Tag Archives: photography


Photography Imbued with Sadness

A while ago I posted on The Darker Side of Selfies, and the way in which the mainstream media illustrate the news of tragic young deaths with images from the victims’ social media accounts.

Whether it is a car accident, a drug overdose, a gang murder, or a bullying related suicide, the photo editors turn to the victim’s Facebook page or Twitter stream to harvest images. … Used in this new, unintended context, these images strike a discordant note.  The carefree narcissism inherent in any selfie jars with the fact of the artist/subject’s untimely death.

The death of Terrie Lynch and Alexandra Binns this week is a good example. Continue reading Photography Imbued with Sadness

London 2010 Basketball arena

How can I force Picasa to rescan faces?

Picasa is Google’s free photo management application.  It appears to be an experimental project rather than a flagship product, but its extremely useful and versatile.  In particular, it allows management of photos without making a copy of each photograph inside the application.  This was the feature that prompted me to move my photo management into Picasa from Apple’s iPhoto (now discontinued) and why I have not moved on to its new ‘Photos’ offering.

Like those other programmes, Picasa has a powerful facial recognition feature.  Set it loose on your photos and it will recognise faces within them.  The software if powerful enough to identify blurred, grainy faces as well as in-focus portraits.  If you give a face a name, it will identify other similar faces and suggest that they are the same person.  I began tagging all my photographs like this.  Continue reading How can I force Picasa to rescan faces?

Aylan Kurdi on the beach

On the ethics of publishing the photo of Aylan Kurdi

Before I mire myself in questions of when and whether to publish shocking images, I should—must—begin by writing about the fact of Aylan Kurdi’s drowning and the refugee crisis in general.  If the central argument for publishing an image of a dead boy is that it ‘gets people discussing the issues’ then I think I have an obligation to do so, even if these thoughts have been stated earlier and more eloquently, elsewhere. Continue reading On the ethics of publishing the photo of Aylan Kurdi


Hack the Paparazzi Market

The Duke and Dutchess of Cambridge are angry at the paparazzi pursing Prince George and Princess Charlotte in public places.

Here’s one idea that might make the paparazzi go away – undercut them.

How about the Royals employ a photographer to take a steady stream of snaps of the family, in a similar manner to Barack Obama’s official Whitehouse photographer.  Snaps of official engagements would likely be free and creative commons.  But images where the personal photographer ostensibly has exclusive access could be made available to agencies for a fee.  The money paid for any particular image could be donated to one of the Duke and Dutchess’s many charities.  Quite a large fee could be charged, and yet still undercut the paparazzi’s asking price, making images of the Royals far less profitable.  The harassment should dissipate.

Yes, this does equate to the selling of privacy and not something I’d choose for myself.  But for the children that our perverse political system designates as future Heads of State, it may be a better option than what they endure at the moment, and help those less fortunate in the process.


Writing on Censorship for Off Black Magazine

Off Black Magazine launches today: fashion, arts and culture.


Me too.  I was delighted to be asked to write for the launch issue (which takes ‘The Body’ as its theme) on the censorship of art and culture.  My article takes in erotica, Google algorithms, 3D models of vaginas, Instagram’s terms & conditions, and Rupert Bear’s penis.

Continue reading Writing on Censorship for Off Black Magazine

Harriet Bennett's Album Panel 30

Papercuts and Curses

Last year I uploaded a collection of Victorian portrait photographs to a set entitled ‘Harriet Bennett’s Photo Album‘.  Swollen with the sharing spirit of the Internet, I gave the images a permissive Creative Commons Licience.  My hope was that they might act as a prompt or support for other people’s creative projects.

The first instance of this hope being realised is ‘Papercuts and Curses‘ by Sam Meekings. It uses my scanned image of a young and now anonymous aquaintance of Harriet Bennett to illustrate a story about a young adventurer.  Sam begins his story with a liberating broadside against an old writing cliche:

The standard advice to those thinking of becoming writers is to write what you know. The fact that this is clearly the most ridiculous and restrictive piece of advice imaginable does not seem to put people off from repeating it again and again. Edward Gregory Charles was determined to follow it to the letter: with the pragmatism typical of the late nineteenth century, he made it his mission to fill up his mind with experiences.

Read the entire piece on Medium (Twitter founder Evan Williams‘ new project).

I would be delighted if other authors (on Medium or elsewhere) wrote stories based on other images in the Harriet Bennett collection.

A Thousand Smart Phones Glowing in the Square

Take a look at this image.

Smart Phones in St Peter's Square
Smart Phones in St Peter’s Square

It is St Peter’s Square, Rome, on a Wednesday evening in March, as Pope Francis was introduced to the Faithful.  I think perfectly captures our time and obsessions and it should be the definitive image of this particular event.

I continue to be obsessed with this sort of thing: A mass of people all taking a photograph, simultaneously, of the same historical moment. It seems people (myself included) have an obsession with recording their own version of a shared moment… Even if their version of the sight (in this case, a pope) is grainy, tiny, and out of focus… And even if we can guarantee without a shadow of doubt that a better, professionally captured image, will be available.

People would rather watch the special moment through their viewfinder, than with their own eyes.

(I said I included myself among those who indulge in this weird practice, and I meant it. My closest even encounter with the Queen, at an opening of the Scottish Parliament in Edinburgh, was experienced entirely through the view-finder of a Super-8mm cine camera).

I think the image above (which, ironically, I had to re-photograph from the Metro free newspaper because I could not find it online) has extra resonance, however. The glowing screens look a little like candles. In years past, I’m sure the Catholic faithful would have indeed held vigil by candle-light as they waited for the ‘Habemus Papum’ announcement. So the constellation of smart-phones here provides a sort of visual pun, the twenty-first century intruding on a centuries-old ritual.


Here is a photo of imprisoned Azerbaijani editor Avaz Zeynalli at his verdict hearing yesterday morning in Baku, Azerbaijan.The photo was taken by his wife, Melahet Qisuri Zeynallı (via Rebecca Vincent).Avaz Zeynall court hearing

Photo of imprisoned Azerbaijani editor Avaz Zeynalli at his verdict hearing this morning in Baku (Photo: Melahet Qisuri Zeynalli)

From the PEN International case list, (December 2012):

Zeynalli’s trial has been littered with controversies, including his defence attorney exiting the courtroom mid-trial over a row regarding the order of witnesses; a courtroom altercation with the prosecution’s chief witness, MP Gular Ahmadova; claims from Zeynalli that the evidence collected against him has been illegally obtained; and serious questions about his health while in prison.

I think this image is fasincating for two reasons.  First, a relative (not a journalist) was able to take the image of Zeynalli and broadcast it around the world.  This is a commonplace occurrence, of course, but we should never take it for granted.  In years gone by, Governments would have relied on the slow pace of cimmunication, and the distance between cities and countries, as cover for illiberal manoeverings.

Second, its noteworthy that the image has been ‘Instagrammed’ before upload!  The faded sheen to the image conveys an iconic status.  In the future, I wonder if people will use some kind of filter to make court-room photographs look like court-room sketches.

The Return of the Square

Two is a trend.  Vine, the new social media app that allows you to post 6 sec video clips, has a square format.  The videos are in a 1:1 aspect ratio.  This follows Instagram, the popular photo sharing app that gives the user focus and colour filters to improve their images.

This trend arrives just at the time when wide-screen has become the standard, default aspect-ratio of choice for both video and TV.  The footage generated by Apple iPhones, other cutting edge phone technologies, and the latest video cameras, all seem to be on the 2:1 ratio.  Before the move to High Definition, TV and camcorder footage was all 4:3.

Why the change to 1:1 for Instagram and Vine?  Perhaps because the ratio evokes Large Format photography.  This conveys a seriousness, a permenance, and a respect for the art of photography… a useful quality to communicate in the ephermeral, digital world of online image sharing.

Grand Central Station and Hotel Manhattan, New York, 1900 (Library of Congress)
Grand Central Station and Hotel Manhattan, New York, 1900 (Library of Congress)

Image from the Library of Congress, found via the NYC Past Tumblr and Kottke.org.

The diversity of the hijab


When I was at University and introducing myself to ideas of multiculturalism, orientalism and Samuel Huntington’s (at that time, relatively new) Clash of Civilisations thesis, I distinctly remember being surprised by the attire of a fellow student in the canteen. She wore a black hijab with a huge sequined YSL logo down the back. I remember being surprised that someone who wore such a conservative piece of clothing should also be concerned with such Western concepts as fashion labels.

Of course, that was me just being casually prejudiced on a number of different levels, and I learnt a lot from that short encounter with the back of that woman’s head. No culture or sub-culture has the monopoly on the chic, the fashionable, the well made, the comfortable; Fashion concerns are not the preserve of urban, anti-religious, counter-cultural types. And most importantly, it is possible that the hijab is more than a conservative, patriarchal garb. It can be a means for self-expression just like any other type of clothing.

Artist Sara Shamsavari’s photographs explore this last lesson. Her street photography, exhibited from tomorrow at the Royal Festival Hall, explores the myriad fashion decisions that follow a woman’s choice to wear a hijab or headscarf.

Looking at the photos, I am reminded of an article entitled ‘The Muslim Sartorialist‘ on the MENA focused blog, Aqoul:

Ever heard of the Sartorialist? It’s basically a photo blog done by a guy with a keen eye for fashion. He photographs people in trendy European and North American cities and adds little blurbs about why he thinks the outfits are interesting.

Now, I’ve always taken note of fashionable Muslim girls around me. They are masters of layering, texture and coordination. Whether it’s at the mall, a pretentious cafe or even my gym (where one stylish muhajabat routinely schools me on the treadmill), these ladies are not held back by their headscarves. Unfortunately, most of the photos you find on news sites are of women wearing frumpy hijabs, dowdy overcoats and ominous-looking ninja getups (as Lounsbury likes to call them). Western media is inundated with photos of shapeless baby-blue Afghan burkas and Saudi niqabs, so it’s hardly surprising that most non-Muslims think this style of dress is ubiquitous.

Sara Shamsavari is Iranian, which reminds me of Andrew Sullivan’s ‘Outing Iran‘ series from around the time of the 2009 elections and protests. No, not an assertion that everyone in Iran is gay. Just a recognition of the diversity of opinion and the radical art that is produced inside societies a d cultures we lazily consider to be monolithic.

There has been a lot of this kind of art in the UK in recent years. The London Olympics was a catalyst for this Kind of commissioning. One might even say that in 2013, this exhibition at the Royal Festival Hall is not particularly radical! I wonder whether London is the most appropriate place for this kind of exhibition. Perhaps it should tour to, oh, I don’t know… Bradford? Or Hampshire?