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Category archive: Digital photographers

Thursday November 20 2014

By way of proof that these people were not the only ones perhaps failing to behave in a way that would be considered by some to be entirely appropriate for the solemnity of the place, here are some photos that I took of Bald Blokes Photoing The Poppies:

imageimageimageimageimage

I too was being inappropriately frivolous.

Click to get the bigger pictures.

Those snaps are picked because the focus, such as it is, is on the bald heads, rather than on the cameras or what the cameras are pointed at.  Bald heads are, I am learning (more than I ever did before), infinitely bizarre sites, like maps of strange deserts from the air, full of mysterious marks and indentations, with subtle changes in the vegetation.

But, inevitably, after picking out those snaps, I came upon other pictures of Bald Blokes Photoing The Poppies that I considered also to be deserving of notice.

This one, for instance, is one of the burst of about half a dozen that I took of Bald Bloke Number 3 above.  This one focuses on the picture he is taking rather than on his baldness, and I particularly like how it came out:

image

Or how about this one, which is a first, in my quest for Bald Blokes Taking Photos.  Two Bald Blokes taking photos!:

image

Does the Bald Bloke nearest to me also like to take photos of Bald Blokes Taking Photos?

Finally, a bloke photoing The Poppies who is only pretending to be bald:

image

Note that he hasn’t shaved his head for a few days, but a few days ago, he did, entirely.

This is the snap that proves, as all who care already know well, that this totally bald look is a fashion statement, rather than just bald blokes pretending to make a fashion statement, to disguise their partial baldness.  Because here is a guy who is not bald at all doing it.  He has nothing ignoble to disguise, yet he adopts this look anyway.

Saturday November 15 2014

Classic photo of photoers (which I found here):

image

It’s the new see through walkway at the top of Tower Bridge.  All the reportage concentrates on what you can see looking down through it.  But when I visit, I am going to check out what you can see photoing through it from below.  Which will have the added benefit of being far cheaper.

Zoom lenses are rather good these days.

And guess what, I actually want other people to have the same idea, so I can photo them photoing upwards also.

Wednesday November 12 2014

One of the problems of big arrays of Poppies is that, like at funerals, you feel a certain pressure to adopt the proper tone of solemnity, like you being solemn is going to stop the First World War having happened, or something.  No, really, I do get it.  It’s very sad, what with all those soldiers having died, and what with lots of the people present perhaps remembering particular departed loved ones.  You probably shouldn’t be enjoying yourself too obviously.

And in particular, you probably shouldn’t be doing this.  But, you do it anyway:

image image
image image

But maybe that is just me, being a bit grumpy, and using my grumpiness as an excuse to violate the privacy of strangers who really weren’t doing anything very wrong.  Nobody else seemed to have any problem with these selfie takers.  The feeling seemed to be: This Thing means, to you, whatever you decide it means to you.  If what it means to you is a chance for you to take a smiling selfie with lots of bright red in the background, well, okay.  And I think I agree.

I certainly had fun photoing these people.

Tuesday November 11 2014

Doing photography makes me happy, both as something for me to do and as something for me to photo others doing.  Before digital photography, I had the usual dislike felt by people of my nationality and with my approximate level of upbringing and education for crowds of tourists, barging their way around my city, bumping into me and making me feel insignificant, like they owned the place which of course they sort of did and sort of do.  The Masses were bad enough as a mere idea, but actually seeing them, Massed, made it even worse.

Tourism, I used to tell myself, unthinkingly, is not “real”.  But tourism is every bit as real as an Amazonian rainforest, just as affluent suburbs are as real as inner city sink estates.  And ever since I discovered the joy of photoing these crowds of tourists, tourists taking photos, photos of my city and of each other, and of themselves, I have deliberately mingled with these crowds, which basically means that I have become a tourist myself, in London, the city where I live.  A state of silly and unthinking grumpiness has been replaced by a far more thoughtful and philosophically elevated state of happiness and smugness.  Happiness and smugness are also just as real as misery, and my happiness and smugness is all the happier and smugger because provoked by the exact same things as I had formerly been making myself miserable about.

Crowds like those pictured below, in other words, are just as real as the events that all those red Poppies that everyone has come to see hark back to.  One of the many remarkable things about these Poppies is the huge - truly enormous – scale not just of the Poppies themselves, but of the crowds of people who have journeyed to the Tower of London to look at them.  Here are a couple of my better Poppies crowd shots:

image image

My single most unforgettable Poppies Crowds Moment did not happen to me when I was actually there being a part of one of these crowds, but in a tube station in some other nearby part of central London, the weekend before last.  I was on an escalator, and an intercom voice started saying that if I intended visiting the Tower of London to see The Poppies (I didn’t – not that day), then I should definitely consider using another tube station besides Tower tube station, because Tower tube station was jam packed or words to that effect.  I should go instead, said the voice, to another nearby tube station (the voice offered several suggested alternatives) and walk from there, from only a little bit further away.  That’s how big the crowds have been.  And instead of snarling with silly rage at that announcement, I instead said to myself: I must remember to put that on my blog.  Which has been another source of great happiness to me, and would have been even if I had not got stuck into photography.

Friday November 07 2014

The way to photo “iconic” buildings is to muck around with them.  You can’t just stick up your basic passport photos of them, so to speak, because everyone’s seen that, even the foreigners.

You have to put your iconic building next to something else, perhaps iconic in a different way ...:

image image

… or, you bounce your IB off a non-iconic building covered in slightly bendy glass.

Or you photo it through a Riverside Thing …:

image image

… or behind an Iconic Bridge (the one that wobbled (see the posting immediately below)).

Or you put something else in front of it, like a photographer, and have the IB itself behind and way out of focus.

image image

That works fine because the whole point of an IB is that you can recognise it even if it is ridiculously blurry, the way you never could a regular building.

Or, you photo it on the screen of another photographer, perhaps even a bald bloke photographer.  I am now collecting bald bloke photographers, and believe me, the species is now very abundant.  And by the way, if you click and look at bit carefully, you can see that the bald bloke had the same idea as me about photoing the reflected version of the Shard, rather than just the Thing itself:

image image

As the autumn light fades, the screens of other photographers shine ever more brightly.  (LATER: And, on the right there, I see cranes.)

I picked those four snaps of snappers entirely because I liked them.  But, they are all pictures of snappers using their mobile phones.  Mobile phone cameras are getting better and better.  But of course.  I mean, would they be getting worse?

But having said all that, I do like this:

image

No frills, no complications, just the top of the IB itself, with a bit of orange light from somewhere.

All of the above photos were taken on my way to and from the Tower of London, about tendays ago, to see all those poppies.

LATER: How in the world could I possibly have failed to include, in this, this?

image

Shard on camera screen, and poppies.  But, this time, a clunky old camera camera rather than a mobile phone camera.

Tuesday November 04 2014

The other day, I forget which one, I worked something out that had been confusing me. Why, given all the fun I get out of photography and given all the time I spend doing it and thinking about it, have I not immersed myself in all the technicalities of photography?  Why is it that the only setting on my camera that I regularly use is the one called “Automatic”?  Why am I no nearer to understanding manual focussing than I was a decade ago?

The answer is that it is the point-and-shoot sort of photography that strikes me as the most interesting sort of photography now happening.  Not in art galleries where the latest black-and-white photos of plague victims or under-age African soldiers are on display, in photos that cost more to buy than paintings and took more trouble to produce.  That is all so twentieth century, and even, actually, nineteenth century.  What counts now, for me, are the photos you can take with your mobile phone camera, or with the jumped-up mobile phone camera that I use, and the sort of photos that regular people are now able to take, of regular stuff rather than of foreign catastrophes that someone will pay them to take art-gallery standard photos of.

In short, I take point-and-shoot pictures because I like to be part of history, and this is where the history of photography now is.  (If you disagree, realise that what you are reading is not an argument.  It is a description of a feeling.)

What I have is called a “bridge” camera, but all that this means is that it is a bog-standard point-and-shoot camera that takes somewhat better photos when you go click, and which has a twiddly screen, and a lens that can go from close-up to mega-zoom without any faffing about with multiple lenses.  I have the best cheap camera that I can get, rather than the cheapest proper camera.  Oh, you can set my camera on manual and go all Real Photographer with it.  But if you want to do that, you should have a proper Real Photographer camera, not a bridge camera, and you should have a rucksack full of lenses, each perfect for each oh-so-carefully-taken shot.  What “bridge” means is the best camera you can have without having to give any thought to “photography”.  Instead, you just think about the picture.  More precisely, you think about what you see and which of the things that you see are the most interesting, and why.

My camera is not really any sort of “bridge”.  Bridge suggests that I am going somewhere with it, somewhere different, as in different from the technical point of view.  But I’m not.  Technically, I am staying right where I am.  If I am getting better at photography, it is because I am getting better at choosing what to point my camera at.

A bridge camera is rather like “crossover” music in that respect.  Crossover music is not for people who are actually doing any crossing over, from one sort of music to any other sort of music.  Crossover music is its own sort of music.  The people who like crossover music (and there’s nothing wrong with that) are people who like crossover music and who will continue to listen to crossover music, with no actual crossing over from any other sort of music to any other sort of music happening at all.

No links, because I thought of this all by myself.

Tuesday October 28 2014

Today, blogwise, has been one of those days.  By that I mean not that I have been too busy to do any blogging.  I merely mean that I haven’t felt like doing any, and have in fact not, until now.  I have had plenty of time to blog.  I just haven’t used any of it to blog.

So, it’s just as well that, I now discover, there has been an incoming email from Michael Jennings, entitled:

If you want to ride a really old bus, here is your chance.

Which reminds me that, recently, when mostly photoing photoers photoing Blood Swept Lands and Seas of Red, I found myself photoing, instead, this:

image

He wasn’t taking photos.  He was checking through photos he’d taken earlier.

I can remember when buses like that were the latest thing.

LATER: More about those Tower of London poppies.  I read that Guardian piece before I discovered Guido was already on to it, and I thought it was weird too.  Like one of the commenters, and Guido, said: clickbait.  Plus, as another commenter said: yeah, the general public likes it, it means something, no wonder the Guardian art critic can’t be doing with it.  Let’s hope Natalie Solent gives the piece a good fisking like it’s 2004.

image

I know what you are thinking.  That there is no connection between a big red historic thing which people just never forget about and a big red thing about an historic thing which people just never forget about.  Something along those lines?

Sunday October 26 2014

Can you quotulate a picture?  I just did.  I just quotulated a picture of a Canadian train leaving a Canadian railway station, in this posting, at Quotulatiousness.

The original picture, I thought when I saw it, was good, but mostly what I thought it was was good in parts.  So, I sliced out the parts that I particularly liked, and I now feature those best bits here:

image

I also did a bit of rotating.

What I like is the reflection of the train, and the shadows, and especially the shadow of the photographer, a digital photographer thing that I always enjoy, both when I do it, or when others do it.

By homing in on these merits, I believe I draw more attention to them than did the original taker of the photo.

LATER: The Quotulator quotulates me.

In which I quotulate from a photo of a Canadian train
Godot nearly ready
Bald bloke taking a photo
Two guys on Westminster Bridge photoing ice creams in front of the Houses of Parliament
Big cat advertises guide dogs
Bag ladies
The man who photoed the CDs in Gramex this afternoon
Photographers in Tate Ancient
Out and about in the sunshine
Xxxx-ie outside Xxxx-ridges
Cat photo and cat news
Quota selfie from 2006
ASI Boat Trip 7: Other photographers
Umbrellas!
Photoing with a mobile with a gap in the lid
Photographer photoing photographer photoing Big Ben
Hartley waterlily
A Real Photographer does a shadow selfie
Moving picture
Looking good for the telephone box smartphone
Photographing while on a skateboard
Ten years ago today
Another photographer photo from the archives
Sam Bowman on Bleeding Heart Libertarianism
Photographers in the spring
Remembering another Christian name (and flagging up another talk)
Colour photography
ME Hotel Radio Rooftop Bar
Popography
The text of my talk for Christian Michel last night
Digital photography as telepathy
Taking photos with Big Flat Things
Confirmation that map use has seriously declined
Digital photographers holding maps
Polish girls in Moscow doing a selfie
Sidwell (and me) on selfies
Wedding photography - old and new
Here are two photos I took earlier
Photoing each other - and photoing stuff in the canal
Google Nexus 4 wedding photography!
Cassette iPhone photographer
Phablet news
Google Nexus 4 photos
Pictures of LLFF2013
More March 5th photographers (and more spaces between pictures)
Wandering about afterwards
Digital photographers outside Westminster Abbey
An earlier tablet photographer
More photographers photographed
Halloween flash!
Piccadilly Halloween
Patrick Crozier has just arranged for accessing ancient comments here to be much easier
More digital photographers
Celebrity photoshoot?
Usain Bolt takes photos of photographers!
The top of the Shard
Bomber Command Memorial pictures
A camera in each hand
Snaps (in Paris and London - and of the Millennium Footbridge)
Photographers at Eros and Art in the tube