RECENTLY I WROTE:
- Dungeness at twilight
- Before I die…
- Borough Market and my old iPhone 4S
- The things you see in London…
- Filming with Gok Wan for NAT
- A photographer’s journey: Niall McDiarmid’s Crossing Paths
- Summer 2013 in pics, part 1
- In pictures: Surviving a thunderstorm in Kazimierz
- Aerial photographs of Heathrow Airport
- Adobe Lightroom 5 – five favourite video tutorials
MY MOBILE EYE:
Category Archives: inspiration
It shows London circa 1927 through the eyes of one Claude Friese-Greene. As the description that came with the video explains, this is “incredible colour footage of 1920s London shot by an early British pioneer of film named Claude Frisse-Greene, who made a series of travelogues using the colour process his father William – a noted cinematographer – was experimenting with. It’s like a beautifully dusty old postcard you’d find in a junk store, but moving.” Indeed.
I’m pretty sure this is part of a 2006 BBC documentary – co-produced with the British Film Institute – called The Lost World of Friese-Greene. Originally this clip was pat of his project called The Open Road whose aim was to film the people of Britain in colour for the first time.
Timelapse videos are becoming omnipresent and a bit repetitive. This is not a time lapse video. Not quite sure what to call this genre.
Vimeo user Willie Witte uploaded this video called “Screengrab”, illustrating an experimental technique which combines video footage with screengrabs and prints. Within a few days the video was picked up by sites like Gizmodo and Boing-Boing.
Willie said: “I’m testing an experimental process of printing out still frames from videos and using them to create these transistions.”
And the result is awesome:
Simple is beautiful. But sometimes to make something simple you need to put a lot of effort in.
This lovely animation by Tony Miotto I found on Vimeo shows – in a simple, yet, quite time-consuming (for the creator, that is) way – the differences between Paris and New York. Why? No idea. (Well, it says at the end it’s based on a book by Vahram Muratyan which I just googled and it looks awesome too.)
What a fabulous little video…
This is as spooky and possibly unsettling as it is awesome. Street photography as you’ve never seen it before.
Two Paris-based photographers, Lucie and Simon, produced a series of images from four major cities – Paris, New York, Rome and Beijing – but without the usual crowds, without any cars and, ultimately, without any life.
Some images do feature people, but usually just one lonely person, two or three in a handful of cases, which only adds to the overall sense of gloom and unease.
“In the Silent World project, we wanted to study and transform our world’s most symbolic metropolises (New York, Beijing, Paris, Rome) into imaginary, fictional, impossible places,” Simon and Lucie say about their project. And I guess they succeeded.
See the entire series on their website or watch the video below (although I prefer the images, it’s easier to spend more time studying each location).
This short “before and after” clip shows a busy junction in smoggy Beijing and helps understand how the images were created:
If you like their work, make sure to check their previous, equally (or at times even more) unsettling project, called Earth Vision.
Now, if only someone visualised Victoria Station in London without any people…
I have a rather shameful confession to make. Until recently I didn’t even know where Art Sensus, the gallery, was located. Oh, you didn’t either? Good. It’s behind the Army and Navy store in Victoria. And it’s a stunning building and a great exhibition space.
And now it’s hosting a brilliant – but with many sad undertones – exhibition of Eve Arnold’s photography, All About Eve. Which you can’t afford to miss as that would be a real shame.
So why is it sad? First of all, as you can see on the pictures, there were very few people there when I went. Of course it doesn’t mean anything as there might be other days when the room is packed, but it still struck me that such a brilliant exhibition received so little attention (although it was widely covered, and largely positively received, by the mainstream media).
But the saddest fact was Eve Arnold’s death literally weeks before the exhibition opened and three months before her 100th birthday. The photographer, despite her age, was actively involved in the preparations and helped select the hundred photographs on display.
And what photographs they are. Eve Arnold picked up the camera quite late, she was in her forties when she became a professional photographer, but her legacy is immense.
One word I constantly thought of when looking at her pictures was ‘human’. Human and sensitive. You can see Arnold’s human side and great sensitivity in her portraits of Marilyn Monroe – depicting a lonely and vulnerable woman – as well as in her documentary shots from China, Mongolia or Afghanistan.
She was as passionate as she was compassionate. When you watch the clips and snippets of interviews with Arnold, or about Arnold, shown in the gallery, you get to know a fantastic human being interested in other human beings and, more importantly, interested in showing what’s human about them.
One other thing that really impressed me – even though I had seen it already in a book – was Eve Arnold’s very detailed notes regarding her every assignment. All those details – from the date to the location, subject and even the number and type of film rolls used – are displayed on one of the walls in the gallery and make you realise how huge her contribution to world photography was.
Eve Arnold chose London as her home for many years and if you live or at least pass through London before 27th April, you should find that quiet gallery at the back of Army and Navy and travel back to the times when photo assignments took months, cameras were bulkier, and human emotions – the same as always – were captured by an extraordinary photographer.
Gareth Ralphs lost his son, aged 15 months, in December 1999. This year, to celebrate what would have been Max’s 13th birthday, Gareth is running thirteen half-marathons to raise money for Daisy’s Dream, a Berkshire charity which supports children and their families affected by life-threatening diseases or bereavement.
I first heard about Gareth from a close friend of mine, who used to live next door to him. I called Gareth to find out more about his story and to ask whether he would be keen to tell his story on camera.
Luckily, he was. Listening to his story, I realised Gareth was very strong, determined, yet humble and very rational about what can only be described as one of the worst tragedies a parent can endure.
So over the next few months I’m hoping to spend some time with Gareth and his family to try and understand better how they coped with the tragedy – and to document his attempt to complete thirteen half-marathons by September.
A couple of weekends ago, I filmed Gareth during a half-marathon in Wokingham, Berkshire and we decided to use some of that footage to put together a short video to promote Gareth’s donations page and help him achieve his goal.
It was a sunny, crisp winter morning and Gareth had barely recovered from a chest infection, but decided to run anyway. Not only did he run, but also finished in what looks to me – barely-able-to-run-for-10-minutes-in-the-gym editor – like a decent time. So, if you can, please support Gareth via his JustGiving page, where you can also read more of his story.
Share the video with others (there’s also a YouTube version) – and hopefully by autumn I’ll be able to share with you our film documenting Gareth’s ’131313′ project.
500px, Google+, Flickr, Twitter, Facebook. We’re bombarded by images daily, many of which are superb. Often their creators are not trained or even experienced photographers.
Many of them have done – or still do – something completely different for a living. Others do follow a more traditional path and work as freelance or agency photographers. Some have switched from one style of photography to another over the years. Looking at all those images I’ve been asking myself how people get to where they are now.
For the past few weeks I’ve been asking some London-based photographers about their work, their inspiration – but most importantly, about their journeys. How did they get where they are today? How did they work on their style? Was it a conscious choice or, like many things in life, a happy (or perhaps a more dramatic) coincidence?
The people I’ve asked are my personal choices, photographers I’ve been watching or admiring for a while for various reasons.
The first photographer featured in my new miniseries called “A photographer’s journey” is James M. Barrett. I met James during a monthly photography meet-up in south London and was mesmerised by his unique, very harsh, but also captivating portraits of men of various ages. It turned out that James was not only a photographer, but also an artist and his love for such “ugly beautiful” portraits stems from his knowledge of and love for old paintings.
James invited me to his studio to record his story and film him taking portraits of two very different ‘models’: writer, Rupert Smith, and DJ, Wes Baggaley. It was a privilege to film James and learn his story. I’m hoping that stories like his will help others appreciate what they are doing and encourage them to explore their talents more.
So here is my first photographer’s journey. And if you’d like to be featured or know someone who would be an interesting subject for the series, do let me know. Next month’s journey features Paul Clarke.
Additional thanks to Lawrence Lang for help with this video.
Every now and then comes a photographer who does something new and unique. And every now and then I feature some of them on this blog.
Adde takes street portraits of strangers. But instead of traditional portraits, he creates triptychs, where in one image he combines three close-ups of his subject’s face, hips (or general midriff area) and feet. I couldn’t resist asking Adde a few questions and I started by asking how he came up with the idea for Triptychs of Strangers:
I came up with the idea while looking at normal triptych artworks around an exhibition. I tried and posted the first stranger without a description but with time I developed a writing style too to make those strangers even more unique and to stress what I tried to reveal about their personality in the pictures.
How difficult do you find it to convince people to participate?
Not that difficult. It really depends on your idea, yourself and experience. People are really excited about the idea itself or when I show them a few examples. I end up talking to my strangers for about 20 minutes, sometimes up to two hours. Most of them are flattered if you ask them about how they get along and stuff.
Then comes your experience – don’t push to much. Don’t talk to people in groups (individuals seek group-approval), don’t ask for 10 minutes of their time if it’s raining heavily – and offer to delete the photos in case they don’t like them.
A lot of your images – including this project – are street images. Why street photography?
I would say 99% is street. I love people in the streets – whether you get in touch with your subjects or not. I enjoy these moments in life and photography is a good thing to record them.
How long have you been doing photography?
One year. I was in London a year ago visiting my cousin and the city. Unfortunately his time was rather short, so I had to kill some time. This is how things started.
Image © Adde Adesokan, used with author’s permission
I remember the first time I saw The Milky Way. Not an image in a book or online. In real life. Right in front of my eyes. Or rather way above my head. It’s a mind-blowing experience, something we never see in big, light-polluted cities like London.
I was in South Africa, in the middle of the African bush, and one night while sitting by the fire we looked up and saw this:
It does put everything into perspective. You realise where you are in the Universe, or rather how insignificant you are in the context of what’s around you.
I had my DSLR with me, but I didn’t have a fast lens. I was ready for animal shots in the bright African sunshine, but not for long exposures in the middle of the night. That’s why the above image doesn’t do The Milky Way I saw any justice. It was multi-coloured, really rich, dense and indescribably beautiful.
If you’ve never seen the Milky Way in real life, the following timelapse video is a pretty good substitute.
It was filmed between 4th and 11th April 2011 by Terje Sorgjerd atop El Teide, Spain´s highest mountain. As he wrote, the mountain “is one of the best places in the world to photograph the stars and is also the location of Teide Observatories, considered to be one of the world´s best observatories. The goal was to capture the beautiful Milky Way galaxy along with one of the most amazing mountains I know El Teide.”
And the result is breathtaking. As always with Vimeo, go full screen and don’t miss the Sahara sandstorm some 30 seconds in:
And if you liked it, here’s another video Terje shot – at the famous Maeklong Market in Bangkok, where market stalls share their space with a railway line. Life on this planet has so many amazing aspects…
No matter how long you have been taking pictures, there’s always something new you can spot while snapping the world from a plane. But some people are luckier than others.
This guy used a tripod and his Canon 5D Mk II, plus a 16-35mm lens, to create a 2-minute timelapse movie during his flight from San Francisco to Paris. It all starts with a few glimpses of San Francisco itself, but then it gets awesome when he captures the Northern Lights:
Although, as you can imagine, it probably wasn’t the easiest timelapse to shoot. On his YouTube page he said:
“Thanks to my neighbors for not minding an SLR click every 2 to 30 seconds for 11 hours, and thanks to the whole Air France flight crew for being insanely friendly and allowing me to shoot.”
And here I was, thinking that the most exciting thing on an overnight flight was the latest episode of 30 Rock.
via JPG Magazine