What I was interested in terms of Paris Opera series was that whole strange business of finding oneself with a whole lot of other people gathered in a darkened space, such as the opera, awaiting some special event. There is something quite magical about it. I've always found that people sitting in the dark just waiting for something is the most haunting sort of experience. It seemed to me it was a common experience, a universal thing that everyone feels, really, at some point or another.
Marginal Revolution's Tyler Cowen occasionally asks his readers to suggest topics for him to write about. Stump the polymath, as it were. I posted a suggestion that I'd been wondering about recently:
Is taking a photo or video of an event for later viewing worth it, even if it means more or less missing the event in realtime? What's better, a lifetime of mediated viewing of my son's first steps or a one-time in-person viewing?
If you take photos you will remember the event more vividly, if only because you have to stop and notice it. The fact that your memories will in part be "false" or constructed is besides the point; they'll probably be false anyway. In other words, there's no such thing as the "one-time in-person viewing," it is all mediated viewing, one way or the other. Daniel Gilbert's book on memory is the key source here.
I take a lot less photos than I used to -- even though cameras are easier to use and carry around than ever -- and prefer to experience the moment rather than fiddle with the camera. But that seems to swim against tide these days...camera irises seemingly outnumber real ones at photo-worthy events and places.
A list of 21 ways to shoot better photographs. I can hear my photographer friends snickering about the cliches on the list, but if you don't know much about photography but are interested in learning, you could do worse than to explore some of these techniques.
To be honest, I was a little disappointed in Standard Operating Procedure...but the fault is my own, not the film's. My expectation was that the film would start with the photos of Abu Ghraib & misdeeds of the lower ranking soldiers and then move up the chain of command, both militarily and thematically speaking, to explore the issues of truth in photography and culpability. To Morris' credit, he didn't do that. It's too easy these days to attempt arguments about Iraq or the Bush Administration that connect too many dots with too little evidence...essentially propaganda that sings to the choir.
SOP has a surprisingly small depth of field; it's the story of those infamous photos, the people who took & appeared in them, and what they have to say about the photos & the actions they purport to show. And in that, the movie succeeds. Morris leaves plenty of negative space into which the audience can insert their own questions about what the photographs ultimately depict and who's responsible in the end.
Incidentally, Morris generated a bit of controversy recently when he admitted that he'd paid some of the interviewees in SOP. The criticism of this practice is that "the credibility of interviewees diminishes when money changes hands and that these people will provide the answers they think are desired rather than the truth". That is a concern but no more so than every other reason for being untruthful, including not telling the truth out of spite for lack of payment. People have so many better reasons to lie than money.
With images by Sabine Haubitz and Stefanie Zoche of Haubitz+Zoche, the show looks at "the concrete skeletons of five-star hotel complexes" abandoned on Egypt's Sinai Peninsula. They are resorts that never quite happened, then, with names like Sultan's Palace and the Magic Life Imperial. This makes them "monuments to failed investment."
Finding the Moon when its slim crescent is still less than about 24 hours past the New Moon phase requires careful timing and planning, a challenging project even for experienced observers. In this sighting, only about 0.8 percent of the Moon's disk appears illuminated.
Like the lost plays of Aeschylus that were written about but did not survive themselves, no known examples of the work of Wedgwood and his circle have ever been found. But Dr. Schaaf, in looking deeper into the leaf image, realized that these legendary lost images had something else in common: their creators were all part of the close social circle of the family of Henry Bright.
"The reason that I got so excited about this was that it was the most solid, indicative collection I've seen," he said. "I'm fully prepared for 'The Leaf' to have been made by Henry Bright, or by his father, after the 1790s. But I've never seen a story that fits together so neatly."
** A photogenic drawing is a precursor to the photograph and is created by placing an object on a piece of photosensitive paper and exposing it to light.
While the preservation of food in the freezing temperatures and dry climate has been noted, bacterial decay still occurs. Besides, the World Monuments Watch describes it as one of the hundred most endangered sites in the world, and New Zealand's Antarctic Heritage Trust (AHT) has been working in the last years to preserve it from corrosion.
These structures and the supplies contained within are almost 100 years old.
Manufactured Landscapes opens with an eight-minute tracking shot of a gigantic factory in China, the camera moving past row after row of workers assembling widgets until you feel like the factory floor circumnavigates the globe. The point of the shot, as with Edward Burtynsky's photography, is to encourage the viewer to do some rudimentary mathematics about the scale of industry in the world:
eight minutes to move across one factory + look at all those employees + how many factories like this are there in China? = wow, that's a lot of widgets
While it's unfair to say that the movie goes downhill from there, the tracking shot packs such a punch that the rest of the film seemed lacking in comparison. It was the only shot in the film that really felt like the cinematic equivalent of Burtynsky's photography...a long photograph, if you will.
The pig is Berkshire, from a small farm in upstate NY. It was slaughtered at a small family slaughterhouse nearby, on the Thursday before the class. So this pig had been dead for less than a week before being butchered.
If you want to know where your bacon or ham-related food comes from, here's your chance. (thx, derrick)
The pictures of the accused are startling in the banality of the faces. (While the spelling of many of the names -- April, Britney, Brittini, Cara, Kayla, Mercades, Stephen, Zachary bring to mind a revived Mouseketeers.) A number of the girls look surprisingly similar, but minus the prison garb, they could just as easily be reacting to a berating for poor schoolwork. The boys, who were posted as lookouts while the girls carried out the beating, look a little more ready for jail.
The pictures are fascinating in the narrow range of emotion they convey, from self-pity to sullenness, but to my mind all stop before genuine contriteness. (I'm reading this in, of course, but I have a hunch I'm right.) Yet there's an all-American look to these kids that can only remind us how narrow the line is between good and evil.
A loop would be a captured action or situation rather than a narrative, where the duration of the loop is set but the loop goes on forever so you can study the layers, the detail, the figure and the ground in the same way you can a photo. A bottled system not a short story. Think about all the tiny clips you've played again and again on the internet just to see one aspect, one moment, act out -- a goal or a dramatic chipmunk. Not stories, but toy moments.
Critics argue that the use of re-enactments suggest a callous disregard on the part of a filmmaker for what is true. I don't agree. Some re-enactments serve the truth, others subvert it. There is no mode of expression, no technique of production that will instantly produce truth or falsehood. There is no veritas lens -- no lens that provides a "truthful" picture of events. There is cinema verite and kino pravda but no cinematic truth.
And then:
Is the problem that we have an unfettered capacity for credulity, for false belief, and hence, we feel the need to protect ourselves from ourselves? If seeing is believing, then we better be damn careful about what we show people, including ourselves -- because, regardless of what it is -- we are likely to uncritically believe it.
Hidden on a lakeshore in Medina County is one of the state's most unique forgotten treasures: the abandoned amusement park called Chippewa Lake. What you'll find there today is the tragic shell of a once-glorious family fun park, one with a history going back to the 1840s. The crying shame is that it's been reduced to an inadequately-fenced-off stretch of acres, overgrown with every imaginable form of vegetation native to this state and festooned with faded NO TRESPASSING signs.
While my assailant's actions were frightening, they resulted in part from what he interpreted as provocation: that is, my taking pictures after he had explicitly warned me not to. He did not take my wallet, cash or briefcase; something he could easily have done while I was on the ground. Nor do I recall him using much more force than was needed to wrest the camera from me. He didn't kick me gratuitously when I was down. He did what he threatened to do, but no more.
In the greater scheme of things, my quarrel isn't with him, anyway. It's with the suits who made the decision in the first place to undertake an illegal marketing campaign.
Somebody comes up to you and says, "I'm a postmodernist; I don't care about truth; it's subjective." My answer is, "So it doesn't matter who pulled the trigger? It doesn't matter whether someone committed murder, or whether someone in jail is innocent or not?" I believe that it does matter. What happens in the world matters a great deal.
Morris also says that there will be a web site that accompanies the film where you can view all the Abu Ghraib photos in the order that they were taken.
You can click on a photograph and an iris opens up -- you go into the photograph, and inside of the photograph is context. Take, just for example, the Gilligan photograph, the one on the box, with the wires. I rubber-band that photograph with the other ones taken at the same time, so that it becomes a group of related photographs. There's software that allows you to reconstruct the room from the different angles of the photographs. Then I have biographies that you can click on for all the people who were in the room, and their own accounts. Plus you can see stuff that I recorded for this movie. In other words, you can really enter the world of the photograph.
So there you have it: a small, light, unobtrusive carry-around camera with great handling and world-class responsiveness, capable of being used in all manner of lighting conditions and yielding DSLR-quality results on the gallery wall. The 21st-century equivalent of Henri Cartier-Bresson's stealthy street-shootin' Leica.
Using information provided earlier about their weekly routine, the photographer will arrive on the scene, and unseen, take shots of the subject. The subject will be photographed walking through the streets, going about their daily business. Without posing and artifice, the camera captures only the natural beauty of the person.
The Desire Paths Flickr pool. Desire paths are improvised paths built collectively by pedestrians trying to find the shortest way across the grass, like ants laying down pheromone trails to food. I've heard of some clever institutions who wait for desire paths to be laid down by pedestrians and then put permanent sidewalks in those places.
Later, when the photographs of crimes committed against Iraqi prisoners at Abu Ghraib were made public, the blame focussed overwhelmingly on the Military Police officers who were assigned to guard duty in the Military Intelligence cellblock -- Tiers 1A and 1B -- of the hard site. The low-ranking reservist soldiers who took and appeared in the infamous images were singled out for opprobrium and punishment; they were represented, in government reports, in the press, and before courts-martial, as rogues who acted out of depravity. Yet the abuse of prisoners at Abu Ghraib was de facto United States policy. The authorization of torture and the decriminalization of cruel, inhuman, and degrading treatment of captives in wartime have been among the defining legacies of the current Administration; and the rules of interrogation that produced the abuses documented on the M.I. block in the fall of 2003 were the direct expression of the hostility toward international law and military doctrine that was found in the White House, the Vice-President's office, and at the highest levels of the Justice and Defense Departments.
Never mind liberty, it would seem that we're giving up our humanity for security.
Update: Nuts, they took the article offline for some reason...
Update: Looks like the article is back up. For now.
The photograph, shot in July 1888 in Brewster, shows an 8-year-old Helen sitting outside in a light-colored dress, holding Sullivan's hand and cradling one of her beloved dolls.
My friend, the incredibly talented photographer, Barry Stone is exhibiting an outdoor installation of large photographs of Galaxies made from flour at the BBAP in Houston.
What I find interesting in photo shoot videos is not the 11 assistants or the lighting setup but watching the photographer interact with the subject.
As Rob says, "Annie really shows her tenacity in this video when she immediately tries to get the Queen to remove her crown after deciding it doesn't look good in the first shot and not giving up on an original request to shoot the Queen on horseback inside the state apartments."
Simultaneously fascinating and terrifying -- like watching a trapeze artist at work.
"You get the sense that Gottfried didn't necessarily leave her house to go get the picture wherever that picture might be, but that she lived her life with gusto and was ready for the pictures when the pictures came to her."
The most striking thing in Pakistan is the vision of trucks and buses completely covered in a riot of color and design. They might spew diesel fumes, they may take up all of the winding, narrow, under-maintained road one is trying to negotiate, but they are certainly noticeable, like so many mechanical dinosaurs adorned in full courtship colors.
After giving your request serious consideration, even though it is against company policy to consider such a request, it is with regret that I inform you that we are not willing to grant the permission you seek...As you are aware, our Disney characters, parks and other valuable properties have become beloved by young and old alike, and with this comes a tremendous responsibility to protect their use and the protection we currently enjoy. Should we lapse in our vigilance, we run the risk of losing this protection and the Disney characters as we know and love them...Especially during these violent times, I personally believe that the magical spell cast on guests who visit our theme parks is particularly important to protect and helps to provide them with an important fantasy they can escape to.
The firemen have put out the fire in seconds. That's their job, after all. They do this with decisive brevity and great courage, sometimes walking right into flames -- but it doesn't make for an easy photograph. It's all a bit like the sexual act: the flames come up and men run in and spray everything with a high power water hose and then it's all over.
Q: Your about to be published autobiography stops in 1982. What have the readers missed?
A: Nothing! People who reach their goals are very uninteresting. What could I have written about the last 20 years? I met a lot of awfully boring Hollywood bimbos. I earned a lot of money. I fly only first class.
NSFW if tasteful nudes aren't safe to view at your place of employ. Oh, and here's another interview with Newton with a bit more about his work.
The company, which stopped making instant cameras for consumers a year ago and for commercial use a year before that, said today that as soon as it had enough instant film manufactured to last it through 2009, it would stop making that, too. Three plants that make large-format instant film will close by the end of the quarter, and two that make consumer film packets will be shut by the end of the year, Bloomberg News reports.
Hopefully someone else will pick up where they left off; Polaroid is willing to license the manufacturing technology to other companies. (via clusterflock)
I do have specific ideas of what a good portrait may consist of, but I am often amazed at the portraits I come across that do not abide by any of these "rules." Many of these images are truly spectacular. And it further reminds me that good art is made up of many things, and this question can almost never really be answered, at least not with any certainty.
As for image quality, even wide open it's quite lovely. Stopped down to f/8 and f/11 it's actually quite remarkable. How remarkable? From midtown Manhattan we were able to read the street signs on the corner of JFK Boulevard East and 43rd St. in Weehawkin New Jersey when viewing image files at pixel resolution.
The lens weighs 36 pounds and there are probably less than 20 of them in existence. (thx, rob)
Update: Ok, last one and then we're on to telescopes. (I'm kidding...please do not send me links to telescopes.) The Panavision 300x HD Lens...2100mm. (thx, philip)
But, we can kind of think of the multi-playthrough Kaizo Mario World video as a silly, sci-fi style demonstration of the Quantum Suicide experiment. At each moment of the playthrough there's a lot of different things Mario could have done, and almost all of them lead to horrible death. The anthropic principle, in the form of the emulator's save/restore feature, postselects for the possibilities where Mario actually survives and ensures that although a lot of possible paths have to get discarded, the camera remains fixed on the one path where after one minute and fifty-six seconds some observer still exists.
Some of my favorite art and media deals with the display of multiple time periods at once. Here are some other examples, many of which I've featured on kottke.org in the past.
Averaging Gradius predates the Mario World video by a couple years; it's 15 games of Gradius layered over one another.
I found even the more pointless things incredibly interesting (and telling), like seeing when each person pressed the start button to skip the title screen from scrolling in, or watching as each Vic Viper, in sequence, would take out the red ships flying in a wave pattern, to leave behind power-ups in an almost perfect sine wave sequence. I love how the little mech-like gunpods together emerge from off screen, as a bright, white mass, and slowly break apart into a rainbow of mech clones.
According to the start screen, Cursor*10 invites the you to "cooperate by oneself". The game applies the lessons of Averaging Gradius and multiple-playthrough Kaizo Mario World to create a playable game. The first time through, you're on your own. On subsequent plays, the game overlays your previous attempts on the screen to help you avoid mistakes, get through faster, and collaborate on the tougher puzzles.
The same kind of thing happens in this Call and Response video; 9 frames display at the same time (with audio), each a moment ahead of the previous frame.
Update:Recreating Movement is a method for making time merge photos (thx, boris):
With the help of various filters and settings Recreating Movement makes it possible to extract single frames of any given film sequence and arranges them behind each other in a three-dimensional space. This creates a tube-like set of frames that "freezes" a particular time span in a film.
How You See It overlays three TV news programs covering the same story. (via waxy)
When you take a picture with an S.L.R., there is a distinctive sound, somewhere between a clatter and a thump; I worship my beat-up Nikon FE, but there is no denying that every snap reminds me of a cow kicking over a milk pail. With a Leica, all you hear is the shutter, which is the quietest on the market. The result -- and this may be the most seductive reason for the Leica cult -- is that a photograph sounds like a kiss.
In keeping with these proud traditions, but now in the age of digital technology, Leica introduces it's perpetual update program which makes the LEICA M8 a digital camera in which, uniquely, owners will be able to incorporate the latest refinements and developments in technology. While other digital cameras quickly become outdated and are replaced by new models, Leica's new concept allows it's customers to invest in the photographic equipment they need sure in the knowledge that they will not miss out on improvements and technological developments in the future.
The first upgrade adds a hard-to-scratch sapphire glass LCD screen cover and a quieter shutter.
Update: Just to be clear, the upgrade program costs money. According to Gizmodo, the first upgrade is $1800. On the plus side, each time you upgrade, they extend the warranty on the whole camera for two years.
The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths. What the photograph didn't say was, "What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American soldiers?"
Armed with only a hand-held 35mm film camera, and using available artificial light, Russian photographer Alexei Vassiliev has created a series of stunning portraits of anonymous 21st century urban dwellers. A very slow shutter speed allows him to capture rich colors and blurred human gestures to create iconic images that evoke the essence of modern humanity without much of the detail.
And how much oil is there? Estimates bounced around for years until 1999, when Alberta got serious about determining its potential. Based on data from 56,000 wells and 6,000 core samples, the Energy and Utilities Board (EUB) came up with an astonishing figure: The amount of oil that could be recovered with existing technology totalled 175 billion barrels, enough to cover U.S. consumption for more than 50 years. With the new math, Canada slipped quietly into second place behind Saudi Arabia's 265 billion barrels in oil reserves, followed by Iran and Iraq.
Capa established a mode and the method of depicting war in these photographs, of the photographer not being an observer but being in the battle, and that became the standard that audiences and editors from then on demanded. Anything else, and it looked like you were just sitting on the sidelines. And that visual revolution he embodied took place right here, in these early pictures.
This happened while Choire was minding the store so apologies if you've seen it already, but Flickr's new Commons program is quite interesting. For a start, the Library of Congress has put 1500 photos with "no known copyright restrictions" up on Flickr for people to tag and annotate. The LoC's extensive online image repository has always been exceedingly difficult to use so making images available on the easy-to-use Flickr is a great step forward. The response so far has been prettygood.
With a second major storm bearing down, four of the most experienced big-wave surfers in the world launched a boat and two Jet Skis toward Cortes Bank, an underwater mountain range whose tallest peak rises 4,000 feet from the ocean floor to within about four feet of the surface. The perilous spot, about 100 miles off the coast of Southern California, had been surfed only a handful of times in the past decade. With just the right conditions, its shallow waters turn huge ocean swells into giant, perfect breaking waves.
Cortes Bank veteran Mike Parsons returned from the voyage absolutely certain that larger sea monsters are awaiting around the spooky open-ocean shoal. "It's getting closer and closer now...I guarantee you there will be a 100-foot-wave ridden out there," said Parsons. "For sure. There were several big peaks that jumped up at the top of the reef outside of us that could not have been too far off that size. If you put yourself in the right place at the right time, it will happen. It's only a matter of time now."
For photos and a nice audio feature with the crew that took the trip out there, head on over to Surfline.
Graffiti Research Lab built their own camera rig to capture bullet time photography (a la The Matrix) for $5000-$8000. Here are the instructions to build your own and the music video they made using the rig.
Rankin's Eyescapes photos are great. One of my favorite things to do with Ollie is stare into his eyes and see all the wonderful whirls of color. I also like his One Dress project. (Rankin's project, not Ollie's.)
I have a sweet technique I use for finding the great images from a shoot that really tends to piss-off the editors: I edit the film without reading the story. This helps me tune into which images have the most impact on me and which ones transcend subject matter and become forces in their own right.
His description of defending good photography applies to design as well.
Unlike the belongings of artists who fade gradually from view, which are sometimes scattered, pilfered or lost, Arbus's effects were in some ways frozen in time when she committed suicide at 48. Quickly her life began to acquire a cult status paralleling that of her photography.
A few months back a producer from the Simpsons contacted Carly about using her song 'everyday' for an upcoming episode in which they were going to parody my video. She was negotiating a rate for the song, until they never got back to her. No fee was agreed on, no contracts signed.
Maybe they decided since it was parody they didn't need permission? I don't find that likely since what little I know about Hollywood/TV is that they're really concerned about clearing rights. (thx, slava)
This photo of lower Manhattan taken from the Statue of Liberty in 1901 is plenty interesting, especially what I believe is the beginnings of the Manhattan Bridge under construction behind the Brooklyn Bridge.
Update: The bridge under construction is most likely the Williamsburg Bridge, not the Manhattan Bridge. (thx, jake)
This was a very typical time. I was single. All you needed was a cup of tea, a light, and your stereo, you know, and that's what I had.
This was right in the thick of Lisa/Macintosh development; I bet Jobs didn't spend a whole lot of time at home. Note: there's some bad Exif data that prevents the display of this photo in Safari (ironic, eh?)...try Firefox instead. (thx, mark)
For example, those participants shown the doctored photograph of the protest in Rome (top right), in which figures placed in the foreground give the impression of violence, rated the event as being significantly more violent and negative than it actually was. In their comments, they also provided false details, such as conflicts, damages, injuries and casualties that did not appear in the photos and were not documented at the event.
Update: Or was it? James Clerk Maxwell took this color photo of a purty ribbon in 1861. Maxwell also, and so but by the way, linked electromagnetism and light in a seminal paper from that same year, work that Albert Einstein called "the most profound and the most fruitful that physics has experienced since the time of Newton". (thx, chris)
With the blessing of the main abbot, Shi Yong Xin, Guariglia has earned the full collaboration of the monks to create an astonishing, empathic record of the Shaolin art forms and the individuals who consider themselves the keepers of these traditions. It is the first time the monks have allowed such extensive documentation of these masters and their centuries-old art forms-from Buddhist mudras to classical kung fu-in their original setting, a 1,500-year-old Buddhist temple.
Photos and video here. Watching the videos, especially the one featuring Tong Jian Quan, I was reminded of hip hop dancing (Michael Jackson in particular) in a way that watching kung-fu and other martial arts in Hollywood movies does not.
Also, Shaolin monk Hai Deng was famous for performing a one-finger handstand. The video seems a little suspect but this performance brings the single finger handstand into the realm of possibility.
Scene: Two women on a smoke break outside in the rain, a white woman dressed all in black and a black woman dressed in all white. The woman in all black holds a giant golf umbrella with alternating black and white panels.
Excuse for missing it: Three stories up and babysitting.
Eye-Fi is a wireless memory card for digital cameras. Once you get it set up, you take a photo with your camera and it's automatically uploaded to your computer and to Flickr (or another photo sharing site of your choosing). The first thing you notice about the Eye-Fi is that it looks just like an ordinary 2-gig SD card...so tiny that when you use it for the first time, you almost can't help but examine your camera from all angles to make certain that there are no wires involved. It's magic.
But can an enchanted memory card make you a better photographer? That is, does it make you want to use your camera more and take better pictures? I've been testing an Eye-Fi for the past week, courtesy of my friends at Photojojo (where every order comes with a Blow Pop!). The setup and usage were pretty easy. Not having to fuss with an uploading cord was nice. I didn't like the requirement of setting up each wireless connection you want the card to use; it should find open wireless access points when it can. But after a week of using the card, I finally figured out the optimal way to use the Eye-Fi:
2. Set the Eye-Fi to upload automatically to your Flickr account with the privacy set so that only you can see it.
3. Use Flickr's online organization tools to publish, group, tag, or order prints of the keepers and discard/ignore the rest.
Instant online-only workflow...no intermediate "download then find the best ones then upload" steps required, everything happens right in Flickr. The lack of editing tools (brightness, levels, etc.) on Flickr might be a deal breaker for some, but for the rest, it certainly makes it easier to take a lot of photographs and get them up where family and friends can see them.
In college, take a year off and drive across the country, and camp along the way. Do it with good friends that are smart; not dumbasses that just want to get high. Bring some books. Bring some audio books if you can't read.
