if each car is a fire-sensitive cell, like digital cameras have inside them for nailing down light.
Fireball. Nothing else could have done that.
However much the government of China and its various offshoots and local manifestations might have wanted to keep this amazing event under wraps, modern media, including digital photography, still and video, meant that they had no chance.
A friend of mine has a young daughter who is a very promising ballerina. Young and very promising ballerinas tend to find themselves being guided from time to time by quite significant ballet persons, and I have urged my friend to pass on to any significant ballet persons he meets that they ought to do a ballet based on the antics of us digital photographers.
If any significant ballet persons ask what sort of thing that might involve, I suggest they be shown pictures like these, which I took between 2006 and 2007:
Click on any of those pictures and you’ll see that what they’re all about is the big bodily contortions that digital photographers do, mostly just to get their cameras at the right height. But, there is also the matter of the fun and games the people being photoed often get up to. They do lots of more self-conscious posing.
Quite a few of these pictures have been posted on the www by me before, mostly on this blog. But the idea of this posting is to gather together a biggish collection of such pictures, all in one place, for the ballet persons to say: “Wow! Yes! We’ll do it! Pay the crazy blogger double whatever he asks to let us look through his entire photo archive!”
There’s a whole other clutch of pictures showing digital photographers and their hands and fingers. They wave their fingers about, just to keep their fingers out of the pictures. Ballet people would like that too. In the absence of more pictures here, they could just walk over Westminster Bridge and watch the photographers doing it. Because, provided they are only using small cameras, the photographers do this all the time.
Me being me, there is no category here for “dancing”. So, “sculpture” will have to do, as in humans making sculptures of themselves.
And that’s not to even mention the whole selfie thing, and the amazing human sculpture making that that can involve.
On the left (June 2007), one from the Bald Blokes collection. He is photoing me through a bit of abstract sculpture that regular walkers along the South Bank, between the Wheel and the Royal Festival Hall will recognise. And I photoed him.
And on the right (June 2015), well, it’s me photoing me in a mirror. But what I like about this photo is not that it is a self-portrait, The sight of me I can take or leave. No, what I like is the contrast between the colourfulness of what we see reflected in the circular mirror, and the much more muted reflections to be seen in the shop window behind which the mirror rests. Neither on their own would create much of an effect. Put them together, and you have something, I think.
Click on each to get the big pictures.
May 2005 was when I first really started noticing my fellow photographers. My archives show that I had been noticing a bit before then, but that was when I really started taking photoer photos, to the point where there are now enough from that time for me now to choose only the ones where faces are not revealed, and still have plenty to pick the best of:
My favourite is 4.3, the penultimate one. The proof that I was getting serious was that I took lots of shots of this guy, which meant that the best shot was good of him and his amazing posture, and it was good of his camera, which like most of them, is of a sort you no longer see.
It is particularly noticeable how many cameras were silver coloured, in those far off days. Now dedicated cameras are mostly black.