meish dot org: life, unfolding

Hot on the heels of my chapter about iphone photography in lomokev’s new photo project book, and inspired by Heather’s list of apps (and my [not so] recent upgrade to an iPhone 4) here is my list of favourite iPhone photography apps, with some examples of each in action…

I’ve tried a number of photography apps over the past three years of iPhone usage, but these three have come to be my stalwart accomplices. Crucially, they all allow me to be creative, and enhance my existing creativity, without getting in the way and making something which I don’t recognise as “my” work. I formula for a good photography app is: my skills + app = better result. So in an app I tend to be looking for something which doesn’t take over.

1. Autostitch

Unlike other panorama apps (like PhotoStitch for desktop, and the original version of Pano) which only allow you to construct a panorama from horizontally-connected image (perfect for panning around a horizon), Autostitch lets - no, encourages you to get creative with multiple overlapping images, in any direction at all. This can lead to some interesting - and sometimes quite unintended - effects.

I still boggle that this amount of intricate and elaborate processing power is packed into a tiny app on my phone. And available to anyone for less than $3. We truly live in the future.

2. Camerabag

I’m not crazy about apps that only exist to add retro effects to images, but there’s something about Camerabag’s filter settings that seem to be able to turn a lacklustre image into a much more rich and interesting one.

It’s telling that of the twelve filters available, I only use two with any regularity: Helga (which mimics Holga contrast & vignetting) and Magazine (which seems to flatten and punch things)

FWIW, I’ve also played with Hipstamatic and can see the appeal, but I’m not wild about it. For me, the fun is somewhat limited by the fact you have to take images through it, rather than being able to use it for post-processing, as well (as you can with Camerabag)

3. Diptych

Relatively new, this one allows you to quite simply combine multiple images according to a number of templates. Bosh.

I don’t use this one a lot, but it’s handy to have on the phone when I do (and a damned sight easier than downloading, opening and editing in photoshop).

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I’d love to know which photography apps you use, and rate….

I know the first rule of blogging is “never apologise” but I’m sure one of the other rules is something like “keep it up” which I have been woeful at doing recently - the terrible timing, so soon after my celebratory tenth blogiversary postings, was noted and probably deeply significant.

Lots of travel, lots of stuff happening at work, lots of really lousy things happening with regard to our housing situation (synopsis: After seven months dangling at the end of a property chain last year, we finally gave up on the place we were buying and found somewhere else with no chain. All progressed well until the owner of the house we were just about to exchange contracts on suddenly changed her mind about the sale which meant we, having given in our notice on current (rented) flat, were very nearly about to be homeless within weeks. We’ve sorted it out now, thankfully, and the hunt continues, though we are surrounded by boxes which I can’t bring myself to unpack just yet.)

So here’s something approaching content: I’ve been quietly making galleries on Flickr for a while. Here are some of my favourites…

(What big eyes you have)

(Lone tree in winter)

(Migraine-inducing carpet)

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Happy Chinese new year - Kung Hei Fat Choi.

Here are some of my photos of previous CNY celebrations in London. I’ll be heading along this weekend again, with various cameras.

Stumbled across this earlier tonight when sorting through photos for my new MOO cards.

Still one of my favourite shots from my visit a couple of years ago. I’d love to go back.

22 January: Please see the update at the end of this post for what happened next.

Dear Grey London,

I’ve just been made aware of the ad you were involved with creating for Horlicks.

In the middle of the advert at 1′15″, amid the collection of shots of coffee/tea/beverage making and drinking, there’s a brief shot which is slightly different.

It’s a woman sitting on a tube train going along an above-ground track. She’s holding a book in front of her face. The book’s cover depicts a woman’s face. I’ve screengrabbed it below:

I find it very difficult to believe that this shot wasn’t styled on this image I took and posted in August 2006, which has since become well-circulated on the internet.

Your treatment is startlingly similar to my original photo, right down to the woman; the hand position; the ring; the tube above ground; the styling of the cover; the sweep of the hair; the man with his head down, reading next to her.

I’ve written before about advertising agencies using internet-popular ideas and artwork as source material for campaigns, but there’s a fine line between homage and rip-off.

Should I submit an invoice for the portion of the creative work that I unknowingly did on your behalf? Or would acknowledgement of your inspiration be out of the question?

Best regards,

Meg Pickard

PS If anyone else reading this has any ideas about what I might be able to do about this, please let me know in the comments below or via email or Twitter. Thanks.

Update, 22 January

I spoke to Hugo Feiler, MD of Grey London today, after the creative director of the ad forwarded on the email I’d sent him about the issue. Mr Feiler was very pleasant, and said (transcribed from notes taken on phone):

“On reflection, I would agree that we had been influenced by your photo … we shouldn’t have gone on to use such a similar image without speaking to you first, so I’m very sorry about that”

He offered to have the film re-edited to remove the chunk in question. I declined this, but asked him to ask the production company involved to remove the still from their site as proof of their creativity. He has done this since our call.

In addition, as a gesture of goodwill, Mr Feiler offered to make a generous donation in my name to a charity of my choice. I accepted this and am pleased that Oxfam’s Haiti emergency appeal has been able to benefit from this experience.

He went on to say that he would have said and offered exactly the same thing if I’d spoken to him privately before “going public” on my blog, but he understands why I did because of what I do for a living. (I’d actually sent email via the Grey website, to the production company and to the CD’s personal site).

I don’t think that my work was copied maliciously or through an attempt to decieve or claim credit: I’ve worked with enough creative agencies to know how easy it is for something to slip from early-stage random found object moodboard into a concept storyboard and then through to the produced object, all the while getting further and further from the original credited influence. As with most things like this, Hanlon’s razor applies (and especially the Sir Bernard Ingham variant).

In summary, I am reassured that this has been handled in a timely and considerate way by Hugo at Grey London: I’m glad that they’ve apologised and acknowledged the influence of my work, and feel sure that they will have learnt a lesson from this experience about how random internet influences are handled within their creative processes.

I’m auctioning a couple of prints of my photos as part of the Flickr group Charity Print Auctions for the Haiti Earthquake Appeal.

(Click on the images to see the bidding on Flickr)

Each print is 18×12 inches and will be printed matte on FujiFilm Professional digital photographic paper.

The auction will close on Sunday 17th January 2010 at midnight GMT.

The winning bidder (who I’ll notify) has to pay the winning amount to the Oxfam Haiti appeal and then send me proof of payment.

If you’d like to place a bid, please do so in the comments below each image on Flickr, stating the amount you want to pay. When the auction closes, the person that has bid the most, wins the print.

I’ll cover the costs of production of the print and the postage to the winning bidder (surface mail if international).

Every now and again, something happens which reminds you that the internet isn’t the respectful, creative, collaborative place that we rather naively hope it is, but is actually infested with people who seek to exploit, destroy and undermine the work of others.

It’s not that surprising, unfortunately, but it is a bit disappointing.

Take my 2006 camphone photo taken on the tube, of a girl reading a book:

Or rather, don’t take it. Admire it. Link to it. Comment on it. Favourite it. Tell me you like it, you value my work, you think it’s funny/clever/well-composed if you like, but don’t take it and pass it off as your own work.

I’ve lost count of the number of times I’ve seen this (hasty and rather crap resolution due to being taken with a camphone) shot being included in emailed & blogged collections of “great trick photography photos” and the like. Here are just a few of the places it’s been spotted over the years. Without exception in these circumstances, the image is used without permission, with no credit or link to me (therefore falling foul of Flickr’s terms of service as well as my wishes as the creator of the work). Sometimes it even appears with someone else’s watermarked copyright notice on it, which I think is a bit fucking rich, to be honest.

This evening, it happened again. It was brought to my attention by a friend that a “photographer” - Rob Jarvis was passing off the Geisha image as his own on his site (which seems to be hosted on Facebook.

Whether he got this message or otherwise had a coincidental and sudden change of heart I don’t know, but the two images I mentioned above have been taken down from his site now. Many others remain.

UPDATE: see end of post

Now, I’m not seeking to make money from this image, and nor am I particularly ferocious about traditional copyright. In fact, I’m a big believer in the power of creative commons licenses which offer a variety of ways for individuals to assert specific rights, while making content available to be used, remixed, shared and so on, in accordance with their specific wishes.

But this Geisha experience over the last three and a half years, (and it’s not the first time someone’s ripped off my work as their own) makes me want to pull all my content off the internet entirely and never share or publish again. It’s certainly enough to make me restrict who can see larger sizes or download my photos on Flickr.

Ironically, the fact that some people are unable to respect other people’s creative work makes me become more closed and black and white and less likely to share things using creative commons licenses. After all, if people can’t be trusted to understand “simple” copyright, what hope have we got of getting them to understand a more complex (albeit more flexible and open) license?

It’s a shame that this is the result.

I wish we could encourage people to praise, link to and credit each others work when they share it.

I wish it was as cool to be a curator as a creator of things.

I’d like people to think it was enough to introduce others to things they like or have found (I find Tumblr is particularly good for this), and not have to pretend it was their own work. Perhaps then we’d see a bit more respect for origin, and more people would be inspired to create and share.

UPDATE 11 January 2010

Rob replied to my Flickr message this morning, saying simply “never claimed to be mine, its now removed.”

Rob, if you’re reading this: Thanks for removing it from your collection, though with respect, you had your copyright notice on it, and were publishing it on your site, and accepting comments and plaudits on it. That looks a lot like you were taking credit for it. Nevertheless, thanks for removing it.

UPDATE 11 January 2010, later

Rob has apologised in the comments below. The specific issue is resolved (thank you), so let’s not dwell on Rob or his particular actions any longer. Apology accepted. Let’s move on.

However, the general point about providing appropriate credit for curated work and being sensitive to other people’s usage wishes, remains. This is perhaps amplified by Piers’ rather surprising comment (also below). He states:

If you don’t want your work copied, you shouldn’t put it online. It’s that simple and it’s up to you not everyone else.

If that is indeed the case (and I don’t believe it is), then how utterly miserable and misanthropic the world must seem.

Part of the brilliance of a photographic observation game like noticin.gs (which I wrote about the other day in the context of synchronicity and gaming) is that - as the name implies - it encourages you to be observant and notice things when you’re out and about in the context of your everyday life.

Paul Mison wrote about noticin.gs recently saying that it’s “helping [him] to look around” and that’s absolutely the same feeling I have.

I’ve got a long history of capturing random spotted/found/noticed things and moments from my commute and daily wanderings, stretching back many years - and not just photographically, either. Sometimes with the camera, sometimes with words, sometimes just by making a mental note - it’s the habit of receptiveness to the world around that’s interesting.

This relates to something else I wrote a while back about super-noticing:

Super-noticing is something which happens a lot if you’re trained to be receptive and observant, but also if you’re thinking about a particular thing.

This in turn relates to another earlier post about the ethnographic discipline of pattern recognition:

Part of the toolkit of ethnography and anthropology in general is observing patterns. This could be patterns in behaviour, appearance, ritual, language or otherwise. The anthropologist’s job is to spot the patterns and try to understand what (if any) significance they have, especially in relation to social or cultural environment, or other prevailing conditions.

The discipline of noticing stuff is part of what makes receptiveness and observation useful in life, as well as in anthrolopology and social gaming. But it’s good to have a particular outlet (or should that be inlet?) for the activity. As I wrote in the super-noticing post,

“Flickr is great for developing a discipline around noticing, too, and Flickr groups in particular - if your eye is receptive, then every journey out into the world can be filled with potential squared circles and little fellas and malapostrophication and more.”

Well, noticin.gs turns that hyper-receptiveness up to 11, but inverts it - it’s not about seeing the patterns so much as the anomalies - the things you spot which shouldn’t be there, or stand out, or catch the attention because they don’t belong, or are otherwise notable. Noticeable. Noted.

Once you start playing noticin.gs, it’s very difficult to stop noticing things. Above and below are just a few of the things I’ve noticed while out and about, captured with my phonecam, and filed to noticin.gs.

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