This rather nice set of posters (featured on Computer Love) is by German designer Michalt Slawek. All very lovely, but they left me wondering one thing: Why is it that this has become the default way to photograph graphic design work?

At Creative Review, we used to get sent work that had been beautifully photographed on white backgrounds, all ready to be cut out if necessary. Then when digital technology really took off, everyone got very excited, and a bit lazy, and started sending us flat, original artwork files. Not as nice, but much cheaper.

But in the last year or so, the images that arrive at our palatial headquarters in the heart of London’s bustling West End have started to feature a procession of headless standing figures. Arms outstretched, they nip the work gingerly between finger and thumb. Who are they? Is it the same person each time – some kind of professional poster holder-upper who, seizing their chance, has carved out an unlikely career in the graphic display business?

I can see the advantages of doing it this way. We’d far rather feature images of physical objects than Illustrator files any day – the latter being so anaemic and, obviously, one-dimensional. With these images you get a sense of scale and a feel for the quality of whatever print finishes have been used. And if you could see the face of the holder-upper, well, I guess it might detract from the work.

What we’d really like to know is: who thought of it first?