This is a follow-up to last week’s bloggy about a big-camera photographer who said he used his mobile phone camera as a “notebook”. I wonder if he ever went back to that train platform with his big camera to properly re-take that lovely Magritte-esque image that he captured with his humble mobile phone camera? It looks at another example of big camera photographers’ attitudes towards mobile.
I follow the Instagram feed of a professional photographer who works for one of the world’s leading agencies. I really love his photography but I recently saw one of his mobile photos and I thought: I wonder if he’d have submitted that image to his agency if he’d taken it on his big camera. The image was of an ice rink, taken from probably 20 or so rows back in a stadium. The ice-rink was completely blown out in the image. Not surprising: the white ice was brightly illuminated and the stadium stands were almost in darkness. I’ve been using an HDR app for many years on my iphone (Pro HDR) and I recently found that the new Canon 5D mk iii had added an in-camera HDR option (I wrote about all this for FLTR recently). I’ve always found that Pro HDR is great for just this sort of high-contrast situation. I wondered if my Instagram friend had heard of Pro HDR. So, as politely as I could, I asked him. “That’s a striking image,” I said, “but I was wondering if you knew about Pro HDR? You might have reduced the contrast between the ice rink and the stadium with it?”. A few days later I got a curt reply saying that was exactly how he’d wanted the image to look thanks. Really?
This is something I’ve come across before. Big-camera photographers sometimes almost deliberately create crap photos with their mobile cameras, as if to say, I’m off duty now, this doesn’t really count, I’m not even going to try with this rubbish mobile device.
HDR can help
When is a photo not a photo? When it’s a note
I was admiring some lovely photos by an excellent big-camera photographer the other day and I noticed that one had been taken on a mobile camera. It was a picture of some commuters standing on a misty train station platform. In the notes to the photo, the photographer said that “often I use my phone camera as a notebook”. Which I thought was an odd comment. It was a beautiful image already. It was an image that had been taken on the spur of the moment, as the scene (reminiscent of a Magritte painting, he noted), unexpectedly unfolded before his eyes. So an image, like many, that was only captured because the photographer had his mobile phone camera with him at the time. The best camera, etc. as the cliche goes.
But in what sense is this picture just a note? Is he going to come back later with his big camera and recreate the scene? The scene was a fleeting moment, gone in probably just a couple of minutes. The mist would have lifted by the time he’d returned and the commuters would have got on their train into town. It is unlikely to ever be recreated in that exact composition and light ever again. And it was a photo that already stood up on its own as a very strong image. Somehow the assumption is that the photo wasn’t a proper photo (it was merely a “note”) because it hadn’t been planned and wasn’t taken on a big camera.
Hold that shadow just there while I get my big camera
iPhoneography teaching career takes unusual turn
My iphoneography teaching career took a rather unexpected turn a couple of weeks ago. I received an email from a man who found me on the internet and asked if I could give his wife a private iphoneography class as a birthday gift. I imagined myself jumping out an iphone-shaped cake, declaring “Surprise!”. My bearded middle-aged and slightly chubby face would muster the biggest smile it could, but even in my imagined fantasy the birthday girl still only stood there, slightly bemused. “A what? For my birthday? “.
"Well," I replied to the email, "that’s a very … thoughtful gift", not wanting to turn down good business. "Where would you like to do the class? I could come round your house, or meet somewhere in central London?".
“Well, actually,” came the reply. “We’re in Zurich. Could you fly over in the morning, do the class in the afternoon, and then fly back in the afternoon?”. And before the end of the day, I had received an email from SwissAir confirming my flight. When the birthday came, I flew off to Zurich, and, with a red hanky in my top pocket, met up with the lucky lady on platform 9 of the main train station, accompanied by her husband. We had a lovely time wandering around old Zurich, taking photos and then dipping into coffee shops to do some photo apping.
I hadn’t been advertising this service but it follows another private lesson after, again, I’d been found on the internet and persuaded me to do some private tuition. In this case, the classes were closer to home, North London, and took the form of me going around to the homes of four charming ladies, all young mothers with children at school during the day, for four weekly sessions. The story of that one is told by, Emma, who found me on the internet, on her excellent blog LifeofYablon.
Why am I telling you all this? Well, the first is that it gives me an excuse to mentally jump out of an iPhone-shaped cake and shout “Surprise!”. The other is that I’d quite like to do some more. So if you know anyone who has a birthday coming up, or has some time to spare during the day, you can find me on the internet.
OK, first thing. That’s not an iPhone camera.
Gray’s Anatoly: Make a calendar and force people to look at your photos for a whole year
The other day I was reminded of that line in the Smith’s song, Frankly, Mr Shankly: “Sometimes I feel more fulfilled, making Christmas cards with the mentally ill.”. Snapfish have this really excellent online tool for making calendars out of your photos and I’m getting a worryingly large amount of pleasure from it. So far I’ve done a calendar for my golf club (now in its second edition), one based on my music photos and I’ve just finished one of my mobile photos. I say “worryingly” because it feels like it’s not a very professional or creative thing to do. It involves a lot of sorting and classifying. Yes, going through old photos, putting the best ones into folders, choosing a certain number of portrait ones and a certain number of landscape ones, trying to choose some that match a particular month on the calendar (ie a sunny picture for August and a snowy one for January), putting two or three that go well together on the same page. So, worrying, because it’s a slightly mechanical thing to do. If I wanted to present it as something of greater value, I might say I was curating my photos. Are there other examples of photographers or artists who have applied their work in very practical ways? Come on, help me out here.
Calendars are a great way of forcing people to look at your photos for a whole year. The aim is that the recipients will feel so touched that I have thought of them at Christmas, gone to all that effort of wrapping up a real object, writing a little note and then going down the post office to post it, that they don’t immediately throw it in the bin. I’ll be very pleased if about 10% of them end up hanging on walls. I will put a copy of each on walls around my house - I find it’s good to live with them a bit. You learn what works and what doesn’t. And I think it’s nice to give those otherwise purely digital images some corporeal existence, a new purpose in life.
The cover of the 2014 rugfoot mobile photography calendar (signed copies available).
Gray’s Anatoly: Taking photos doesn’t have to be offensive
I went on a photo walk around Southall with the excellent Click London meetup group on Saturday. This area of London has a large Asian community and our walk took us inside the local Sikh temple and to a music shop, where we were given a workshop in tabla (Indian drumming). I learnt (or was reminded of) a couple of things about photography, and specifically about mobile photography.
1) People are generally OK with being photographed. On entering the temple, we asked if it would be alright to take photos. Sure, said one of the magnificently bearded and turbaned temple officials. He designated a guide and we were shown around. Having a guide was good because it gave us an outward sign to others that we had been approved. Some people worry that the act of taking a photo is offensive to people. But if you go about it in an honest and respectful way, there isn’t usually a problem. In fact, the opposite is often the case. As I wandered around the dining area unabashedly looking for photo opps, a bride who had got married that morning invited me to take a photo of her. Already clearly in the marital driving seat, she called over her groom from the other side of the room for the shot.
2) Although we had permission to take photos in the temple, I’m sure we were bolder and more successful with our photography because we were using mobile devices. We simply wouldn’t have had the courage to take the photos we did with larger cameras and people would have been more aware of us. We weren’t hiding our photo-taking, we were just less obtrusive (and so more successful) because we used mobiles. And sometimes it’s the way you take your photos, or how indiscrete you are (and that involves the size of your camera), not the fact of taking photos, that people object to. If they can’t see you doing it, they don’t mind about it.
Check out some of the brilliant images our group created here.
Already in the marital driving seat
Gray’s Anatoly: your Instagram picture-track
(WARNING: slightly self-indulgant blog post)
Love em or hate em, Instagram provides a useful picture-track (I just invented that term, it’s like a soundtrack but in pictures) to our lives over the last two or three years. When my wife asked me: when did we go to Corsica? I reply, well it must have been after March 20, 2011 (the day of my first Instagram) because I’ve got Instagram photos from there. With each photo, I remember what we were doing and often the process of taking the photo that I went through.
So I decided to map my1,652 Instagrams in chronological order (more for my own benefit than yours) to date. I know you can get a map of all your Instagrams but that doesn’t map the “when”:
March 28, 2011: Lisbon; April 25: Brighton; May 1: Bruges; June 18: Auntie’ Maggie’s 70th; June 30: Arcade Fire in Hyde Park; July 9: Corsica; July 15: Latitude festival; July 31: Brighton; August 9: London riots; August 26: Rock en Seine festival, Paris; September 3: End of the Road festival; September 18: the apple crop; September 24: David Graham NPG workshop; October 10: Grayson Perry exhibition; October 22: Instagramers exhibition; October 29: Almeria; November 18: Norwich; November 29: Pixel This exhibition; January 1, 2012: Isle of Wight; January 7: Brighton; February 6: Bristol; February 15: Apple Store talk; February 19: Morzine; February 27: Aunty Maggie’s funeral; March 31: Highgate Cemetary; April 15: Dubrovnik; May 2: Other Cinema; May 6: Torrevieja; May 14: iphoggy launch; May 21: Luton playoff at Wembley; June 3: Applecart festival; June 9: No Direction Home festival; July 6: St Albans, J’s birthday; July 14: Latitude festival; July 26: Olympics; August 16: new season at Luton; August 23: Campus Party Berlin; August 26: Brighton; September 1: End of the Road festival; September 9: V’s birthday; September 29: Madrid, Vejer, Jerez; November 7: KCC exhibition; January 23, 2013: Snow in London; Feburary 1: San Fransisco, New York; March 11: Jura; April 6: Brighton; April 23: Wake Fest; May 5: Surf Savers; May 15: Ostend; May 31: Field Day festival; June 3: Berlin; June 26: Galaxy experiment; July 14: Latitude festival; August 3: Holi Festival; August 10: Brighton; August 18: Greenman Festival; August 30: End of the Road festival; September 7: Bordeaux.
Between these noteworthy events are pictures from various football matches, concerts, wanders around London, business trips to Zurich, cycle commutes, museum visits, rounds of golf and train journeys. What a life we lead.
It’s in the vault
Did I mention I’m a Seinfeld fan? There’s a running joke where one of the characters is told a secret and they swear they will not tell anyone: it’s in the vault! they say. But then they have a few drinks and predictably they let the secret slip. And here’s an app I found the other day called Photo Vault. Finding new apps I like these days is quite a rare ocurrence so I thought it worth sharing. Quite boringly it’s not about taking or apping photos, it about archiving photos. This is a serious issue and one that people probably don’t devote enough time and energy to. Guy Yang on his now disappeared Beginners Lens devoted about 10 hours of his excellent iphoneography course to archiving. Long-term and safe archiving of photos is an important issue and one for another blog. This is about short-term archiving.
You’ve been to see the Stone Roses and you managed to get right to the front and get a photo of Ian Brown when he clambered down from the stage to swagger around right in front of you. You also got some great shots of fans wearing some of those laughably baggy trousers they used to wear in the 90s. You created a lovely little folder of all the Stone Roses photos to show Brian when you meet up at Glastonbury. Oh yeah, you’d better clear some hard drive space on your phone for Glasto. So you connect your phone to your computer and start deleting some of your photos. Don’t touch the Ian Brown ones! Or that classic photo you took of your friend Janice’s 50th back in November. Brian would like to see that too. The annoying thing with the iPhone “Photo” app is that even if you put photos in a folder, if you delete them on your camera roll, they disappear from the folders too. And there’s no warning if you block-delete via your computer.
Photo Vault solves this problem by allowing you to create folders of photos (in the “vault”) that won’t disappear when you delete a whole block of photos from September to May to free up some space on your phone. That’s pretty much it. An app that’s useful for one thing, but worth getting just for that.
Not Ian Brown
When a disruptive technology actually disrupts
The news that the Chicago Sun-Times had fired its entire staff of photographers brought a howl of complaint from many people. The detail that the newspaper had decided to issue some of its reporters with iPhone cameras as an alternative to the fired photographers may also have caused many in the iphoneography community to wince slightly. And to feel a bit guilty. Much has been made over the last few years of how great mobile devices are for citizen journalism and up-close street photography. How mobile devices are game changers and how this new technology is “disruptive”. When people used the word “disruptive”, they perhaps didn’t foresee how disruptive it might be. Disruptive here means: getting a team of professional photographers fired from their jobs. Back in November, I said in a Guardian article that photojournalists had most to fear from the iphone’s disruptive camera technology.
People have happily sung the praises of mobile devices as a photojournalistic tool because: 1) it’s the camera that is always with you so will capture a newsworthy event almost as it happens; 2) it gives you access to places and people that wouldn’t be possible with DSLRs (the strengths of the iphone camera in war zones have been well documented); 3) it’s small and quick, which can mean the difference between getting the picture and not; 4) it’s cheap: so if you have the skills (but not the money), you can still produce good photos. Sorry, but it is a good tool for the job. That’s not to say you don’t need the same skills that the fired photographers had to take good photos with the iphone. Simply issuing iphones to unskilled journalists won’t give you good photos.
The camera won’t make the picture