He was a professional photographer. The last I heard, he was unknown, although I still think he was very very good. He was someone totally permeated by his vocation. He related to the world compositionally. I was already inclined against the visual arts as a hunting ground for mates, but Giles clinched it. Two women I knew married to painters were supremely unhappy in an identical way. Men whose raison d’être is to wring images out of everything around them range from mute to gaga when they stop doing art, such as at breakfast, lunch, dinner, and bedtime. Giles’s stance was to be always alert to the parade of images that constituted the world, because one of them might be classic, like the Frenchman weeping when the German army marched into Paris. The trick was to never stop taking pictures, which is what he did. He was working on several contracts simultaneously. One was for documentation for the UN, one was for the firm in South Africa that supplied Botswana’s picture postcards, and one was for an unbelievably crude men’s magazine put out in Malta. And then he was always adding to his personal portfolio, which I promised to someday review for possible classics.