There's a delusional period after taking photographs when you feel open to the possibility that there could be something good. The harsh reality that what you've got is a bag full of useless usually becomes apparent a little later - but at a point where you are less invested and so you can keep making more.
It's all about just keeping going sometimes, or maybe all the time.
I went back to 'the fence' this afternoon. No, not a person connected to the criminal underworld but the metal barrier constructed around the construction site at the bottom of my road. I got there then decided I needed a tripod, good job it wasn't far.
After a few hours photographing and rephotographng it, this way, that way, all along it's 150m length, and some sections a bit obsessively so, multiple frames, vertical format, horizontal format, different focal lengths, different shutter speeds, I think I may have done 'the fence'. Done, apart from the time it will take attempting to stitch frames together.
Stitching software struggles with parallax problems which arise when there is foreground/middle and/or background information which shifts around as the camera is rotated around a fixed point (or even when it travels a parallel line). So the bloody pain of walking backwards and getting stuck in a sharp and thorny thorn bush will be as nothing compared t…
I had another go with Hugin, the programme that stitches photos together - and despite still not having got around to reading up on how to use it, somehow I pressed things in the right order this time and out came (after my laptop worked itself to exhaustion) an actual proper finished wide format 30MB jpeg image. It would make a forty inch wide print (at 254dpi) - so quite big, and that's without interpolation. How the software managed it with all the junk in these frames, I don't know. I've not looked that closely but I don't think it's messed up on hardly a single thing.
The effect of all that big print readiness is slightly lost when then scrunched to a 800 pixel wide web-friendly version, and it seems to be falling apart in some weird way.
Another photo lifted from flak : this nine and a half thousand year old tree is from Rachel Sussman's oldest living things series.
The minimum age requirement to be included is 2,000 years. So not much longer to wait till she gets in touch then.
I saw Ruby in Paradise, starring Ashley Judd, a low budget independent film once maybe ten years ago and I've been telling people how good it is ever since - but for some reason it never got released on DVD - so at least they can't contradict me.
The site asks you to download a plug-in to play the film - DON'T!!! Forums elsewhere advise that the plug-in may be the portal to another world of endless computer hell. BUT if youare still prepared to take a risk - register and then go back and click on the download option, 680 MB later you have an .avi file you can watch, not HD but OK quality, and no problem.
Here's the trailer to help decide if it might be worth the hassle:
A 200-year-old law forbidding women to wear trousers in Paris has final been revoked.
By Devorah Lauter, Paris - link
(03 Feb 2013):
On January 31, Najat Vallaud-Belkacem, France's minister of women's rights,
made it officially impossible to arrest a woman for wearing trousers in the
The law required women to ask police for special permission to "dress as
men" in Paris, or risk being taken into custody.
In 1892 and 1909 the rule was amended to allow women to wear trousers, "if
the woman is holding a bicycle handlebar or the reins of a horse."
The law was kept in place until now, despite repeated attempts to repeal it,
in part because officials said the unenforced rule was not a priority, and
part of French "legal archaeology."
In July however, in a public request directed at Ms Vallaud-Belkacem, Alain
Houpert, a senator and member of the conservative UMP party, said the "symbolic
Last Sunday I spent at least ten hours trying to stitch together 60 photographs, without either success or interesting failure. Perhaps I should have read how to use the software first but after a certain amount of wasted time it became psychologically inconceivable to stop and start learning.
Today I attempted, slightly less ambitiously, to stitch 5 images, but maintaining the same approach of not finding out how to use the software first (Hugin is definitely not the most intuitive programme, is all I can say in my excuse). Nah, still no joy but at least it failed at one point in a way that I liked. I took screenshots, the only way to record what happened inside the panorma preview window; multiple images seemed simultaneously to have all their pixels smeared laterally, in depth as they were overlaid one on top of the other, in various stack order depending on a row of numbers that I clicked through on a largely random basis.
I think this sort of file-fail is not uncommon and rem…
Whatever it was that set Lee Friedlander off taking photos several thousand years ago but he has been a non-stop image making machine ever since. Probable influences were books by Atget, Cartier-Bresson and Robert Frank - and a love of jazz. The best of his photographs look noisy - almost insanely so when considered against the cool Dusseldorf/New Topographics minimalist style that soon came to be accepted as the preferred manner of contemporary art photography. Friedlander remains pretty much another of those photographer's photographer like Winogrand and Eggleston.
His approach of have camera-will photograph stuff - is usually overlooked by non-photography educated curators who find it awkward to interpret and easy to dismiss. The all important bigger meaning is obscure although, ironically enough, obscuring is one of the essential devices that Friedlander employs again and again. Old school observational photography just seems too rough and ready, too intuitive, and just t…
In the new series, "Brave Ones," Zwelethu Mthethwa travels back to Durban to consider the style of
dress worn by a group of young men from a Nazareth baptist church.
"There's an androgynous element in the fact that they wear kilts and
blouses with frills," he observes. "And then they contrast that with
something like sports socks and they wear shoes with the metal toe—so
it's very interesting how they mix and match."