Monday 30 October 2023

A Bagful of Cameras





Inevitably, carrying around a bagful of cameras for testing purposes has produced a few photographs worth showing in their own right – four cameras are represented here – but it doesn't matter which camera took what, when, or where. Cameras have personalities and, like people, each has its own charms and annoyances, strengths and shortcomings, and the trick is to get to know them and let each do what it does best. Which is really what all that boring comparative testing is all about: does the new player bring something new to the team? Luckily, they usually don't, although I do still seem to have kept more cameras that a sensible person would have sold on years ago.

Actually, I did trying selling all most some of my film cameras [1] a while ago via Ffordes in Scotland, but to my surprise some of them were returned as (in insurance broker's terminology) "beyond economic repair". It seems a couple of decades sitting unused in a cupboard will lead to various sclerotic conditions: stuck shutters, cracked bellows, and the like. All of which could be fixed, but at a greater cost than would be realised by a sale. However, the demand for good film cameras is such that I still made rather more from those that were sold than I had expected. So if you've got an old Olympus Mju sitting around somewhere, for example, I suggest you sell it while the fad lasts...




1. I went through a phase in the 1990s of buying dirt-cheap roll-film cameras, mostly folders, whenever I came across one. I ended up with quite a few, some of which were real gems. The best of these – an Agfa Isolette folder with the exceptional Solinar lens – became the basis of a project photographing the river at Mottisfont Abbey, near Romsey, that turned into my first solo exhibition, "The Colour of the Water", displayed in the Abbey from March 2003 to November 2004, later collected in the book Downward Skies (full preview at the link). 

Thursday 26 October 2023

Shade On The Light


Uh oh, gear post alert! Beware: test images ahead... Diversion strongly advised if you have better things to do than read about cameras.

This is a sort of coda to the recent Convenience vs. Encumbrance post. In January 2021, I picked up a Light L16 computational camera for a good price on eBay, really just to have a play around with it, and to see how far the reality lived up to the marketing hype that had accompanied the (much delayed) launch of the device. I won't repeat what I have already written about the L16: if you're interested, I wrote about the nature of the camera and my initial reactions in the post Let There Be Light, put up some test shots in It's Getting Lighter, and my conclusions in Light³.

The fact that my L16 has been sitting in a cupboard for the two-plus years since those three posts tells you two slightly contradictory things. First, that I could see no point in persisting with it, having found sufficient negative issues not to favour it over a "proper" camera, or even, more recently, my phone. But, second, that I liked using it enough not to sell it on immediately: the touch screen interface is a real pleasure to use, and the ability to flip so easily through 28mm, 35mm, 70mm, and 150mm (35mm equivalent) lenses – real ones, too, not "digital zooms", and with no physical change to the whole neatly flat package – was simply brilliant. I  suppose I was hoping that someone, somewhere might take over the project, abandoned by its instigators, and in particular do something about the egregious, but unfortunately essential Lumen software. Sadly, this now seems increasingly unlikely ever to happen.

Aside from some curious shortcomings in the image quality, the core problem, it seemed to me, lay in the decision to "outsource" to the L16 user's own computer the processing of ten captured images into one final large image (using that truly terrible Lumen software), rather than carrying it out in-camera, on the grounds that this would have imposed a greater processing-power burden on the device. Yes, well... As I wrote in the post Light³, "Imagine if a proposed smartphone design offered great imaging capability, but only after uploading the files via a USB cable into some clunky proprietary software, still in beta, on the phone-owner's PC... The sales team would be checking their calendars: is it April 1st?".

But recently I had a thought. For some reason I remembered reading in the user's manual that a smaller, high-quality 13 MP image could be compiled in-camera from just five, rather than the full ten captured images. It had never occurred to me to explore this possibility: TBH I'd assumed these would have to be worse, if anything, than the images produced by Lumen. But, what if they weren't? I'm fairly happy with the 12 MP files from my phone: what if these 13 MP files from the L16 were as good or even better? Moreover, I also remembered that such images could be transferred as JPGs to a computer either via Bluetooth or using the intermediary of a flash drive. Hmm... Might such image files even be good enough to revive my interest in the L16? Time for some tests...

So, first, attached to a tripod on a very dim and rainy afternoon, here are some L16 vs. iPhone 12 mini shots of our noticeboard, both set to fully automatic, all images lightly post-processed:

iPhone DNG file

iPhone JPG

L16 JPG @ 28mm

From my iPhone, just to complicate matters, I get two rival versions of the same image: the usual out-of-camera JPG, plus the DNG "raw" file delivered by Halide, my favoured camera app. The iPhone JPGs are processed by the Apple software to be pure eye-candy when viewed on a small screen, but the Halide DNGs are the actual unprocessed data captured by the phone, and require some further attention in, say, PhotoShop. The L16 file is a JPG constructed out of five of the sixteen separate phone-style lens-and-sensor combos (see the picture of the device at the top). Comparing them, in this tripod test with a motionless subject, it's a fairly close-run thing, I think, with either rendering having its characteristic mix of good and bad features. The most striking feature of the L16 files, though, is the apparent absence of the blurry compositing glitches that marred the full-scale, 10-image Lumen versions.

The real test, however, is what would happen out in the real world, hand-held, taking the kind of photograph I would want to take in real life. I am not, after all, a tripod-using sort of guy. So, on another unpromisingly dull afternoon I headed over to Mottisfont Abbey with a bagful of cameras. I took the iPhone 12 mini, the Light L16, a Panasonic GM1 (16 MP micro 4/3 sensor), and my trusty old Panasonic LX3 (10 MP 1/1.63" sensor). The results are interesting, I think.

iPhone "raw" 12 MP

iPhone "raw" 100% detail

Light L16 JPG 13 MP

Light L16 JPG 100% detail

Panasonic LX3 "raw" 10 MP

Panasonic LX3 "raw" 100% detail

And from a slightly different viewpoint:

iPhone "raw" 12 MP

iPhone "raw" 100% detail

Light L16 JPG 13 MP

Light L16 JPG 100% detail

Panasonic GM1 "raw" 16 MP

Panasonic GM1 "raw" 100% detail

Again, a mix of good and bad points all round. Now, these things are subjective, and vulnerable to user error and conditions on the ground – an unsteady hand, a gust of wind, or a passing cloud can completely change the result – but all things considered (image quality, portability, reliability, ease of use, etc.) I have to conclude that the iPhone beats the L16 fairly easily (a tendency to blow highlights, for example, is a deal-killer for me), and even puts in a competitive performance with the two "proper" cameras. Which is not really a surprise, and confirmation of my impression that, outdoors and in halfway-decent light, the iPhone is a "good enough" camera, for my purposes at least, and that, although the L16 may be technically interesting and a pleasure to use, it is ultimately too unreliable as a picture-making device, and too far out of my normal workflow to justify it as a substitute for either a phone or a pocketable camera. So, back into the cupboard it goes, I think. Although I might still take it out now and then for a bit of fun.

I have to say, though, what surprised and pleased me most was the performance of that venerable pocket rocket the LX3, bought in 2008 and still going strong, despite its relatively small sensor and having the smallest image size. It reminded me that many of the best images in my notional "portfolio" were taken with it, back when I used to explore the university campus in my lunch hours, and I resolved to use it more, perhaps alongside the phone in situations where a bit of optical zoom could make a difference. Which means I should probably now test it alongside the similarly venerable and pocketable Fuji X20 as a possible "holiday" camera, particularly in low-light situations like museums and galleries where the phone struggles... But not today.

One last thing. I should emphasise that I do not use the standard iPhone camera app, but instead use the Halide app, which can deliver unprocessed "raw" DNG files. There is a vast difference between an eye-pleasing JPG and a carefully-processed DNG file. This is the native iPhone JPG of the image above:


As I say, this was an unpromisingly dull afternoon in late October in Hampshire, not a summer morning in the Dordogne. Doubtless, a lot of people would be pleased and impressed to see a result like this on their phone's screen, but it is a travesty, an utter Californication of the reality. Worse, much of the finer detail has been obliterated by over-sharpening and heavy-handed noise-removal; again, done in order to give that "wow" factor on a small screen. Which is why so many photographers are sniffy about phone cameras.

Admittedly, processing a "raw" image requires more work than even many enthusiastic photographers would consider necessary or worthwhile; in which case, sure, forget about the phone and carry on using a conventional camera. But, unless you're in the habit of carrying that camera everywhere and at all times, I think that would be to miss out on hundreds of fleeting opportunities for "good enough" photographs. Did I mention that I exhibited and sold an iPhone photo at the recent Royal West of England Academy Open? That's good enough for me.

UPDATE 30/10/2023: As this post may be found by curious L16 users searching for information about the device, I thought I should add this important update.

Here is the claim about 13 MP images processed in camera in the User Guide that provoked this post:


It turns out this is not true for anything made at a focal length other than 28mm, where the files are 4160 x 3120 px (13 MP).

At 35mm the files are 3328 x 2496 (8.3 MP)
At 75mm the files are 3872 x 2904 (11 MP)
And at 150mm they are 1952 x 1464 (3 MP!)

In fact, the 35mm image is a simple crop of the 28mm image, and the 150mm image is a crop of the 75mm image. At first I thought the whole series would turn out to be successively smaller crops of the 28mm file, but there's clearly a partial uptick in size at 75mm. Why and what happens in between those focal lengths I don't know and can't be bothered to find out.

So, should you feel inclined to go the route of in-camera processing, I'd recommend sticking to 28mm and 75mm focal lengths. Which is not so different from using many recent phones equipped with multiple focal length cameras, is it? Back in the cupboard it goes...

Saturday 21 October 2023

Absent Friends

David Hockney, "Myself and My Heroes", 1961
Etching & aquatint, 257 x 502mm

I was watching an episode of Fake or Fortune – the BBC TV programme that looks for potential "sleepers" (lost or unrecognised artworks of substantial value) that have been submitted by viewers, and presented and researched by some of the most annoyingly smug people to be found in the annoyingly smug fine-art world – when it emerged that one of the elusive edition of ten Elisabeth Frink statuettes under consideration had been bought in the 1960s by the JCR (junior common room) art fund of Nuffield College in Oxford. Both presenters pretended to be aghast: do these colleges really give money to students to buy works of art to put in their rooms? No wonder some are now "lost"...

Well, indeed they do, or did. And I myself was once in charge of such a fund, and the distribution of its purchases. So how did that happen?

Back in my university days, 1973-76, student politics was very much a tribal affair, in which competing "slates" of candidates for all the available posts would be offered up by broad alliances of smaller, politically-adjacent tribes, who would have temporarily buried the hatchet (hammer and sickle? ice pick?) in order to seize or maintain power within the Students' Union or, on a smaller scale in the collegiate universities, the college JCR. The whole business was surprisingly ruthless, given how low the stakes really were, and dirty tricks were – ahem – not unknown. Unsurprising, really, as a lot of those standing for election had their sights set on political careers in the Real World, of course.

Not me, needless to say, although as a notoriously arty bloke I was persuaded to stand for election on a Left-leaning slate for the august position of "Mister Picture Fund" within our college's JCR Committee. That year our slate won, therefore I won. I suppose you might say I was one of those who had greatness thrust upon him. The next year, as it turned out, our slate lost, so I lost, and greatness was summarily withdrawn. Which was a shame, as I had enjoyed distributing artwork from the collection around the college, and had developed good relations with some talented young women in the Ruskin School of Fine Art.

The fund itself had shrunk quite a lot since the days when the likes of Grey Gowrie had held the position in the previous decade, so my purchases were restricted to buying a few items from an exhibition of Ruskin School students' work I had organised in the JCR. The existing Picture Fund collection did contain some real gems, though: early prints by David Hockney and Patrick Caulfield and caricatures and illustrations by Gerald Scarfe and Ralph Steadman, for example, all bought by previous Mister Picture Funds in the days when the fund was a lot bigger and those artists' prices a lot smaller. In my own room I had Hockney's etching "Myself and My Heroes" and the original of one of Steadman's pen and ink illustrations to Alice in Wonderland. I learned a lot just by having them around to examine closely in idle minutes (of which I had a more than adequate supply).

In my official capacity as Mister Picture Fund I also arranged some life drawing classes, for which two of those talented young women agreed to pose as models (Ah, Trebbe and Sophie, where are you now, I wonder?). Obviously, these were not so much "classes" as opportunities to draw: no instruction was on offer, and my role was merely to make suggestions, observations, and to time the poses. It was "invitation only"; the gas fire was on, the curtains shut, and the door was locked. If my memory is correct, these sessions were held in the large room below mine, occupied by a friend named Steve Temple.


Two of my own efforts, from those long-ago days when drawing,
not photography, was my Thing

From his voice and fastidious manner, I had always assumed that Steve was privately-educated, but later discovered that, like me, he was a grammar-school boy (although you might argue that William Ellis School, Highgate, was in a very different league to your bog-standard small-town state grammar). I was surprised he hadn't adopted a greater degree of protective colouration, accent-wise – being "well-spoken" is not usually much of a defence against the levelling thuggery of the school playground – but I suppose it did evidence a certain strength of character.

Even more surprising was that his family were Communist Party aristocracy, if we can call it that: his father was the director of Progressive Tours (the CP's travel agency), and his sister Nina was to become the very last Secretary of the Party in Great Britain, before it packed up shop in 1991. His older brother Julien found notoriety as a film-maker and chronicler of punk rock (yes, that Julien Temple). Of course, in those days of student radicalism the CP was thought of as very staid – reactionary, even. At demos and occupations we did a lot of shouting and pushing and shoving, and Steve was not the shouty pushy type.

I never did get to know him as well as I had expected to; I had him pencilled-in, so to speak, as a long-term friend. I enjoyed his company, but he was not fond of the late-night smoke- and music-filled rooms that were then my natural habitat, so he would usually make his excuses and leave before the evening got going. Scientists, after all, do have work to do. But I found him intellectually curious and open-minded in a fun kind of way, and he was not dismissive of my art-making inclinations or New-Agey obsessions.

Indeed, we constructed and carried out together a practical test of the power of pyramids. I had read somewhere, in one of the wacky books I was fond of reading then, that a blunt razor blade would become sharp again, if placed inside a pyramid made to the strict proportions of the Great Pyramid of Cheops, on a platform exactly one third of the pyramid's height and aligned north-south. In an anticipation of MythBusters, we carefully constructed just such a device out of cardboard and tested it, complete with control setups which pointed in the wrong direction, were the wrong height, and so on. I know... But it was fun in that absorbing way that serious-minded ten-year-olds have fun. And I can report that, no, of course it didn't work!

Steve's own Grand Project of that year, carried out meticulously in that room beneath mine, was a hot air balloon constructed out of large glued sheets of red and yellow tissue paper. It was a thing of wonder: when filled with hot air from candles, it swelled impressively and rose to the full height of his room – about eight or more feet tall. One evening, I made this dreadfully out-of-focus but evocative snap of it with my Kodak Pocket Instamatic:

Later in that summer of 1975 he took it outdoors, fired it up, and simply released it into the wild. All those hours of painstaking work rose into the air and vanished over the chimney pots and crocketed gothic finials of Oxford: a beautiful, zen-like act, I thought. Although something of a hazard downwind, in retrospect. AFAIK there were no reports of houses or college buildings burning down, or of UFOs sighted over Oxfordshire.

Steve admired and actually bought one of the pictures from that Ruskin School exhibition I had arranged in the college JCR, an etching of a chrysanthemum which the artist – I forget her name – later gave to me to pass on to him after the summer vacation. But tragedy intervened: during that vacation he was suddenly taken ill, struck down by a rare and untreatable cancer, and died in a matter of weeks.

Not knowing what to do with it, I held on to that print for years: it's probably still in a box somewhere upstairs. I wonder, might it some day turn out to be a "sleeper", an early work by a prominent artist, perhaps a lucky find to be investigated on some future version of Fake or Fortune, with this very blog post as evidence of "provenance"? I doubt it very much. Few artistic careers are destined to end as even a minor succès d'estime, never mind finding fame and fortune, even when a life is long and lived to the full, and not cut short by accident or disease. 

I always felt, though, that someone who could let go so easily of the investment of time and effort represented by that balloon might also have been able to let go of life with uncommon grace, too. I will never know that, of course; it's just one of those consolatory fictions one makes up, and a blessing I would wish on any friend, pace Dylan Thomas.

So Steve became one of the early entries on my personal "lost list": that is, the tally of friends and acquaintances who moved away, changed, lost touch, lost interest, became boring, fell out with you, died, or became mad, bad and dangerous to know. Those are the names we have in mind whenever we raise a glass to "absent friends", names and memories eventually polished smooth by the passage of time, like a well-shaped, often-told anecdote, or a stone kept in a pocket for half a century or more.

Monday 16 October 2023

Terms of Art



Looking for something quite different, I came across this A2-sized "poster book" I made a few years ago. I must admit I had forgotten all about it, and to see it again through fresh eyes gave me an unexpected buzz of pleasure: not bad, Mr. C., not bad at all! I don't think it does any harm to realise, just once in a while, that your work is actually quite good, and certainly better than the constant rejections, silences, and general lack of interest "out there" might lead you to think. I feel sorry for anyone who is trying to make a living from their art; how disheartening it must be, always to be receiving letters and emails of rejection, especially the ones that contain that infuriating formula, "the standard of submissions this year was exceptionally high"... 

You probably can't read the text running across the top and bottom at this size, so this it what it says:
As well as its visual and metaphorical sense of "lit from the side, or a tangential insight" a sidelight, in British usage, is a window located to the side of something, typically a door. As opposed to a fanlight, which goes above the door. We live in a typical 1930s semi-detached house, with an elaborate part-glazed front door and sidelights made up / of leaded panes of various types of pebbled glass, in a vaguely Art Deco sort of pattern. As our house faces south-east the morning sun shines directly through this glass frontage, so it has become a very familiar set of shapes over the years: on a bright morning, the lattice of lead cames is practically burned onto your retina as you come downstairs.
It is quite surprising that all that text can be got into just two lines of 11 point type: an A2 sheet is bigger than one thinks.

Did you notice that word "cames", by the way? It looks like a typo, but isn't. Definition: "a grooved strip of lead used to join pieces of glass in a stained-glass window or a leaded light". I think I may first have heard it way back in the 1970s, when my friend Leo first got into making stained glass in a big way. I like when there is a precise word for something which would otherwise be hard to describe in fewer than twenty words, although its usefulness is obviously diminished when most people have never heard it before, don't know what it means, and so you end up using those twenty words, anyway...

Most domains have their jargon and "terms of art", of course; personally, I particularly enjoy the more venerable specialist terms from the arts, crafts, and trades. Words like "pica" (a typesetting measure of 12 points, or 1/6 of an inch), "spitsticker" (an engraving tool), or "rabbet" ("a recess, groove, or step, cut into a surface or along the edge of a piece of timber", e.g. the back of a picture frame moulding), as well as ordinary words with specialised meanings, e.g. "support" (whatever a painting is painted onto). Such terms sometimes pass into the common language and usually suffer distortion and abuse in the process: there's a nice little rant about the wrong use of typographic terms here, for example. It's hopeless to object, though; nobody cares what they used to mean, when nobody outside of your specialist domain had even heard of them. Nowadays everyone knows what a "font" is, even if they're wrong.

Which reminds me of one of the very earliest posts in this blog, written after I had encountered the stonemason's term "batted", which I came across when doing a little research on some outdoor statuary at Mottisfont Abbey (also the subject of a poster book, as below).

In the inventory of the Abbey made by the Historic Monuments Commission they are described like this:
4 thermae, C18 stone, male & female heads standing in front of box hedge set on large radius, set 10m apart and 2m high. On low moulded plinth, foliage to front, batted, tooled finish to sides, 2 male & 2 female busts.
"Thermae" struck me as odd (the word usually denotes a Roman bath-house), and probably a typo for "hermae", these sculptures being what are generally called "herms" in English. However, a little searching revealed "herm" and "term" to be synonyms. But "batted"? I had to look that one up, too, only to discover that this specialised sense of  "bat" or "batted" was missing from all the available dictionaries, including the OED. I can't now remember what specialised lexicon eventually gave me the answer – probably an online glossary of stonemason's terms like this one – but, having finally figured it out, I decided to let the OED people know about this uncharacteristic omission.

It occurs to me, writing this a full fifteen years later, that I never did check whether they got around to amending the entries for "bat (verb)", "batted (adj.)", or "batting (noun)". Unfortunately, my access at home to the online OED has lapsed, now that I'm an ordinary bibliographic civilian, so it will have to wait until my next trip over to the university. So I'm obliged to explain that – as perhaps you already knew – "batted" means that the surface of a stonework block has been decorated ("dressed") with finely chiselled parallel grooves. (Confusingly, to a bricklayer a "bat" is a piece of a brick, shortened lengthwise, and the original brickbat, not to be further confused with a bat brick...).

As often seems to be the case, to know that there's a word for something means that you'll probably now start noticing the thing itself turning up all over the place [1]: those fine "batted" grooves do appear on many older buildings wherever there is fancy ashlar work. Don't know the word "ashlar"? Now that's one you can look up!


1. Although you may also start noticing "boasted", "punched", "reticulated", and other dressings. I should probably check the OED for those, too, if and when I get around to it...

Wednesday 11 October 2023

The Next Lot

Recently, a friend showed me some of his father's photographs from his military service in Africa during WW2, and it struck me that many of my generation must have similar collections which, if they were anything like me, they will have pored over as children. Certainly, my own father's album of photographs – collected during his six-year stretch as a despatch rider, from Dunkirk through the Western Desert to Burma, and which I discovered one rainy day when exploring the "spare room", tucked away in a bottom drawer – informed my childish imaginings of what adventures might await me as an adult.

People often talk about the way the threat of nuclear annihilation hung over our post-war generation, but I have to say this possibility never really troubled my young mind: there were no "duck and cover" sessions at my schools, and I grew up in the sunny, fresh-start optimism of an English New Town. Frankly, soldiering looked like good fun to me, an impression reinforced by the fact that these photos were, in the main, the visual equivalent of the letters home they will often have accompanied: "Don't worry, Mum and Dad, see, I'm having a lark with my new mates!" Their fathers, of course, as veterans of WW1, knew better and feared worse.

So I thought I'd polish up yet another old post, one which reflected on the way the prospect of a future war coloured the lives of those of us who grew up in the 1950s and 60s, the so called "baby boomers", the British cohort of whom, as it turned out, were lucky enough to escape any such "adventures" (I know that at least two American readers of this blog were drafted into service in Vietnam).

Scruffy mob of despatch riders, recently returned from Dunkirk

We hear a lot, these days, about "toxic masculinity". I think most of us have an idea of what that means, and many of us agree there's a genuine problem in there somewhere that needs addressing. I'm sure if I had been born female I'd be very wary of men, and our capacity for careless harm. Or, if born gay, our capacity for quite deliberate harm. But toxic femininity is a problem, too, as is toxic anything, come to that. The danger is that the description "toxic X" easily tips over into the prescription "X is toxic". But a poisonous substance can be useful in measured quantities – indeed, some are highly beneficial and in daily domestic use – just as benign substances become deadly in overabundant and inappropriate application (when drowning in Malmsey wine, for example). So, when it comes to matters of toxicity I'd hope we can talk less about essence, and more about dosage and usage.

That said, I come from a generation and class whose behaviour was quite heavily policed from a "gender" point of view. I can't speak for my female contemporaries, whose parallel experiences must have been similarly inflexible, but to grow up in the 1950s and 60s was to be quite clear about what big boys did and didn't do. Not crying was the least of it: a boy who cried in front of his peers hadn't even made it to basic training in masculinity. Suppressing the urge to cry quite quickly became a hardwired reflex, not least because a certain level of cruelty was deemed appropriate in the raising of male children. As a mild example, my grandfather – who was "illegitimate" and had grown up in a Liverpool orphanage in the 1890s, immediately followed by service in WW1, and therefore knew a thing or two about harsh upbringing – discovered that I was afraid of earthworms. So, with the best of intentions, he decided to tackle this weakness head on: he would throw worms at me when digging in the garden. "What, are you a girl?" he would snarl, "Only girls are afraid of worms!" OK, point taken, grandad; you can stop it now.

There was a positive side to this, though. Twice at primary school I suffered accidental injuries that required hospital treatment, but even at that tender age I knew that the essential thing was, in that Baden Powell-ish formula, to "grin and bear it", even as I stared at a painfully dislocated thumb, now positioned midway across my palm. I confess that to be praised to my father by my fearsome headmaster as a brave little chap made my heart sing; I resolved that, although I might be small, a certain fearlessness would be my thing.

Boys, I suspect, are very susceptible to this kind of Spartanisation; Kipling's poem "If" is its manifesto. We may, rightly, be skeptical about the values of "patriarchy" today, but the process of turning silly boys into fully-adult, responsible males – expressed as an aspiration [1] rather than just a statement of biological fact, and cringeworthy as it may sound to some 21st-century ears – is a necessary task; the challenge is to find new ways of preventing silly boys from becoming even sillier men.

A lot of this childhood "toughening up", it strikes me now, was conscious preparation for the Next War (or "the next lot", as my parents would say). Not unreasonably: several previous generations of my family, like most others, had seen extensive military service at the sharp end of war. It seemed entirely probable when I was born in 1954 that I, too, would find myself involuntarily conscripted into some brutal conflict, and I imagine it seemed quite sensible to start some preliminary desensitisation training ASAP. National Service (the requirement for young men to waste two precious youthful years in the armed forces [2]) was still very much a reality – National Servicemen saw combat of varying intensities in Malaya, Cyprus, Kenya, and Korea – but thankfully this came to an end around 1960. For young Britons born after 1939, the Next Lot never came.

Which was confusing. When you've spent your entire childhood playing with toy soldiers, assembling scale models of military aircraft from plastic kits, and conducting running skirmishes and ambushes in woods, fields, and streets armed with replica weaponry, not to mention reading weekly tales of romanticised wartime heroism in various boys' comics, it comes as something of an anticlimax to realise you will never be tested under fire, or given the chance to have "a good war", as the expression goes. For you, there will be no parachutes behind enemy lines, no beach-head landings, no aerial heroics, or any other yarn-worthy exploits.

This was also a profound relief, of course, as very few boys of my generation could be entirely naive about the nature of warfare, when the evidence lay all around. Quite apart from the simmering, undiagnosed and untreated post-war PTSD that surrounded us, like a sultry atmosphere threatening thunder, I recall how, aged about seven, early one morning I had glimpsed the ruined face of the milkman, the one who delivered our daily pints under cover of the hours of darkness, and for whom my father always left a generous Christmas "box". "That's how war really is, boy," Dad had said, "It's not like it is in the comics. Getting shot at with real bullets and having bombs dropped on you is no fun at all."

So we boomer boys had to invent our own thrills, and come up with new, often dangerously stupid rites of passage without going through the vigorous wash-cycle of war. And a lot of fun it was, too, in the main, although some did fall by the wayside, and rather too many do still seem permanently stuck in an over-extended adolescence. For some of us, though, this self-invention did also entail a wholesale challenge to the assumptions of previous generations; assumptions about work, politics, and deference, for example, as well as gender roles and sexuality (although later generations seem to have gone a lot further with the latter, while rather neglecting the former). My grandfather – who never cooked a meal, changed a nappy, or did any housework in his entire life – could never really grasp the significance of the length of my hair, the needless scruffiness of my clothes, or my love of suspect, un-masculine things like books, painting, poetry, and music. I wonder, did he ever ask himself whether he had thrown too many worms, or perhaps too few?

Perhaps he did, but I suspect the sad truth is that he had been brought up ("disciplined" is probably a better word) never, ever to question anything above his pay grade, however strange, however brutal, however unfair. Keep your head down; never volunteer; don't snitch; just do what you're told, know your place, and you'll be OK. If you don't, well, then you'll cop it, matey. We have at least, I hope, begun to leave that unquestioning, wolf-pack version of masculinity behind us for good. As someone once said, suppose they gave a war, and nobody came?

So far, we in Britain have been fortunate enough to to be able to pose that question without ever having needed to answer it. My generation, obviously, is now too old to be called upon to fight – for us, the question is now merely rhetorical – but we are not yet too old to require younger generations to consider their position. It is therefore not unreasonable, I suggest, in the present bellicose circumstances to be concerned about the judgement of a generation of political leaders whose closest experience to warfare is likely to have been watching the news on TV or various two-hour movies crackling with harmless special effects, or even just poring over albums of fading photographs of uniformed strangers.

Kipling himself had cause for bitter reflection on the war-mongering folly of old men, and what Wilfred Owen called "the old Lie"; two things for which he had formerly been quite the advocate. His son John had terrible eyesight, sufficient to exclude him from active service in WW1, but Kipling – not wanting his lad to miss out on the excitement – pulled strings to get him a commission in the Irish Guards. John Kipling was killed at the Battle of Loos in 1915, aged 18, and his body was never found in his father's lifetime.

COMMON FORM
If any question why we died, 
Tell them, because our fathers lied.

A DEAD STATESMAN
I could not dig: I dared not rob: 
Therefore I lied to please the mob. 
Now all my lies are proved untrue 
And I must face the men I slew. 
What tale shall serve me here among 
Mine angry and defrauded young?

from "Epitaphs of the War", by Rudyard Kipling

 

1. Kipling's use of the word "man" here as an honorific term is insuperably problematic for many ("you'll be a Man, my son"). The Yiddish word mensch perhaps better conveys the idea, but would render the poem as bathetically hilarious as would substituting "gent", "toff", or "diamond geezer". It's a shame, though, that we should have become embarrassed by both the word and the idea.

2. Though also an opportunity to acquire valuable skills, whether social, technical, or intellectual: I was taught elementary Russian at secondary school by a teacher who had learned the language at the Joint Services School for Linguists (JSSL).

Friday 6 October 2023

Convenience vs. Encumbrance


I was going through my backfiles looking for candidates for an "iPhoneography" themed calendar for 2024, and came across these two shots, both taken in May this year on two different walks, both using my iPhone 12 mini. I don't think either will make the final cut, but I remember being surprised to come across these small, ephemeral bodies of water that had appeared since I last passed that way, presumably because of a raised water table following the torrential downpours earlier in the year. In the one above water has filled an old channel in the water-meadows next to the River Itchen; in the one below it has found an old digging in Spearywell Wood, near Mottisfont, and created a temporary pond.

Increasingly, I find myself using the phone in place of a "real" camera. If I'm honest, this is mainly the result of convenience winning out over encumbrance: I'm simply less willing to sling a camera round my neck or to carry a shoulder bag than I was in the past – if nothing else, either will wreck the lines of my Paul Smith suit (I'm joking). The results from my phone are "good enough", and occasionally better than that, although it's true they rarely match the results from even the smallest, most portable cameras I own, for example the truly diminutive Panasonic GM1. But I'm simply becoming too lazy and too habituated to the phone as a multi-purpose device of negligible size to bother to pick up a more bulky single-purpose device before heading out.

When film was the only option, back in the 1970s and 80s, I went through a similar cycle. I had got along just fine for years, like most camera owners, just taking maybe three or four rolls of 35mm film a year. I used a Ukrainian-made Fed 3 rangefinder [1] I had been given for my 11th birthday in 1965, the "Type b" version, an excellent Leica copy with a decent lens but which, bizarrely, lacked any strap lugs, meaning you had to use its bulky leather ever-ready case to carry it around. Then, from around 1972, I started to use the new 110 cartridge format cameras; another triumph of convenience over encumbrance. As a result, although I still used the Fed from time to time, I mainly "documented" my university years and various travels – including my only trip to the USA – with a Kodak Pocket Instamatic: pocketable, yes, but a cheap piece of plastic rubbish, and the photos were terrible. For a while I tried using one of the Pentax Auto 110 interchangeable lens cameras, which was fun, but the pictures were still only slightly less terrible. Realising my mistake, in 1983 I invested in an Olympus OM-1n SLR, and thus began a serious engagement with photography.

However, the shortcomings of 35mm film itself were highlighted for me when I saw the outstanding work produced by a friend who was a medium-format film enthusiast; his prints were fine-grained, richly-toned, and easily cropped and enlarged beyond any size of print I would want to work with. He sold me his old Mamiya c330f and I became a convert, developing the film myself, and printing with an ancient Meopta Opemus enlarger that looked like a prop from a 1950s sci-fi movie. It was all a lot of work, but the results were great. However, wielding a heavy twin-lens reflex camera is less than spontaneous – the very definition of encumbrance – so I moved back slightly in the direction of convenience, at first with a Koni Omega Rapid – an insanely robust "press" rangefinder with a pump-action wind-on mechanism – and then a Fuji GS645S rangefinder, probably my favourite film camera ever. But by then we had two children, and I began documenting their every move with a pocket-sized 35mm Olympus Mju, reserving the Fuji for "serious" stuff, opportunities for which were always shrinking before the demands of work and family. Convenience had yet again won out over encumbrance.

A similar cycle – or is it some sort of curve? – happened once digital arrived on the scene. I started around 2001 with a flat, slab-like Fujifilm Finepix 1300 with a tiny 1.3 megapixel sensor, which produced images 1280 x 960 pixels in size. Nonetheless, I was impressed with the quality of the images, provided you wanted nothing bigger than a 6" x 4" print – they were everything that 110 film prints should have been – and above all loved the instant, more or less cost-free turnaround, especially after years working with the inconveniently slow and uncongenially expensive medium-format colour negative film-processing cycle. You know: buy film; expose film; drop exposed film off at camera shop for "dev & contact"; wait a week; pay for and collect negatives and contact sheet; examine contact sheet; drop off negatives at commercial darkroom for selected proof prints; wait a week; pay for proof prints; order a fine print or two; etc.

So, despite the limitations of the early generations of cameras, the convenience and cheapness of digital was its own argument. Once again, I started to climb up the quality and encumbrance scale, through several Olympus compacts, a couple of Canon DSLRs, Panasonic and Olympus micro 4/3rds cameras, until reaching my personal peak with the Fuji X series cameras, having long ago passed through "more than good enough" on the way up. But... On holidays and casual outings I still preferred the unobtrusive convenience of a small digital compact like the Fuji X20, and then in 2021 I bought an iPhone 12 mini, and started to prefer convenience over encumbrance most of the time.

It is therefore a matter of some regret to me, having now become used to the iPhone ecosystem, that Apple have since abandoned their "mini" option (roughly 6.5 cm x 13 cm, the size of most smartphones until recently) in their latest offerings. That size is perfect from my p-o-v, and I really don't want to have to use one of those over-large phones – practically the size of a small "tablet" – you see people struggling with in the street, just to take advantage of any advances in the camera-tech contained within. Yes, convenience will have become an encumbrance, just like those usefully small camera systems such as micro 4/3rds that are now increasingly lumbered with massive, heavy lenses, in pursuit of "improved" image quality.

There's one of those laws in there somewhere. Something like, "The pursuit of image quality will ensure that any advance in convenience will be countered by a subsequent increase in encumbrance". Essentially, when it comes to lens-based imaging, you can't overrule physics: if you want bigger, better pictures, you need bigger, heavier devices. In the end, "convenience" is all about acknowledging "good enough", and sticking with it. Some hope...


1. Interesting, isn't it, how many things previously subsumed under "Russian" have now been acknowledged as Ukrainian? Here is a great example: Ilya Repin's wonderful painting "The Reply of the Zaporizhian Cossacks" has been recreated using Ukrainian soldiers by French photographer Emeric Lhuisset. I mean, who outside of Ukraine even knew where Zaporizhzhia was until recently, or that Repin was Ukrainian?