Duncan74
Well-Known Member
This thread spun off from another thread elsewhere. A conversation about visualising situations to be able to answer 'preference' surveys/tests. Anyway, we started down a photography rabbit hole and rather than derail the main thread I thought it would be neater to start a new specific one.
As a kid I did some photography, back in the days where if I'm honest the appeal of taking photos was more about the ability to then develop that film in the dark room than the actual shots. I got back into photography as part of a mini-breakdown around 2007. Spent way way too much money on gear - what I now suspect was the start of a new obsession spiral. But I retained that interest for many years, indeed still have it now, but just about to go on a photo trip for the first time since Covid.
Now on the other thread there was a discussion about taking photos of 'things' or 'people'. In the most part I tend to go for architecture/close ups of patterns, natural or man made. I like shapes. That being said I also have done some 'street' photography and of my favourite/most popular photos there's a couple that really 'resonate' with me.
Whilst it's not me, the first one conveys how I feel most of the time. I'm in the middle of a world that is moving around me, working in a system of inter-connected beings that whirl around in a blur that I can see, but not fully make out.
The second is the same, a group of people, going about their day, all with thoughts and plans, and I'm remote - I can see them, but I'm as unaware of what their thoughts are as these people are of me looking at them.
And then this photo is my all-time favourite. It's not my 'best' photo. But it's the one that somehow 'connect's the most. I was in Dublin with work and took the camera. As I was walking around it started to rain, and if I say myself, that afternoon I took some amazing photos. A 'magic' afternoon. But this one is one of the Famine statues by Rowan Gillespie. And there's something that to me stands out of the skill of the sculpture that makes the emotion stand out in cold solid metal. That I caught this with the rain was lucky.
And this led on to some other thoughts, where my mechanism for coping at social events wasn't to hide in a corner and hope no-body noticed, bit was always to find a way to have a role. And often that was 'hiding' behind the camera lens. As that meant I didn't really need to be part of any conversations, was present there, so no awkward 'why didn't you come/stay'. But also mitigated all the small talk stuff. And meant there are very very few photos of me, so I didn't need to squirm my way through the confrontation of seeing all that awkward uncomfortable look recorded.
As a kid I did some photography, back in the days where if I'm honest the appeal of taking photos was more about the ability to then develop that film in the dark room than the actual shots. I got back into photography as part of a mini-breakdown around 2007. Spent way way too much money on gear - what I now suspect was the start of a new obsession spiral. But I retained that interest for many years, indeed still have it now, but just about to go on a photo trip for the first time since Covid.
Now on the other thread there was a discussion about taking photos of 'things' or 'people'. In the most part I tend to go for architecture/close ups of patterns, natural or man made. I like shapes. That being said I also have done some 'street' photography and of my favourite/most popular photos there's a couple that really 'resonate' with me.
Whilst it's not me, the first one conveys how I feel most of the time. I'm in the middle of a world that is moving around me, working in a system of inter-connected beings that whirl around in a blur that I can see, but not fully make out.
The second is the same, a group of people, going about their day, all with thoughts and plans, and I'm remote - I can see them, but I'm as unaware of what their thoughts are as these people are of me looking at them.
And then this photo is my all-time favourite. It's not my 'best' photo. But it's the one that somehow 'connect's the most. I was in Dublin with work and took the camera. As I was walking around it started to rain, and if I say myself, that afternoon I took some amazing photos. A 'magic' afternoon. But this one is one of the Famine statues by Rowan Gillespie. And there's something that to me stands out of the skill of the sculpture that makes the emotion stand out in cold solid metal. That I caught this with the rain was lucky.
And this led on to some other thoughts, where my mechanism for coping at social events wasn't to hide in a corner and hope no-body noticed, bit was always to find a way to have a role. And often that was 'hiding' behind the camera lens. As that meant I didn't really need to be part of any conversations, was present there, so no awkward 'why didn't you come/stay'. But also mitigated all the small talk stuff. And meant there are very very few photos of me, so I didn't need to squirm my way through the confrontation of seeing all that awkward uncomfortable look recorded.
