Photographing the ordinary and familiar

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Every now and then I include a quotation in my blog posts. I like quotations for the way they frequently condense, pithily, an important truth in a small number of words. Several years ago, when moving house prevented me from maintaining PhotoReflect at its then current level, I created for a few months, a less labour intensive blog that I called PhotoQuoto. It gave me the opportunity to make use of some of the quotations I'd collected and savoured down the years and it was an exercise that I thoroughly enjoyed.

Recently, one of my blog posts from the first month of PhotoReflect's existence (January 18th 2006), as well as its attendant quotation, came to mind. We were doing a familiar walk past a collection of rather ordinary old barns. These seem to have grown up organically as needed, the oldest nearest the road, newer ones added on ever further away. Next to what was probably the oldest structure a relatively young ash tree stood, its "keys" still hanging in heavy bunches despite the weeks of strong winds that we experienced at the turn of the year. The buildings and tree, together with the puddles from recent rain, and the sky that looked like it might clear or could bring further precipitation, was suddenly enlivened by a fleeting glimmer of brighter light. The words that came to mind as I framed my shot were those that I'd used eight years ago, from the American director, artist and writer, Aaron Rose (1969 - ): "In the right light, at the right time, everything is extraordinary." In those few moments the familiar, mundane buildings came alive, photographically speaking, and seemed a much better prospect for a photograph than they usually do. Looking at the shot a couple of days later I still hold that opinion. However, I do wonder whether a photograph of some barns that I took last year might also have been a factor in making me look anew at this group.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 10.4mm (28mm - 35mm equiv.)
F No: f7.1
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Modern architecture and caustic criticism

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On a recent visit to London I stopped briefly in front of the Cottons Centre on the south bank of the Thames, raised my camera and took this photograph of the zig-zag walls and the the green-tinted windows reflecting the early morning sky. I liked the detailing of this building the first time I saw it and I like it still. The smooth, cream finish appeals to me and contrasts well with the narrow, terracotta-coloured lines that mark vertical edges and the boundary of each storey. There is a folded, stepped, and chamfered, origami-like quality to this part of the elevation that I find attractive. The way the exterior has the feeling of a technical drawing is something that I like too. Though not a star building among those found in London, in fact, not one that gets much mention in the books on the city's modern architecture, the Cottons Centre has many good qualities and is a positive addition to its location. It's the sort of building that makes me wonder why there are still people who lament modern architecture and always compare it unfavourably with older buildings.

I was thinking about this as I walked by the Thames and I also fell to reflecting on some of the quotations that I know about modern architecture. It occurred to me that whilst I strongly disagree with the blanket "new is bad, old is good" school of architectural criticism, the caustic comments of such people are usually much funnier than any dreamed up by those who defend modern buildings. To illustrate that point here, for your entertainment, are a few such words of wisdom.

"What has happened to architecture since the second world war that the only passers-by who can contemplate it without pain are those equipped with a white stick and a dog?"
Bernard Levin (1928-2004), English journalist, author and broadcaster

“In my experience, if you have to keep the lavatory door shut by extending your left leg, it's modern architecture.”
Nancy Banks-Smith (1929- ), British television and radio critic

"The Sydney Opera House looks as if it is something that has crawled out of the sea and is up to no good."
Beverley Nichols (1898-1983) English author, playwright, journalist etc

"Personally I think all modern architects should be pulled down and redeveloped as car parks."
Spike Milligan (1918-2002) Irish/English comedian, writer, actor, musician etc

"I declare this thing open - whatever it is."
Prince Philip (1921- ) consort of Queen Elizabeth II: on opening a new annex at Vancouver City Hall.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 10.4mm (28mm - 35mm equiv.)
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ISO: 125
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Photographers' shadows and Goldwynisms

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The Polish-born American film producer, Samuel Goldwyn (1879-1974), became almost as famous for his "Goldwynisms" as for his work in the cinema. His often surreal mixture of muddle and malapropisms are numerous, frequently memorable, and often hilarious. There is debate over the provenance of all the examples attributed to him, but many, if not most are are likely to be original. Those who knew him suggest that they arose because English wasn't his first language, because his thoughts often came faster than his ability to put them into words, and because he had a sharp sense of humour. When you read them you do feel that the first "Goldwynisms" were probably solecisms, but that the later ones may have been the product of a man enjoying his reputation for verbal infelicities. Whatever the truth, here are some that I particularly enjoy:

• "A verbal contract isn't worth the paper it's written on."
• "Every director bites the hand that lays the golden egg."
• "Anyone who would go to a psychiatrist should have his head examined."
  
• "Give me a couple of years and I'll make that actress an overnight success."
• "I don't think anyone should write his autobiography until after he's dead."
• "In two words: im-possible."
• "Our comedies are not to be laughed at."
  
• "The next time I send a damn fool for something I'll go myself."
• "Why did you name him Sam? Every Tom, Dick and Harry is named Sam!"
• "They stayed away in droves."
• "You fail to overlook the crucial point."

Reading that last one it occurs to me that perhaps "Goldwynism" is a disease that infected, among others, George Bush II.

You may be wondering what the connection is between the quotations above and my photograph of the shadow of me standing on the steps at the base of a Lincolnshire wind turbine. Well, one of the things you learn when you are starting out in photography, then learn to judiciously ignore as you become more experienced, is to never let your own shadow intrude into your image. It occurred to me, as I reviewed my shot, that Sam Goldwyn's most famous "ism" - "Include me out" - sums this rule up quite nicely!

photograph & text (c) T. Boughen

Camera: Olympus E510
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Wells next the Sea and Wilde

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"I don't desire to change anything in England except the weather."
Oscar Wilde (1854-1900), Irish playwright, poet and author

The quotation above is one of the less memorable of the many quotations by Oscar Wilde. It repeats a feeling about England's weather that many English people and visitors to these islands share, but with which I strongly disagree. Elsewhere in this blog I've written about the pleasures of living with weather that is rarely settled, particularly if you're a photographer. Today's photograph was taken in early May, when these 10 beach huts at Wells next the Sea, Norfolk, along with most of the other 190 stretched along the North Sea coast, were uninhabited, the strong wind and scurrying clouds making the sea's edge a place for cagoules, hats, and brisk walking. During my April visit they were busy, and a few days after I took this shot they were, doubtless, thronged with owners soaking up the sun and making the most of the location.

But, since I've written about these huts alongside an image taken on my first visit, I'll return to Oscar Wilde. I have the feeling that, as with many brilliant people, he's not the sort of person you'd like to spend much time with. However, there's no denying that his brand of egotism, vanity, astuteness, insight and wit has its appeal. Here's a selection of some of my favourite quotations. Anyone who isn't familiar with the writer can easily find hundreds more on the internet.

• "I have nothing to declare but my genius." (allegedly said at Customs when entering the United States)
• "There are only two tragedies in life: one is not getting what one wants, and the other is getting it."
• "America is the only country that went from barbarism to decadence without civilization in between."
• "What is a cynic? A man who knows the price of everything and the value of nothing."
• "I am so clever that sometimes I don't understand a single word of what I'm saying."
• "Nothing that is worth knowing can be taught."
• "Popularity is the one insult I have never suffered."
• "Every portrait that is painted with feeling is a portrait of the artist, not of the sitter."
• "I can resist everything but temptation."
• "Some cause happiness wherever they go; others whenever they go."
• "Be yourself: everyone else is already taken."
  
• "Quotation is a serviceable substitute for wit." (hence me quoting Wilde today!)

photographs & text (c) T. Boughen

Camera: Olympus E510
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John Ruskin and the peacock

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"Remember that the most beautiful things in the world are the most useless; peacocks and lilies for instance."
John Ruskin (1819-1900) English art critic, social critic, artist, etc,
from "The Stones of Venice" (1851)

Many years ago I read "The Stones of Venice" and "The Seven Lamps of Architecture" one after the other and ended up with "Ruskindigestion"! Both books are fascinating and important documents in the history of art and architecture, but as you read them you feel that you are being so stuffed full of the author's "moral truths" that you'll burst.

John Ruskin was a man of decided opinions about painting (direct observation was vital), architecture (Classical bad, Gothic - especially the Venetian variety - good), society (he extolled the virtues of the medieval period and decried the values of the industrial revolution), and much else too. I took away from the books much interesting information about art and architecture, but also amazement that a man could be so utterly convinced of his own rightness. Not a single doubt seemed to exist in Ruskin's head. Every opinion was held with absolute conviction.

I suppose that comes through in the quotation at the head of this piece. It's an absurd statement, ridiculously dogmatic, and easily disproved. Yet, I was delighted to read it! Because what made Ruskin great, for me, were his powerful insights that he couldn't have had without being so strongly convinced of his own point of view. For every statement that we can disagree with - "I do not believe that ever any building was truly great, unless it had mighty masses, vigorous and deep, of shadow mingled with its surface" is another such - there is also an abundance that are felicitously expressed and contain deep truths. So, when I read, "Fine art is that in which the hand, the head and the heart of man go together" I can only agree. As an educator I was impressed by his statement about education: "The entire object of true education is to make people not merely do the right things, but enjoy them; not merely be industrious, but love industry; not merely learn, but love knowledge; not merely be pure, but love purity; not merely be just, but hunger and thirst after justice". And when I came across, "Quality is never an accident, it is always the result of intelligent effort", I could only say "Amen!" Ruskin is still worth reading today. If you haven't the time or inclination for a book (or two) look up some of his quotations: they are frequently perceptive, often opinionated, and sometimes plain wrong! But they're always interesting.

photograph & text (c) T. Boughen

Camera: Olympus E510
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Focal Length: 35mm macro (70mm/35mm equiv.)
F No: f5.6
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