Archive for the 'self pimpin' Category

While I’m working on my comeback post(s)

‍‍ד׳ ניסן ה׳ תשע״ד - Thursday, April 3rd, 2014

Here’s what the last 7 months looks like, just from the hardware side.  No idea why I obsessively did this now (well I do, outgrowth of one long explanatory Facebook PM and one phonecall about a potential future project/endeavour) because I have had three places to be.  Hardware for site 2 is only partly deployed (but assembled and 90% configured) but will be done next week and site 3 hardware (other than the AP/routers which were done three years ago) is built but is being used for testing and will deployed sometime in the next few months.  Travel is difficult with Athena.

Making this rundown a page rather than a post as it’s in flux and it, like life, are always subject to and the subject of change.
Traditional photo equipment (think enlargers and development, not cameras and lenses) and fabrication/power tools which come after this is done have seen some work and a month or two of time, but are excluded for now.

outgrown (facebook) status

‍‍ב׳ אייר ה׳ תשע״ג - Thursday, April 11th, 2013

finding sorting old clothing fascinating- as uncertain numbers and intended fate dictate placement, variations on folding affect the interaction of placements, object valuation based – and weighted – between functional utility, social utility, and personal totemism — of memory, of self indulgence, interplay between a systemic approach and the feel, the music playing on Pandora: its distraction and relation to memory, and the subsumption of all – and me – to the end task.  Should have done this sooner.

far more interesting than most social interaction in recent memory and the repetitive, inevitable discussions the apologia, leading EITHER to confrontation borne of ego and the bludgeon of validation or worse, bullet point, wielded OR the prophetic cloak of inspiration being thrust upon me.  and still it infects me as i run through those thoughts in their broad curves and the precise turns of recent iterations.  and letter to score unneeded conflict where I’m in the right compose themselves once more for the the thousandth fragmented time. but still, this, this, these clothes, unlike people, I can’t so easily predict and I’ve seen each of these threads before, but until this job, never the tapestry.  also, my Zepp channel on Pandora is pretty good.  To wit – How Many More Times is on and I’m out.

half time game plan

‍‍ד׳ טבת ה׳ תשע״ג - Monday, December 17th, 2012

While this entire site needs a revamp,  one thing, perhaps the most important thing, needs to be addressed – content.  While it’s obvious that I rarely post here, I do post long comments, some article length elsewhere.  I’m going to be moving copies here and revising them (not all sites allow editing and I have this silly habit of using my Nexus 7 tablet for long posts – not conducive to avoiding typos both foreign and autocorrect).

The first selection is my comment on Vice’s Art Basel article – perfect because I came to Miami specifically for Art Week, had a nearly perfect successful couple of days (I showed up late and last minute), was appreciated to the degree that talented artists on at least three continents sent me Facebook friend requests, has raised (some confused) commentary elsewhere on the web, and poetically, today is my last full day here, in my occaisional other city, and sets the stage for a more public presence (and work, always work) when I return to NYC on Tuesday.

Facebook Q & A, June 3, 2012

‍‍י״ד סיון ה׳ תשע״ב - Sunday, June 3rd, 2012

Tonight, Shirley Roberson asked about the work posted to Facebook and the Public Rotation album in particular :

I really like the ones where the subject is in the back and very sharp and the people or things up front are muted. How do get this look, if I may ask. And do you ask the people for permission or are these candid shots?

I had written up an answer that was going up as a Facebook comment, but it got so long, I decided to move it here for the ability to provide links and edit text.

Answer:   The area in space that is rendered as sharp is called “depth of field” and is often the marker of so-called professional work for a number of reasons and (not exhaustively) these are some good ones: lenses or mechanisms that provide for shallow and/or controllable fields are typically expensive, and the camera sensor/film size must larger than common cameras for it to be distinctly notable, and the thinner and more complex the shape of the plane the more skill is required.

The shape of that area is effectively controlled by three things: the magnification ratio – the ratio of the object in reality to the object as recorded by film/sensor, the aperture of the lens, and the lens position and (focus, tilts, swings, etc.) relative to the film/sensor. Also, you have to realize (as you implied) that what’s important in terms of composing for human perception is the contrast between sharpness and unsharpness. You only begin to see unsharpness once you go below the weakest link in the chain – for example, it doesn’t matter if you have sharpest lens in the world – you won’t see it if you are printing to newspaper (which has very coarse, dithered dots). It’s actually a moderately complicated subject.

As far as permission or candid – that too is complicated. In general, in the US so long as one is in public and a person’s likeness is not used commercially – think in an advertisement, not a sold fine art piece, permission is not needed. Much of my work is wholly surreptitious even though my cameras – which usually weigh at least 4 lbs – are worn openly. Nevertheless, to call it candid is inaccurate. People are generally predictable and actually are controllable. Eye contact, shifting equipment or limbs, changing the angle of your path on the street, and so forth can not just elicit responses, but actually induce people to move to the desired part of the frame for purely compositional reasons, e.g. to control weighting of areas or to present color and luminous contrast to a chosen background.

You might not realize that I need to use manual focus lenses for these techniques and have to have my lens set well before I even get to the time, place, and angle I intend to use… and I usually can’t be looking in the direction of my subject. In short, I usually have 1-6 inches of error, have to predict the future, envision the camera’s perspective from another point in space (and time), and not have the subject (or sometimes anyone) notice what I am doing. The last two mean, that in effect, I work with my eyes closed (sometimes less than effect – I have worked that way). I find that most times people assume – to the point of not asking – that a motor drive is used, that I shoot many frames per second. In fact, to keep the mechanism of my usual digital camera quiet, my 5DII is set to an advance mode where I can release the shutter once every two or three seconds at most – and that maximum doesn’t usually work either, because that begins to give away your interest in the subject. The film cameras typically don’t have motor drives.

That process isn’t magic and can be taught, but it does require time and exercises and I know of no one who has written this down.  (Yet.  Maybe.)  I also don’t know of many “photographers” who would put in the time to develop the ability.  A related concept (minus the surreptitious prediction and manipulation bit) is called blocking, but being a cinematography  concept, usually needs to be explained to still photographers.  (Not that “DP”s are any better.  They suck too.  Except for the ones that don’t.)

Exposition of intuition

‍‍כ״ז ניסן ה׳ תשע״ב - Thursday, April 19th, 2012

I recently started a list of maxims.  At this point, it’s mostly photography related because, frankly, I was tired of 1) repeating myself and 2)reformulating a simple, memorable presentation of an idea al regel achat.

Also, I’m on my sixth gallery software install since I first put images up on this site some six years ago.  It works ok, but it uses Flash which annoys me and the fallback (primarily) for iOS doesn’t work well, which doesn’t annoy me.  I’ve decided to leave it for now, but I realize the best option to do an HTML5 gallery, probably from scratch or at least with pasted together code.  There’s plenty of nice things (and much overlap with my Facebook fan page, so it can wait.  Weiter.

So as to stop repeating myself, let me say

‍‍ו׳ ניסן ה׳ תשע״ב - Wednesday, March 28th, 2012

I’ve made a few additions to my ever neglected site.

I decided that rough is better than none, so I posted a preliminary write up of the Hasselblad 2000 FCW. Fortunately, I can cut and paste much of that V body’s review into other pages, so hopfully it will speed up the 500 ELX and 500 C(/M) reviews.

Also, I found I tend to repeat the same damn pearls of wisdom in one too many conversations, so I figured I’d make a running list and expand on each one of them in a blog post. I don’t think there is any particular order for them, but we’ll see. It might even get me to write more.

Again, we’ll see.