Head to The Launderette at 145, Cheltenham Road, Bristol until 17 November but don’t take your washing. Instead you can see an exhibition of photographs by Herbert Shergold. Shergold had a studio in Bristol in the 1950s/60s and photographed everyday people in the style of Hollywood stars.
The exhibition is open Thursdays – Sundays from 11am to 5pm.
For more details go to: Now Keep Quite Still
There’s no doubt that the cameras in mobile phones get better with each new iteration, whether from Apple or the Android providers but are they camera winners? Like many, I watch each new product rumour and launch with eager anticipation. (I have always used iPhones so what Apple does is of particular interest.)
The results the latest phones can produce are truly remarkable. Combined hardware and software advances are today producing camera phone images of a quality that could only be dreamt of a few years back.
Nevertheless, I find there is always a dilemma. Getting the latest and best camera in a mobile phone comes with a hefty price tag of circa £1,000.
Right now that amount of cash will buy a small dedicated camera with a bigger sensor and a better lens. In other words, the best camera you can fit in your pocket is not a mobile phone (yet). On the other hand, it’s a camera and doesn’t do texts, emails and phone calls.
Therefore, to my mind whether or not the phone camera is a ‘winner’ comes down to two things. The first is what you want to use your images for. The second is whether or not you are happy to carry a small dedicated, and pocketable, camera with you ‘at all times’ as well as your phone.
Food for thought?
Every now and again the occasion arises to look back at images from the ’60s & ’70s. I recently found myself re-discovering old surfing magazines found in my attic, reviewing the (by today’s standards) low resolution vintage surf images printed in them and briefly being critical.
But these are powerful images, many for the time ‘state-of-the-art’, taken by skilled, and dedicated, photographers. Those photographers were working with equipment far less sophisticated than modern digital cameras.
My initial response was along the lines of ‘gosh the image/print quality was poor in those days’. However, I quickly rejected that view as I studied the pictures in more detail, considered the technology available and succumbed to the appeal of the grainy images. They are powerful on many levels – evoking the ocean way of life, reflecting the styles of the period, featuring some of the surfing ‘greats’ of the day, capturing the challenge and thrill of the wave and unleashing a fair amount of nostalgia.
It is, as so often commented, a fact that an image does not necessarily need to be technically perfect to leave a lasting impression.
(If there are any surf magazine collectors out there, these are mainly ‘Surfing’ and ‘Surfer’ issues from the early to mid ’70s. Reach out to me via my ‘Contact’ page if they are of interest.)
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I’m probably in a minority on this one but I find myself increasingly troubled by what appears a trend towards the use of ever more ‘arty’ language to describe photographs, the rationale for photographic projects and creators’ areas of specialism.
How often these days do we see phraseology along the following lines?
‘… the project explores the complex interaction between perceived reality and lived experience, within an historical context, amongst a minority and little known community…’?
Is this really what the project set out to do? Is it post-rationalisation? Is it the belief that complex syntax and ‘big words’ somehow add importance to the work and elevate it to a higher level of achievement? Is it all part of a search for artistic recognition?
No doubt many will view such descriptions/explanations as central to conveying the photographic mission. Many others will appreciate the ‘arty’ language. There is, therefore, no right or wrong – but there will be different opinions.
The writing that communicates most effectively is invariably both concise and simple in structure. Personally, I prefer to look at an image and draw my own conclusions about the content. A picture is ‘worth a thousand words’ and all that, so give me a brief caption by all means but otherwise let the photograph tell the story.
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We all encounter those periods when, for one reason or another, it’s hard to find the time to be out and about with a camera. Maybe it’s the weather, maybe it’s work commitments, maybe it’s life or, perhaps, COVID confining you to barracks. Looking for online inspiration can help.
Turning to the Web on these occasions switches these fallow times to a source of inspiration and learning. There may not be a few hours spare to lose yourself in a photoshoot but the likelihood is there are still a few minutes available in the day to check out what others are up to and to boost your knowledge of photographic technique and your editing skills.
Recently, I have been somewhat short on photography time/opportunity but online resources have still provided a very positive ‘photo hit’. Even when I think I know all I need to about a piece of software, I find there’s a great new snippet of information being shared by someone that’s going to help my workflow or introduce a new piece of gear. Plus, we can all learn by checking out images from other photographers.
The options are pretty much endless but my personal favourites are the likes of 500px, The Phoblographer, Fstoppers and Jay P Morgan – not to mention the many well-established commentators on YouTube.
All-in-all there’s plenty out there to keep the photographic juices flowing until it is time for the next shoot.
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There are many iconic locations in the UK and, of course, around the world which attract photographers like mega-magnets. Images of these places crop up with remarkable regularity on social media – so is there any value in photographing a place that has been pictured thousands of times already?
It seems to me that there are probably two main reasons to do so.
The first might be to ‘test one’s skill’. The thought process might be along the following lines: ‘That’s a great image, I would love to capture something like that so I’m going to visit the location and give it a go.’ Viewed as a learning process or simply to add a nice image to a personal portfolio/record this seems entirely valid.
Perhaps more valuable, however, is the determination to obtain a truly different photograph of a familiar scene. This is a substantial challenge which – sheer good luck aside – might involve, for example, extreme weather conditions, a genuinely new perspective or the addition of a different element to the image content. It may take frequent return visits to a particular spot to capture such an image or, alternatively, a high level of pre-planning to introduce a special element that genuinely makes a difference. Not an easy ask and not one for the ‘casual’ snapper.
In my region, the South West, among the most frequently photographed locations are the low lighthouse at Burnham-on-Sea, Glastonbury Tor and Clevedon Pier. Search for images online and hundreds (probably thousands) will show up. If you’re up for the challenge, why not take a look and then set out to capture that truly different take on the location.
It can be well worth it. By way of example, check out glastomichelle on Instagram. A Glastonbury resident and regular Tor photographer, Michelle Cowbourne recently captured an extremely rare, possibly unique, sight – a Lancaster bomber flying past Glastonbury Tor. Her images ended up in six national newspapers!
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We seem to see more and more images of ‘leading’ politicians. Some of these politicians’ pictures are the output of photojournalists. Many, however, are taken by retained photographers apparently in the employ of the Government or individual MPs seeking to enhance their own reputations.
Both types of photograph, in their respective ways, have a valid role. Genuine news images inform about developments of public interest. The output of retained photographers working for the Government or individual parliamentarians is more likely designed to convey a specific ‘message’ that supports a policy or image which the subject wishes to promote.
The latter group can be seen as broadly similar to the hundreds of thousands of pictures used by PR companies on behalf of their clients and intended to promote everything from industrial widgets to celebrities. Even when presented in an editorial context, these pictures are usually readily recognisable to the discerning eye as ‘promotion’ or ‘advertising’. The same is true of many of the photographs issued on behalf of politicians, rather than those taken of them by photojournalists. If you are looking, it is not hard to spot the ‘posed’ shot.
It seems there is, however, one significant difference between many of the images of politicians and the promotional output of PR companies. PR companies are retained by clients who pay for their services. The clients ultimately pay for the photographs. Reportedly, this is not necessarily the case with our politicians – apparently, sometimes it is the tax payer who is footing the bill.
This might be acceptable if the images in question help convey serious and truthful information on Government activities and policies for the public good. On the other hand, the tax payer should not be forking out to promote the personal ambitions of individual politicians.
Next time you spot one of those political/ministerial promotional shots – here I am with lots of flags, working hard at my desk or striking a power pose to demonstrate my gravitas – take a moment to consider who might have paid for the picture and whether you would have preferred your money to have been spent in a different way.
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Some images speak for themselves, some require a few words of explanation, some stop you in your tracks.
Since there is a significant element of subjectivity in photographic appreciation what ‘works’ for one person may not have such an impact on another. That said, I recently came across an image that, for me, certainly has the wow factor. The work of Alejandro Pieto, it is from his ‘Border Wall Project’.
As it is not my copyright, I am not posting the image here but it shows a forlorn Roadrunner brought to a halt by the border between the USA and Mexico. It is such a striking image it really does warrant a visit to Alejandro’s website at: https://alejandroprietophotography.com/portfolio/border-wall
The image is one of a series looking at the impact of the border wall on wildlife and was overall winner in Bird Photographer of The Year 2021 (https://www.birdpoty.com/2021-winners).
Alejandro is a professional wildlife and underwater photographer from Guadalajara, Mexico.
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With a spare half day, I recently headed to the American Museum in Bath to check out Carinthia West’s ‘Shooting Stars’ exhibition. Featuring images of famous faces, notably the Rolling Stones, in the 1970s, it is a strangely engaging exhibition – particularly, I suspect, for those able to relate to that period in music and design history.
At a time when we are used to seeing technically perfect images, captured on high end digital cameras, I found it rather refreshing to view pictures taken not by a ‘professional photographer’ but by a friend of those featured. On her own admission Carinthia West had little appreciation of the finer points of photographic technique at the time.
Taken mainly on a 35mm Canon EF film camera, these are candid images. Blown up large, the prints testify to the limits of the format yet it is easy to forgive that they do not match today’s pixel peeping standards, or always capture the eye perfectly in focus. The fact is they are compelling images that tell a story of famous faces in unguarded, relaxed moments. I lingered longer than I had expected to enjoy those moments.
‘Shooting Stars’ is at the American Museum until 31 October, 2021. Details at: https://americanmuseum.org/whats-on/exhibitions
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