First: thanks for all the comments on my first picture of Tabitha Faye – they were very much appreciated; and I'm pleased to say that she's doing really well, as are Libby and the rest of the kids.

As for this one: it was taken on the train this afternoon, and while I'm not convinced it's quite as good as some of the others in this category, I'm reasonably pleased with how it turned out.

Update: it's Thursday evening, and unfortunately I don't have anything to post tonight, but I'm planning on shooting some new material tomorrow.

Wife: "Is that Adolf Hitler through a prism?"

Me: "No, it's a reflection in a train window that I've been playing around with."

Wife: "I like it."

Over to you ;-)

To which I could add: telephoto zooms are not especially useful for train window reflection shots as you end up with a totally unrecognisable background. In future I'll probably stick to my 17-40 for this type of image.

I think that the thing I like most about this shot is the expression, or more accurately, the lack of expression, on the face of the guy in the center of this image. What's interesting about taking these sort of shots is that people don't realise they're being photographed, yet appear to be staring straight at the camera – at least for some of the time. And I guess that what I find especially interesting is that this is an expression, that under normal circumstances, you would never see; i.e. when we have eye contact with another person our faces are often animated – we put on a front, of one sort or another. Here, there's an absence of such an expression which, to me at least, makes this type of portrait quite unnerving. I probably could have put that better, but I guess you know what I mean.

Oh, and I'd be interested to hear which you prefer between this and yesterday's entry. For what it's worth, I can't decide between them but like them for quite different reasons.

And finally, I have nothing to put up tomorrow and am not sure that I'll be able to come up with much between now and then as our youngest two both have coughs and colds and, yet again, we seem to be coming down with it too. Not to mention the fact that they'll probably keep us both up for most of the night. So, if nothing goes up tomorrow, at least you'll know why.

This is the first of two portraits of these two people and I can't decide which I prefer. I like the detail in this one, but the two characters are much stronger in tomorrow's shot (particularly the guy in the centre who you can barely see in this one). As always, let me know what you think.

As for the title: I'm afraid that I couldn't think of anything original for this one (or tomorrow's) so have continued the sequence from a shot I posted in 2004.

Oh, and in case you haven't seen any of my other shots like this one, this is a reflection in a train window.

As with yesterday's shot, though it's a bit more obvious today, this was a reflection in a train window, and I think I definitely prefer this one of the two. I don't know why, but I'm especially drawn to this type of shot: maybe because it seems as though the subject is engaged with the camera when, in fact, they're staring into space at the world beyond. Anyway, expect more of the same at some point soon.

Oh, and as I mentioned yesterday, it's the same guy in both shots.

I do have another couple of shots that I took while I was out with John the other day, but I have two shots of this guy that I want to put up first.

This is the first shot I've taken in ages that I'm truly pleased with, mostly I think because it fits my idea of what this sort of shot should be about ... if that makes sense. Put another way: I travel to work by train two or three times a week – sometimes more, sometimes less – and if I'm not reading or dozing I like to watch the other passengers as they idly watch the world go by. I guess, is some ways, that this sort of shot is a double reflection: their thoughts reflected in their expression, their expressions reflected in the window of the train. Anyway, philosphical rambling aside, I'm pleased with this one.