The north face of the O2

click photo to enlarge
The O2 Dome entertainment complex on the Greenwich peninsula in London was initially known as the Millennium Dome since it was built to celebrate and coincide with the year 2000. It was initially seen as something of a vanity project of the politicians who supported its construction, was reviled by many Londoners as the wrong building in the wrong place, and seen by the regions as yet another enormous sum spent on the capital at the expense of the provinces. However, over time it has come to have something of a purpose as a large arena for music concerts and other events, and the subsidiary buildings and subsequent construction nearby have made it seem less of a stranded white elephant. The scale of the building and the method of construction has ensured it is a visible structure that people look at and visit.

I was recently looking at the dome from near the Isle of Dogs on the north bank of the Thames. We were exploring a part of London by the river with which we are not very familiar. I took a few shots from the arts centre that is Trinity Buoy Wharf and while doing so saw some people undertaking the walk on the roof of the dome. I've seen people doing this before. However, on this occasion, from this vantage point, I got a very good impression of the size of the dome as the ant-like people carefully made their way down the structure. They appear to have been clipped on to the wire alongside which they were making their way - a wise precaution on a wet and intermittently windy day.

photograph and text © Tony Boughen

Photo Title: Walking On the O2 Dome, London Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 150mm (300mm - 35mm equiv.) crop
F No: f6.3
Shutter Speed: 1/500 sec
ISO:200
Exposure Compensation: 0 EV
Image Stabilisation: On

Number 5

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About seven years ago I took a photograph in which the most important element was a small number 9, and so that became the title of the accompanying written "reflection" which was about the track of that title on the "White Album" by the Beatles.

No such strong association leaps to mind when I consider the number 5, though I am reminded of reading that the Roman "V" (five) comes from the shape made by the hand with four fingers together and the thumb separate. In fact what is prompted by this massive number 5 on the wall of 5 Broadgate, a massive new tower that will hold six UBS trading floors in London, is the thought of how dystopian it looks. It dwarfs people, appears to be the product of a machine rather than humans, and imposes itself on passers-by in a way that few such numbers do. The whole building is clad in the same stainless steel panels, sharp angular shapes and windows breaking the perfection of the surface. It will be interesting to see how perfect it looks after several years of English weather.The building is an enormous "lump" that overall is a poor contribution to the locality but which has some interesting details that drew my camera.

I took a quick shot of a passer-by to give scale to the enormous number. Unfortunately I framed it badly and the feet of the person got chopped off. We waited for someone else to come along but, after a few minutes no one had come along and so I asked my wife to walk by.

photograph and text © Tony Boughen

Photo Title: 5 Broadgate, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 29mm (58mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/100 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Landscapes - with or without people?

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Very little early landscape painting, for example that of ancient Greece or China, showed only natural features. It was much more usual for such work to, somewhere, often in a fairly insignificant way, include buildings or a human figure. As the genre developed down the centuries the place of people in landscape paintings persisted. Artists knew that the inclusion of a figure changed the meaning of the work, gave scale to the depiction and offered a powerful focal point. The fact is, if the human form is present in a work the eye finds it extremely quickly. Only in the work of later painters, and in photographic landscapes, is it common to find work where no human figure is present.

When it comes to landscape photography I often like to include a person somewhere. Frequently I choose the foreground to give the eye a starting point. But I also see the value of a person in the middle-ground or background for establishing a sense of scale. When I was photographing this stand of cedars in the arboretum at Eastnor castle, Herefordshire, I deliberately took one shot without people and one with people to illustrate just that point.

Cedars are not native to Britain. These examples were planted by Victorian collectors and they are widely regarded as the best group and some of the biggest specimens on these islands. For that reason alone I can justify the inclusion of people for the purpose of scale. When you view the photograph without figures it's hard to appreciate the width and height of those big tree trunks.

photograph and text © Tony Boughen

Photo 1
Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 42mm (63mm - 35mm equiv.)
F No: f7.1
Shutter Speed: 1/60 sec
ISO:250
Exposure Compensation: 0 EV
Image Stabilisation: On

The Humber Bridge and dog walkers

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One thing that is very helpful when you are photographing in large spaces such as the seashore, by a big river, in open fields or in any other expanse, is a sense of the size or scale of the view. The same is true when your shot includes anything large or something that is difficult to visually "read" in a photograph: cliffs are a good example. Scale in this sense is an understanding of dimensions. Anyone familiar with photographs taken by geologists of rocks or embedded fossils will recognise the importance of the often included hammer or short ruler in helping the viewer to appreciate the size of what they are seeing. Those items don't have much use in general photography. However, there are many things that can offer a sense of scale where it is needed. In the past I've used a bench, a fence, a tree, cows, sheep and much else. Anything that is familiar to the viewer and which can therefore be used as a size indicator is all that is needed. Of course, the very best of indicators is the human figure. Place a person in a photograph and not only will he or she often be the initial point of interest for the viewer, they will immediately lend a sense of scale to the depicted scene.

Britain is known for being a nation of animal lovers. I count myself as one, though not in the sense that it is usually meant. My preference is not for the cats, dogs and the other kinds of domestic pets that are far too commonly found on these islands. As far as they are concerned I wish they were much fewer in number than is the case; a sentiment not widely shared or welcomed. My liking is for wildlife. The existence of animals that kill wildlife in very large numbers (cats) or are significant disturbers of the it (dogs) is something that I regret. But, I have to admit that there is a time when I find the presence of dogs and their owners useful, and that is as objects offering scale in my photographs. Today's shot does, I think, benefit from the dog walkers and their animal by the water's edge. Those small figures underline the enormous size of the Humber Bridge arching across the river above them. Take them away and the sense of the size of the engineering is substantially lessened and the force of the photograph diminished.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 24mm
F No: f7.1
Shutter Speed: 1/1250
ISO: 100
Exposure Compensation:  -0.67 EV
Image Stabilisation: On