Sunday, January 29th, 2023
Monday, November 7th, 2022
In a way, I find these pictures—taken by someone from the ground with regular equipment—just as awe-inspiring as the images from the James Webb Space Telescope.
Friday, February 11th, 2022
To mark the start of the Dark Skies Festival today, here are some fantastic photographics taken not that far from Brighton.
Wednesday, April 28th, 2021
Beautifully restored high-resolution photographs of the Earth taken by Apollo astronauts.
Monday, December 14th, 2020
This is a truly wonderful web page! It’s an explanation from first principles of how cameras and lenses work.
Then you realise that every post ever published on this personal site is equally in-depth and uses the same content-first progressive enhancement approach.
Wednesday, July 22nd, 2020
Wildlife Photographer Of The Year on the Clearleft podcast
This one is a bit different. Whereas previous episodes focused on specific topics—design systems, service design—this one is a case study. And, wow, what a case study! The whole time I was putting the episode together, I kept thinking “The team really did some excellent work here.”
I’m not sure what makes more sense: listen to the podcast episode first and then visit the site in question …or the other way around? Maybe the other way around. In which case, be sure to visit the website for Wildlife Photographer Of The Year.
This episode of the podcast ended up being half an hour long. It should probably be shorter but I just couldn’t bring myself to cut any of the insights that Helen, James, Chris, and Trys were sharing. I’m probably too close to the subject matter to be objective about it. I’m hoping that others will find it equally fascinating to hear about the process of the project. Research! Design! Dev! This has got it all.
I had a lot of fun with the opening of the episode. I wanted to create a montage effect like the scene-setting opening of a film that has overlapping news reports. I probably spent far too long doing it but I’m really happy with the final result.
And with this episode, we’re halfway through the first season of the podcast already! I figured a nice short run of six episodes is enough to cover a fair bit of ground and give a taste of what the podcast is aiming for, without it turning into an overwhelming number of episodes in a backlog for you to catch up with. Three down and three to go. Seems manageable, right?
Anyway, enough of the backstory. If you haven’t already subscribed to the Clearleft podcast, you should do that. Then do these three things in whichever order you think works best:
Sunday, July 19th, 2020
The World Ocean is as close as you can get to outer space without leaving Earth. It’s an entirely different universe, nothing like the life we have on land.
Thursday, June 11th, 2020
I wrote a while back about one of my favourite photographs but this might just give it a run for its money.
It was only near the end of the 19th century that shutter speeds improved, as did emulsions, meaning that spontaneous moments could be captured. Still, smiling was not part of many cultures. It could be seen as unseemly or undignified, and many people rarely sat for photos anyway.
Sunday, May 17th, 2020
Do you have a favourite non-personal photograph?
By non-personal, I mean one that isn’t directly related to your life; photographs of family members, friends, travel (remember travel?).
Even discounting those photographs, there’s still a vast pool of candidates. There are all the amazing pictures taken by photojournalists like Lee Miller. There’s all the awe-inspiring wildlife photography out there. Then there are the kind of posters that end up on bedroom walls, like Robert Doisneau’s The Kiss.
One of my favourite photographs of all time has music as its subject matter. No, not Johnny Cash flipping the bird, although I believe this picture to be just as rock’n’roll.
This is a photograph of Séamus Ennis and Jean Ritchie. It was probably taken around 1952 or 1953 by Ritchie’s husband, George Pickow, when Jean Ritchie and Alan Lomax were in Ireland to do field recordings.
I love everything about it.
Séamus Ennis looks genuinely larger than life (which, by all accounts, he was). And just look at the length of those fingers! Meanwhile Jean Ritchie is equally indominatable, just as much as part of the story as the musician she’s there to record.
Both of them have expressions that convey how intent they are on their machines—Ennis’s uilleann pipes and Ritchie’s tape recorder. It’s positively steampunk!
What a perfect snapshot of tradition and technology meeting slap bang in the middle of the twentieth century.
Maybe that’s why I love it so much. One single photograph is filled with so much that’s dear to me—traditional Irish music meets long-term archival preservation.
Sunday, November 17th, 2019
Tuesday, November 12th, 2019
The Web is smothering in useless images. These clichéd, stock images communicate absolutely nothing of value, interest or use. They are one of the worst forms of digital pollution because they take up space on the page, forcing more useful content out of sight. They also slow down the site’s ability to download quickly.
Friday, March 22nd, 2019
An interesting way of navigating through a massive amount of archival imagery from NASA.
Saturday, February 2nd, 2019
PIctures of computers (of the human and machine varieties).
Wednesday, January 16th, 2019
I love this idea of comparing human colour choices to those of a computer:
I decided to do two things: the top three most used colours of the photo decided by “a computer” and my hand picked choices. This method ended up revealing a couple of things about me.
I also love that this was the biggest obstacle to finding representative imagery:
I wanted this to be an exciting task but instead I only found repeated photos of my cat.
Tuesday, January 1st, 2019
Wednesday, January 31st, 2018
Sunday, October 29th, 2017
A lovely interactive photo essay charting the results of what happens when evolution produces a life form that allows a planet to take selfies.
Saturday, August 12th, 2017
The ability of the physical world — a floor, a wall — to act as a screen of near infinite resolution becomes more powerful the more time we spend heads-down in our handheld computers, screens the size of palms. In fact, it’s almost impossible to see the visual patterns — the inherent adjacencies — of a physical book unless you deconstruct it and splay it out on the floor.
Craig gives us a walkthrough—literally—of the process behind the beautiful Koya Bound book.
Deciding to make any book is an act of creative faith (and ego and hubris, but these aren’t all exclusionary). But before Dan and I sold any copies of Koya Bound, we walked atop the pages that would become the book, not really knowing if there existed an audience for the book.
Monday, May 1st, 2017
Photos of analogue interfaces: switches, knobs, levers, dials, buttons, so many buttons.
Tuesday, February 21st, 2017
According to this, the forthcoming Clearleft redesign will be totally on fleek.