tag:blogger.com,1999:blog-89886221805150085042024-03-12T20:00:41.403-06:00Into The FotoA journey as I try to find my photographic vision and voiceJohn Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-8988622180515008504.post-58285009413987065802024-03-10T21:40:00.001-06:002024-03-12T20:00:08.662-06:00Critique and Criticism or How I Stopped Worrying and Embraced the Critic<p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJRy6kzzOwCF959JPusKVIV6dlpgHd5LINX3b6BPUEx1kr9YHAvzdNjxIF2vtUiptJYBrSvOAJUX5iCTGqjh1KpvUe836DOGh5O8tpz-34bPXfoNtGXbhbxk5DNTC2BC1_lDnFljmcg1xt5bIty1AcqlOI8puIvs6S4vA7nGvJp__R7zFTeWLfKqOPvon/s1000/artcritic.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJRy6kzzOwCF959JPusKVIV6dlpgHd5LINX3b6BPUEx1kr9YHAvzdNjxIF2vtUiptJYBrSvOAJUX5iCTGqjh1KpvUe836DOGh5O8tpz-34bPXfoNtGXbhbxk5DNTC2BC1_lDnFljmcg1xt5bIty1AcqlOI8puIvs6S4vA7nGvJp__R7zFTeWLfKqOPvon/s320/artcritic.jpg" width="320" /></a>Critique and Criticism: some people say they are the same thing while others don’t. The Hivemind defines Criticism as</div><p></p><p></p><blockquote><i>“…the analysis and judgment of the merits and faults of a literary or artistic work.”</i></blockquote><p></p><p>and it defines Critique as:</p><p></p><blockquote><i>“…a detailed analysis and assessment of something, especially a literary, philosophical, or political theory.”</i></blockquote><p></p><p>Not a lot of joy there for my purposes as I find the interchangeability <i>“muddies pools”</i>. To be honest it confuses the heck out of me. The Hivemind has many jumping off points if you want to go down that rabbit hole.</p><p>I’ve been puzzling over this for a while and how to apply this to my work. It started when I found a samizdat copies of Terry Barrett’s book “Criticizing Photographs”. This is an excellent book and well worth taking the time to go through (I bought the latest edition; so should you). He uses the term “Photographic Criticism” to refer to a photographer’s body of work or a collection of images while a “Studio Critique” is something that is done in a workshop setting. I’d say that’s reasonable</p><p>You have to remember though that not all photographs need to be critiqued. You don’t need to do a deep critique of every picture you take. Sometimes we just shoot for fun and memories; those images don’t need to be dissected like a pithed frog in a biology lab.</p><p>However, if you’re serious about your work or you want to be helpful to other people who might ask you for feedback then you do need to understand how to critique an image properly. It is also important to know how to communicate a critique and conversely, how to receive one.</p><p>Relying on social media is a no-win scenario. One of downsides of social media is that the only critique you get is an upvote, a like, an emoji or even worse: “Nice capture!.” This doesn’t help you grow as a photographer. It reduces evaluations of images to a popularity contest. Some of us can still remember American Bandstand with Dick Clark. After some series of songs, the alleged teenagers were asked which song they liked. Usually the response was along the lines of <i>“I really liked that first song. It had a beat and you could dance to it.”</i> No mention of the lyrics, no mention of the music, just the beat and danceability. That, alas, is where photography on social media is at as well.</p><p>The other pitfall with social media is that you start chasing followers, views, likes, and whatever other metric social media uses to hook you. You start posting photographs that you think others will like and not grow beyond that.</p><p>As I said in the beginning of this article there is a difference, to my mind, between an image critique and photographic criticism. Although some elements are (distantly) shared, each has their own methodologies. In this section, I’m going to be drawing on the ideas of photographers and teachers much better and cleverer than myself: Alex Kilbee, Eileen Rafferty, Minor White, Terry Barrett, Judy Hancock, Michael Freeman, and others.</p><p>I’m going to start looking at the techniques you can use to critique your own images. Applying these to your own work will provide a starting point for improving your work. Later I’ll look at how to extend those to other photographers’ work. This will help you to deconstruct those images and perhaps improve your own work.</p><p>I’m also assuming that you, dear reader, are familiar enough with your craft to understand the technical and non-technical aspects of photography. If you’re not, then I’ve got some links at the end for you to refer to.</p><h2 style="text-align: left;">Critiquing your own photographs</h2><p>Being honest about your own work is hard. Incredibly hard. You went out, made images and because of that effort you have become emotionally attached to your creation. I get it. I’m guilty of it and I think every photographer is guilty of it. Self-critique takes an enormous amount of discipline, focus and detachment.</p><p>The first step is to cull images. Be honest with yourself. I’ll keep saying that every chance I get.</p><p>How you do this is up to you. I’ll go through flagging images in the first pass and continue to refine by setting 1 to 4 stars. Once I get done to the final set, I then start really looking for the final 5-star images.</p><p>So now you’ve got some images. Guess what? You’ve done some self-critique! Through this process you’ve identified something in an image that made you reject it or something in an image that made you want to keep it.</p><p>Before you start studying your 4-star picks let’s go back and look at the “rejects”. What happens if they’re all rejected? Well, this is when you have to start doing a deep dive. I’ve shot countless rolls of film that have had zero, that’s right, bupkis images that I felt were worth keeping. It’s then that you really have to summon up the courage to go back and really examine these, because <i>this </i>is where the gold is.</p><p>What happens if there are no rejections? You’re lying to yourself. Shame on you. No one is that good. No one. Go back and start over and be honest with yourself this time.</p><p>Pick some of your rejects and start looking at them. Pick several at random, if possible, from each pass through.</p><h3 style="text-align: left;">And now, a brief interlude… </h3><p>What the heck makes a good image? Well, there’s the technical Gang of Four: Focus, Exposure, Sharpness, and Processing. On the artistic side you have this Rest of the Usual Suspects: Subject, Content, Lighting, Composition and Framing. The Go4 and the RoUS I group together as “Craft” or as “The Alleged Rules.”</p><p>Overriding all of these though is The High Priest of Context. Context has two parts: Assignment and Vision.</p><p>Finally, encompassing all this is something, for lack of a better word, Quux. I’ll talk about “Quux” in a bit.</p><p>Focusing (hah!) on just the Go4 and/or the RoUS gives short shrift to an image when critiquing it. HPoC and Quux need to be considered as well or you’re shortchanging the image and yourself.</p><p>The HPoC governs the technical and non-technical choices that you make when creating an image. It even governs equipment choice and location. These last two don’t really matter as far as this discussion goes but it makes for an interesting thought experiment.</p><p>We’ve all been around long enough to understand what’s part of the Go4 and the RoUS. What may not be clear is how I’m defining the parts of the HPoC.</p><p>Paraphrasing Neal Stephenson: <i>“In the beginning was the Assignment”</i> Everybody, even an amateur, shoots to an assignment. You may not think so, but you do. Ask yourself: “Why did I go out to photograph today?” There ya go, there’s your assignment.</p><p>Your vision is how you are thinking about and how you are going to approach the assignment. What sort of images are you going to try to create to fulfill the assignment?</p><p>This means that the HPoC will drive how you execute the parts of the Go4 and the RoUS. You may end up making creative decisions that may deviate from what the gang of idiots that judge camera club photo competitions think is correct. Remember, the HPoC provides that bit of extra insight when you are doing a critique.</p><p>So, what the heck is “Quux” The Jargon File describes it as a metasyntactic variable (look it up). I’m using it as a place holder for a very nebulous idea that is composed of a variety of things. It’s like the umami of the image: the “essence of deliciousness”. It’s the thing that connects the viewer to the image. It’s more than an emotional response, it’s like the “bong” that Lovejoy (a divvy) gets in his chest when in the presence of a true antique. It is the Quuxness of an image that makes an image a truly great image.</p><p>You may notice that I’ve danced around the idea of “story.” Well, that’s for a reason. I hate to break it to Rod Stewart and Faces, but not every picture tells a story; not every picture needs to. If you’re into Dada, when they were asked what’s it about, they’d answer: “<i>Dada</i>.” If you’re William Eggleston, he has answered: “<i>That’s the most stupid fucking question I’ve ever heard.</i>” It’s true, look it up. If, however, you are a storyteller by inclination, then the story is important.</p><h3 style="text-align: left;">We now resume our regular programming…</h3><p>Where were we? Ah, yes. We’re looking at the rejects. While you were culling, did you note why some images were in and some images were out? What was that? Were the rejects just “meh”, lacking in Quux? Did they not communicate what you thought you were trying to say if you were trying to say anything at all? Did they not match what you saw in your mind’s eye?</p><p>The clever boots reading this will notice that I’ve only asked questions relating to the HPoC and the Quuxness of the image. Why is that? Because they really don’t matter all that much. Wait what? You heard that right. Of course, you’re going to try to get the Go4 right but if you don’t it doesn’t matter.</p><p>Look at Robert Capa’s D-Day image.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOwhfnbGrqRV_0KA8cUFqpP-5ptJlP0GGvOHIgbLJyoVnYw0ftBabQ6VFHipo3VKGPtGxWvsDAjTrVLwxdEDm7-1BbAgoPeeH5e2i6GYg05L1hoP-g17_7PEUvx9Kz_Z3_qCrY0pNB7qmKBIIELCe-m4B4-9HVW1sIb7WQsuKMc2NSRnF2xMZVhB0LM6O/s968/d-day.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="645" data-original-width="968" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOwhfnbGrqRV_0KA8cUFqpP-5ptJlP0GGvOHIgbLJyoVnYw0ftBabQ6VFHipo3VKGPtGxWvsDAjTrVLwxdEDm7-1BbAgoPeeH5e2i6GYg05L1hoP-g17_7PEUvx9Kz_Z3_qCrY0pNB7qmKBIIELCe-m4B4-9HVW1sIb7WQsuKMc2NSRnF2xMZVhB0LM6O/w400-h266/d-day.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>D-Day Landings by Robert Capa</b></td></tr></tbody></table><p>Exposed correctly? Nope. In focus? Nope. Sharp? Nope. Yet this image uses those three “fails” to produce one of the most potent images of the D-Day landings. It has great Quuxness given its Context.</p><p>Here’s another one that serves as an example of Go4 and RoUS “fails”.</p><p>Remember the cover of The Clash’s album “London Calling” shot by Pennie Smith?</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXy79i_duvsAhZPaHO-u4NKMDG6OPtLAi13P_ywDm6iVNv4gVLNz7rg1aT_FPFbwnXKKjhxPZLuiIJ4LUqCJlLbCVlRjkiiEGoOPilYiQ_TKYbbjRb1mh1YP_xBXrUHLM77c7x6eRzZU5g0B-_cLD4HaHGFlHRHinyIuUQlnE56rxdABwl-PoYqMDvg7Qy/s1923/londoncalling.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1923" data-original-width="1920" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXy79i_duvsAhZPaHO-u4NKMDG6OPtLAi13P_ywDm6iVNv4gVLNz7rg1aT_FPFbwnXKKjhxPZLuiIJ4LUqCJlLbCVlRjkiiEGoOPilYiQ_TKYbbjRb1mh1YP_xBXrUHLM77c7x6eRzZU5g0B-_cLD4HaHGFlHRHinyIuUQlnE56rxdABwl-PoYqMDvg7Qy/w400-h400/londoncalling.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>The Clash's London Calling Album Cover by Pennie Smith</b></td></tr></tbody></table><p>This image has an interesting backstory and it’s worth looking up on the HiveMind.</p><p>So again, sharp? Nope. In focus? Nope. Exposed correctly? Maybe. Framed? In post yes, when shot no. Composition? In post yes, when shot no. Subject? Again, in post yes, when shot hard to say. Remember she was shooting 35mm film and the image had to be cropped to make a square album cover. The image though, is strong with the Quux.</p><p>So go back and look at the rejects to see if any of them have “fails” that contribute to the strength of the image.</p><p>Bill Brandt said:</p><p></p><blockquote><i>"…photography has no rules. It is not a sport. It is the result which counts, no matter how it is achieved."</i></blockquote><p></p><p>It’s not vital to answer the HPoC and Quux questions raised above but they are worth thinking about. Honest introspection is key here. Would it have made a difference if I’d stepped to the left 3 paces, or closer, or farther way? Framed it vertically or maybe if I cropped it? What if I changed the exposure parameters, say underexposed it, changed the lighting or the time of day, changed where I focused, or changed the depth of field? Perhaps it’s just a crap image and you move on. It is through this process of self-examination that one moves forward.</p><p>Looking at the images that you feel “made the grade” you go through similar analysis. This is even harder than looking at the culls. A very high degree of self-awareness, brutal honesty and a brutally dispassionate eye is required. This is freaking hard work!</p><p>When looking at the “keepers” first ask yourself: “Is this a keeper because I am emotionally invested in the image?” You must remove the self when looking at the image and remove all attachments to the image. Emotional investment is hard to shake. You sat there, in the heat, cold, rain, whatever, waiting for that precise moment that everything came together. You pounded the streets, until at that precise moment there was the image waiting for you. You probably remember the sounds and smells, what your gut felt when you tripped the shutter.</p><p>I took a portrait of a pilot who was leaving the company I worked for and took an image of him walking away from me going along the flight line. I can still smell Jet-A. I can still hear a PT-6 starting up. That’s an example of emotional attachment, for both the subject and the photographer. Fortunately, it’s a good image and he has it as his avatar online and has it framed on his desk at home.</p><p>Is this image a keeper because it satisfies the Go4 and RoUS, yet you have forgotten the HPoC and the Quux? A technically perfect image can be utterly devoid of life even if it includes the HPoC.</p><p>Consider the stock images that litter corporate websites. Here’s one:</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYEoIYwVAJ485LiHwRP8dQ9Uzi7W3oUIghhwapcFzptz4_Jmu8rooP6XqVFONGOTETBsAUqEEHv8hTAl898cK7NsYK1nNEfoxhlXx8Mlh6GDR7khRgFWXdYuBB736qn5MSvZfDhN40BUhiwpHVnPUrwPLXQCu-wf-avzHSz3LeDqFAR0B3bsW9O9k-XH3/s720/genericTeamPicture.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="520" data-original-width="720" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYEoIYwVAJ485LiHwRP8dQ9Uzi7W3oUIghhwapcFzptz4_Jmu8rooP6XqVFONGOTETBsAUqEEHv8hTAl898cK7NsYK1nNEfoxhlXx8Mlh6GDR7khRgFWXdYuBB736qn5MSvZfDhN40BUhiwpHVnPUrwPLXQCu-wf-avzHSz3LeDqFAR0B3bsW9O9k-XH3/w400-h289/genericTeamPicture.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>A typical stock photo</b></td></tr></tbody></table><p>Yup, it satisfies the Go4, it satisfies RoUS, it even satisfies the terms of the assignment: “a bland image of diverse employees working together”. Was the vision met? I suppose so. It certainly satisfies the brief. However, a rock has more life than this image. It is just like flavourless Wonder Bread. It is totally devoid of Quux and yet this image and others like it are all over the internet. Dull and dreary without communicating a thing.</p><p>You can dive deeper into your own images if you wish. There are many resources on the web, many of them indifferent. I’ve put some links at end of this article. My recommendation is that you take what helps you and discard the rest. But remember these two things:</p><p></p><blockquote><p><i>“…when you look at one of your images how does it make you feel? If it makes you feel like there’s something there, follow that path, follow that passion, follow that creativity.”</i></p><p style="text-align: right;">-- Greg Carrick</p></blockquote><p></p><p></p><blockquote><p><i>“…it is not the sharpness of the image that people will respond to. They will not, one day in the distant future speak about your stunning histograms.”</i></p><p style="text-align: right;">-- Dave duChemin</p></blockquote><p></p><h2 style="text-align: left;">Critiquing Other Photographer’s Work</h2><p>Well. We seem to have flogged looking at your own images to death. What do you do when you are asked to critique someone’s image? How do you go about it? How do you present the critique? How do you receive a critique if it’s your image that is being looked at. Again, I’m speaking about a single image, not a body of work.</p><p>There are three different ways that you may be asked to critique someone’s work: being asked by the photographer in person, being asked online or being in a workshop and having to review an image by someone in the group. Note that I don’t include judging an image for a competition (something I loathe). Judging is a whole other thing, and I don’t want to even go there. Barrett and Minor White to provide some guidance on that subject.</p><p>Barrett goes into some depth breaking down the sorts of critiques one can do. I’ll list them here but look to Barrett’s book for a detailed description of each:</p><p></p><ul style="text-align: left;"><li>Intentionalist</li><li>Descriptive</li><li>Interpretive</li><li>Judgmental</li><li>Theoretical</li></ul><p></p><p></p><p>I must admit I loathe the word “judgmental.” Growing up in a Calvinist household, the entire concept of judgment leaves me shuddering whenever I hear it. It’s just too final, too negative, no matter how Barrett and others try to sugar coat it. Let’s use the word “feedback” and “evaluative” rather than “judgmental”.</p><p>Of all the types of critiques listed, the one that best matches the situation you’ll likely to be in is “Feedback Critique.” The others, while interesting, are not likely to be encountered online or in a photo club setting. Theoretical critiques might happen when, after the meeting, a few too many beers have been consumed!</p><p>Before we go any further, we have to remember that photographs have a visual language. Parts are constant across cultures or genres; others are unique to cultures and genres. Like any language, photography has its grammar, its tropes, and its symbols; again these vary because of culture and genre while others are constant.</p><p>This all combines to inform a photographer’s vision and voice. This is a whole other area of discussion and is too complex to talk about here, but you do have to be aware of these as you critique others’ images.</p><p>You also have to be aware of the skill and experience level of the photographer. You have to adjust your evaluation to reflect this. You can’t evaluate the work of a beginner the same way you evaluate the work of someone who has been making images for decades (although I have seen images by the latter category that sometimes make me wonder if anything has been learned during those decades).</p><p>When giving a critique you can’t go all Roman Centurion correcting Brian’s abysmal Latin. It’s just not constructive. Sure, you’ll remember that <i>“Romani ite domum”</i> is correct (usually in a horrifying flashback to your days at school) but I doubt you’ll remember why it is correct.</p><p>How do you begin? Start by quick writing. This is a technique where you write about the image for no more than two minutes; even a minute is fine. Don’t worry about grammar, organization, or spelling. Get your reactions down on paper. These are your first reactions to the image and will act as a guide to your feedback and evaluation.</p><p>You have to remain objective throughout. You become objective quickly when you realize that the photograph you are looking at is neither good nor bad, but simply, to quote Joe Friday “Just facts”. These facts may add up to be realism, dadaism, expressionism or what ever other “ism” is out there. </p><p>Begin (using your quick writing) by describing what you see. Consider the subject matter, how form relates to the subject. Remember to review you evaluations in light of your own assumptions and preexisting ideas.</p><p>Describing the purpose (HpoC) of the photograph is difficult if you’re not sitting next to the photographer or have a statement by the photographer to hand. Even a title or a caption is helpful. Absent these you have no idea and you have to rely on educated guesses. Assign purpose by saying: <i>“This image affects me in [some descriptive way] and I believe it serves [some description] purpose because [reasons].”</i> The order doesn’t matter, but you always have to back up your guesses with a well thought out reason.</p><p>Now, you can begin to interpret the image. Again, not easy. You have to steer clear of your own biases. Go back to your quick writing. If it contains questions about the image, expand on those. If you have sketched out an interpretation expand on that. Support your interpretation with factual information. If, for example, you feel that the image echoes the work of SomeArtist by SomeTechnique to show SomeStory then say it and support it with facts. If the image takes that SomeArtist’s concept further to define a new way of addressing SomeStory then say it and support it with facts. If however the image merely apes SomeArtist’s image or style or technique and fails then you’re faced with the conundrum of how to (gently) let the photographer know. Facts come to the rescue here. Show why the image has failed and how it could be improved supported by cogent observations of what is in the image. Preferences are not valid observations, they are merely psychological reports on your own state of mind. Thanks to Barrett for that observation.</p><p>You have to have the presence of mind however to be open to the idea that the image you are looking at is a whole new style, or a riff of an existing style that has been turned on its head. This usually won’t happen in a photo club or online forum but you have to be aware of a nascent talent’s work landing in your lap. What ever you do, don’t behave like the art critics when they were first exposed to the Impressionists for example. If an image gets your chuddies in that much of a twist sit down, have a cup of tea, and look inward and ask: <i>“What do I fear from this image so much that I am openly hostile towards it?”</i></p><p>Again, I have to reiterate that the image is at the very least technically competent for some value of competent. No image is perfect. Not even the greats would own to their images being perfect. Each image is a step along the road of the “Ongoing moment” (thanks to Geoff Dyer for choosing that title for one of his books).</p><p>In the milieu that and will most probably find ourselves, the chance of us being asked to critique a image by SomeFamousPhotographer is vanishingly small.</p><p>We’ve described the image and assigned a purpose. We can now do a technical assessment and perhaps provide suggestions to make the image more powerful. Again, using your quick writing and the Craft (Go4 and RoUS) you phrase your suggestions in such away as to be as constructive as possible.</p><p>For example, the framing is a bit off so you could say:<i> “Perhaps if the photographer moved a pace to the right it would place the subject to draw the viewer to the subject and away from the tree.”</i> In general you can say:<i> “Perhaps if the the photographer [adjustments element(s) of craft] it would [result]</i><i>”</i>or: <i>“I wonder is the photographer [adjustments element(s) of craft] what the image would be like.”</i></p><p>Easy Peasy, right? No ruffled feathers, no confrontation and a possibility of opening a dialog about the image.</p><p>What happens when the photographer’s vision exceeds their craft? Or their craft exceeds their vision? This can be difficult to deal with and as I have mentioned above, facts come to the rescue and you use these facts to show why the image is lacking and what can be done to improve it. Again, use non-confrontational language.<i> Don’t</i> say: <i>“Nice try, but your exposure sucks and yada-yada-yada.”</i> Just don’t. Instead, say things like <i>“I think I understand your vision, but the [element(s) of Craft] seem a bit off. Maybe you can tell me why you made those choices.”</i> You want to start a dialog so both of you can learn.</p><p>The most difficult situation is where there is no Vision and no Craft. The camera has been set on Auto and no thought has been given to communicating anything. In short, a happy snap. You have two choices here.</p><p>You can beg off by saying: <i>“I don’t think I’m the right person to critique this image.”</i> This is kicking the can down the road and doesn’t really help anyone – not even yourself as the best way to learn a subject is to try and teach it.</p><p>If you are feeling up to it you can possibly try to walk the person through the image pointing out why the image doesn’t work from a HpoC and Quux perspective and how to get around those issues and then elaborate on how Craft (Go4 and RoUS) can support getting to HpoC and Quux. Again, every statement has to be supported by facts and reasons. If you get any push back, just drop it. You may have planted a seed and the photographer may go and do some reading (at best), take a workshop, or jump on the YouChoobies at worst.</p><h2 style="text-align: left;">Receiving a Critique</h2><p>What happens when your image is being critiqued? How do you receive that critique? I’m going to assume that the critique you are receiving is done in the same spirit as I’ve describe. If it’s confrontational, aggressive or nasty just say: “Thank you” and move on. Haters are going to hate and it’s best to let them swim in their own poison.</p><p>Remember that the critique is of the image, not of you. You may be heavily invested in the image and think that it’s the next “Moonrise Over Hernadez” but that’s immaterial.</p><p>Be centered and receptive when receiving the critique. Open your ears. Like Yogi Bera said: “You can see a lot just by listening.” Don’t block out the critique by rushing ahead and creating a list of “Yeah but”. The same applies to a written critique. Read, think, pause, rinse, repeat.</p><p></p><ol style="text-align: left;"><li>Go in with an open mind and view this a learning experience.</li><li>Breathe and be mindful.</li><li>Wait before responding.</li><li>Ask for clarification</li><li>Do not accept criticism blindly. Begin a dialog about the image, about your vision, about your craft.</li><li>Don’t disregard positive comments.</li><li>Remember we’re all here to learn.</li></ol><h2 style="text-align: left;">Useful Resources</h2><h3 style="text-align: left;">Eileen Rafferty</h3><p>Ms. Rafferty did several excellent videos at the B&H EventSpace on various subjects that are helpful when critiquing an image:</p><p><a href="https://www.youtube.com/watch?v=r-Bx5krtLZY&ab_channel=B%26HPhotoVideoProAudio" target="_blank">Art Movements in Photography</a></p><p><a href="https://youtu.be/o9RQ6YPVWhA?si=n5AH5ZDcvKIzgo-j" target="_blank">Designing an Image</a></p><p><a href="https://youtu.be/46KOBAs9oPE?si=wdFHLQ8SKdUG5G5m" target="_blank">Learn the Language of Photography Through Critique</a></p><p>B&H has many excellent videos on their <a href="https://www.youtube.com/@BandH" target="_blank">YouTube channel</a> and most of them aren’t product promotions. It’s worth rummaging around in there.</p><h3 style="text-align: left;">Judy Hancock Holland</h3><p>Ms Hancock Holland posted this useful video on critiquing your own and others' photographs. She's even published a handy-dandy checklist. </p><p><a href="https://youtu.be/b5aqgBA4BtA?si=ZC0OA5PVfj5gJVi4" target="_blank">Critiquing Photos: Yours and Others'</a></p><p><a href="https://www.jhhphotography.com/_files/ugd/43f3b2_3012a84a04704a6b8316405e9e98578e.pdf" target="_blank">Checklist for Evaluating Photos (Yours and Others) </a></p><p>Terry Barrett</p><p><a href="https://en.wikipedia.org/wiki/Terry_Barrett">Mr. Barrett</a>'s book <i>"Criticizing Photographs"</i> is a must read for anyone venturing into the murky world of photographic criticism and critique. You can find it on Amazon and other online booksellers</p><h3 style="text-align: left;">Aperture</h3><p>This is one of the grandaddies of photography magazines. The era when Minor White was editor is rich with articles by White, Adams and many others. The article in Volume 2 Number 2 (1953) by Minor White entitled <i>"Criticism"</i> what started all this off for me, way back in the mists of time. I found in the book: <i>"Aperture Magazine Anthology -- The Minor White Years 1952-1976" </i>You can find this book online at the <a href="https://aperture.org" target="_blank">Aperture</a> website and at many other online booksellers.</p><p></p><h3 style="text-align: left;">David duChemin</h3>Mr. duChemin has written many very thoughtful books that actually talk about achieving "Quux". He is insightful, penetrating and a damn fine writer. You see his books on his <a href="https://craftandvision.com/collections/all" target="_blank">website</a> and they are available at the usual online booksellers.<p></p><h3 style="text-align: left;">Michael Freeman</h3><p><a href="http://www.michaelfreemanphoto.com/" target="_blank">Mr. Freeman</a>'s books on 35mm photography took me from a tyro aping being a photographer to developing the technical chops to do the job. His series of books. The Photographer's Eye, Mind, Vision, Story (4 books) are well worth reading.</p><h3 style="text-align: left;">Alex Kilbee</h3><p><a href="https://aboutphotography.blog/blog/alex-kilbee" target="_blank">Mr. Kilbee</a>, will you please stop reading my mind! Really. I start writing something and sure enough, three days later he posts something on YouTube that mirrors what I've been mulling over. His <a href="https://www.youtube.com/@ThePhotographicEye/featured" target="_blank">YouTube channel</a> is well worth subscribing to. All killer, no filler.</p>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-86649785992114511832023-12-19T17:05:00.001-07:002023-12-19T17:07:31.679-07:00Skaters by the Seine<p>Notice I didn't say "on the Seine" although it felt cold enough. No, the Seine flowed north to the sea unperturbed by the cold, churned up by loaded gravel barges going down stream hooting at the returning empties.</p><p>Strolling along the left bank on a brisk November day, it was fairly quiet. The used booksellers, the ones that were open, huddled in lawn chairs wrapped up to ward off the damp cold. The sun was still shining yet everyone was walking with purpose, hands thrust in overcoat pockets heading to a place where they could warm their bones.</p><p>I had made a few desultory images, more just to get into the rhythm than anything else. As I walked further upstream, past the Pont de Sully, by the Quai St. Bernard there were a three young gentleman working on their tricks: the video guy, the coach and the skater. I watched for about 10 minutes and motioned to ask if I could photograph them.</p><p>As luck would have it, I only had the Leica which doesn't autofocus. So, reaching back into the recesses of the archive I dusted off the old "<i>f</i>8 and be there" mantra. Several test shots to gauge distance and "Bob's your auntie." I made several good images once I got things dialed in. </p><p>The thing with <i>f</i>8 is that you have quite a large depth of field so you get the subject in focus but also a lot of the back and fore-ground. But, technology to the rescue! The latest version of LR has an experimental Lens Blur function. This stunning piece software that analyzes the image and calculates a pseudo depth of field that you can then adjust. Works a treat and I've used it on several images.</p><p>I went with a grainy high contrast black and white style:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8GqVuM493dwZ4tFPWmGu-G17WBfSdLT0bii34Z-3rNE9kIA3K1BW9vcLZtWrKUMXI-U5jukMwFSorbIT6bNjpE_IG9DTM07tCxmvBmNsrKEQS_YWAS7ssOe_w-ndNChufOnI9WkcVTLwoFiFatvarGVfDoNyZWr7eqrMXpNO-jJe4-UKd0BngC6UE54D/s2055/L1000069.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1644" data-original-width="2055" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8GqVuM493dwZ4tFPWmGu-G17WBfSdLT0bii34Z-3rNE9kIA3K1BW9vcLZtWrKUMXI-U5jukMwFSorbIT6bNjpE_IG9DTM07tCxmvBmNsrKEQS_YWAS7ssOe_w-ndNChufOnI9WkcVTLwoFiFatvarGVfDoNyZWr7eqrMXpNO-jJe4-UKd0BngC6UE54D/w400-h320/L1000069.JPG" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXqGpG3xXviCP2ZiB2_szfWITFTzK_Vm6kubvfQYAcpWkORrgyf-aiGMo8GOzGnB1UyHRJPC70zNo1l5wG3ZcHXC9NeCB7mBDG1pVQ23UweB9nDT3hRdGyHI0omnqCdBQyVyJgGpV1qAWM86gbcyevBTmzZL8EyFEAKicETe-kL1ROHLWkWWq0TImJ6WX/s2898/L1000074_DxO.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2898" data-original-width="1928" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXqGpG3xXviCP2ZiB2_szfWITFTzK_Vm6kubvfQYAcpWkORrgyf-aiGMo8GOzGnB1UyHRJPC70zNo1l5wG3ZcHXC9NeCB7mBDG1pVQ23UweB9nDT3hRdGyHI0omnqCdBQyVyJgGpV1qAWM86gbcyevBTmzZL8EyFEAKicETe-kL1ROHLWkWWq0TImJ6WX/w266-h400/L1000074_DxO.JPG" width="266" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkBeXfLmUcLoOumNVK5oSHizoig9xG5ejKCdY7ZuP3NnEDQ6TL0D5U9EcWAU7UImBZZTm1ndvPj-DSbFQN9Aq-kB7iW2Uyr8kzDzTS-Kb_OwTMOVekwU3uaV0Ui0gM82BWzEpA1wkbPnIpMHzbUoriQjbn54ZOHMZTjyAVsISpx82wweTixDB-GjUJ3q49/s2962/L1000075.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2962" data-original-width="2370" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkBeXfLmUcLoOumNVK5oSHizoig9xG5ejKCdY7ZuP3NnEDQ6TL0D5U9EcWAU7UImBZZTm1ndvPj-DSbFQN9Aq-kB7iW2Uyr8kzDzTS-Kb_OwTMOVekwU3uaV0Ui0gM82BWzEpA1wkbPnIpMHzbUoriQjbn54ZOHMZTjyAVsISpx82wweTixDB-GjUJ3q49/w320-h400/L1000075.JPG" width="320" /></a></div><p>After the shoot, in broken schoolboy French (on my part), non-existent English (on their part), and hand signals (on all our parts) I managed to get an email address for one of them so I could send them the images. I did several other treatments for fun but the images above are my favourite.</p><div><br /></div>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-73434148224656905062023-09-15T16:16:00.002-06:002023-09-21T10:56:51.433-06:00The EM-1 Mark I is 10 Years Old — So I Bought One<h3 style="text-align: left;">We all rationalize when we get GAS</h3><p>But why? Well, my E-P2, while still working well, was starting to frustrate me, especially the autofocus. The smallest single point was huge and it would often focus on not what I thought it was focusing on but somewhere else: an ear, a nose, the tree next to the face — you get my drift. At times it was sloooow and focusing my Leica was quicker compared to the E-P2 as it hunted back and forth. Often, under my breath you could hear me mutter: “Focus, you fsck!”</p><p>The E-P2 still a great camera and even at 14 years old makes great images, especially if you run the RAW files through DxO 6 or DxO PureRaw. Lightroom sometimes makes a right hash of m43 raw files, especially skies. Just the other week I used it to shoot some family portraits of a neighbour's family: the 45mm f/1.8 is just dandy for that. I used the Leica with 50mm f/2 Summicron for the group shots.</p><p>Anyway, I was in a pawnshop the other day and there, sitting neglected and alone an EM-1 Mark I with a HLD-7 battery holder and kit lens for 329CAD (that's about 250USD). A quick visual inspections showed it lightly used although it had a weird rubbery thing around the default viewfinder. Overall I'd rate it as LN-. Except for one thing (always that one thing): no battery compartment door. That would make it BGN. No problem says I. I should be able to source this online from the usual suspects. So I bought it.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsU4fANn4-d38z7ri5YFqb4PH7UbHFtENq2lygkgPhNNq6156xaKZtco_KTEySpu7e0U-z1NpfQ-hxkYhXKtPt1jxQ_f4P8BEy5wF8tlk_xf6LAN9niHHffwWo9c39WtEYKFOZPiNLsbLfuJ2hzEPb4ng6yCB44hKBBGeu7gfzbZklwsDk5hl5K55Vfvsb/s4032/IMG-4229.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsU4fANn4-d38z7ri5YFqb4PH7UbHFtENq2lygkgPhNNq6156xaKZtco_KTEySpu7e0U-z1NpfQ-hxkYhXKtPt1jxQ_f4P8BEy5wF8tlk_xf6LAN9niHHffwWo9c39WtEYKFOZPiNLsbLfuJ2hzEPb4ng6yCB44hKBBGeu7gfzbZklwsDk5hl5K55Vfvsb/s320/IMG-4229.JPG" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggi8e4liYiKehMrTDM0bc-8NM3ST4ExbT7LUTRVc_VToKvU2gnSBYq2EPAF1h_c5JRpC32GFUs53d-EivO_DcTg9YELUiUCe5TtF6ZteihsGXWF_s8XsM0ZIcX-n-hGcvXtcAZ6NC-C87XGghjvsY3w6J-d7tEm123C-TFZ8I7aty0V5ldm3d6QG9b2R3_/s4032/IMG-4230.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggi8e4liYiKehMrTDM0bc-8NM3ST4ExbT7LUTRVc_VToKvU2gnSBYq2EPAF1h_c5JRpC32GFUs53d-EivO_DcTg9YELUiUCe5TtF6ZteihsGXWF_s8XsM0ZIcX-n-hGcvXtcAZ6NC-C87XGghjvsY3w6J-d7tEm123C-TFZ8I7aty0V5ldm3d6QG9b2R3_/s320/IMG-4230.JPG" width="240" /></a></div><h3 style="text-align: left;">Men in sheds with tools</h3><div><div>You'd think that the quest for said battery door would be easy. Not so. Door latches? Heck you can 3D print those. Other bits and bobs, ditto. The door? Hah! In fact double hah! I spent days trying every possible combination of query words. Mark II doors? Hava yes. EM-5 doors, EM-10 doors? You betcha! Mark 1 doors? Nope. Multiple search engines, drilling down through AliExpress, surfing every message board about m43. No dice. Oh sure, I got hits, but they had the “<i>No Longer Available</i>” tag next to them.</div><div><br /></div><div style="text-align: center;"><i><span style="font-size: medium;">Call out to anyone who may have an EM-1 MK I door assembly or knows where to get one let me know. Or, does any other EM door fit?</span></i></div><div><br /></div><div>Well, I thought, perhaps if I tighten down the HLD-7 the in-camera battery will stay put. Nope, the slightest jar would make it springensproing off the contacts; still contained by the HLD-7 but no path for the angry pixies to flow. Try it without the in-camera battery. Nope, it needs to be there, even if dead. Several cups of tea and Hob-Nobs later I thought I came up with a solution. Cut a piece of say 1/16" plastic to shape and fettle it in and affix with black Gorilla Tape in the tradition of Red Green. Worked around the house, but when the temperature outside began to rise to about 30C the tape would still "stick" but under the pressure of the spring in the battery well would start to deform the plastic and the tape and then, again, the slightest jar would make it springensproing off the contacts as before.</div><div><br /></div><div>Clearly some fabricobbling was going to be required. I don't have a 3D printer and nor do I wish to become proficient designing stuff for same. More tea. More Hob-Nobs. Ah-ha! I've got it. I need something stiffer and thicker (that's what she said). Sheet brass, cut, stacked and fettled as required should do the trick. That will give the HLD-7 something to press on properly without flex and be temperature stable (I'm not going to walk the sands of Kakrafoon with it).</div><div><br /></div><div>I chose sheet brass as it doesn't corrode and is easy to work with. Careful measuring with my calipers showed that 1/32" was a good thickness (that's about 0.03", 22 gauge or 0.76mm). Any thicker and I wouldn't be able to build it up as required and any thinner would be too flippy-floppy.</div><div><br /></div><div>I ended up with a design something like this (not to scale by any stretch of the imagination and yes, it's on the back of a napkin):</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8y79j9JAQsuFGgBwpd8XmgAj7RPdQUYx7e1Wb_utnQayVX2HzO8xVx0Bsk1HSMViLq4L_bByvdQfaY_9F8UuFexz-IKv6iv1b0fGrfTxLnfb7K0PogTCzkaDsLchs73GHDHs_CS6sIq7ZAEur8So-QqsU9w8vaD-uE643NTFwUNMzofcjGE4QQIKQzWId/s4032/napkin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8y79j9JAQsuFGgBwpd8XmgAj7RPdQUYx7e1Wb_utnQayVX2HzO8xVx0Bsk1HSMViLq4L_bByvdQfaY_9F8UuFexz-IKv6iv1b0fGrfTxLnfb7K0PogTCzkaDsLchs73GHDHs_CS6sIq7ZAEur8So-QqsU9w8vaD-uE643NTFwUNMzofcjGE4QQIKQzWId/s320/napkin.jpg" width="240" /></a></div><div><br /></div><div>The problem now was finding sheet brass. Almost all of the hobby stores in town have closed up shop save two. Luckily one was close by and I found a sheet of 0.03" brass that was just the right size. Thank you <a href="https://trainsandsuch.com">Trains and Such</a>. Off to the workshop for cutting with the fret saw, rounding off with the Dremel, making a notch for the battery retaining clip and sticking it together with Krazy Glue and I came up with this:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkCCQ3KzJdbu3sUOqM_s_slLg7H3HfMzoKYGn8aG5JrBDw7lE9YiMCrXZdD5sis3OQzRuUL7eB6_A7yWay4xp41HDLA1uy5O0PEfNK0t9cm-kUh1Hf042ahHz1gnbTUBX_Fg1F3s0LaX0Ga3vDYN8loNf9aiX21bKG69gjGKmGT_81Rm_9zHfVkAFhYpq/s4032/IMG-4231.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkCCQ3KzJdbu3sUOqM_s_slLg7H3HfMzoKYGn8aG5JrBDw7lE9YiMCrXZdD5sis3OQzRuUL7eB6_A7yWay4xp41HDLA1uy5O0PEfNK0t9cm-kUh1Hf042ahHz1gnbTUBX_Fg1F3s0LaX0Ga3vDYN8loNf9aiX21bKG69gjGKmGT_81Rm_9zHfVkAFhYpq/s320/IMG-4231.JPG" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmj0SLX7Us2x7VlzqljLvYr2bPRwldwfwiFIUAW9Aa0ESJ8tUO5XaeY3XQQX87-hGGTsUCkTxZ0tY0ScE-ScjL3eUGVOdDRFQ8_PBK3xnCDDqI9TXLmeZYBv0_Ti73pRSrVc_n-FIDdos1_KDDlPgVmLIKfDLa0n8YAla6asgHxAGzut0dL4IUOhdA04xV/s4032/IMG-4232.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmj0SLX7Us2x7VlzqljLvYr2bPRwldwfwiFIUAW9Aa0ESJ8tUO5XaeY3XQQX87-hGGTsUCkTxZ0tY0ScE-ScjL3eUGVOdDRFQ8_PBK3xnCDDqI9TXLmeZYBv0_Ti73pRSrVc_n-FIDdos1_KDDlPgVmLIKfDLa0n8YAla6asgHxAGzut0dL4IUOhdA04xV/s320/IMG-4232.JPG" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEdoW3tDXEXtFZe7Hhkbims3DDu7-a-Qs-mv1qCb0y6lBaE0cDXPDyFnNkswG6xJLsqZysvpg1vBy0GBQ17SSNmmlazdLySL3st4XB0x0xo26e_zSXKPOokj2ntHA69jub2d5exT3gsDB2ke4RJhLnHt5F6QqLs7bmLKHnOuflf7lHS3piuNOaLJd7C5Ji/s4032/IMG-4233.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEdoW3tDXEXtFZe7Hhkbims3DDu7-a-Qs-mv1qCb0y6lBaE0cDXPDyFnNkswG6xJLsqZysvpg1vBy0GBQ17SSNmmlazdLySL3st4XB0x0xo26e_zSXKPOokj2ntHA69jub2d5exT3gsDB2ke4RJhLnHt5F6QqLs7bmLKHnOuflf7lHS3piuNOaLJd7C5Ji/s320/IMG-4233.JPG" width="240" /></a></div><br /><div>Not the prettiest and I can just see <a href="https://badobsessionmotorsport.co.uk/category/project-binky/">Nik Blackhurst</a> rolling his eyes but hey-ho, fit for purpose. It looks a bit like the gold bail from the Heart of Gold doesn't it?</div><div><br /></div><div>It works great and everything stays in place as it should. The only issue is having to lug the HLD-7 around everywhere which makes me about as discreet as lugging my E-3 around. This presented me with the next challenge: How make something that would act like the HLD but without its size.</div><div><br /></div><div>It came to me while I was reading “<i>So Long and Thanks for All the Fish</i>”. The doggos where curled up on my lap and for some reason my mind wandered (as it does, I've got to fix that hole) and for whatever reason Nik Blackhurst popped into my mind.</div><div><br /></div><div> “That's IT,” I shouted, startling the dogs and scattering them to various parts of the house, ”a bracket!” You see, Nik has a bit of a bracket fetish.</div><div><br /></div><div>I didn't want to build one because I don't have the shop tools to work with a billet of aluminum or steel. I could have used some of the maple planking I have in the shop but that's not dimensionally stable — well it is if I don't leave Calgary but going to anywhere damper would make it started to do odd things.</div><div><br /></div><div>So back to the usual online suspects and there it was, the perfect camera bracket, 120mm long and about the right width. At 17 Canadian Pesos and delivery tomorrow, clicking "Buy Now" was obvious. It's a camera bracket/plate for use with Arca Swiss tripods but I don't have a tripod and at 17 bucks, you can't beat it. What about having to take it off to change batteries? So what? I do it with the Leica all the time. Not. A. Problem.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0U9F47Wmusb3j4WERdsaGTcTMkNpgzhin7TqN-tMmbnPr4ysLGHiY8uY-xGQzVknjyUvKCmLo7STfdsl7HFVDW91N4ptEQN0wdcDvOhG0MxNuaR-sSiNRP4MzQ2mCPD-hSrf2T6z9JlBbU3GKMuGBdGGHEtfnJtGOOvwxFfTEiQiplN8s4EF9h293vYuN/s4032/IMG-4237.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0U9F47Wmusb3j4WERdsaGTcTMkNpgzhin7TqN-tMmbnPr4ysLGHiY8uY-xGQzVknjyUvKCmLo7STfdsl7HFVDW91N4ptEQN0wdcDvOhG0MxNuaR-sSiNRP4MzQ2mCPD-hSrf2T6z9JlBbU3GKMuGBdGGHEtfnJtGOOvwxFfTEiQiplN8s4EF9h293vYuN/s320/IMG-4237.JPG" width="240" /></a></div><br /><div>In either config the camera is no longer weatherproof, but neither are any of my other cameras except for the E-3. Besides, if it starts to rain when I'm oot and aboot I'll dive into the nearest pub or back into the car — like Weston, if it's not with in 50 yards of the car I'm not going to break a sweat trying to make an image. My back, my knees and my hips are past doing the mountain goat thing.</div></div><div><br /></div><div><h3 style="text-align: left;">Working with FrankenEM-1</h3><div>Right from the get go it felt like I had a lighter version of my OM-1 in my hands, even with the HLD. The viewfinder is awesome for an EVF, orders of magnitude better than the EVF-2 on the EP-2. Nice and bright, and for a 4/3 camera of any type it feels spacious. Not as spacious as my OM-1, but stil spacious. This camera is wicked configurable and if you can't get it set up to suit the way you shoot, then I don't know what to say. I've re-assigned the Record and F2 buttons to be Focus Peaking and Focus Zoom, AF to a 3x3 centered pattern all though I may change that. I'll have to see how it works on the street.</div><div><br /></div><div>I've also defaulted to Centre Weighted metering because it's what I'm used to although the pattern is truly centre weighted unlike say, the OMs that while center weighted were biased downward away from the sky.</div><div><br /></div><div>The images I've tested with are great. OOC jpegs have that Olympus look and running the RAW files through DxO Photolab 6 produce excellent results. All the other measurebating can be found elsewhere on the interwebs so I leave that for you to find.</div><div><br /></div><h3 style="text-align: left;">Conclusion</h3><div>For 329 bucks for the camera, 5 bucks in brass sheet and a 17 dollar camera plate, I've got a great camera that feels great and one that I'm very comfortable with. My standard load out now for travel is my M-E with a 35 f/2.8 and 50 f/2 lenses, the EM-1 with the 45 f/1.8 and Lumix 14 f/2.5. Why both? Why not one or the other. Dunno. Some situations seem to call for the Leica, others for the EM-1. They're both small enough and light enough for me to carry both. </div><div><br /></div><div>As well as having a very good camera, I've a camera that gives me full flexibility. Having been with Olympus since the OM-1, I can mount my OM lenses (my beloved 50 f/1.4 and 100 f/2.8) for some compact reach if I need to. For something longer, I've a 200 f/4. That's more for when I'm "road trip" photographing I don't have to lug all the kit around. I'm of two minds about getting an MMF-2 so I can use my 4/3 lenses. The 12-60 is twice as big as the camera and the 50-200 is would be just so out of balance that I really can't see the point. I still have the E-3, 510 and 300 for those so if the use-case requires that sort of kit, I've got that covered.</div></div><div><br /></div><p><br /></p>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com1tag:blogger.com,1999:blog-8988622180515008504.post-68784389075404907782021-11-25T20:22:00.001-07:002021-11-25T20:22:16.941-07:00Recent Work<p>In between COVID waves I've been able to do a bit of travelling and while very rusty, I've been able to make a few passable images.</p><h2 style="text-align: left;">Denmark</h2><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7zUR27Q2waiIFNiR-nVgQSWpLLm8g52fruFHt66AIIYAMTw_4xNvxtxp-A15STpjl18EYTqu2BaPhupmaXlmIOZxfa0bQAnVicSDJlAwfBXuVLfKaPp12SD9V8Ljl4ot7LmtesUWzrxO/s2048/L1103749.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7zUR27Q2waiIFNiR-nVgQSWpLLm8g52fruFHt66AIIYAMTw_4xNvxtxp-A15STpjl18EYTqu2BaPhupmaXlmIOZxfa0bQAnVicSDJlAwfBXuVLfKaPp12SD9V8Ljl4ot7LmtesUWzrxO/w640-h512/L1103749.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Bubble<br />Rådhuspladsen, Copenhangen</b><br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN367Krb7W6f8MGL4AE8B4hKFP8rMVcvil0bPwntsWKP9oJqXH4SSx6hwT00GguoQwm0uQRPSRSsnIgsLv7-gGu2pHDrOdTRvB-20nlW0DtIXWDKadwh3JCWP8RQmFmOQGQMRWY1vui-zw/s2048/L1103778.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN367Krb7W6f8MGL4AE8B4hKFP8rMVcvil0bPwntsWKP9oJqXH4SSx6hwT00GguoQwm0uQRPSRSsnIgsLv7-gGu2pHDrOdTRvB-20nlW0DtIXWDKadwh3JCWP8RQmFmOQGQMRWY1vui-zw/w640-h426/L1103778.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Coffee Cup in Early Morning</b></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhthvbvggQFa9Y-GvQ7j4x4id35tqouq4KmczGdrbHvm0fL5tjwy18-zD2t6yq2uuGehRyA-qRqFBZ2fm6lWs4zx-lJSvPrLQzRGeoE1QyN_C_rjaQztFCFcKw_GcGRm950Boa5G9uVA7oJ/s2048/L1103783.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhthvbvggQFa9Y-GvQ7j4x4id35tqouq4KmczGdrbHvm0fL5tjwy18-zD2t6yq2uuGehRyA-qRqFBZ2fm6lWs4zx-lJSvPrLQzRGeoE1QyN_C_rjaQztFCFcKw_GcGRm950Boa5G9uVA7oJ/w640-h426/L1103783.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Receipts</b></td></tr></tbody></table><br /><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMjHvUYG7_R3v8ARXmb5SLb6SUM9R4baZXsGTpxa9ViNGpdOVQsuWMNjG0sDNS2VimUKFKHmtc3Urhv63H4iVq_EEsFw5OfSy0ZTNQIaGShJmGg4wOiVt0awqMqrB5mB62dBxguC2SEOqa/s2048/L1103842_1470.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMjHvUYG7_R3v8ARXmb5SLb6SUM9R4baZXsGTpxa9ViNGpdOVQsuWMNjG0sDNS2VimUKFKHmtc3Urhv63H4iVq_EEsFw5OfSy0ZTNQIaGShJmGg4wOiVt0awqMqrB5mB62dBxguC2SEOqa/w640-h512/L1103842_1470.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Casters</b></td></tr></tbody></table><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjg5s8PIZTGHsrlXLrPFceCCbyZm8EsomXjdTu3-v2_0tFHUdCFXEb2PVjtD-6sEC8bvwU1IFiVEC789zLIV0s6SMiU4XYow-DGwpjy9KGc0y_KGbtUBkJlDUqkpqFnLoPwbXz_ZfdNlE/s2048/L1103847.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjg5s8PIZTGHsrlXLrPFceCCbyZm8EsomXjdTu3-v2_0tFHUdCFXEb2PVjtD-6sEC8bvwU1IFiVEC789zLIV0s6SMiU4XYow-DGwpjy9KGc0y_KGbtUBkJlDUqkpqFnLoPwbXz_ZfdNlE/w512-h640/L1103847.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Getting Ready for the Rave</b></td></tr></tbody></table><p>Yes, she was all in pink. The others where even more outlandish. She consented to pose for me. The others seemed uncomfortable in their costumes.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPVJ2aKu7T4pUW4urx2CBl0KtcEE9ck26VQPLi642IJsxdZD40dNKwXARntL4-NkKfCb5wanNuycIUYdWSi-l_7hhXeF0dr9fCv_mxr_xdGOblvhIl1sBa2a9FVxIYWe4IDvree9G1jUo/s2048/L1103850_1474.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPVJ2aKu7T4pUW4urx2CBl0KtcEE9ck26VQPLi642IJsxdZD40dNKwXARntL4-NkKfCb5wanNuycIUYdWSi-l_7hhXeF0dr9fCv_mxr_xdGOblvhIl1sBa2a9FVxIYWe4IDvree9G1jUo/w640-h426/L1103850_1474.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><b>Stairs (Not to be taken whilst 3 sheets to the wind)</b></span></td></tr></tbody></table><p>Danes are noted for design, but for the life of me I don't know how this passed safety inspection...</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWw4gIbLL6wjajdVOsIiNxg329_8iY1dxUDFpro-ti2ykS_QUmG1x-8oXJ2Iq8dDSGv18ifTkNsKrx6NJxlh5Mj_kS2L9ofu0jVyE2h1zlJKGu_znsAyC-4spLCYz2BtHe512Gfypapt2q/s2048/L1103857_1476.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWw4gIbLL6wjajdVOsIiNxg329_8iY1dxUDFpro-ti2ykS_QUmG1x-8oXJ2Iq8dDSGv18ifTkNsKrx6NJxlh5Mj_kS2L9ofu0jVyE2h1zlJKGu_znsAyC-4spLCYz2BtHe512Gfypapt2q/w512-h640/L1103857_1476.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Helsingør<br /><br /></b></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9liCFTai7yCBi4mCLFDVAZa0SarnH0BOG4L_YX4ue6uISWaDgcB6LLnnAupfc9X1bNjKb5IUjOUIF6dfru04pAKdM6QsOTdwOqeP_SJByM29CmSQcStAvhNxTTAYi_PJChilKWzLsRSqT/s2048/PA190318_DxO_1477.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9liCFTai7yCBi4mCLFDVAZa0SarnH0BOG4L_YX4ue6uISWaDgcB6LLnnAupfc9X1bNjKb5IUjOUIF6dfru04pAKdM6QsOTdwOqeP_SJByM29CmSQcStAvhNxTTAYi_PJChilKWzLsRSqT/w640-h480/PA190318_DxO_1477.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Barber Shop<br /><br /></b></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitckVfG0J6OlqYbde0RKmvmuwsV7ECHTXQGItz5fMHpgUpgyUDLPJZim72rtLtU23l3ODTllATttbYwkZ0GmffjVd5AsAKN-xum3JDedyE-C9vHYavhUVSbF4y7cp6uJ3FTjNkyJOySya8/s2048/L1103882_1473.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitckVfG0J6OlqYbde0RKmvmuwsV7ECHTXQGItz5fMHpgUpgyUDLPJZim72rtLtU23l3ODTllATttbYwkZ0GmffjVd5AsAKN-xum3JDedyE-C9vHYavhUVSbF4y7cp6uJ3FTjNkyJOySya8/w640-h512/L1103882_1473.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><b>Copenhagen Harbour<br /><br /></b></span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXUsPuxQGt_FpRMvAuF8RuN-F9EGooRyrq96GS2GgrZwwDUMTw8P78OtDqAKx-xHxnxULgf68AA0Oc4WGrh29ply-LieCPkSF-BgOmght8bxM2jhFDsYB0MrMdDNzZe2XRuJnaS1wuZHI/s2048/L1103884_1478.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXUsPuxQGt_FpRMvAuF8RuN-F9EGooRyrq96GS2GgrZwwDUMTw8P78OtDqAKx-xHxnxULgf68AA0Oc4WGrh29ply-LieCPkSF-BgOmght8bxM2jhFDsYB0MrMdDNzZe2XRuJnaS1wuZHI/w512-h640/L1103884_1478.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Svanemølle Power Station Svanemølleværket 1</b></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9UnRfOqJRkwerdmNpKPQTGAdMxka27DoPWpflRyDRKBnV7C36TpqQOHIvQz8tDqZ76S8QRzO-T_0pG8QfcDEYMY5RjyH4Vei8X-D7BUdP8nkwsT3bdF4_n1vzIuVr5gYySNxD1luCkIe/s2048/L1103885_1479.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1363" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9UnRfOqJRkwerdmNpKPQTGAdMxka27DoPWpflRyDRKBnV7C36TpqQOHIvQz8tDqZ76S8QRzO-T_0pG8QfcDEYMY5RjyH4Vei8X-D7BUdP8nkwsT3bdF4_n1vzIuVr5gYySNxD1luCkIe/w426-h640/L1103885_1479.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Svanemølle Power Station Svanemølleværket 2</b></td></tr></tbody></table><br /><h2 style="text-align: left;">Vancouver Island</h2><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1PU0HWfCdxDH0_HLWPIlgfrs2HYw3UWhYjbVbY2n_GllH66WtY4PzKEwrxRaoP7qu5O2uYbAONU-XlM_NsBJ9BU_msD9mcFWtSEpu7b2JU9jZKMn3VoyEwBQ_pxvhz370TYrqtxl9zEQ/s2048/L1103895_1471.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1PU0HWfCdxDH0_HLWPIlgfrs2HYw3UWhYjbVbY2n_GllH66WtY4PzKEwrxRaoP7qu5O2uYbAONU-XlM_NsBJ9BU_msD9mcFWtSEpu7b2JU9jZKMn3VoyEwBQ_pxvhz370TYrqtxl9zEQ/w640-h512/L1103895_1471.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Light - Goose Spit BC</b></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfWMg3eQ_MXp6JqEaaKncnFXNglsw2xbYywr5QyL7o5Vj63J-VVtBekQR0MuH1J8VINrdorfV-s8s8KA2_mfXVDz09m6pW2c_q2jN_FhKpG5AeyNhH2t8C8oDo6DcSnizaXsFVuG0PlUV/s2048/L1103918_1460.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfWMg3eQ_MXp6JqEaaKncnFXNglsw2xbYywr5QyL7o5Vj63J-VVtBekQR0MuH1J8VINrdorfV-s8s8KA2_mfXVDz09m6pW2c_q2jN_FhKpG5AeyNhH2t8C8oDo6DcSnizaXsFVuG0PlUV/w640-h512/L1103918_1460.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Death<br /><br /></b></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlgI4NoBz3NLmqAcFZ1vW_wA2WznoGP4S2TO4Mufy-o-dkZ_Jx1sZS0_aNkDmID-RSrGjfMXE81W691c16B2aggTjWThVsLTD0sIusc2Xd8TXN4wDl97Be4QOhYgtk0rF_a8yWNynWF08N/s2048/IMG_9704_1472.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlgI4NoBz3NLmqAcFZ1vW_wA2WznoGP4S2TO4Mufy-o-dkZ_Jx1sZS0_aNkDmID-RSrGjfMXE81W691c16B2aggTjWThVsLTD0sIusc2Xd8TXN4wDl97Be4QOhYgtk0rF_a8yWNynWF08N/w640-h480/IMG_9704_1472.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Howe Sound</b></td></tr></tbody></table><p>Thanks for looking</p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-32606367338779837762021-11-25T11:16:00.000-07:002021-11-25T11:16:01.806-07:00New Books<p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghbP5t4MmDWlYdgQ30NWARA2u7EcFlW_UHQ9W2nuyjS8WnojnoSui8_EgZ51iwrjg326rejg8nm33Eyzi0cpknOKcIhyphenhyphenPfl36vZZBT59af0DdshTUtDQh7wYjYJLOpc5v28XTy3_l26kcZ/s2048/IMG_9761.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghbP5t4MmDWlYdgQ30NWARA2u7EcFlW_UHQ9W2nuyjS8WnojnoSui8_EgZ51iwrjg326rejg8nm33Eyzi0cpknOKcIhyphenhyphenPfl36vZZBT59af0DdshTUtDQh7wYjYJLOpc5v28XTy3_l26kcZ/s320/IMG_9761.HEIC" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: left;">Yes, that's about a quarter of my library. I had promised myself to stop or at least pause buying books but oh well. These are new in the library.</div><p></p><p style="text-align: left;"><b>The Free World: Art and Thought in the Cold War - Louis Menand</b></p><p>Bought this after reading about it in The Atlantic. It's similar to another book I have "Art and Politics in the Weimar Period" it outlines how art, media and thought evolved during the Cold War and how they were influenced by the economic, demographic and technological forces that drove social and cultural change.</p><p style="text-align: left;"><b>Criticizing Photographs 6th Edition - Terry Barret</b></p><p>Got into this book while watching Eileen Rafferty's talk on the B&H Event Space channel on the YouChoobies. Rafferty's talk is more focused on studio critiques while this book gives you the tools to actually understand and write about photographs. It's been an eye opener to be sure! I've filled many pages of notes and bookmarks that make the book look like a hedgehog.</p><p style="text-align: left;"><b>Strange Things Behind (Belgian) Windows - Jean-Luc Feixa</b></p><p>Picked this up at the Louisiana Museum of Modern Art (LMMA) in Humlebaek DK, despite promising myself that I wouldn't by any photobooks on the trip. Oh well. Quirky, fascinating and really good project. Might have to try that in Calgary.</p><p><b>Pia Arke - Louisiana Museum of Modern Art</b></p><p>Pia Arke was a Greenland photographer and artist. This was the catalog for a retrospective at LMMA. Articles and interviews interspersed with her work. Just cracking the surface of this one.</p><p><b>Magnumb - Arthur Jafa</b></p><p>This show was on at the same time as Pia Arke at LMMA and in someway they reflect each other. This book is the companion to the show and overview of Jafa''s sweeping, dynamic and disquieting video portraits of Black American life. I made some notes at LMMA that I hope to work into a further post.</p><p><b>Tror du vi vågner i morgen (Do you think we'll wake up tomorrow?) - Linda Hansen & Maiken Abildgaard</b></p><p>A fascinating interchange of images and ideas. From the back cover:</p><p></p><blockquote><i>[This] is a correspondence between photographer and visual artist Linda Hansen and author Maiken Abildgaard. For a year they have exchanged photographs and phrases. A sentence was answered with a picture and a picture with a sentence. This created 100 small works consisting of text and photography. 40 of these are selected and compiled in this book. </i></blockquote><p></p><p>Google Translate will be working overtime.</p><p><b>Keld Helmer- Petersens Fotografiske Verden (Keld Helmer- Petersen's Photographic World) - Inger Ellekilde Bonde</b></p><p>All in Danish, this will take some time reading. Remember, in Danish the vowels don't count and the consonants don't matter. I guess this is learning Danish the hard way. I should be able to write to my grandson when I'm done with this.</p><p>From the back cover:</p><p></p><blockquote><i>The first full introduction to the photographer Keld Helmer-Petersen, who in Denmark made the photograph an art...</i></blockquote><p></p><p><b>After the Silence: Women of Art Speak Out - Stats Museum fur Kunst (SMK)</b></p><p>This is the companion book that SMK gave out (for free) for this exhibit. From the SMK website:</p><p></p><blockquote><i>Come explore art that’s ready to do battle! In this year’s major autumn exhibition, we give the floor to some of art history’s prominent women artists. Taking the women’s liberation movement in the 1970s as our springboard, we focus on how women have used art as an instrument of battle to create change in the world over the last hundred years.</i></blockquote><p></p><p>In my journal I had been writing a lot about context and its importance in photography especially after seeing the baffled looks of the Danes viewing Jafa's exhibition at LMMA. Now, it was my turn. The art was masterful, gripping but as a male I had no context to truly understand the depth and real meaning of the exhibit. More thought required here, to be sure.</p><p>Lots of reading, lots of note making, lots to think about.</p><p><br /></p><p> </p>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-5669425829134935262021-01-16T18:42:00.005-07:002021-01-16T18:46:51.496-07:00Stuck Inside of Lightroom with the COVID Blues Again<p></p><div class="separator" style="clear: both; text-align: left;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWwg7vpWzcX0zIxCHQPeaoHk85QfnVdoqfm9nQkxKPCjqup9dEzhf8I_yEmgaRVLv-PJ00vHumAvuKYCEH3Q2tt9-cnGBeHKHof6Mz72S2Lo8bRIiJflsQDZw-I7zXEtAw5Gkqa8s9nuYB/s304/2021-01-16+18_12_57-bob-dylan-stuck-inside-of-mobile-with-the-memphis-blues-again-44924.jpg+%2528300%25C3%2597300.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="303" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWwg7vpWzcX0zIxCHQPeaoHk85QfnVdoqfm9nQkxKPCjqup9dEzhf8I_yEmgaRVLv-PJ00vHumAvuKYCEH3Q2tt9-cnGBeHKHof6Mz72S2Lo8bRIiJflsQDZw-I7zXEtAw5Gkqa8s9nuYB/w229-h230/2021-01-16+18_12_57-bob-dylan-stuck-inside-of-mobile-with-the-memphis-blues-again-44924.jpg+%2528300%25C3%2597300.png" width="229" /></a></div>Oh noes! Not another variation of Zimmerman's song! Not another post about how much this coronabollocks sucks! Not another whinge about how this is impacting someone's creativity. </span></div><p></p><div>Well, it's not.</div><div><br /></div><div>Another week, another extension of pandemic restrictions. It's been months since I've done any sort of serious work. Even in Paris my shooting was desultory as I was in tourist mode. I really don't feel like I should be out shooting as it's hardly an essential activity in any way. Unless we get this beast under control a lot of things will come crashing down, like the airline industry where my good lady wife works.</div><div><br /></div><div>This post is about three things: Creativity blocks, keeping busy in quarantine and the results of the latter.</div><div><br /></div><h2 style="text-align: left;">Creativity Blocks and How We Mess With Our Own Mind</h2><div><div><a href="https://thomasheaton.co.uk" target="_blank">Thomas Heaton</a>, a young landscape photographer out of England posted on <a href="https://www.youtube.com/c/ThomasHeatonPhoto" target="_blank">YouTube</a> about how the coronabollocks has drained his desire to get out of bed and get out and shoot. Truth be told, that sounds more like incipient depression to me but there you go.</div><div><br /></div><div>Heaton is a very talented photographer and wears his heart on his sleeve. His images are technical tours de force; lacking a bit of emotion sometimes (for me) but à chacun son goût . Overall I really like his oeuvre.</div><div><br /></div><div>I get it Thomas. You make your living from this and I feel for you. I had times like this crafting software. There would be days when I could barely put hand to keyboard, all the while the PM (usually me) clamouring for code.</div><div><br /></div><div>Two things are happening here. Isolation due to lurgi and a lack of desire.</div><div><br /></div><div>Isolation due to Lurgi? Nothing we can do about that. Creatives sometimes need interaction although I work alone and don't really like photographers' get-togethers all that much: photowalks are not my thing but going to galleries are.</div><div><br /></div><div>For the absolute lack of desire to get up and shake it? It's a case of writers/artist/photographers/creative block and lots of sort-of-helpful lists are out there on how to deal with it. </div></div><div><br /></div><div><div>Personally? For photography? I go do something else: build something in the shop, read, walk around without a camera just seeing. The latter frees me from having to schlep gear around and I can just practice seeing things differently, getting ideas and, if I do see something, a modern cellphone camera that can capture DNG (like my iPhone and Camera645Pro -- shameless plug) well Bob's your auntie. For writing? See above but carry a small notebook and write down phrases that come into my head.</div><div><br /></div><div>In both cases those quick sketches using the mind, a cellphone or a notebook get tossed into a mental stew and later, sometimes months later, as I leaf through them something leaps out and grabs me: a phrase, a bon mot, a partial image. Then, oh and then, the motivation often is such that I can't contain the desire to (figuratively) climb every mountain and ford every stream. The block vanishes and you've got your mojo back.</div><div><br /></div><div>There are some funny habits that we ape-descendant lifeforms have: categorizing ourselves, overthinking, and looking for the (creative) endorphin rush. These bury our creative juices in a steaming pile of existential muck.</div><div><br /></div><div>Of the three, categorizing ourselves is probably the biggest block to any creative endeavour. When you're in a creative funk hanging on to "I'm a street tog", "I'm a landscape photographer", "I'm a travel photographer" gets in the way of blowing that funk away. Definitions like that have so much baggage associated with them that they get in the way of any sort of creativity as they bind you into a preset visual language. Yuck. </div><div><br /></div><div>The Derbyshire Police handing out tickets for driving out of town to a deserted place to walk and photograph? There's an urban landscape to photograph closer to home. Margaret Bourke-White did an excellent job of photographing the urban landscape. Her images of Cleveland's steel industry show an urban landscape write large and stand up to anything Ansell Adams did.</div><div><br /></div><div>No one on the streets? Buildings are on the streets. Street photography, unfortunately, seems to mandate a human presence. What then are buildings? Are they not indicative of a human presence? Lee Friedlander's streetscapes are every bit as compelling as those done by any street photographer.</div><div><br /></div><div>Not to belabour things but consider Picasso. How do YOU categorize him? Guernica? Abstract Portraits? Did you know he designed tiles? Made pottery? For frogs snacks! Don't limit yourselves. Try a different genre at the very least!</div><div><br /></div><div>I'll only mention the other two in passing. Overthinking is continually analysing something, going around and around and never getting resolution. In hockey I'd see it when a prolific goal scorer went into a slump. Watching him on the ice I'd see him trying to think out the play rather than just reacting. We'd call it "holding the stick too tight". Just go out and put pucks on the net we'd tell him; don't go for the highlight reel play. Same with photography. Travel light, shoot, work quickly, react. Not every shot is going to go in the net, nor will every photograph go into the portfolio but it will end up in your sketch book -- Tom Thompson's oil sketches are worth as much as his paintings. But if you don't make that shot, there's no way it'll happen.</div><div><br /></div><div>Endorphin Rush? Yeah, I get it. Nothing more exciting or thrilling when that whatever it is goes BONG in your chest and you know that what you're working on is the money shot. We keep wanting to duplicate that feeling and when it doesn't happen you start to jones pushing yourself harder and hard and beating yourself up when you can't get that rush. That's an addictive behaviour. Dunno how you stop that but I always remind myself that a bad day's shooting is always better than sitting in a cubicle.</div></div><div><br /></div><h2 style="text-align: left;">Lurgi and How to Deal With It</h2><div><div>So, what to do when everyone is down with the <a href="http://www.thegoonshow.net/scripts_show.asp?title=s05e07_lurgi_strikes_britain">Lurgi</a> and you can't get out? Well, short of <a href="https://youtu.be/svy0oThG6QA" target="_blank">selling brass band instruments to the country</a>, it depends.</div><div><br /></div><div>Me? I read. Everything from spy novels to history to philosophy to art. I look at other photographers' work and try to learn from them, deconstruct them. There's nothing more satisfying than finally being able to say: "I saw what you did there!"</div><div><br /></div><div>I've read "The Bloodlands", all of Chandler's Marlowe mysteries, "SevenEves", David Martin's "Road to Seeing", "Margaret Bourke-White" and so on.</div><div><br /></div><div>I also rummage through my back collection looking at images that I may have discarded or forgotten about or try out some different processing techniques on one that I've worked on before. Heck, given the state of my brain, sometimes all three at once. </div><div><br /></div><div>If you're serious about abiding by the "don't go out unless you really need to" dictum to do your part in flattening the curve then that's about all you can do and still keep photographically sane.</div><div><br /></div><div>Other than write drivel, of course.</div></div><div><br /></div><h2 style="text-align: left;">Lost Project Found</h2><div><div>So I was rummaging through the catalog the other daaay...</div><div><br /></div><div>And found a number of images that I had started working on but stopped for one reason or another. These things happen. Not sure why these got abandoned but so many things happen around here that images sometimes get put to one side.</div><div><br /></div><div>Back in the day on 11th St SE there was the Blackfoot Farmers' Market. It was a ramshackle affair and only open during the summer. With two by four and plywood booths the vendors it was kinda a sketchy affair. It had a petting zoo with some goats I seem to recall. My wife and I visited once and wasn't even up to the standard of a roadside fruit stand in the Okanagan; overpriced produce, sketchily wrapped food, you know the drill.</div><div><br /></div><div>Can't recall how many years ago that it finally packed up but I seem to recall newspaper articles about the stall holders fighting amongst themselves and with the whatever governance was in place. Over time it became overgrown and began to decay. Some homeless moved and were rousted regularly and as usual, the taggers left their mark as well. </div><div><br /></div><div>These images show what was left almost 4 years ago. Two years ago they came in with heavy equipment and removed all that was left and now it stores bark mulch in rows between the trees.</div><div><br /></div><div>I didn't do a lot of post-processing other than cropping and some minor exposure adjustments in Lightroom. The light was magic that March morning and these pretty well match the OOC jpegs. The colours where so vibrant that I didn't even try to do and BW processing. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrpY0FUvtBN0E8sFulwBHZRz3H-a160SzQ60Lgb_24in3e7tTWoAZ0GHwtvLAUzUPABU25qLXjtWB7IQTdoOHNOXI_rlOe2rXz_Js7mqu2CTC80Ws03WmC-hGsjkeHhiPr0T66t2m7cDXg/s2048/L1101530.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrpY0FUvtBN0E8sFulwBHZRz3H-a160SzQ60Lgb_24in3e7tTWoAZ0GHwtvLAUzUPABU25qLXjtWB7IQTdoOHNOXI_rlOe2rXz_Js7mqu2CTC80Ws03WmC-hGsjkeHhiPr0T66t2m7cDXg/w640-h426/L1101530.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Menu</b></td></tr></tbody></table><br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FKlwmy41y__A7E44YPdgUe3Jf55rd3OOZ5dW_GsGbONKGCOdN5R6PQkCTY1PrAy2fWSvJDVYcfjf7mBjdUCTUNhwf1enhyphenhyphenJhRprVL2EIKKOGlXcpvnNZhHn-CxcD4uJF6kPa5-zr7kvA/s2048/L1101532.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FKlwmy41y__A7E44YPdgUe3Jf55rd3OOZ5dW_GsGbONKGCOdN5R6PQkCTY1PrAy2fWSvJDVYcfjf7mBjdUCTUNhwf1enhyphenhyphenJhRprVL2EIKKOGlXcpvnNZhHn-CxcD4uJF6kPa5-zr7kvA/w640-h426/L1101532.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Table</b></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2m4HieaXEtCpwTHdWJmnj1pyIZZqNlcpl128dMUd71hrU1ej-wd_eyLt-eDS6Xeg9WHjuLsvKbLnfhYPMDOBncP4cBVVF_LtVSn9-XqlDVNMiSwNbFqOb2UpUeJcnzXdKDZJfRrwHl5i/s2048/L1101536.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2m4HieaXEtCpwTHdWJmnj1pyIZZqNlcpl128dMUd71hrU1ej-wd_eyLt-eDS6Xeg9WHjuLsvKbLnfhYPMDOBncP4cBVVF_LtVSn9-XqlDVNMiSwNbFqOb2UpUeJcnzXdKDZJfRrwHl5i/w640-h426/L1101536.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Stand</b></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5x8-9znK71jwryNqT9pd1251UmX0o8fZ_3vX3cHPRJG4FXO4my-aOJVa3bEWn_08pkX-5xUpbuznmzy8w-qSaKnoA8hyvWesJXHWDDz6bSIQoi9D-uNn4r0wI7Uyh1JuP83bu5wmjRQ-J/s2048/P3035166.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1536" data-original-width="2048" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5x8-9znK71jwryNqT9pd1251UmX0o8fZ_3vX3cHPRJG4FXO4my-aOJVa3bEWn_08pkX-5xUpbuznmzy8w-qSaKnoA8hyvWesJXHWDDz6bSIQoi9D-uNn4r0wI7Uyh1JuP83bu5wmjRQ-J/w640-h480/P3035166.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Tricycle</b></td></tr></tbody></table><br /><div>Stay safe, wear a mask, get vaxed as soon as you can.</div>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-37755724712900789792020-09-29T20:03:00.003-06:002020-09-30T02:50:39.619-06:00You wore blue; the Germans wore grey<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVR_dLwsAMOv_CtTu0gKpb7LFtSWLv4riUTx9VFplt7OR6j5Aq8V7eu7vKp89KQecwGxY3NrYDARg6C_Myr8GxsjLhQPJMB7qKLBQqo-zkPyOxz9uTE6EHfbxKMzvLR31VKYX_syyitC4f/s2048/IMG_5738_1391.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVR_dLwsAMOv_CtTu0gKpb7LFtSWLv4riUTx9VFplt7OR6j5Aq8V7eu7vKp89KQecwGxY3NrYDARg6C_Myr8GxsjLhQPJMB7qKLBQqo-zkPyOxz9uTE6EHfbxKMzvLR31VKYX_syyitC4f/w320-h400/IMG_5738_1391.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Fractal Chaos</b><br /></td></tr></tbody></table>Yes, my wife and I will always have Paris. How we got there and why during these COVID times is a long story involving friends upping stakes to live in Abruzzo, the Cunard line, a therapy dog, baggage allowances, and navigating the goat rodeo that is CDG in Paris. That however is a story for another time and a quantity of libations.<p></p><p>Like everyone who has gone to Paris I had preconceptions of what I would experience. These arose from French classes taken in the distant past when dinosaurs still roamed (or deGaulle at least), Simenon novels (both print and dramatized), movies, paintings of Edouard Cortès and all the other things adheres to you as live. I was very conscious of "Paris Syndrome" that the Japanese even have a name for: <i>pari shokogun</i>. You can look it up in the hive mind. Yet, for some reason it didn't hit me, even with the layers of cultural accretions that had built up over six decades. Paris affected me like no other major city I have traveled to.</p><p>I'm not sure why. Perhaps it was the complete dearth of tourists due to travel restrictions — there was no line up at the Louvre for heaven's sakes! Or perhaps it was due to our location, a top notch AirBnB that had a view of the Eiffel Tower. Perhaps it was because I was aware of <i>pari shokogun</i> and determined to avoid it. Most likely though it was because I was there with my wife on our first vacation without obligations since before children.</p><p>Looking through my handy-dandy notebook (of course you scribble in a notebook whilst in the cafe having cafe au lait and pain chocolate!) I noted several times how I felt one should approach Paris. One entry reads:</p><p style="text-align: left;"></p><blockquote><i>"To embrace Paris is to be embraced by the city itself. There is a degree of fractal chaos present, not only in its layout but in the rhythm of the city [and you have to accept that]. Sure the RER C is not operational [from Notre Dame to Pont Alma, meaning we have to drag our luggage from Notre Dame to our flat] [and it] doesn't show that on the RATP app. [To cope] a Gallic shrug and one moves on. [although at first it really knackered us and we had to stop for fortification]..."</i></blockquote><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGIU3GX7MTmfNyA8a6PfKX-_2xb5xnEP7zY6vF5jaQc3LD20yY7FYQSRVvmGWsAmES_MkD__m1zFY-d6Mlq0VVoHnhCB9VwYwU-Mk0ak3xgRd1ZuHWRd32j_RpFI59meINc7TDURPLHGpi/s2048/RPVC2294_1382.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="2048" data-original-width="1638" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGIU3GX7MTmfNyA8a6PfKX-_2xb5xnEP7zY6vF5jaQc3LD20yY7FYQSRVvmGWsAmES_MkD__m1zFY-d6Mlq0VVoHnhCB9VwYwU-Mk0ak3xgRd1ZuHWRd32j_RpFI59meINc7TDURPLHGpi/w320-h400/RPVC2294_1382.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Rosé and Beer</b></td></tr></tbody></table><br /><div><blockquote><i>"...Absent the horses the Paris of Cortès is still there but like a French woman of a certain age and breeding it is now discreetly masked only to be revealed to someone who will listen to her stories, flirt with her and pay her the respect she is due..."</i></blockquote></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0eaN8bcPTnuKrQW5RAouqF8YO_0gtObGA8jvdKAa6kvViVZOhVzh9MLeSivn-_Ap35JQ_RoLRQh7pQAyCMPEkuV05BtFMnM7xk0nIh95j8DsXity5Y_B3nb2G9KR4PgW9QkTJiTlR_OqV/s2048/L1103620_1368.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0eaN8bcPTnuKrQW5RAouqF8YO_0gtObGA8jvdKAa6kvViVZOhVzh9MLeSivn-_Ap35JQ_RoLRQh7pQAyCMPEkuV05BtFMnM7xk0nIh95j8DsXity5Y_B3nb2G9KR4PgW9QkTJiTlR_OqV/w640-h512/L1103620_1368.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Cafe Society</b></td></tr></tbody></table><div>Yes, she is enigmatic and even eccentric but during the course of seven days I have become fond of her. She has a panache that dour Copenhagen will never have. She has a human scale that is absent from New York. She [still] has a passion for life that has all but disappeared (if it ever truly existed) from London. Coming from the pimple on the prairie the old WWI song: "<i>How are You Going to Keep Them Down on the Farm after They've Seen Gay Paree</i>" kept rumbling through my mind.</div><div><br /></div><div>We did no real touristy things, other than wander about the base of the Eiffel Tower (but did not go up) wandered through Jardin des Tuileries, looked at the Louvre but didn't go in. Instead we wandered. We bought a Navigo card and with three buses (the 42, 69 and 82) stopping across from our apartment we could motor about quickly. If a place looked interesting we'd jump off and explore. No side street was out of bounds. Best of all those three buses gave a good tour of Paris away from the places a Hop-on-hop-off bus tends to frequent. If that didn't work, the Metro at École Militaire was just a few blocks away</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVBPnTqViJR7-Mche9wcr7z9i1tqGngNcuDWIDrhTw7j0lXCHTWJQhxlxYW1f5htJPsP2jo1T7int0_UfbGDTFcIvhx6cl2w6vixwTWfG7qjLtd8_fbWYHKW-FcNib8COHQbHMi9nEkUV/s2048/L1103476_1339.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVBPnTqViJR7-Mche9wcr7z9i1tqGngNcuDWIDrhTw7j0lXCHTWJQhxlxYW1f5htJPsP2jo1T7int0_UfbGDTFcIvhx6cl2w6vixwTWfG7qjLtd8_fbWYHKW-FcNib8COHQbHMi9nEkUV/w512-h640/L1103476_1339.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>A street we found</b></td></tr></tbody></table><div><br /></div><div>If it rained, we ducked into a cafe and had a little something. We were never disappointed.</div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSJWfN8pZOBfwgZz1H7dWu6I-2XLal9WRNTkz6aCohVxtMWQWZUmY51f4jcZvgCCtbIOof3-Y3lID_t1MM9GkujkZR53K2yfHLVeYWL2EVNHRaOKL5CgA6HABfc0Isn003hcRfsmxIZ4sz/s2048/L1103590_1364.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1639" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSJWfN8pZOBfwgZz1H7dWu6I-2XLal9WRNTkz6aCohVxtMWQWZUmY51f4jcZvgCCtbIOof3-Y3lID_t1MM9GkujkZR53K2yfHLVeYWL2EVNHRaOKL5CgA6HABfc0Isn003hcRfsmxIZ4sz/w640-h512/L1103590_1364.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Paris in the rain<br /></b><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSsdXOu8nRemyJ9AoJNMUuMmLfpshGsgdED3sLs4QBq0wisW5chBHg3c791IIgGb3MbFtFCtw4RzWewjMX20GRh9vg4e0xa0ZyECPxDrD8ediRi7Ih0EPg4iwSSAbT1VrxuxXM5nK5Lt3/s2048/L1103601_1365.jpg" style="margin-left: 1em; margin-right: 1em;"></a><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSsdXOu8nRemyJ9AoJNMUuMmLfpshGsgdED3sLs4QBq0wisW5chBHg3c791IIgGb3MbFtFCtw4RzWewjMX20GRh9vg4e0xa0ZyECPxDrD8ediRi7Ih0EPg4iwSSAbT1VrxuxXM5nK5Lt3/w512-h640/L1103601_1365.jpg" style="margin-left: auto; margin-right: auto;" width="512" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Rain will not interfere with our café</b></td></tr></tbody></table><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSsdXOu8nRemyJ9AoJNMUuMmLfpshGsgdED3sLs4QBq0wisW5chBHg3c791IIgGb3MbFtFCtw4RzWewjMX20GRh9vg4e0xa0ZyECPxDrD8ediRi7Ih0EPg4iwSSAbT1VrxuxXM5nK5Lt3/s2048/L1103601_1365.jpg" style="margin-left: 1em; margin-right: 1em;"></a></div><div>There's always a show in Paris. In a way it's less contrived than the show in New York. In New York it feels like people are climbing over each other to stand out; in Paris, not so much.</div><div><br /></div><div>We had wandered and ended up on Avenue Victor Hugo and then surfaced at the round about that strikes terror into every tourist driver's heart: the traffic circle at Place Charles deGaulle and L'Arc de Triomphe de l'Étoile. My wife and I decided to sit and watch the traffic swirl. Oddly enough, there was no mayhem, there was no blaring of horns as mopeds, bicycles, large trucks, buses and cars of all sizes wove around each other. As we were sitting there, a Rolls-Royce drop-head coupe pulled up. The chauffeur stepped out and took the top down to reveal newlyweds. The groom grinning from ear to ear, the bride more interested in her phone.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_EdynCff_iL5uFQwljHxKTX5R2S3IeJ_9zBtZ-O963dc2Datbctq8aLL1orjEmxXwaiTgFhmFsLASM5vKKr5AhZOr5C8cXjIhN5Nmv-7ba4x_4DoHV1nOD3GwjZ_A3gZ0Ni-4IcfBnrW/s2048/L1103418_1329.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_EdynCff_iL5uFQwljHxKTX5R2S3IeJ_9zBtZ-O963dc2Datbctq8aLL1orjEmxXwaiTgFhmFsLASM5vKKr5AhZOr5C8cXjIhN5Nmv-7ba4x_4DoHV1nOD3GwjZ_A3gZ0Ni-4IcfBnrW/w640-h512/L1103418_1329.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Grinning for now...</b><br /></td></tr></tbody></table><br /><div>Elsewhere we saw Yorkies in SmartCars, models doing portfolio shoots and people reading. And read they do in Paris. Bookstores without the tat that you find at Chapters, people "discussing" books in bookstores and cafes. Even the act of having a cigarette becomes an act of style. I'm not sure that anyone actually smokes — the cigarette seems to be more of a fashion accessory.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu6DbGM5ZTLm3gZJv-SucIbG0epcG8wPyMvu2lyQywl_Oki9ePneOVtzpZZPKQ-sov8uI4FB5k8ZI1RwgYVqFN5RN-zOw7EIbpmHXaP2j5Pgu6QyxhP4EcFibOxseCs-BdZ41y_GU4-Gu6/s2048/L1103377_1316.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu6DbGM5ZTLm3gZJv-SucIbG0epcG8wPyMvu2lyQywl_Oki9ePneOVtzpZZPKQ-sov8uI4FB5k8ZI1RwgYVqFN5RN-zOw7EIbpmHXaP2j5Pgu6QyxhP4EcFibOxseCs-BdZ41y_GU4-Gu6/w640-h640/L1103377_1316.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Quick! He's getting away!</b><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA882I0g6w-Bh2KkA_GL_r-Fcz4TE_11wDrTsVCkNZleEdYiU9zDJS0mgTKzKTRSiRDG7yl_CADlJGwvhCq0q6HSQQZT80jwc-LiT8imswJXribla8W_b3eb1v_LJ9zrHWB0nllChYxsrD/s2048/L1103348_1313_1314.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA882I0g6w-Bh2KkA_GL_r-Fcz4TE_11wDrTsVCkNZleEdYiU9zDJS0mgTKzKTRSiRDG7yl_CADlJGwvhCq0q6HSQQZT80jwc-LiT8imswJXribla8W_b3eb1v_LJ9zrHWB0nllChYxsrD/w640-h640/L1103348_1313_1314.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Work with me! Yeah Baby!</b><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqHsxJnyWXFFs6kfxfvxOuD4ZlmoJmmL5UwikradV3tdegafN43niCi-jlviKAkn1XBVbOFD2blWRt5Yyz1DiW6Hxo-Yybx4ME-3nAEvajTD_2Gb4xpKdjnJeaheGqn58gnJ78plzb6Fx/s2048/L1103534_1354.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqHsxJnyWXFFs6kfxfvxOuD4ZlmoJmmL5UwikradV3tdegafN43niCi-jlviKAkn1XBVbOFD2blWRt5Yyz1DiW6Hxo-Yybx4ME-3nAEvajTD_2Gb4xpKdjnJeaheGqn58gnJ78plzb6Fx/w640-h512/L1103534_1354.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>A quiet afternoon read</b><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl_j4_5wpOxtVZeySQ37m1ElXn93yguU6xD6BSMd1dhxMdXyqUOGSu6x6f2s9E19jL39T4P5JHZzYzI1sAFjmQYgwtUKdfQ6BQ-oqNbZreT96lSk8gb_H1zg25oqpBmuo4YwkbuKVU7cZN/s2048/L1103623_1370.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="2048" data-original-width="1363" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl_j4_5wpOxtVZeySQ37m1ElXn93yguU6xD6BSMd1dhxMdXyqUOGSu6x6f2s9E19jL39T4P5JHZzYzI1sAFjmQYgwtUKdfQ6BQ-oqNbZreT96lSk8gb_H1zg25oqpBmuo4YwkbuKVU7cZN/w426-h640/L1103623_1370.jpg" width="426" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>It's a fashion accessory! Really it is!</b><br /></td></tr></tbody></table><br /><div>Discarded things had their own stories; not always obvious but there if you had an inventive streak:</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGSv3rPF6q-FP3Mcsb4LYukg0KlBUnt3M-Dl1lbfySiiRJ9-zmPKRGWg9pd2nTm8kihnDokpZ-dS0q80Lb4OC6lJ3k9_VPidWX3X-b3jWYCKphRtDEQQEzPMwxqdzZLBxxxpbnT9DmXu__/s2048/IMG_5834_1399.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGSv3rPF6q-FP3Mcsb4LYukg0KlBUnt3M-Dl1lbfySiiRJ9-zmPKRGWg9pd2nTm8kihnDokpZ-dS0q80Lb4OC6lJ3k9_VPidWX3X-b3jWYCKphRtDEQQEzPMwxqdzZLBxxxpbnT9DmXu__/w640-h640/IMG_5834_1399.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Mattress</b></td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-A1fN0MehYqjF1_I8a73BNti-VBqmIz8tKkGGbHlyEll4LIaBucNMRvK6ljZDbSpLlQuhUVuRz-d2Q-CWFP7H48vKAnxldUnYq_WrxH8zyuw6zrBSRETZVglU579zoaKDFY1F-hC8taCO/s2048/L1103615_1366.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-A1fN0MehYqjF1_I8a73BNti-VBqmIz8tKkGGbHlyEll4LIaBucNMRvK6ljZDbSpLlQuhUVuRz-d2Q-CWFP7H48vKAnxldUnYq_WrxH8zyuw6zrBSRETZVglU579zoaKDFY1F-hC8taCO/w640-h512/L1103615_1366.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Sofa</b><br /></td></tr></tbody></table><br /><div>The children of Paris had stories all their own. In Jardin du Palais Royal, in the forecourt, some boys playing soccer with all the joy and vitality that children can bring to a game. I have to be honest though, sometimes it resembled "Calvinball". And, unlike in Canada, no aged commisionaire hobbling out to say: "Hey, you can do that 'ere, eh! Now get oot!"</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuKOPxCwqUVaafQdROC-LyQj_gmPnpZV9OSYfgp2wye5urpM1LYe4Y3oswa9vYjXyyQDyEhC7jY_0wr-TLlHYBYXyXR6jo_pRSkOAbdpEykLc4gkKb7HE1T867c2mcibRswBZXKAJaKFch/s2048/L1103490_1342.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuKOPxCwqUVaafQdROC-LyQj_gmPnpZV9OSYfgp2wye5urpM1LYe4Y3oswa9vYjXyyQDyEhC7jY_0wr-TLlHYBYXyXR6jo_pRSkOAbdpEykLc4gkKb7HE1T867c2mcibRswBZXKAJaKFch/w640-h512/L1103490_1342.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Calvinball à la Parisienne</b><br /></td></tr></tbody></table><br /><div>In a city of 2+ million, the children are free range, unlike here in the pimple on the prairie. Children are either helicopter with parents continually braying at their charges not to do what children naturally do or, worse, not even letting them oot and boot at all — even with parents near to hand. Perhaps it was the arrondissements we were in but children weren't tear-aways, knew how to dine out and would explore the street, park or whatever always returning, always keeping the parent in sight without being nattered at.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZO6d2aAguRu0osl_cbKEoxPVu9ePO4lSMJ3Fa-FJcChMA5UQkpYWbK0zTF2RaEAQmPBoOopzCs1I1EiHyJwtHhESGaIifZ6z5WTiB9ID4zp2vBw7QbdK__tQ0c2uvHqBSVg00vxM6L3-I/s2048/L1103388_1320.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZO6d2aAguRu0osl_cbKEoxPVu9ePO4lSMJ3Fa-FJcChMA5UQkpYWbK0zTF2RaEAQmPBoOopzCs1I1EiHyJwtHhESGaIifZ6z5WTiB9ID4zp2vBw7QbdK__tQ0c2uvHqBSVg00vxM6L3-I/w640-h512/L1103388_1320.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>We know where we are Mom<br /></b></td></tr></tbody></table><div><br /></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyJKWbQwJBG-mvMXwtIOzbr418crOdYfTrRsKU3LVe5sFVGl0eMS2jLmUmRtvPl2KAtEQ0M-XOLf3e1F_F3rqUMwSpXit_d0JOqL9xepjIL9Qnorx09dN_y9QDxIXwyae-pkVh1mk8g_d/s2048/L1103236_1287.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyJKWbQwJBG-mvMXwtIOzbr418crOdYfTrRsKU3LVe5sFVGl0eMS2jLmUmRtvPl2KAtEQ0M-XOLf3e1F_F3rqUMwSpXit_d0JOqL9xepjIL9Qnorx09dN_y9QDxIXwyae-pkVh1mk8g_d/w640-h512/L1103236_1287.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Climbing Boy</b></td></tr></tbody></table><br /><div>Whilst wandering through Jardin des Tuileries and stopping at the Bassin Octogonal Dawn befriended two boys and asked them if they wanted to join her and sail some boats that a vendor had. They ran over to their father who shrugged: "Why not?" Much fun, much laughter and much running around the fountain.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi86KJ4X1TNBe8GfkQgTPBYDvKmzEACQChaK_CbSZ8emwpgHABDTrlS_3X_moprhHyxnONyMjr4D2HoCRGH5NvRFWxzRaQDO87OIZgcOKnt8NR8hQerhTHFAgtkEXbtbITE2HOuFcjU7uar/s2048/L1103574_1359.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi86KJ4X1TNBe8GfkQgTPBYDvKmzEACQChaK_CbSZ8emwpgHABDTrlS_3X_moprhHyxnONyMjr4D2HoCRGH5NvRFWxzRaQDO87OIZgcOKnt8NR8hQerhTHFAgtkEXbtbITE2HOuFcjU7uar/w640-h512/L1103574_1359.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Two Boys</b><br /></td></tr></tbody></table><br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr80F5ipYRIYJkA46ADjyQrnUU2OWJCyTKGnLIWR7vIpYYYANgnXDL5ZVTdKA2Zg-ThStkZ5hYRgzbIh7SaA7ZozJsirnVrCLNskhqd_YDz75swn2XuQtEU5FNzYC-V076lC8yCgpy3HO0/s2048/L1103571_1357.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr80F5ipYRIYJkA46ADjyQrnUU2OWJCyTKGnLIWR7vIpYYYANgnXDL5ZVTdKA2Zg-ThStkZ5hYRgzbIh7SaA7ZozJsirnVrCLNskhqd_YDz75swn2XuQtEU5FNzYC-V076lC8yCgpy3HO0/w512-h640/L1103571_1357.jpg" width="512" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Prepare to cast off</b><br /></td></tr></tbody></table><br /><div>We did do one touristy thing. We went to Épernay and toured the champagne caves of Moët & Chandon. After lunch in the vineyard of the Mercier house we toddled down Avenue de Champagne sampling the wares as we went. The smaller houses Champagne de Venoge still pick the grapes from their own vineyards and make champagne very traditionally in oaken casks while the big houses are so industrialized that it seems they live on brand recognition than any sort of artisanal skill. I preferred de Venoge to Moët or Pol Roger as there was an honesty and a connection to the land as opposed to big marketing efforts.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjURsZD4qNfo8hJ91W-xtGxCNqJfDioW91iqai4QG5acifqVl-5HNjdTlsZBN0PXFmPoshnSoLPfkva6PxZJaUA8QWaSOG76htcx_rAFykHn-UzOkX1fVAliTTEe_KPvvaIVQW5dW4R72Mq/s2048/L1103285_1297.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjURsZD4qNfo8hJ91W-xtGxCNqJfDioW91iqai4QG5acifqVl-5HNjdTlsZBN0PXFmPoshnSoLPfkva6PxZJaUA8QWaSOG76htcx_rAFykHn-UzOkX1fVAliTTEe_KPvvaIVQW5dW4R72Mq/w640-h640/L1103285_1297.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Pre-Champagne</b></td></tr></tbody></table><br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8PjqUlNMeTMxTvNOKi1lALlMJ9R1qEJ7N3Q_IaYlbLgwj4l4jzC-8y-vc2SvvRFTbH4dhCBdQIKzbwcr_5E8-gh84EX8RayvPwFMczBgHDbSozwRwbT_wEz4cCxe60iP0aelFWJvPCD03/s2048/L1103288_1300_1301.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8PjqUlNMeTMxTvNOKi1lALlMJ9R1qEJ7N3Q_IaYlbLgwj4l4jzC-8y-vc2SvvRFTbH4dhCBdQIKzbwcr_5E8-gh84EX8RayvPwFMczBgHDbSozwRwbT_wEz4cCxe60iP0aelFWJvPCD03/w640-h640/L1103288_1300_1301.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Champagne-in-Waiting</b><br /></td></tr></tbody></table><div><br /></div><div>Yes, Paris made an impact on me. Even if this COVID stuff ends and I have to fight hordes of tourists my wife and I have agreed that we will try to go as often in a year as we can. Paris is seductive. She can charm and also annoy yet you can't help but love her.</div><div><br /></div><div>I'll leave you with two videos: Gershwin's "An American in Paris" and Joni Mitchell's "A Free Man in Paris"</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xQzNjsI18yY" width="320" youtube-src-id="xQzNjsI18yY"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wXBba77U1_Y" width="320" youtube-src-id="wXBba77U1_Y"></iframe></div><blockquote><div></div></blockquote><div></div><div><br /></div><div><div></div><blockquote><div style="text-align: center;"><i>"...I was a free man in Paris</i></div><div style="text-align: center;"><i>I felt unfettered and alive</i></div><div style="text-align: center;"><i>There was nobody calling me up for favors</i></div><div style="text-align: center;"><i>You know I'd go back there tomorrow</i></div><div style="text-align: center;"><i>But for the work I've taken on..."</i></div><div style="text-align: center;">Joni Mitchell</div></blockquote><div></div></div><div>Full galleries are <a href="https://tomservoca.smugmug.com/Travel/Paris-Summer-2020/BW/" target="_blank">here</a> and <a href="https://tomservoca.smugmug.com/Travel/Paris-Summer-2020/Colour/" target="_blank">here</a>.</div>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-26573744076600524322020-04-18T17:07:00.000-06:002020-04-18T17:12:12.403-06:00Late One Night, I Was Working in the L*a*b<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTVo0IbZzGNqjKKw-YUAVJrhcF9TIlYSndEVfO2zTasJMLeVbG9ykapWkU5dTdspIQd247KPzWtxi5-DxNOouXxmDiR9e9KsYGg3dDz3wcPVI1CN39YERi5SG-QuzZlzfl8wCd7Z9aqAC/s1600/Mad_scientist.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="684" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTVo0IbZzGNqjKKw-YUAVJrhcF9TIlYSndEVfO2zTasJMLeVbG9ykapWkU5dTdspIQd247KPzWtxi5-DxNOouXxmDiR9e9KsYGg3dDz3wcPVI1CN39YERi5SG-QuzZlzfl8wCd7Z9aqAC/s320/Mad_scientist.jpg" width="320" /></a></div>
COVID-19 means a somewhat monastic life. Shop once a week -- brandy, gin, tonic: the essentials, quick nip down to the dog park so the doggos can go for a trundle, wait for the snow to melt so I can get into the shop and start on the ever lengthening list of make and mend projects and recently, rediscover some old post-processing techniques.<br />
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Everybody has them: that image that is as near perfectly exposed as you can get, the composition is good and when you made the image what you saw spoke to you at some level.</div>
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<b>But...</b></div>
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When you pull it into your RAW processor of choice no matter what you do it lies there like a gopher on a prairie highway: flat and dead. You feel like you're staring into a washed out desert at high noon and no amount of finangling can fix this turd of an image. In your gut, however, you know that this image has merit and shouldn't be given up on.</div>
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I was out visiting my mother and sister in the Comox Valley a while back and is usual it was raining. In all the years she's lived there -- about 20 plus -- I can count the times that I've actually had a sunny day. It's been rain, snow, wind, rain, cloud, and all the possible combinations: sometimes within a few hours. This visit was no exception. I was lucky this time: the rain wasn't blowing sideways.</div>
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We had headed down to Coombs to hit the Dutch Store for some essentials. You readers who have more than a few ounces cloggy blood in you'll know what that means. We'd taken the old Island Highway down and on the way back we decided to stop at Qualicum Beach to have a cup of coffee. Sitting on the promenade I made the following image. The sky was clearing and the Coast Range across the Strait was getting seriously rained on. The shimmering water, the Rembrandt sky. Yeah, so I got this instead:</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5EBacJ63fuUpU6_CjGTUKSxRA7SahrAGjQaJs4yUefuXwqyCSmj29BWuJ11PNANSBisygPzsCKBpRKQDb6fDlN1B8u89vdMKkhxiPqCb5VE9rm1HhHSdA1QB1KI55v59iaYSvl2Fqtuh/s1600/StraitouttaRAW.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5EBacJ63fuUpU6_CjGTUKSxRA7SahrAGjQaJs4yUefuXwqyCSmj29BWuJ11PNANSBisygPzsCKBpRKQDb6fDlN1B8u89vdMKkhxiPqCb5VE9rm1HhHSdA1QB1KI55v59iaYSvl2Fqtuh/s640/StraitouttaRAW.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Straight Outta RAWton</b></td></tr>
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Flatter than a dead gopher on a road, amirite? It looked okay when I chimped the black and white image. I shoot both raw and a BW jpeg. The composition works. The rain hammering down on the Coast Mountains, the shimmering water illuminated by the patch of sky and the cumulus cloud.</div>
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The composition works, yet the tonalities I saw just weren't there. I knew the image I saw through the view finder was in there. I just had to liberate it from its current digital capitivity.</div>
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Looking at the histogram, the exposure is about right. Maybe overexposed by a 1/2 to 2/3 stop but really nothing too egregious. In what follows I have to note that I use a colour balanced workflow: calibrated monitor, monitor brightness dialed back to match a glossy print und zo weiter.</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbeQfnnxYHhyphenhyphencNgUFAC-utBAu1d-GdcpY4fdVvrMhhqru9sH-JoCNLz1MVTeQdw0imB92AyPG9OIxKQLAGk-fTfXQxbjH6HtY3DgyS5B1_bigxxv1wNpbeiPrglWcvXaG5Ky6it0WdoON0/s1600/BaseHistogram.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="187" data-original-width="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbeQfnnxYHhyphenhyphencNgUFAC-utBAu1d-GdcpY4fdVvrMhhqru9sH-JoCNLz1MVTeQdw0imB92AyPG9OIxKQLAGk-fTfXQxbjH6HtY3DgyS5B1_bigxxv1wNpbeiPrglWcvXaG5Ky6it0WdoON0/s1600/BaseHistogram.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Base Histogram</b></td></tr>
</tbody></table>
<div>
<div>
Okay, so let's tweak the exposure -1/2 stop. Hmm, nope. That made the greys go to where they were supposed to but muddied the sky and cloud. That sky was a very bright blue. OK, Let's muck about with the other exposure sliders. </div>
</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0gRMZfktpNm0Kz_jfrsxkwfbX5se4BerwHBLEC3SIJxHnOb3EflI6wN2tcYHVe-fRIObKrZDkXL1IYlGgMiSeA0yYbt0-p5hhWasIH2x1-gnbubLncfX-QsTDQqDU8N4NO6sB8SGrHlO2/s1600/sliderhistocombo.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="367" data-original-width="593" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0gRMZfktpNm0Kz_jfrsxkwfbX5se4BerwHBLEC3SIJxHnOb3EflI6wN2tcYHVe-fRIObKrZDkXL1IYlGgMiSeA0yYbt0-p5hhWasIH2x1-gnbubLncfX-QsTDQqDU8N4NO6sB8SGrHlO2/s1600/sliderhistocombo.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Slider Settings and Histogram</b></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwBnW7fTG-LcPykjtezsWl12qxC0u1IZ016myOUba-34OPStyHmDfuTjP6rn2Y58BfUQRa4F1PbDgKADPCDFtiphmM6t6stLWAEJpJw8jdjddte4zo-9RWk6aZ-9BHPHH9p_pk_FWX3CZj/s1600/PostSliders.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; outline-width: 0px !important; user-select: auto !important;"><img border="0" data-original-height="535" data-original-width="802" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwBnW7fTG-LcPykjtezsWl12qxC0u1IZ016myOUba-34OPStyHmDfuTjP6rn2Y58BfUQRa4F1PbDgKADPCDFtiphmM6t6stLWAEJpJw8jdjddte4zo-9RWk6aZ-9BHPHH9p_pk_FWX3CZj/s640/PostSliders.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Post Sliders</b></td></tr>
</tbody></table>
<div>
It's close but still not exactly what I was looking for. As well, these settings amplify noise in the sky if you zoom in -- not really a good thing</div>
<div>
<br /></div>
<div>
Sooooo, let's mess with the Tone Curve. I just grabbed the default Strong Contrast curve.</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4l9Uek7iXqkaEhK3dRSsOfxJXr5QajVvYyASN8yEq82OTGsLj9i8cD1Dv93UsHEMgPmlPMFhr4pyTs33oJ88b15Fvmi2GPfFwU42GdOhqU4zeARgAAuB6VIqgQqQ7PR5C3rdpeG848gLt/s1600/contrast.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="357" data-original-width="250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4l9Uek7iXqkaEhK3dRSsOfxJXr5QajVvYyASN8yEq82OTGsLj9i8cD1Dv93UsHEMgPmlPMFhr4pyTs33oJ88b15Fvmi2GPfFwU42GdOhqU4zeARgAAuB6VIqgQqQ7PR5C3rdpeG848gLt/s320/contrast.JPG" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Default Strong Contrast Curve</b></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8QC-X5gCk1ZsKL9Z-C8dLRX8hE8Po4Zrhofh17-AMcPPyXX89V2cxt11KReGcgadmZl8i4YEI8zwBfISg5u8EZfNZ_2fP9HZH6gp8A40smko9Ur8RNSJaJSPxxJrDqF7WiP4HvmsDRthw/s1600/postContrast.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="543" data-original-width="804" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8QC-X5gCk1ZsKL9Z-C8dLRX8hE8Po4Zrhofh17-AMcPPyXX89V2cxt11KReGcgadmZl8i4YEI8zwBfISg5u8EZfNZ_2fP9HZH6gp8A40smko9Ur8RNSJaJSPxxJrDqF7WiP4HvmsDRthw/s640/postContrast.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Post Strong Contrast Curve</b></td></tr>
</tbody></table>
<div>
Still a load of Nope. I'm clutching at straws at this point so let's mix the sliders and curves together</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSQ4-uxdchCkM_OMSeemj0XUrt1I1aiUqNshs7MYUCWm6Qz6L5GcF2Qgtg4veuEGP1jDu_LCTbjXUQcYVfBlUpjwqPBJsJJJ2L3TjT-jgGCCAnvwrwzcQmfktXmOkrRK7Uj1irc__I_lSd/s1600/PostCurvesAndSliders.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSQ4-uxdchCkM_OMSeemj0XUrt1I1aiUqNshs7MYUCWm6Qz6L5GcF2Qgtg4veuEGP1jDu_LCTbjXUQcYVfBlUpjwqPBJsJJJ2L3TjT-jgGCCAnvwrwzcQmfktXmOkrRK7Uj1irc__I_lSd/s640/PostCurvesAndSliders.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Sliders and Curves</b></td></tr>
</tbody></table>
<div>
<div>
Now we're <i>starting </i>to cook with gas. The sky is starting to peep through as I had envisaged it, the heavy rain on the mountains is still there but now with the intensity I had desired, and the clouds showing the textures and shades that I want to show. The bottom of the image still sucks though.</div>
</div>
<div>
<br /></div>
<div>
<div>
Still it wasn't quite right. I really get worried when I have to yank sliders around that much. I start getting concerned about how things will appear when printed. I process in the ProPhoto colour space but that has a wide and tolerant gamut. When you go and print you really have to watch for out of gamut: this depends on the paper that you are going to print on.</div>
</div>
<div>
<br /></div>
<div>
<div>
In many other attempts I was drawn to the presence sliders but this image really made me think twice about these: quick and easy micro-contrast at the expense of sometimes cartoonish images and "interesting" colour shifts -- especially in this image, and noise. I tried Topaz Adjust AI, a full ON1 Raw tool chain and ON1 Effects only. None of these really did what I wanted. I may have missed something but really, the results didn't float my boat. I don't do single image HDR. That's just not done in polite company!</div>
</div>
<div>
<br /></div>
<div>
<div>
I let the image sit for a while. I'll do that when I'm stymied. No sense flailing about willy-nilly and going nowhere fast.</div>
<div>
<br /></div>
<div>
I was staring at my library the other night and my eye happened on Dan Margulis' book "Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace" Long out of print, Margulis takes you through LAB and shows you how to use it to make some really potent corrections quickly. He admits that there are other ways of achieving the same thing but LAB is really quick and a reasonable tool to use when faced with seemingly intractable problems like bring life to desert scenes, complex colour corrections and retouching badly damaged images. I used the latter to clean up some images of my wife's ancestors' photos made in the Ukraine pre-Holdomor. There are PDF copies of the book floating around the internet but do try to buy a legit copy if you can. Some of the scans are really crappy.</div>
<div>
<br /></div>
<div>
I'm not going to give a course in LAB or why these techniques work. I'm just going to work through this image to see what we get.</div>
</div>
<div>
<br /></div>
<div>
<div>
In the book there is an example of him using LAB space to bring a flat seascape (sound familiar?) to life. Without getting into the deep hairy details about LAB, this it what the channels in LAB mean:</div>
</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7XPyMJia9HuUdg0ED-gS2W3vQqF0vZ67-Z7Mhu7DzYibLT1a5aRrjas8in7sygMBZfpOp4V6XO9qBWgt9Sapmmt5eUB0Yhs706Gukvk98v06H0UDKVTefFd-0IXPD4kvd-XhK4L2WeM8U/s1600/LABCurves.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="866" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7XPyMJia9HuUdg0ED-gS2W3vQqF0vZ67-Z7Mhu7DzYibLT1a5aRrjas8in7sygMBZfpOp4V6XO9qBWgt9Sapmmt5eUB0Yhs706Gukvk98v06H0UDKVTefFd-0IXPD4kvd-XhK4L2WeM8U/s640/LABCurves.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Example of LAB curves</b></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div>
<div>
L goes from dark to light, from 0 to 100; L is never negative (A & B can be). An L value of 0 means pure black while and 100 means pure white. An L value of 50 is equivalent to a 50% grey. L controls exposure and contrast only. In RGB, mucking with the contrast can (and usually does) muck up the colours. The a & b channels govern the relationship between the opposing colours that are part of the theory behind LAB. The values for these channels range from -127 to +127. A value of +128 means a is all magenta or b is all yellow and a value of -127 means a is all green or b is all blue. Mixing all this up you can get any colour that exists and some physically unrealizable colours as well: liquidine velvet chermerculoid yellow springs to mind.</div>
<div>
<br /></div>
<div>
PLEASE NOTE! The above is horribly simplified. Read Margulis' book if you want to get down and dirty with LAB, its theory and practice.</div>
<div>
<br /></div>
<div>
Also note that in the curves shown above and below I'm following Margulis' practice of showing them from 0 to 100% with lightness to the left as opposed to the PS default of lightness to the right. This setting is equivalent to "ink deposited" that is used when working in the CMYK space. You don't have to do this. Do what ever you want as the Chesire Cat said.</div>
<div>
<br /></div>
<div>
So, Hi! Ho! Hi! Ho! into Photoshop we go.</div>
<div>
<br /></div>
<div>
After changing into LAB mode we add a Curves adjustment layer. After a some experimentation I came up with these adjustments: </div>
</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhWG84bvYdlBPksO-8Wlho7XosqB35Cx_lZlrKMRoeZzhTvhiprK3v_pJu9FRFL8Kcmfi8foGNvHeK32a0MvWuQKbhb_5E8xknR9bmiD9Mvj2ovvWhhdeK6nDMZWRioQIzjec4bSn4Se5V/s1600/allLAB.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="1132" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhWG84bvYdlBPksO-8Wlho7XosqB35Cx_lZlrKMRoeZzhTvhiprK3v_pJu9FRFL8Kcmfi8foGNvHeK32a0MvWuQKbhb_5E8xknR9bmiD9Mvj2ovvWhhdeK6nDMZWRioQIzjec4bSn4Se5V/s640/allLAB.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Final LAB Adjustments</b></td></tr>
</tbody></table>
<div>
You'll notice that there are no adjustments to the a channel. The a width of the a channel histogram is so narrow that no matter what you do (unless something very, very rude to the curve) nothing happens. I also made sure that after the adjustments everything was still in gamut for the printing service that I use.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPaMGrrLcKTsNGPGVyguTnZYUAwgnPgh354vk7xkJKuHgfhzNVCd-MKsG3dwjMsXA0F20b0w2TcyM-60Oqu5s-if_fKj70N_swDC8bW9c-Jta_tTf_YNpB6XrvyofsPcUOWvEt1Ce_mKI4/s1600/PostLab.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPaMGrrLcKTsNGPGVyguTnZYUAwgnPgh354vk7xkJKuHgfhzNVCd-MKsG3dwjMsXA0F20b0w2TcyM-60Oqu5s-if_fKj70N_swDC8bW9c-Jta_tTf_YNpB6XrvyofsPcUOWvEt1Ce_mKI4/s640/PostLab.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Post LAB Image</b></td></tr>
</tbody></table>
<div>
<div>
This is what I was going for. Not to over cooked, nicely in control. This was done much quicker that all the phaffing about in LR to get a less desireable result (to my mind, at least).</div>
<div>
<br /></div>
<div>
So, back into LR to do just some minor tweaks. I wanted to enhance the shimmer of the reflection of the cumulus cloud so I applied a radial filter comme ca: </div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSKv24uGmXhHv_YTKAYFFF4RboOQxmNUhDywqcc_rERwolAYAAiZvfNpyLzyyoFnE-biSNq3NQdPAML8CYhUHdi_dKM0NRd6D6_LtMhXPwjdaV7g3cC6H1u5SjIxFcqdA_F9KH6ZiMcXp/s1600/RadialFilter.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="389" data-original-width="579" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSKv24uGmXhHv_YTKAYFFF4RboOQxmNUhDywqcc_rERwolAYAAiZvfNpyLzyyoFnE-biSNq3NQdPAML8CYhUHdi_dKM0NRd6D6_LtMhXPwjdaV7g3cC6H1u5SjIxFcqdA_F9KH6ZiMcXp/s640/RadialFilter.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;"><b>Radial Filter</b></span></td></tr>
</tbody></table>
<div>
<div>
Then a bit of sharpening, masking out most of the blocks of relatively continuous tone et voila, the final image:</div>
</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigmobFSlCS1uGJRY0JOvfkEd8U4g8y7sZ0LJ2eK6X4BSP0ryiQwK82hZDRRsertXJtAB24jOCKoL-hWuQjYiJJaWdVUg6K93yf20tJ5lJQPhBVRCOjP3S-EQkfG4ydM9cwWLsQt7aX5cjb/s1600/PostRadial_Sharpen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigmobFSlCS1uGJRY0JOvfkEd8U4g8y7sZ0LJ2eK6X4BSP0ryiQwK82hZDRRsertXJtAB24jOCKoL-hWuQjYiJJaWdVUg6K93yf20tJ5lJQPhBVRCOjP3S-EQkfG4ydM9cwWLsQt7aX5cjb/s640/PostRadial_Sharpen.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Final Colour Image</b></td></tr>
</tbody></table>
<div>
<div>
I can now pull this into NIK Silver eFex and get the black and white image I was after. No, I'm not sharing my workflow there; that's my "secret sauce":</div>
</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsOhvC4oK93pg9oywADd-lI6ggoIILsizrJnaPzygh58pqCRb-ETF01crtRJcxB4sdX12jn4Yh8Yck59R9jwGrSjW8N-B7IDYAVyrSbVW3GuL7LdamBSGnChsuloY5BciBzqVohCq45DXf/s1600/PostSilverEfx.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsOhvC4oK93pg9oywADd-lI6ggoIILsizrJnaPzygh58pqCRb-ETF01crtRJcxB4sdX12jn4Yh8Yck59R9jwGrSjW8N-B7IDYAVyrSbVW3GuL7LdamBSGnChsuloY5BciBzqVohCq45DXf/s640/PostSilverEfx.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Final Black & White Image</b></td></tr>
</tbody></table>
<div>
A successful session in the LAB I would say.<br />
<br />
And now, some Bobby Pickett:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/vNuVifA7DSU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/vNuVifA7DSU?feature=player_embedded" width="320"></iframe></div>
<br /></div>
John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-60693075310207331992020-04-02T18:23:00.001-06:002020-04-03T21:14:03.263-06:00Opa Gaat Op Reis<div class="separator" style="clear: both; text-align: center;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8L8gsRGgSdojLsuzxlCCqG7e32Byvq9WyoLO5u-Tdzj2t9LRBp42VaSxE3WZR1cGHHi4IimOjciLsDkaj2YnAzYsF7mIDvM8tb6rdy19BWX-NIglb_0gFWwcbbyPY_kH75iYM8lj3der_/s1600/L1102987_1219.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8L8gsRGgSdojLsuzxlCCqG7e32Byvq9WyoLO5u-Tdzj2t9LRBp42VaSxE3WZR1cGHHi4IimOjciLsDkaj2YnAzYsF7mIDvM8tb6rdy19BWX-NIglb_0gFWwcbbyPY_kH75iYM8lj3der_/s320/L1102987_1219.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Joe's Juice</b></td></tr>
</tbody></table>
<h3>
In Which a Newly Minted Opa Flies to Denmark to Make that <i>ONE</i> Image (and maybe a few others too)</h3>
<div>
<div>
"An Opa? You mean as in grandfather?"" asked gin and tonic across the table.</div>
<div>
</div>
<div>
"Ayup, as of November 23 of last year." </div>
<div>
<br /></div>
<div>
"Gorn," said Red Ale. "You? Lord help that kid."</div>
<div>
<br /></div>
<div>
Lager Lou nodded. "Next thing you know you'll be having him make horrid puns in Danish, as well as Dutch and English."</div>
<div>
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<div>
"Have you seen the lad then?"</div>
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"Ayup, February, just before the virus hit the fan."</div>
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"Took him to a blues bar then?"</div>
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And so on...</div>
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That dear reader, is the level of intellectual repartee at the local; a right lot of charlies they are. But it is true, I am now a grandfather. And yes, I was lucky enough to see the lad before the world came to halt comma grinding. As the subtitle says, I only wanted to make that <i>ONE</i> image, that one image that captured what I thought having a child was all about. I made one of my wife and daughter when my daughter was but a week or so old and I wanted to see if, some 20 years later, I could turn the trick again.</div>
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Getting to Denmark from the wilds of the Alberta Foothills is a bit of a trek. You have to (if you're flying WestJet) transit through Mordor, or London Gatwick as it is known to the local jobsworths. Little did I know that we would be staying at the Barad-dûr Inn and Suites</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTYSVgHPWmRBLckQOJliZavtzph37Edp57vb0xqfQgVbuGjTACUeaZSVZD9I7jSvzTvQpVCmT5EsCruaxA4p7qOAkoNHueJnPA5Zvpbzzqt3Wvijc5E0yHpDKfojZZHp6mqLeunJtfzr1w/s1600/IMG_4025_1214.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTYSVgHPWmRBLckQOJliZavtzph37Edp57vb0xqfQgVbuGjTACUeaZSVZD9I7jSvzTvQpVCmT5EsCruaxA4p7qOAkoNHueJnPA5Zvpbzzqt3Wvijc5E0yHpDKfojZZHp6mqLeunJtfzr1w/s640/IMG_4025_1214.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Courtyard, Premier Inn, London Gatwick (LGW)</b></td></tr>
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All joking aside, the Premier Inn is a pleasant hotel for a passenger in transit – even with Sauron as the architect. Thankfully the only Orcs I could detect were over in airport security.</div>
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Copenhagen in February is a different kettle of hygge than Copenhagen in May or June (when I was there last). Remembering that it is farther north than Grande Prairie, Alberta (where I used to work when dinosaurs roamed the Earth) the sun in February rises late, sets early and doesn't go that far above the horizon (18 deg or so at noon) which makes for some interesting lighting challenges but also some fantastic opportunities.</div>
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Seven to 8 hours of daylight and a low sun is just the start. With an average of 11.4 days of rain and 2.4 hours of sunlight in February there's good reason for Kierkegaard being referred to as "that gloomy Dane".</div>
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So, when it's not raining you have to usually work in an overcast. But when the sun does appear, even through scattered clouds, the quality of the light is just, just... wow. I can't describe it. The colours are saturated, the detail is sharp, even to my aging Mark I eyeball. In short, a delight (hah!) to work with!</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJm87v0s5AphMirD_n83WSm_F3XOvU5So4_zyLCReW3P10m5YEj1nMIAq-kUZ9kIUGyLOlWiKXgHl-85btJrQw56NExPMIkjXJ0WbOEofy5ZilHbGhPAuDWEvqxyETjL91AKS7yqIWgQL/s1600/L1103098.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJm87v0s5AphMirD_n83WSm_F3XOvU5So4_zyLCReW3P10m5YEj1nMIAq-kUZ9kIUGyLOlWiKXgHl-85btJrQw56NExPMIkjXJ0WbOEofy5ZilHbGhPAuDWEvqxyETjL91AKS7yqIWgQL/s640/L1103098.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Harry's Place</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXyvwPhr9I-LxOC85gzxWrmXAl0KHqZ3FLLnf4EybLtPQBQUjQF0fX_pXNn7vxeNNQNlm1RFHfaZyF1y5zhgMcEBzFzCwuk3XvKWoky33dv7NKf9Md1obsJunDMyUB8KTuNv36rg61TMG/s1600/P2146389.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXyvwPhr9I-LxOC85gzxWrmXAl0KHqZ3FLLnf4EybLtPQBQUjQF0fX_pXNn7vxeNNQNlm1RFHfaZyF1y5zhgMcEBzFzCwuk3XvKWoky33dv7NKf9Md1obsJunDMyUB8KTuNv36rg61TMG/s640/P2146389.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Miss Ruth is not at home today</b></td></tr>
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With light like that, that <i>ONE</i> image would have to wait for just a bit. </div>
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It had rained earlier in the morning and I was out for wander and ended up at Kødbyen or the Meat Packing District. I like to go there every trip because this is where you can find The fotographisk centre (<a href="http://fotografiskcenter.dk/">http://fotografiskcenter.dk</a>/). A great gallery with the greatest people working there: they really care about photography. This image is an example of what I was talking about when I said that the low sun angle made for some interesting lighting challenges. </div>
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Here, you're not only shooting into the sun, but the sun in this case is at about 18 degrees above the horizon, just out of frame to the right. I had to do a lot of dodging and burning to get the clouds in the sky to balance with the brooding gateway. It wasn't until I started processing that I noticed that the lines leading up to the gate reminded me of railway lines leading up to another gate that is known for something much, much darker. When that hit me I reprocessed for a much more grainy and turbulent image. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHVxLzna7rWzWg-kjhzSwQYFYIUnp1ToTNf8BO2_z9kIe13F-BzQk55qvKcjUq2OGLsDMQwZUCc3rphBQW8dO4DDJJTqjv5bUKby-A3RvH0tKOYQRA_Yc7M9h9fKcto9PLDTsl5_l817Ah/s1600/L1103028_1222.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHVxLzna7rWzWg-kjhzSwQYFYIUnp1ToTNf8BO2_z9kIe13F-BzQk55qvKcjUq2OGLsDMQwZUCc3rphBQW8dO4DDJJTqjv5bUKby-A3RvH0tKOYQRA_Yc7M9h9fKcto9PLDTsl5_l817Ah/s640/L1103028_1222.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Øksnehallen</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuAM-iKbQlfR99I-L4FBOEQiTdT24C6gKAUDDkI8PEKPzBtuT4AieMyPoi-GPG3m-YWYf5s8wN9xNtv2INXchjETBstIs7buJ37CH5oQpaOLa4KXf-NiTn8oZf9c7Rl1AczorbV-UPIAcC/s1600/L1103030_1223.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuAM-iKbQlfR99I-L4FBOEQiTdT24C6gKAUDDkI8PEKPzBtuT4AieMyPoi-GPG3m-YWYf5s8wN9xNtv2INXchjETBstIs7buJ37CH5oQpaOLa4KXf-NiTn8oZf9c7Rl1AczorbV-UPIAcC/s640/L1103030_1223.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brown Market Slaughterhouse</td></tr>
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One system was passing and another was to come (say hello Storm Dennis) but in spite of that we went up to Gilleleje to have lunch at one of my favourite restaurants (Restaurant Gilleleje Havn & Krostue) and to walk along the ocean. The wind was up and the clouds where racing along in eager anticipation of dumping another metric butt-ton of rain on an unsuspecting Copenhagen.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXIm_AlGAByrCt7kT-Smpk1kKZVqomJug_4DYrnVgRt9ztlxoE5av9SSdYeVFvB8eiTCcZnZKuVw01_4ZVwhtPo3_d32O4yoz9YjW3fzVdW8CDmJQwmkj91fPOFQhsdI6n9uRD1lgcaahu/s1600/L1103044_1224.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXIm_AlGAByrCt7kT-Smpk1kKZVqomJug_4DYrnVgRt9ztlxoE5av9SSdYeVFvB8eiTCcZnZKuVw01_4ZVwhtPo3_d32O4yoz9YjW3fzVdW8CDmJQwmkj91fPOFQhsdI6n9uRD1lgcaahu/s640/L1103044_1224.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Conveyor, Gillelejehavn</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivnuHezq0R8jBSmT0rc2KLu6CALpGiiZvtinx1jGdJN1y_t8mIikI9xCpSkKDBa96vmHawO0cmUY2k0uKlCF_eCcXvyxoRBODKl3HApbrAPou0r0CIOlDbn6qJtCkoWhI1k0LpUSqWjJKn/s1600/L1103034_1225.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1281" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivnuHezq0R8jBSmT0rc2KLu6CALpGiiZvtinx1jGdJN1y_t8mIikI9xCpSkKDBa96vmHawO0cmUY2k0uKlCF_eCcXvyxoRBODKl3HApbrAPou0r0CIOlDbn6qJtCkoWhI1k0LpUSqWjJKn/s640/L1103034_1225.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Figure and Dunes</b></td></tr>
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OK, OK; I've been blithering long enough; on to the money shot. Unfortunately this term has been corrupted by the Internet (see Rule #34) (if you don't know, look it up). As far as I'm concerned it's that image the client pays you for or is iconic in it's ability to communicate. It could be Bobby Orr diving across the crease after scoring the winning goal for the Stanley Cup, the sailor kissing the nurse in Times Square, or Ghandi sitting by the spinning wheel; it's that <i>ONE</i> shot.</div>
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I was lucky that my son was at work and that my wife had slept in so I was able to spend some time with my daughter-in-law on my own. After chit-chatting about this and that I casually pulled out my trusty E-P2 and with the 45mm (that makes for a nice 90mm equivalent portrait lens). I noodled around a bit while Stine was putting on the baby sling so she'd get comfortable with me and the camera. Click, nope. Click, nope. Click, nope. I was starting worry that I might "Hungry Joe" this shoot. How about we move here. Click, nope. And then: click, click, click – magic. Three shots, three images that captured the bond between mother and child.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz2qz87jpp8X5d8ewuisTnFcFUA1Fw17wK1N3UBJekuXdUxyO6dFxxjxeik-NZfBRTHDnHpTQYx9Cbg78W7UI9Z87zAQRvhZrdKt-rVlfIXAOmpBEfpZqfav1IxpFgBb2xR0uI0sYw73z-/s1600/P2076346_1217.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz2qz87jpp8X5d8ewuisTnFcFUA1Fw17wK1N3UBJekuXdUxyO6dFxxjxeik-NZfBRTHDnHpTQYx9Cbg78W7UI9Z87zAQRvhZrdKt-rVlfIXAOmpBEfpZqfav1IxpFgBb2xR0uI0sYw73z-/s640/P2076346_1217.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Mother and Son</b></td></tr>
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So, I did get that <i>ONE </i>shot. And made, I think, some other nice images as well. The whole gallery is here</div>
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<a href="https://tomservoca.smugmug.com/Other/Copenhagen-Spring-2020/n-6LgdXj/i-zp8LJth">https://tomservoca.smugmug.com/Other/Copenhagen-Spring-2020/n-6LgdXj/i-zp8LJth</a></div>
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-62235434923607976462019-08-08T17:18:00.000-06:002019-08-08T17:18:02.157-06:00Ethel The Aardvark Goes Quantity Surveying<h3>
I'm not a hoarder! I'm a curator of a collection of books about photography!</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipTjDn237JuOKbhunuRx6GGrm0C-1FxUPlgbFyIQBLIlKmKMx7uAE0pli77Jf7Um8ixczKV9qhYJdtOAHTVfOki7Qb-Mfx5tQ2Fv84JvDcR0LSZXvzuxy5bfHwFhqSWhCpiYqPulo9gmue/s1600/Bookstore.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipTjDn237JuOKbhunuRx6GGrm0C-1FxUPlgbFyIQBLIlKmKMx7uAE0pli77Jf7Um8ixczKV9qhYJdtOAHTVfOki7Qb-Mfx5tQ2Fv84JvDcR0LSZXvzuxy5bfHwFhqSWhCpiYqPulo9gmue/s320/Bookstore.jpg" width="320" /></a></div>
The good lady wife was in London the other month and went to the Tate Britain and saw the McCullen exhibition. I’ve been trying to curb my bibliomania and I’ve avoided bringing more books (well, more books about photography at least) into the house for a while now.<br />
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We were visiting via iMessage and she was sending me pictures of – dramatic pause – photography books. What a way to get triggered! In the end she brought back the following books for my reading pleasure.<br />
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Let Us Now Praise Famous Men</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYMpUvqsojqvMOkyeL4Ai0WlF-duXI8wifS71mvekSjHqoyN81cWxSnol9bRBwnvXKkWSp2ojSWVjnpE5mCDMiX2c8qOp3LdM3UHmRSbtrUVgdqmIOVGYexk1CHb4QbLZwh85sqaP4c7S/s1600/Agee.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1164" data-original-width="1164" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYMpUvqsojqvMOkyeL4Ai0WlF-duXI8wifS71mvekSjHqoyN81cWxSnol9bRBwnvXKkWSp2ojSWVjnpE5mCDMiX2c8qOp3LdM3UHmRSbtrUVgdqmIOVGYexk1CHb4QbLZwh85sqaP4c7S/s320/Agee.jpg" width="320" /></a></div>
This book is referenced by almost every critic, historian or observer of photography since it was first printed. I have seen it referenced so many times that I wonder if the authors have actually read the book or are just taking something someone else wrote and passing in on in a never ending game of pass the parcel the phrasing and ideas are so similar.<br />
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Agee’s writing is what is so truly important about this book; it has a rhythm to it: at times languid and circling in eddies like a meandering southern river, other times austere like the weather beaten pine boards that make up the sharecroppers’ houses. There is poetry here: a descriptive sonority that takes you to a dusty Alabama road or to a ramshackle church. Evans’ photographs provide a muted counterpoint to the images conjured up by Agee’s eloquence.<br />
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This is a book that needs to read again and again to refine ones understanding. Superficially you could read it and say “Yes, yes, sharecropping in the ’30s.” but underneath you get a sense of the pride and dignity of these indentured servants and the closed society of the African-Americans who, for all intents and purposes, are still tied to the landowner.<br />
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Frustrating, poetic, soaring but never descending into the trite it is a book well worth reading.<br />
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(Interesting fact: Margaret Bourke-White and Erskine Caldwell’s book “Have You Seen Their Faces” predates this book and covers similar territory and was Agee’s inspiration to write this book. End obligatory MBW plug)<br />
<h3>
Photographers on Photography</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1DCCUa1g0Moi449p8rWxHz4SOdwoqYeHH6Go9ZzcEpy3OKWo4IeJjsDYGw4XkYo2xKqfwWRoCA4gVNgNnq17nWQjk7NYG8P8baj_Mb20CQ8h4uE-ztpO5M4PMCYwe7GWC_wExfLk_Eb7/s1600/PonP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="364" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1DCCUa1g0Moi449p8rWxHz4SOdwoqYeHH6Go9ZzcEpy3OKWo4IeJjsDYGw4XkYo2xKqfwWRoCA4gVNgNnq17nWQjk7NYG8P8baj_Mb20CQ8h4uE-ztpO5M4PMCYwe7GWC_wExfLk_Eb7/s320/PonP.jpg" width="233" /></a></div>
This book is a follow-on to Mr. Carroll’s rather breathlessly titled “Read This If You Want to Take Great Photographs”. I usually head for the exits like a stampeding wildebeest who’s just seen a lion that has decided it wants me for dinner when confronted with these sorts of titles. I’ve seen to many prescriptive tomes that end up with the reader – if they followed the instructions to the letter – taking well exposed and composed but totally blah photographs. However, I am a sucker for any books that share what other photographers say and write about this dark art.<br />
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The book is a selection of quotes taken from, as Carroll calls them, “visionary photographers” offset with examples of their work and a short essay by Carroll. In some places there is an interview with the photographer where the themes are expanded upon. It’s always a matter of opinion who the “visionaries” are and in the case of a survey book such as this one it’s a case of the usual suspects: Lange, Adams, Winogrand etc. Joy of joys though, a broad selection of others that may not be so commonplace are included as well: Moryama, Shiga, Soth and many others. It’s this diversity of insight and perspective that makes this book a delight.<br />
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Let’s be clear about this right now. This book is not a prescriptive book on technique in any way, shape or form. Don’t even bother if you’re looking for a book that shares with you the greats’ “secret sauce”. What it is, however, is a book that shares the greats’ philosophical “secret sauce”. <br />
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This book forces you to think about what you personally are trying to accomplish as an artist as you read the artists’ words, look at the images and study Carroll’s essays.<br />
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This book has one star reviews on Amazon (“The Idiocy of the Commons”) from people looking for “How-To-Do-It” and not wanting to actually put in the hard work to develop their vision and craft.<br />
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Highly recommended!<br />
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<h3>
Don McCullin</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuDPPm2Je5UgpWwJHVb9hABFEonjLlkzvMEuTv3_JF41BaQOwnuLqzEwRwHPsxb3CXFVorApeuBd3yfpunRwDT_GDQPKjvQFt3IkC7yw4pTGT9oYUlOpEel-mOauBwLTVRr279KrVTx3k/s1600/mccullin.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuDPPm2Je5UgpWwJHVb9hABFEonjLlkzvMEuTv3_JF41BaQOwnuLqzEwRwHPsxb3CXFVorApeuBd3yfpunRwDT_GDQPKjvQFt3IkC7yw4pTGT9oYUlOpEel-mOauBwLTVRr279KrVTx3k/s1600/mccullin.jpg" /></a></div>
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The book that started this latest round of purchasing of books: the catalog for the McCullin Retrospective exhibition at the Tate Britain.</div>
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It’s a fetish of mine, buying catalogs of photography exhibitions whenever I can. The commentary is (usually) insightful and the production quality is always extremely high. Sumptuously and I do mean sumptuously printed, this one raises the standard to a new level. It is almost as good as seeing the actual photograph hanging on the wall.</div>
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McCullin says he’s not an artist and resents the label “war photographer.” He indicates that he doesn’t want the suffering of the people and situations he photographed conflated with art nor for them to be supplanted by labels. He goes on to say that he was there to bear witness; be it war, famine, insurrection or social issues.</div>
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McCullin, protestations to the contrary, displays an artist’s sensitivity and depth in being able to capture the raw, painful reality of the situation. He is more than technician with quick reflexes and a phenomenal amount of raw courage; he has that innate ability to combine that most elusive of events: composition, emotion and raw drama. You can see it in the first image he ever sold, “The Lords of the Manor”. His visual language is that of an artist first, recorder of events second.</div>
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There is a darkness that begins to creep in to his prints as he is drawn deeper and deeper into the pain of mankind as he covers more and more violence. Gone are the well dressed young squires showing off for the camera to be replaced by gaunt images of famine victims and shell shocked soldiers.</div>
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It has been said by some that this darkness is reflective of the PTSD and the resulting nightmares he suffers from. There may be something in this as I, too, tend to print darker than most, preferring contrasty prints with deep shadows. Although I do not suffer from PTSD as such, I do suffer from depression and anxiety and I do find, dare I say, a comforting familiarity in his visual language – not that I would for an instant compare my talent to McCullin’s.</div>
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Retired, McCullin has turned to photographing landscapes to find some sort of solace. Equally haunting, the images of his beloved Somerset show that McCullin is truly an artist and his sensitivities provide an explanation of why he was so impacted by the horrors he witnessed.</div>
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If you can see “McCullin”, do so. If you can’t get the catalog. It may be available from the Tate online store.</div>
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<h3>
Lives of – The Great Photographers</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTxgibZJDjPn63QqGjE68FWRiYBvbF-VYtRhyphenhyphen2nXd88inSoyzeH_7Gh3UDsGOjtD-tWc09czfw-cKJ1MGqyFyRRXZg_ipOM2dgidE48CA9ln5d9D5iS4N60O_HiVkq6SNSGL3ovKBpd_v/s1600/livesof.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="260" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTxgibZJDjPn63QqGjE68FWRiYBvbF-VYtRhyphenhyphen2nXd88inSoyzeH_7Gh3UDsGOjtD-tWc09czfw-cKJ1MGqyFyRRXZg_ipOM2dgidE48CA9ln5d9D5iS4N60O_HiVkq6SNSGL3ovKBpd_v/s320/livesof.jpg" width="249" /></a></div>
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Many people know or know of images like HCB’s “Behind the Gare St. Lazaire”, Capa’s “The Falling Soldier” or Fenton’s images of the Crimean War. Just as interesting and often forgotten or unknown (often by casual observers or people embarking on pursuing photography as a career or hobby) are the equally fascinating stories of the photographers themselves. Hacking is an astute observer and in this book has produced a collection of sketches of photographers that have provided images that, without society being aware of it, are now part of our visual language have been subsumed into our culture.</div>
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I have one of her other books “Photography – The Whole Story”. It is written in the same style as this one: clear, and crisp and delightful to read. The writing in both books steer far from the load of arty bollocks and dry critical theory that so often crops up.</div>
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Unlike so many surveys, bio(and auto)biographies and memoirs that are either hagiographies, short on detail, way to long on detail and those that provide no new insights Hacking is able to produces sketches of the photographer that drills down to what she thinks they are really all about. As she says in the introduction: “A person is so much more that dates and places...”</div>
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Her observations are not always in keeping with the received wisdom in arty circles. In the chapter on Ansell Adams, she discards the comment by the self appointed gate keeper of American photography John Szardowksi that Adams did is great work in his twenties and only repeated himself after that. She backs this up by referencing photography historian Anne Hammond offering an insightful counter. She does this elsewhere in the book as well, but unlike, say, Sontag, she provides well referenced counter-arguments.</div>
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Her choice of photographers to include is as interesting as the selection found in “Photographers on Photography”. Hacking indicates in her forward that all are pioneers in one way or another and their impact can not be understated. There is some overlap, some usual suspects that PonP didn’t include as well as some that are not so well known and some that only hardcore students of photography would know. I’m looking forward to going down the internet rabbit hole to study and learn from their work.</div>
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4 new books, 4 new perspectives. Oh, and the title of this post? Well. here's the Bookstore Sketch</div>
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<br />John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-47750572578785846932019-03-30T16:40:00.001-06:002019-03-30T16:48:29.352-06:00In which John explores a library and starts to get his groove back<div class="separator" style="clear: both; text-align: center;">
<a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-ZjDpLrf/1/fec96ffd/L/P3106192_1126-L.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="750" height="256" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-ZjDpLrf/1/fec96ffd/L/P3106192_1126-L.jpg" width="320" /></a></div>
I’ve always had a fascination with libraries (and bookstores as the good lady wife will attest to). When I had the chance, through the Coffee and Cameras program put on by The Camera Store, to explore the New Calgary Public Library without any of the general public around I leapt at it.<br />
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Along with about 25 other folks I was able to spend 3 hours wandering the library unrestricted. Some brought tripods and flashes. I shot hand held for three glorious hours and, even better, I got into the zone a few times.<br />
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I’ve been thinking a lot about how I’ve been approaching how I shoot. If you’ve been following the “<a href="https://www.imdb.com/title/tt1294977/" target="_blank">whole rotten saga</a>” of my existential angst about making images you’ll see what I mean. Oddly enough, as if to prove the old saying “the teacher will come when the student is ready”, I got an an e-mail from <a href="https://davidduchemin.com/" target="_blank">Dave Duchemin</a> announcing the 10th anniversary edition of “<a href="https://www.amazon.com/Within-Frame-10th-Anniversary-Photographic/dp/1681984563/ref=sr_1_1?keywords=within+the+frame&qid=1553983493&s=gateway&sr=8-1" target="_blank">Within The Frame</a>.” I have the original version but I like to support Dave so I bought it along with his other book “<a href="https://www.amazon.com/Soul-Camera-Photographers-Place-Picture-Making/dp/1681982021/ref=sr_1_1?keywords=The+soul+of+the+camera&qid=1553983602&s=books&sr=1-1" target="_blank">The Soul of The Camera</a>.” I’d also been reading “<a href="https://www.amazon.com/Practice-Contemplative-Photography-Seeing-World/dp/1590307798/ref=sr_1_1?keywords=The+Art+of+Contemplative+Photography&qid=1553983636&s=books&sr=1-1" target="_blank">The Practice of Contemplative Photography</a>” and these two books gave me the figurative “slap upside the haid” that I needed.<br />
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At the New CPL I approached the library with no preconceived notions of what I was what images I was going to make. I even gave myself permission to make no images.<br />
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Wait, what? Make no images? Are you on glue? What’s the point of getting up early on a Sunday morning then? What’s the point of paying for 3 hours of access to the most innovative building in Calgary? Simple: letting go of the pressure to create, to produce. You can then silence that always chattering, problem solving part of the brain and open your senses to the potential images that may be created.<br />
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By silencing the old chatterbox I was able to be patient and wait until I could truly see the building. By silencing the old chatterbox I could be mindful and reflect on the essence of the building and use that as a starting point and literally dance with the building: listening to what it has to tell you. When you reach this sort of melding with a subject you begin to transcribe its essence (and yours) into a collaborative work that combines the essence of the subject and your state of consciousness into something, one hopes, creative and meaningful.<br />
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I did something else as well, something I used to do all the time but some how got away from doing: limbering up. Musicians do it, athletes do it, maybe even educated fleas do it. I parked the truck a few blocks east of the library and pulled out the camera. Getting the first shot out of the way really helps. You start to sketch, you tickle the ivory, do the sound check and after a bit it starts to come. First the <a href="https://www.studiobell.ca/" target="_blank">National Music Centre</a><br />
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-vn9m3N5/1/a5cef46e/L/L1102654_1089-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-vn9m3N5/1/a5cef46e/L/L1102654_1089-L.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>National Music Centre</b></td></tr>
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Then the refurbished <a href="https://kingeddy.ca/" target="_blank">King Edd</a>y (a gentrified shadow of its former self, I like the <a href="http://www.thebluescan.com/" target="_blank">Blues Can</a> better).<br />
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-Sf6dXhP/1/06b91f55/L/L1102652_1087-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-Sf6dXhP/1/06b91f55/L/L1102652_1087-L.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The King Eddy</b></td></tr>
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And then the <a href="https://www.enmax.com/generation-wires/generation/district-energy-centre" target="_blank">Enmax District Energy Centre</a>.<br />
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-9ZBDQjn/1/dd80643f/L/L1102663_1090_1091-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-9ZBDQjn/1/dd80643f/L/L1102663_1090_1091-L.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Enmax District Energy Centre</td></tr>
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By now, even though my fingers were freezing, my heel blister shrieking to “Shtaaaap!” everything was popping.<br />
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Waiting for <a href="http://lukeseastvillage.com/" target="_blank">Luke’s</a> to open I wandered around some more<br />
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-BfXjNMf/1/35a12bc6/L/L1102675_1095-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-BfXjNMf/1/35a12bc6/L/L1102675_1095-L.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Photographer</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-4zSB5sH/1/38caac91/L/P3106122_1100-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-4zSB5sH/1/38caac91/L/P3106122_1100-L.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Cross</b></td></tr>
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And then inside. I didn’t set out to photograph any specific aspect of the building, I just responded to what caught my eye; often out of the corner of my eye. When, several days later I looked at what I had, I noticed an overall theme had evolved: abstraction and pattern.<br />
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-njNrZnC/1/6834c5d4/L/L1102693_1101-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-njNrZnC/1/6834c5d4/L/L1102693_1101-L.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Atrium</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-Hs3vzBH/1/f70a40cd/L/L1102737_1117-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-Hs3vzBH/1/f70a40cd/L/L1102737_1117-L.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Quiet Reading Room Ceiling Detail</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-nDtjcwJ/1/6bb51743/L/P3106166_1118-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="800" height="480" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-nDtjcwJ/1/6bb51743/L/P3106166_1118-L.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Quiet Reading Room, Ceiling Detail</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-QqxKkBZ/1/e1b377c5/L/P3106141_1104-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-QqxKkBZ/1/e1b377c5/L/P3106141_1104-L.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Atrium Ceiling Detail</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-Zbp85Dd/1/a77f28d8/L/P3106196-L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="600" height="640" src="https://photos.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library/i-Zbp85Dd/1/a77f28d8/L/P3106196-L.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Child<span style="color: #222222; font-size: 12.8px;">’</span>s Toy, Childrens<span style="color: #222222; font-size: 12.8px;">’ </span>Play Area</td></tr>
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The whole gallery is here:<br />
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<a href="https://tomservoca.smugmug.com/CalgaryCommunities/New-Calgary-Public-Library" target="_blank">Calgary Communities: New Calgary Public Library</a><br />
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I'm spending a lot of time experimenting with <a href="https://www.on1.com/products/photo-raw/" target="_blank">ON1 2019 Effects</a>, <a href="https://nikcollection.dxo.com/" target="_blank">Silver Efex</a> and <a href="https://www.dxo.com/dxo-filmpack/" target="_blank">DxO Filmpack</a> so that's why there are duplicates.<br />
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My oh my! It’s so nice to feel that groove coming back. Oh what a feeling, Oh what a rush.<br />
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<h3>
Special Shout Out</h3>
Many thanks to the staff of <a href="https://www.thecamerastore.com/" target="_blank">The Camera Store</a> for organizing these expeditions. It's a lot of work pulling these events together and then herding the cats. Peter needs to give you raises. Thank you!<br />
<br />John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-68303470097082519352019-03-16T09:33:00.000-06:002019-03-16T09:33:00.867-06:00Night Patrol<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5G5657nLMPW3IAPptv8FVvg9bSIClrzxYNEKUy-Ky3rpW6f_VVruIGtVisY-1g9_jr-J5RSBvGzfc_Pjj3ngADUNQeTB4jzvbm_hQXY1nQ-xyjvJt-tcx1IUCb8-y-SGQnEXL1BdPLyD6/s1600/L1102608.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5G5657nLMPW3IAPptv8FVvg9bSIClrzxYNEKUy-Ky3rpW6f_VVruIGtVisY-1g9_jr-J5RSBvGzfc_Pjj3ngADUNQeTB4jzvbm_hQXY1nQ-xyjvJt-tcx1IUCb8-y-SGQnEXL1BdPLyD6/s320/L1102608.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Blessed Snow Pile</b></span></td></tr>
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There was no clapping of a perky tour director’s hands or cheery exhortations for us to line up. Just a nod between everybody and a quiet “Well, let's get at it.” Beers finished, tabs settled and like a platoon going on patrol we prepare our cameras, hoisting bags of equipment onto our shoulders and form up outside.<br />
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We spread out into the night, photonic warriors hunting for images. Point, flank and drag: we patrol the streets – cameras nosing back and forth, looking, sniffing. An image? Perhaps. Work it. Shutters snicking like automatic fire and then silence. Further into the night, through the deserted streets we wander. Suddenly a flash illuminates the dark. More images found and captured.<br />
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Then, as quickly as we formed up, we are at the next encampment. Bags are unslung, field jackets are removed and beer is ordered. The conversation drifts to the images captured, what gear crapped out, what worked, what didn’t. Shots not taken as important as those that were. We share our photonic prisoners held captive on our memory cards.<br />
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Another <a href="https://www.thecamerastore.com/" target="_blank">The Camera Store</a> “Beer & Cameras” is over until the next time. Luckily, it was relatively warm that night considering the next day the overnight temperatures went to -20 or so and stayed there until mid-March. I was glad of the chance to make some images before having to hibernate, yet again.<br />
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With the exception of “Street Corner” all of these are all straight OOC with only minor lens adjustments and crops to my two preferred formats, 8x10 and 1x1. “Street Corner” was processed in NIK dFine and NIK Silver Efex.<br />
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When I made the “Blessed Snow Pile” and “Calgary Tower, Circle K” images I wasn't expecting to see any lens flare at all; both were made with my Leica so I didn't see anything in the viewfinder. I'm glad it's there as the flare has added some interest to what are perhaps bland images.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9U8ddwS24h60sMRty6SgexXQ95pnqs5Bof-BQl7piTdWrPa4qxNNPl93awKUygN00C272quQp8PXzi0vDs-XpxNc3G6BJ4UbPNbZtFGjyLSKIGhu_tVDdOFh2NhO2z-eMFbp1qoMCGvH/s1600/L1102597_1097.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9U8ddwS24h60sMRty6SgexXQ95pnqs5Bof-BQl7piTdWrPa4qxNNPl93awKUygN00C272quQp8PXzi0vDs-XpxNc3G6BJ4UbPNbZtFGjyLSKIGhu_tVDdOFh2NhO2z-eMFbp1qoMCGvH/s640/L1102597_1097.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Street Corner</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtcosvLWhZ_F8JQCaYjOXKlDq7x2MstnBIURLZu3-9pbzBCvPAgWxfDvU5qXh3q2NYwqwLQYmxVq0IXoDrFVsvLl34GXK7Whc6LdjpZCpVQCezCgJgeoyUpPfoxD_X0S15ESZScIuZRBdq/s1600/L1102619.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtcosvLWhZ_F8JQCaYjOXKlDq7x2MstnBIURLZu3-9pbzBCvPAgWxfDvU5qXh3q2NYwqwLQYmxVq0IXoDrFVsvLl34GXK7Whc6LdjpZCpVQCezCgJgeoyUpPfoxD_X0S15ESZScIuZRBdq/s640/L1102619.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Calgary Tower, Circle K</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKH_2aoxlS7R1XWiNfCeZ_yO1cBULvnHXbx7CG04VWiT1cPOPiKC0Vr7gSdCRnyfhppAJphA4nJMR18v3k9EIif4VjujzwcBKEYtapzN7Ft_lgRSx2gRhclmkhbaEh1_0pyG0gTWKhRTL/s1600/L1102628-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKH_2aoxlS7R1XWiNfCeZ_yO1cBULvnHXbx7CG04VWiT1cPOPiKC0Vr7gSdCRnyfhppAJphA4nJMR18v3k9EIif4VjujzwcBKEYtapzN7Ft_lgRSx2gRhclmkhbaEh1_0pyG0gTWKhRTL/s640/L1102628-2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Making Sandwiches BW</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7h9vI6n1Qezd0ycrCrg5Hcx3VQNmJ2QFH1IDRMt3yRA6YQUMRCdc64Gsgh8BPn8eTxv3smLzDyqLXk_7rYaEXdYjguXE-tq16TQnsk1d2KoJXyUZVp0jw1At6PZ67V9wxkmMz0cRerk8/s1600/L1102628.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7h9vI6n1Qezd0ycrCrg5Hcx3VQNmJ2QFH1IDRMt3yRA6YQUMRCdc64Gsgh8BPn8eTxv3smLzDyqLXk_7rYaEXdYjguXE-tq16TQnsk1d2KoJXyUZVp0jw1At6PZ67V9wxkmMz0cRerk8/s640/L1102628.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Making Sandwiches</span></b></td></tr>
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A splendid evening. And, in keeping with the night, two videos about the night<br />
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(always did like Steely Dan)</div>
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-7557400471362435132019-03-15T10:58:00.001-06:002019-03-15T10:58:45.584-06:00Coffee & Cameras & Beers! Oh My!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigr9clQu8FVBAak0HiprcZXUhcl96yhHjKRdU9PXa1X4-GD4ApoETSVAt0YT-D8nUi6otPWX6WkP8qkmMwlc93LtcHZo0Y5T6hBz_sE23hCag6l-lRqeAgtxoMo5kbflhoXx4L17eQGw8D/s1600/P1316077.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigr9clQu8FVBAak0HiprcZXUhcl96yhHjKRdU9PXa1X4-GD4ApoETSVAt0YT-D8nUi6otPWX6WkP8qkmMwlc93LtcHZo0Y5T6hBz_sE23hCag6l-lRqeAgtxoMo5kbflhoXx4L17eQGw8D/s320/P1316077.jpg" width="320" /></a></div>
Back in the day when I was a code slinger on DEC Vaxen and later on PCs with Borland product I always enjoyed the local user groups (LUGs). We’d invade a bar, order copious amounts of beer and if there were free snacks we’d devour those like a plague of locusts. We’d then compalin about DEC, complain about Borland (or its later incarnations, usually as Borprise). We’d swap hard won knowledge into the acrana of VMS and Delphi’s Object Pascal. Backup tapes (for VAXen) and floppies filled with code would change hands spreading “the knowledge”. The lucky ones with an ARPAnet connection would share print-outs of the latest episode of the “<a href="https://www.theregister.co.uk/data_centre/bofh/" target="_blank">Bastard Operator From Hell</a>”.<br />
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When I saw <a href="https://www.thecamerastore.com/Categories/219-Events.aspx" target="_blank">The Camera Store</a> was starting a thing called “Beer and Cameras” I said to myself: “Ah-ha! These are two of my favourite things! This could be just like the LUGs of old!” The way it works is you meet at a venue (brewery or coffee house) have a beer or coffee and then have a photo walk to the next venue. What could possibly go wrong?<br />
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Here’s the thing: I don’t do camera clubs. I don’t know why. I’ve been to the odd meeting or two but they never did anything for me and I really don’t like competitive aspects. I wrestle with their philosophy and aesthetics of photography. Submission requirements that require sharpness and focus and minimal cropping and post processing just don’t do it for me. When I make an image in the field I have already visualized how that image will look in print. The raw image is a base canvas for me: a starting off point if you will. Once in the digital darkroom I take that canvas and realize my vision.<br />
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I didn’t go for a long time due to scheduling issues (work, family, yada yada yada) but last month the planets aligned and I was able to go for the very first time. Hot Damn! Just like a LUG! And the best thing? Young Photographers with their energy, their ideas, their aesthetic, their fresh way of looking at the world!<br />
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So what is the big difference between ‘Cameras & Beer|Coffee” and a “camera club”? No competition, minimal structure and the enthusiasm of The Camera Store event coordinators. The venues make all the difference too. Good beer, decent eats, and for the Coffee and Cameras sessions good coffee. Can’t ask for anything more than that.<br />
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Kudos to <a href="https://www.thecamerastore.com/Categories/219-Events.aspx" target="_blank">The Camera Store</a> and the staff; they make this work. If you’re in Calgary when they’re hosting one, make a point of signing up and showing up.<br />
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-66207132786052499692019-03-01T14:09:00.000-07:002019-03-03T14:46:19.907-07:00A Bad Day's Shooting Is...<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinNhjYPeEnoWkUGbDESSFwu3qkQTPoXQQT3ufwBdNAh2lxu3fX81eOhRsAQOqxjjwyLOhwoL7eXOUwys0ZVP52mxzOf7rYP8TS_vjM2tqE8NiBP46BqfpnFShqonDtAFj9D4hlUJv9iHaT/s1600/L1102518.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinNhjYPeEnoWkUGbDESSFwu3qkQTPoXQQT3ufwBdNAh2lxu3fX81eOhRsAQOqxjjwyLOhwoL7eXOUwys0ZVP52mxzOf7rYP8TS_vjM2tqE8NiBP46BqfpnFShqonDtAFj9D4hlUJv9iHaT/s320/L1102518.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Sunrise, Ralph Klein Park</b></td></tr>
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<h2>
Sometimes just that: a bad day’s shooting.</h2>
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Huzzah! A chance for a road trip with my cameras. Yay! The light as I left Calgary heading east looked promising. It wasn’t too cold. It was early: the chinook arch was behind me, the sandwiches were packed, and thermos full. Yippee!</div>
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I should have stayed in bed and pulled the blankets over my head. Well, not really; something did come out of it as we shall see.</div>
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After some desultory phaffing about at the (ironically named) Ralph Klein Nature Preserve and the power plant at Shepard on the east side of town, I got on a secondary highway and went east: east to Gleichen, east to Bassano, east to Patricia — places where my father-in-law was born, places where he grew up. I don’t know what I was expecting to find. Echoes of the past, of a now forgotten time?</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDb349fVNCKS-aWnSSFnU3tPYe0tM6Q-4CXI0ByRKspy7gLh2B5UoBUnEcmcFW7JK3CL2fhVeu82X2oFgVLIVfsLUZEjG3TERTGhPh98wRXxdET4-RdqktQS40r0NX90-SE69DjJVjvImB/s1600/L1102510.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDb349fVNCKS-aWnSSFnU3tPYe0tM6Q-4CXI0ByRKspy7gLh2B5UoBUnEcmcFW7JK3CL2fhVeu82X2oFgVLIVfsLUZEjG3TERTGhPh98wRXxdET4-RdqktQS40r0NX90-SE69DjJVjvImB/s640/L1102510.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Sunrise, Ralph Klein Park</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiphyphenhyphen0i2Dij8d7YRgsBfgy-HULr0rpCcZ1hAWoDuyZ3vufB87Olt0gRX8BWO8v9T4W_V11qE_-_S9uF8_wExkZQMdGgExJCeNVMz9Rk45r0YnP_4nT4tJKt7IUa2lSmbWBMZEfjdBcTWT-J/s1600/P1126003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiphyphenhyphen0i2Dij8d7YRgsBfgy-HULr0rpCcZ1hAWoDuyZ3vufB87Olt0gRX8BWO8v9T4W_V11qE_-_S9uF8_wExkZQMdGgExJCeNVMz9Rk45r0YnP_4nT4tJKt7IUa2lSmbWBMZEfjdBcTWT-J/s640/P1126003.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Cooling Towers</b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b>Tower of Power</b></td></tr>
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East past farms asleep waiting for spring to come, east past the feedlots where the steam rises from the backs of the cattle into the arctic air, east into the Siksika Nation. Past relics, both white and First Nations: Roman Catholic chapels and graveyards, tee-pee rings and memories of Crowfoot.</div>
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For whatever reason I find it hard to photograph on First Nations’ land. I feel the land grumbling under my tires. I feel unwelcome. I don’t want to be like some anthropologist of old visiting a South Sea archipelago and making images that match my preconceived notions of what is there.</div>
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Perhaps, over time, if I can find a way to build a bridge and get permission to photograph – not that it’s required but given the current state of First Nations’ relations with Canada it would probably be the decent thing to do. </div>
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<a href="https://youtu.be/0lpKFNawj90" target="_blank">George Webber</a> made so many <a href="http://www.lifeforcemagazine.com/mar2017/index_13.htm" target="_blank">potent images</a> at Standoff in Southern Alberta: it took him years to build the trust and be able to gain that level of access.<br />
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Questions swirl in my head. Why are the Catholic Schools and the residential school still standing? Why after all those decades of abuse at the hands of the clergy are they still there? Is it like the gates at Auschwitz so the attempt a cultural assimilation is never forgotten? Or, in the case of the residential school, putting an existing building to good use as it serves as the High School? Or is it more complicated, beyond the understanding of a white man?<br />
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North on SR547, into Gleichen with the CPR right of way resembling a frontier zone between two nations: south and north, red and white, Siksika and Canada. Crossing over the CPR mainline you cross into another world: a world in decay, a world not even able to cling to its past, a world that appears to have given up. No, I’m not talking about the Siksika Nation.<br />
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My father-in-law was born in Gleichen. His father, a proud, hardworking Ukrainian immigrant worked for the CPR on a section gang. Archival photos I’ve found show a proud, prosperous and tidy town. I’ve tried to photograph in Gleichen before, each time coming up short; often not even pulling the cameras out. This time, a solitary hard man stood in the entrance of a now boarded and bricked up building. In another time it may have been a store, a bank or judging from the windows a tavern; I don’t know. As I pulled to the side of Railway Avenue, he glared. I sat and made as if to check my phone. Some young people that I’d seen walking along the road from the south side of the tracks walked up. Money and small packets changed hands. I upped stakes and left. Maybe another day.<br />
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On to the Trans-Canada Highway now and east to Bassano: “The Best Town by a Dam Site!” I have two tenuous connections to Bassano: my wife’s grandparents lived there, and I worked, for a while, for the company that owned the feed mill and feedlot: XL Foods.<br />
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Bassano had, back in the day, a lot going for it. It was a divisional point on the CPR mainline between Medicine Hat and Calgary and a junction between the Bassano and Empress Subdivisions. The Empress Subdivision was also known as the “Royal Line” because the towns along the line had royal names: Empress, Princess, Patricia, Duchess, Countess among others. Originally built in the 1910s, to haul grain and coal. After the switch to natural gas and heating fuel traffic dwindled. Passenger service ended in the 1960s and the line was finally abandoned in 1997. <a href="https://www.bigdoer.com/27201/exploring-history/planned-railway-line-empress-alberta/" target="_blank">Chris Doering & Connie Biggart have done a lot of work wandering around this corner of Alberta</a><br />
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The town’s booster slogan “The Best Town By A Dam Site” comes from a massive irrigation project started by the CPR in 1910. At a cost of five million dollars (that’s more that 132 million today and I doubt that it could even be built for that sum) it involved building a 720 ft spillway across the Bow River and a 7,000 ft long 45 ft high embankment to contain the south side of the reservoir. If you include all the aqueducts and canals that were associated with this, the bill comes in at around 17 million, a cool 450 million in today’s Canadian Pesos.<br />
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Why would a famously parsimonious skin flint of company like the CPR pony up that kind of dosh in the middle of what John Palliser in the 1850s called an uninhabitable semi-arid desert? Well, they were saddled with a sizable amount of this land (30 million acres!) that would not be profitable unless something was done. What to do? Making every section pay wasn’t a problem in Manitoba and southeast Saskatchewan and but down here? Uh, no. No immigrant was going to homestead with the sagebrush, rattlesnakes and pronghorn antelope and very little water. What they needed was <a href="https://youtu.be/tn4KAjeYPEM" target="_blank">Moisture</a>, with a capital “M”. It wasn’t going to come from the sky with any regularity, but by gum, the land was flat with just the right gradient and a stonking big river running through the middle. With irrigation you get settlers, with settlers you get crops and with crops you get freight to haul, grain and cattle east, tractors and consumer goods west. Voila! Profit! The Imperial model writ in sagebrush.<br />
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I digress. The story is interesting though. We’ve always been into nice big project out this way: Oil sands, pipelines, railways and irrigation projects.<br />
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All the railway infrastructure except for the main line is gone now. The hotels, except for the Hunter Hotel, now called the Imperial Hunter and for now only existing as a tavern, have gone. The elevators where knocked down and consolidated with new elevators west of town. Yet the town goes on. Light industry, the feed mill and yes, new houses being built even though the town itself is considering going under the administration of the County of Newel along with other small communities to save costs. Unlike Gleichen, it seems to survive but perhaps not thrive.<br />
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I made these images:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF-7p2uuDk2AyZJsFzUSJXJp45u9ey2XJCk2eSieQ8pjGhfyWBfXGqZWJH7-vyxW8ebjE1MK2QQ5mNIfZ1bY6YsB9lzkiqYj67rp5Q2C7GtbQMTaWjWzQP3gjpIqedLoEGTzoRfKb0JSRf/s1600/L1102558.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF-7p2uuDk2AyZJsFzUSJXJp45u9ey2XJCk2eSieQ8pjGhfyWBfXGqZWJH7-vyxW8ebjE1MK2QQ5mNIfZ1bY6YsB9lzkiqYj67rp5Q2C7GtbQMTaWjWzQP3gjpIqedLoEGTzoRfKb0JSRf/s640/L1102558.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Imperial Hunter Hotel</b></td></tr>
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<tr><td style="text-align: center;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_qPJdLz0QuWuGPIPmrAGi0c9c7zqEO2RH7DeGi57iAuXXIFY9MbmFHAKK8J-99iFGPgjmE8nlzoJKj0FRHLT4CdDM_HEbeJnkDy5MjGOJEek9IEeEYWfJItWiB8V2g6OhHpdWdbz2WYF8/s640/L1102540.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Enjoy Coca-Cola</b></td></tr>
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<tr><td style="text-align: center;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9YPwC7jYTL3MfHRwiFaSHDDXvWMPycRlXiV0Q7K2gsPx3kbHXs0ONp-c7O3V0Ljzur11vpkb7Jsz_9a5dtV8m9YgBMjBDUrz0ZxwRcWNWtWZ_y010EThdp1BQKSsyaKyUh3iVrxMElzrJ/s640/L1102554.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Hotel Coffee-Shop</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dcM1FFBfK9KwP7Nn3tEBeqWNUmV1Pf7h-2ec2ii0B7ZEh7B8VycVgONv9GZSK4oEVeMBZU7O8fP01NANLMTyHxZykd4A1CJ19dp91UDx3NFKcGsbUa1zoJ5_ERYcSct8Upw58loa72rp/s1600/L1102546.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1065" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dcM1FFBfK9KwP7Nn3tEBeqWNUmV1Pf7h-2ec2ii0B7ZEh7B8VycVgONv9GZSK4oEVeMBZU7O8fP01NANLMTyHxZykd4A1CJ19dp91UDx3NFKcGsbUa1zoJ5_ERYcSct8Upw58loa72rp/s640/L1102546.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Thursday Wing Night</b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b>Rumbling to Calgary</b></td></tr>
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Nice, I guess but nothing to write home about.<br />
<br />
Across the TCH and follow the “Royal Line”: Duchess, Rosemary and then Patricia. Again, a connection: my wife’s grandparents farmed here. My wife remembers swimming in the irrigation ditch and in a commemorative book I made about my father-in-law I restored some pictures of life on that small holding.<br />
<br />
This has always been a land of “Well, we’ll give our best shot and see if we can make a go of it.” At the turn-off to Patricia and onward to Dinosaur Provincial Park, a gas station and convenience store long abandoned: broken glass, a phone booth long since forgotten, an ATM machine long since torn apart, Nestle’s ice cream long since melted. An entrepreneur’s dream that didn’t pan out, hopes and memories written on the chalkboard.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWxw1ximwsw8Jqj779r_EZPxHYqlOWfZeJ7_fqUuJiJqh2wwBGXrQwanTOIZkPdyGghEsF6My5DUg6d8X-9ACD-8RuyXYFXyysUH_sR2P5VgzcIkmpbNkYQGGbrPDYFf9MWVzZLA_OLAW/s1600/L1102564.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWxw1ximwsw8Jqj779r_EZPxHYqlOWfZeJ7_fqUuJiJqh2wwBGXrQwanTOIZkPdyGghEsF6My5DUg6d8X-9ACD-8RuyXYFXyysUH_sR2P5VgzcIkmpbNkYQGGbrPDYFf9MWVzZLA_OLAW/s640/L1102564.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: x-small;">Gas, Diesel, Snacks, Ice</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySSPpJhgKWtQWZbFftbo0jbixymUg7W22VVkebpXbLQd3VLetGVw08b94EvwF5GUqm6BdeGit6ahSEv0lYaq9LupDgE4Qb1TAzZxib611U7z0fZwlvLI6ULg_hk-QXkW1a11pUrbMp93q/s1600/L1102572.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySSPpJhgKWtQWZbFftbo0jbixymUg7W22VVkebpXbLQd3VLetGVw08b94EvwF5GUqm6BdeGit6ahSEv0lYaq9LupDgE4Qb1TAzZxib611U7z0fZwlvLI6ULg_hk-QXkW1a11pUrbMp93q/s640/L1102572.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Call me, maybe?</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNUprIA4yE6eMAbAUMTsEq6HYy9AL0RC6PZ4ARziho6Nh6yuxfm298aCQJPdu375HPdmf2Po2QESR4lw-r8erJO7VMlC-CCsDYkuMe5G49CWeu7ODaDJ_8kup-u-mBh2Gc0sXsX1erIHPh/s1600/L1102579.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNUprIA4yE6eMAbAUMTsEq6HYy9AL0RC6PZ4ARziho6Nh6yuxfm298aCQJPdu375HPdmf2Po2QESR4lw-r8erJO7VMlC-CCsDYkuMe5G49CWeu7ODaDJ_8kup-u-mBh2Gc0sXsX1erIHPh/s640/L1102579.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nestle Drumstick and ATM</td></tr>
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<tr><td style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1065" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxie9xaU8LhyphenhyphenPSG43R6Wy9fjMjvkZN5SANhOdlu6JXXzERjCYn6CcmeHBlzjhJP7BJpx33TWSVLPgxhhJVBSQXewtvMInmzmPR3IpnyJnJCsKF-qFLjjRM1Sse4_fSWUDKIbclFY4rMwI9/s640/L1102570-2.jpg" style="margin-left: auto; margin-right: auto;" width="426" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Corner Gas, Monochrome</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYAcmVWuR9iqlymLbduG1FUPYTNiGqE33wxVVVh2XHGWrFe_jEMpgWQWNzCRAp79hZL5r62eo5TgEdIT1T3RRWGEFoB6nyrYyoh7-lf984a_jOeRUU3tET7vVixJTsaxoLarOGUxcNlyUA/s1600/L1102570.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1065" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYAcmVWuR9iqlymLbduG1FUPYTNiGqE33wxVVVh2XHGWrFe_jEMpgWQWNzCRAp79hZL5r62eo5TgEdIT1T3RRWGEFoB6nyrYyoh7-lf984a_jOeRUU3tET7vVixJTsaxoLarOGUxcNlyUA/s640/L1102570.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Corner Gas, Colour</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG70h7KnGXoHRwPauHCwI1YjYZ_MoZ7AdEy3N2vpio_M-F_of1tlFkFZTJC2Hsiq7Wie1pEwxR5MU3mx_py6AiB0vZTl6hU_o492y4JIzfzDKj4xOEhmzQrSv1uZnZBu-jVYpiMt_TinlK/s1600/L1102562.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG70h7KnGXoHRwPauHCwI1YjYZ_MoZ7AdEy3N2vpio_M-F_of1tlFkFZTJC2Hsiq7Wie1pEwxR5MU3mx_py6AiB0vZTl6hU_o492y4JIzfzDKj4xOEhmzQrSv1uZnZBu-jVYpiMt_TinlK/s640/L1102562.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Bang a Gong</b></td></tr>
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<div>
<b>Road Trip Redux</b></div>
<div>
<div>
<br /></div>
<div>
So, what happened and what did I learn, if anything. I would hope that I didn’t spend a whole day driving around the Eastern Irrigation District making mediocre images and not have learned something from the experience.</div>
<div>
<br /></div>
<div>
Let’s see now:</div>
<div>
<ul>
<li>I was rusty. Making images is like playing piano: you have to do it all the time and I haven’t been.</li>
<li>I tried too hard to make relevant images rather than just letting it flow. Again.</li>
<li>I need to have a little more courage to just watch and wait and make that image – even though I don’t feel welcome.</li>
<li>I need to go through that door and see what was in that Nestle’s freezer.</li>
<li>Too much driving. All told I spent about 5 hours behind the wheel (yes, Alberta is a big place); the longest stint being about an hour and a half. When you get out of the truck your nerves are jangling, your eyes are focused to a point a mile or two in the distance mesmerized by the road, still thinking in 60 mph time not footstep time. Maybe a base of operation near the target area and choose just a few places rather than “If this is Tuesday, it must be Belgium”</li>
</ul>
</div>
<div>
However, I did get some ideas for projects and re-starting some dormant ones:</div>
<div>
<ul>
<li><i>Roadside Attractions</i> – Re-shoot the Dinosaur Country Store and find other similar things and add that to my ongoing project of the same name.</li>
<li><i>Railway Hotels</i> – Document the railway hotels all along the CPR mainline and branch lines before they vanish, and, if the bars are still open, photograph the barflies that still call them home.</li>
<li><i>The “Royal Line”</i> – It’s probably been done but photograph the towns along the line (or what’s left of them).</li>
<li><i>Broken Dreams</i> – All the businesses that died taking a person’s hopes and dreams with it may be learning something from the things that were left behind.</li>
</ul>
</div>
<div>
So maybe the trip wasn’t a washout after all. Guess you can’t always get what you want, but, if you try sometimes, you get what you need…</div>
</div>
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com1tag:blogger.com,1999:blog-8988622180515008504.post-73184417609073073612019-02-13T18:07:00.002-07:002019-02-14T11:37:09.153-07:00If You Can't Shoot With the One You Love Honey…<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBokuzuN_UQXY5AxA5DHQx2g-gpRoMvWx_2j-oWFx5L8-3Dv7UHKbL8OiYfPOaTxD2TuAwe-yl6ehvsyD36q0RkmD0HFXj-tUmnCSmCe1LwktjX7ykfbS__nKb9g4w1TmBJy1osVNc1XJ8/s1600/IMG_2060.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBokuzuN_UQXY5AxA5DHQx2g-gpRoMvWx_2j-oWFx5L8-3Dv7UHKbL8OiYfPOaTxD2TuAwe-yl6ehvsyD36q0RkmD0HFXj-tUmnCSmCe1LwktjX7ykfbS__nKb9g4w1TmBJy1osVNc1XJ8/s200/IMG_2060.jpg" width="200" /></a></div>
<h2>
Shoot With the One You're With</h2>
I don’t like carrying a camera around when I’m out and about with my better three-quarters. She flies and when she’s home, I’d rather be looking at her than through a viewfinder. Sometimes though there’s an image that’s screaming to be made.<br />
<br />
Calgary has a new public library designed by <a href="https://snohetta.com/" target="_blank">Snøhetta</a>. It’s a wonderful structure and replaces a decaying building across from City Hall. Light and airy, it maintains a sense of intimacy and even with high ceilings and even with an open plan quiet, even when full of people.<br />
<br />
We had coffee at Luke’s (not the main floor cafe, but the one right inside the collection area) and spent a wonderful afternoon wandering through the building. We went from top to bottom and then the light went “boink”. I turned to my wife and said: “Sorry love, the light.” and dashed out to the entrance.<br />
<br />
The main entrance is an arched tunnel lined with wood and is supposed to connect downtown and the East Village (a formerly rundown area in the midst of redevelopment). The arches reflect the <a href="https://www.thecanadianencyclopedia.ca/en/article/chinook" target="_blank">Chinook arches</a> that form here during the winter when the winds from the big ocean tumble down from the Rockies. In reality, the tunnel connects the backside of the Big Blue Playpen (New City Hall), the rail yards and the East Village. Downtown is about 3 blocks away. But hey, as an architect’s statement it’s no more <a href="https://www.artybollocks.com/" target="_blank">arty bollocks</a> than any any other architect’s statement.<br />
<br />
The alignment of the passageway and the sun was right on. It was the golden hour (yes, 4:15 in the afternoon is the golden hour in November): the colour of the wood and the shadows of the passersby was in a word “WOW!”<br />
<br />
OH NOES! No camera. Wait, iPhone 6s, <a href="https://itunes.apple.com/ca/app/645-pro-mk-iii/id518235205?mt=8" target="_blank">645 Pro app</a>, problem solved. This app is probably the best camera app out there and it’s one of the reasons I’ve stuck with the iPhone ecosystem for as long as I have. If there was an equivalent for Android, I’d have switched a long time ago.<br />
<br />
I made these three images. I’ve also posted the monochrome versions that I made using NIK Silver Efex. I do shoot all my cameras as RAW + Monochrome JPEG and 645 Pro is no exception. In this case I didn’t like the render so I used NIK instead. I had to work fast as figured I had about 15 minutes of light and couldn’t be arsed to fiddle fart about. This is one of those cases where “we’ll fix it in post, get the images first!”<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOhknUb5GH3LSwISFQwFM8j6n38LHR-zNLYFuCm66CW3_zQZceeVsCzDxcd0uLwEda0_a-c9nEttPqaJ9e09USHROWC5mFBWkk6pjxCY7jO59Pyx2DUVUhVpzmWyfHY0j4IRvSmix85P2u/s1600/IMG_2028.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOhknUb5GH3LSwISFQwFM8j6n38LHR-zNLYFuCm66CW3_zQZceeVsCzDxcd0uLwEda0_a-c9nEttPqaJ9e09USHROWC5mFBWkk6pjxCY7jO59Pyx2DUVUhVpzmWyfHY0j4IRvSmix85P2u/s640/IMG_2028.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Shadows, New Calgary Public Library</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqkr0PdwT7GBU86_U0JtEVqyG16OKt5IUITTMBJRfXS6Echkp-B505SVAM_hpDEGIIWJEO8Z7FWewjU4uR4HjaIIsMsF2K-h1AD8LqoKxMaNzJwjthXbyG8XZNsQMS_O6sQen9S9djpgE/s1600/IMG_2028_1054.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqkr0PdwT7GBU86_U0JtEVqyG16OKt5IUITTMBJRfXS6Echkp-B505SVAM_hpDEGIIWJEO8Z7FWewjU4uR4HjaIIsMsF2K-h1AD8LqoKxMaNzJwjthXbyG8XZNsQMS_O6sQen9S9djpgE/s640/IMG_2028_1054.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Shadows, New Calgary Public Library</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ZHWeVBkfuH6g7zWFod0L4gV1VIY4R1qER3qLD4O6FLnQOVMAO8AMPDSVD8fNix-YJWjZRIj8TJUlB2pTH3OS-DIzPdgvlsrX-qn_tvR1EM_7pdUiFiCq032Hk0WGII69pxLII5LqmRoZ/s1600/IMG_2033.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ZHWeVBkfuH6g7zWFod0L4gV1VIY4R1qER3qLD4O6FLnQOVMAO8AMPDSVD8fNix-YJWjZRIj8TJUlB2pTH3OS-DIzPdgvlsrX-qn_tvR1EM_7pdUiFiCq032Hk0WGII69pxLII5LqmRoZ/s640/IMG_2033.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Skaters, New Calgary Public Library</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGAOeNS3pRMBe_8lha8kNJUlp9_lf3yPq0y96YZg4Af47c_tJqmeM9F30-NI_PNazYJQORI8JpOFvOFTvEPiRNVnbgaAZBhne1O_PiymuW-Y1wTY09EyDLEtoI7EmGyCsGzcUbuDqSl_e/s1600/IMG_2033_1082.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGAOeNS3pRMBe_8lha8kNJUlp9_lf3yPq0y96YZg4Af47c_tJqmeM9F30-NI_PNazYJQORI8JpOFvOFTvEPiRNVnbgaAZBhne1O_PiymuW-Y1wTY09EyDLEtoI7EmGyCsGzcUbuDqSl_e/s640/IMG_2033_1082.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Skaters, New Calgary Public Library</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_5jXzNgfYw-jfM6_Xt2uy2eB95fdUwa8csJ5VJ3JsKbA9r8eJV6oNw4cGGxV3Hzo5K55unWcuo9gdO9luBcE6XgUjtY3J_QwWGzgnRp_by1FdjSyFHgPk5I8FDBCtULq1PUqs_4V7Bqox/s1600/IMG_2060.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_5jXzNgfYw-jfM6_Xt2uy2eB95fdUwa8csJ5VJ3JsKbA9r8eJV6oNw4cGGxV3Hzo5K55unWcuo9gdO9luBcE6XgUjtY3J_QwWGzgnRp_by1FdjSyFHgPk5I8FDBCtULq1PUqs_4V7Bqox/s640/IMG_2060.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Arches, New Calgary Public Library</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNebz_guS00pRttLplGszEQ5lsPzjvxhYCJPIBNbYr4J73r4AzBMr-Dq4VVDNOR2_ZuXijNjI9bWj3K6wREKG5q0BO9bc7rn9GxfhBO0y0MN4NMf02XfIRzE76suEvsl3JLGAYErQdEfy/s1600/IMG_2060_1080.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNebz_guS00pRttLplGszEQ5lsPzjvxhYCJPIBNbYr4J73r4AzBMr-Dq4VVDNOR2_ZuXijNjI9bWj3K6wREKG5q0BO9bc7rn9GxfhBO0y0MN4NMf02XfIRzE76suEvsl3JLGAYErQdEfy/s640/IMG_2060_1080.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Arches, New Calgary Public Library</b></span></td></tr>
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You couldn’t have predicted it, you could have sat there day after day waiting but, with a chinook arch (ironically enough) overhead and the sun sliding behind the mountains flooding the tunnel with light the camera god looked down and smiled.<br />
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Not fantastic images, but a very good example of timing, luck and<br />
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-90673322321311809782019-02-12T20:07:00.000-07:002019-02-12T20:19:04.932-07:00A Bad Day's Shooting is...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz20d3kIqEv6rhtfKcnsL9ZE4ldxTNUHCPAVCP2W0I4NiFNHUp5dqLYVwbgpTvbRG40kzan0dcpDvQqBL3uQO851xBa_dY2HNq6nmSuqEcJUj4t_D9Vl8DCuy06uP7TqHJCLW_LNxiIt9Z/s1600/L1102461.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz20d3kIqEv6rhtfKcnsL9ZE4ldxTNUHCPAVCP2W0I4NiFNHUp5dqLYVwbgpTvbRG40kzan0dcpDvQqBL3uQO851xBa_dY2HNq6nmSuqEcJUj4t_D9Vl8DCuy06uP7TqHJCLW_LNxiIt9Z/s320/L1102461.jpg" width="320" /></a></div>
<h2>
Still better than a day in the office.</h2>
I have to admit that I've been not really focused on photography at all this past while. I've been grinding out training materials and I've become convinced that a person only has a finite amount of creative energy to expend and switching that energy from one context to another just doesn't work all that well.<br />
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It doesn’t help either that, for whatever reason, I’ve been fighting my camera. On one level I get it. Sometimes you, like a leading scorer, go through a slump: you’re holding the stick to tight, you’re over thinking, the puck isn’t bouncing the way it used to. You make the shot, thinking it’s top shelf and for whatever reason you hear that clank as that certain goal hits the crossbar or the post.<br />
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So, soldier on I try, sometimes with success, usually without. Yeah, yeah: there’s no sense beating yourself up but it does begin to wear.<br />
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I did have the pleasure last fall of chauffeuring my good friend Ken and his lovely wife Claudia around the Banff area. They were up from Brazil for a conference at the Banff Centre, so we did the usual: Banff, Lake Minnewanka, and the Ice Fields Parkway. No Lake Louise. It was overrun with tour buses. In fact, this was the first time in my memory (and I used to contract IT services to Banff National Park back in the day so I was out there year round) that I have seen that many tour buses to the point that, as a local, I felt unwelcome in my own backyard. As we drove past the overflow parking lot, Ken and I looked at each other and said in unison: “<a href="https://youtu.be/76REw_a9dzM" target="_blank">Let’s not go to Camelot. It is a silly place!</a>”<br />
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I did make some images on that trip, and while not what I would call stellar, they were images nonetheless; the first images I had consciously made since late spring. The weather was quite variable. On the drive out from Calgary, we had rain, freezing rain, driving snow, low clouds and then, as we crossed the Kananaskis River by Exshaw, clear skies. Gotta love the weather out this way.<br />
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One morning I got up early to go the Vermillion Lakes for that iconic shot of Mt. Rundle: you know the one, flat water, alpen glow and the mountain reflecting in the lake. Alas, the wind was up, the lakes where choppy and Mt. Rundle was wreathed in cloud. After some reconnoitering and trying different angles I made this image.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6pgmnmo_0z2BjN3sl4Wqe5jdtU1YE2xIJrwL8WbBnbdeEb6_2XI6iizUnMLPT3Y3IlK0IBe6auWnlCB3VqG9XetoXxLMahBwxmqhYDuH2HiREEhHxkgLinRvrUIM9Uun5AJNeoViYA5QT/s1600/L1102458.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6pgmnmo_0z2BjN3sl4Wqe5jdtU1YE2xIJrwL8WbBnbdeEb6_2XI6iizUnMLPT3Y3IlK0IBe6auWnlCB3VqG9XetoXxLMahBwxmqhYDuH2HiREEhHxkgLinRvrUIM9Uun5AJNeoViYA5QT/s640/L1102458.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Vermillion Lakes and Mt. Rundle</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZClDO1iSAGgtxdk_2r50ix83K9GhP-W9W61WxsLhptmP2RLiO4Bs5xwiq79HJPsVu2tN5GV92Nbl75Aj-EUURhZeUqVE6E2YuGHuZghlUZowTTVc5QC_VwM8zwuLCBbm7EFai1mKQiUUk/s1600/L1102458_1074.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZClDO1iSAGgtxdk_2r50ix83K9GhP-W9W61WxsLhptmP2RLiO4Bs5xwiq79HJPsVu2tN5GV92Nbl75Aj-EUURhZeUqVE6E2YuGHuZghlUZowTTVc5QC_VwM8zwuLCBbm7EFai1mKQiUUk/s640/L1102458_1074.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Vermillion Lakes and Mt. Rundle</b></span></td></tr>
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I’m not sure if I like either the colour or the monochrome version. I cleared up the foreground clutter in the monochrome version by applying a blue filter in Nik SilverFX. The rust shows, to be sure, compared to the images I had made a year earlier in the late spring.<br />
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The Icefields Parkway (connecting Lake Louise and Jasper) often has some nice opportunities for images. Early spring is my favourite time as the weather is turbulent enough that you can get wonderful cloudscapes mixing with the mountains whose crags and crevasses are still etched with snow. It’s always a hit and miss proposition though and like Forrest Gump said: “It’s like a box of chocolates. You never know what you’re going to get.” Like Charlie Brown (mixing metaphors), I got a rock. But, the clouds helped and with some post processing I ended up with this.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLj31mJw28tf_y16l0cAJPiytSDGDCvAYzpt7zHt6biRpaauM4sYbiTtDPxy2LuwWAWtC-iTDtww_E7C6vaAoyxaCpcZ2m9mcUKpY8kJiCMn89eVoIgBiZIeAnoS18IWQalHZB53c9mCaX/s1600/L1102471_1075.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; outline-width: 0px !important; user-select: auto !important;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLj31mJw28tf_y16l0cAJPiytSDGDCvAYzpt7zHt6biRpaauM4sYbiTtDPxy2LuwWAWtC-iTDtww_E7C6vaAoyxaCpcZ2m9mcUKpY8kJiCMn89eVoIgBiZIeAnoS18IWQalHZB53c9mCaX/s640/L1102471_1075.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Crowfoot Glacier at Bow Lake</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi5kIs23Y7gGBAKBmVSGwUBCxpeFbDwXuZqU1Sk1y09E1rn2pQ5q5aD9miboguDwNx_5l2KlxSLpFgtNq7KlrDKnITXm7qCUMlO2-ap7fARgYMbWpkNjLxqYV9YUEXT6ITwj7jnGhafkEB/s1600/L1102471_1075_1079.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1280" data-original-width="1600" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi5kIs23Y7gGBAKBmVSGwUBCxpeFbDwXuZqU1Sk1y09E1rn2pQ5q5aD9miboguDwNx_5l2KlxSLpFgtNq7KlrDKnITXm7qCUMlO2-ap7fARgYMbWpkNjLxqYV9YUEXT6ITwj7jnGhafkEB/s640/L1102471_1075_1079.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Crowfoot Glacier at Bow Lake</span></b></td></tr>
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I’m not sure about the monochrome version, but it sure looks like it was a different day up on the Crowfoot: cold and blustery. The colour version shows a hope of warmth with the hints of sunlight reflecting off the glacier and the rocks below it.<br />
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<b>Get your geology geek on:</b><br />
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<ul>
<li>The mountain in the clouds is Mount Crowfoot and shows the Eldon Formation.</li>
<li>The finger sticking into the glacier from the right is the Cathedral Formation.</li>
</ul>
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Thanks to Ben Gadd and his great book “<a href="https://www.amazon.ca/dp/0969263120/ref=cm_sw_em_r_mt_dp_U_xG4yCb5MF94VP" target="_blank">Canadian Rockies Geology Road Tours</a>” The more you know!<br />
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The rest of the images from this trip had no emotion, no power and were, at best, holiday snaps. But hey! I’m lucky! This beautiful landscape is only an hour or two away and for the expenditure of half a tank of gas, I can try again whenever I like, unlike <a href="https://youtu.be/lu6tJeBrfKU" target="_blank">Thomas Heaton</a> who flew from England on a whim and was faced with snow, more snow, low clouds and cold feet.<br />
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I did feel some satisfaction with these images. Perhaps a year from now I’ll have another look and some others will jump out at me. Like Slim Dusty sings:<br />
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<br />John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-54134603238158316202018-08-06T11:45:00.001-06:002018-08-06T11:45:13.631-06:00Photographing Copenhagen: Getting hygge with it<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-KdeOEO3KzReWGNBjNH5uCaeZlfkJ-9mIudcMMp1yfBItIyHtlHXEEL3PrWU35nxD2B6LtXU1ysikTGFflDEVqznc7eofKQNrGkb_x7YBrxj_Js5FXldw7oujWVRcdWbtV1f00NXStRx/s1600/IMG_0861_970.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1500" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-KdeOEO3KzReWGNBjNH5uCaeZlfkJ-9mIudcMMp1yfBItIyHtlHXEEL3PrWU35nxD2B6LtXU1ysikTGFflDEVqznc7eofKQNrGkb_x7YBrxj_Js5FXldw7oujWVRcdWbtV1f00NXStRx/s200/IMG_0861_970.jpg" width="200" /></a><span style="font-family: Trebuchet MS, sans-serif;">Been looking at my blog and it's been over a year since I've written anything. There's a reason for this. See, I've got this gig re-doing training materials for an old employer. Sure, it's just 20 hours a week, but at the end of a 4 hour stint in Powerpoint, LibreDraw and diety of choice knows what other software you really don't have that much creative mojo left especially when you're up to your armpits in the Canadian Air Regulations, a soul stifling document if one ever existed. I think only Lord Vetinari's clerk Drumknott's soul would take flight reading that benighted document. I digress.</span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;">I was fortunate enough to visit Copenhagen this past May. My eldest son works for an architecture firm there and has his four year residency visa. I was able to stay with him and his significant other (which makes it affordable as hotel rooms are astronomical, even at a modest inn). Their place is in Nørrebro, right by the train station. He describes it as "the hood" (with tongue firmly planted in cheek). It's a neighbourhood in transition, hosting migrants from many countries; one can see the first mosque in Denmark from their balcony.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Photographing in Copenhagen can be challenging, not because of the subject matter but because of the environment. Copenhagen is held up as a model for the modern bicycle-centric city. Thing is, they've made it more pedestrian hostile than New York (if such a thing can be imagined!). To make way for the bike lanes, they've narrowed the sidewalks so the buses and cars can still use the streets. Narrow sidewalks mean tap dancing around shop displays (more often then not of bicycles for sale), Danes, parked bicycles and you're often forced into the bike lane just to proceed down the street. And if you think that you're safe in a crosswalk with a red light showing for bikes and green light showing for us lowly foot travelers, think again. More than once I had to resort to my broadest NooYawk "Hey, I'm walkin' here!"</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I digress, again. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Cafe society is alive and well and stopping for a smørrebrød, Tuborg and akvavit. There are over 40 brands of the latter. Akvavit is to Denmark as pastis is to Provence. </span> <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Friends Dining</b></span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">Sometimes, if you look up you can see DEATH on holiday (naked, I might add, I doubt that Albert or Susan would approve)</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcAfiUDHw1IUDvWMtsUqm2r1nqqnflrpz-Amuo8lLZM22yTjMtD63tGWkYIG7z4MAq2I0eAgZYnWcs9nrDIPFkdtnR0seXUyT1pQJX25doAR8KQ-zkU7NOV_nDB-1aZlifCkvS5twKZ10/s1600/P5255883_966.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1500" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcAfiUDHw1IUDvWMtsUqm2r1nqqnflrpz-Amuo8lLZM22yTjMtD63tGWkYIG7z4MAq2I0eAgZYnWcs9nrDIPFkdtnR0seXUyT1pQJX25doAR8KQ-zkU7NOV_nDB-1aZlifCkvS5twKZ10/s640/P5255883_966.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">DEATH takes a holiday</span></b></td></tr>
</tbody></table>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">I process all my black & white in NIK Silver Efex but since DxO bought NIK from Google, I decided to plump for DxO Photolab and FilmPack 5. This is the result of using the Velvia 50 preset. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKfW92TgJgvepaoZ7-nuwMUQPInK8NYtdJ2DMx6EYLwC6hCA-mo-hMlURoRUb6I9SDE84EPpR4aF4b-SF9z3MJYN08AqEUwlhnMf3-PjfWbz3iyIMO-0xsA7Hc52kciT7DgVbhwQAG0O9P/s1600/P5255902_977.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKfW92TgJgvepaoZ7-nuwMUQPInK8NYtdJ2DMx6EYLwC6hCA-mo-hMlURoRUb6I9SDE84EPpR4aF4b-SF9z3MJYN08AqEUwlhnMf3-PjfWbz3iyIMO-0xsA7Hc52kciT7DgVbhwQAG0O9P/s640/P5255902_977.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Tag, Hoodie and Bottle</span></b></td></tr>
</tbody></table>
<div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">The heat broke for a day as I was headed up to Helsingør </span><span style="font-family: "Trebuchet MS", sans-serif;">in a sometimes steady drizzle. (No wonder Hamlet was gloomy). </span><span style="font-family: "Trebuchet MS", sans-serif;">This was taken as we pulled out of Bispebjerg, one stop away from my son's apartment with my iPhone using </span><span style="font-family: "Trebuchet MS", sans-serif;">the </span><a href="https://itunes.apple.com/ca/app/645-pro-mk-iii/id518235205?mt=8" style="font-family: "Trebuchet MS", sans-serif;" target="_blank">645Pro Mk III</a><span style="font-family: "Trebuchet MS", sans-serif;"> camera App. It (to my mind) is probably the most underrated, app on the market. It feels like a camera. </span><span style="font-family: "Trebuchet MS", sans-serif;"> </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTQCKUYEqxG8xFGH7MmqiXhYN4eyOYp9eL1DTlffNfZm1NBMeOdU0QnBVxxcangsP3UZQG06B9dhDVvy_X45r9pBC5Hkndp4J9XmIRsLvlhL2Yzldfmw3aCt-eoyzKczeP3nc5Lk6DHzRA/s1600/IMG_1094_994.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1500" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTQCKUYEqxG8xFGH7MmqiXhYN4eyOYp9eL1DTlffNfZm1NBMeOdU0QnBVxxcangsP3UZQG06B9dhDVvy_X45r9pBC5Hkndp4J9XmIRsLvlhL2Yzldfmw3aCt-eoyzKczeP3nc5Lk6DHzRA/s640/IMG_1094_994.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Scratched Glass</span></b></td></tr>
</tbody></table>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">Ducking out of the drizzle after a rare passing thunderstorm at Hellerup station I saw this fellow traveler huddled against the wall doing the same. The first is with Silver Efex, the second is FilmPack and I can't remember what preset. I usually don't remember because it's really not all that important. They both remind me of a frame snatched from "<a href="https://en.wikipedia.org/wiki/The_Sweeney" target="_blank">The Sweeney</a>". (I used the Scots word for "dreary, gloomy, bleak, miserable, grey, depressing, devoid of sunshine" in the caption. No doubt there is an Danish equivalent)</span></div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxix18L9peJJk70z8ccdnvQG5lmt98vLOjBclWm-j4wIeKf5J9Xmb3CHAdbctzBIrD84xOYy59AZZ-fiFqLCoBkC02fB-1VZ2ISAbML5itEaOYYFjxvd-DRwPz0JpY6lv3ESgE0_EUmlU4/s1600/IMG_1100_996.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1500" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxix18L9peJJk70z8ccdnvQG5lmt98vLOjBclWm-j4wIeKf5J9Xmb3CHAdbctzBIrD84xOYy59AZZ-fiFqLCoBkC02fB-1VZ2ISAbML5itEaOYYFjxvd-DRwPz0JpY6lv3ESgE0_EUmlU4/s640/IMG_1100_996.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Dreich at Hellerup #1</b></span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi30bzP146napVY1TYLQS80uQtlwJ-cHYMvnY5wwOFWo7wNVMYCGok8F7AY9frIGBZc8ApphtrvWMBAPL4RkDqdtgZRoEsuDj2RLDITxtJKJWUubYtn_7mwFt3OkfBqAYmQ6xBlGltvqpmz/s1600/IMG_1100_995.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1500" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi30bzP146napVY1TYLQS80uQtlwJ-cHYMvnY5wwOFWo7wNVMYCGok8F7AY9frIGBZc8ApphtrvWMBAPL4RkDqdtgZRoEsuDj2RLDITxtJKJWUubYtn_7mwFt3OkfBqAYmQ6xBlGltvqpmz/s640/IMG_1100_995.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: medium;">Dreich at Hellerup #2</b></td></tr>
</tbody></table>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">Not my best oeuvre but as they say, "A bad day's fishing beats a good day in the office"</span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">Once you get your head wrapped around the idea that people on foot are invisible to anyone on wheels and therefore fair game (hit the photog and level up!) photographing in Copenhagen is quite interesting, especially once you are off the tourist trail and a become attuned to the tempo of the city. Next time, I hope to go out at night as I get the distinct feeling there is a side to Copenhagen that isn't all that hygge and would be very interesting to pretend to be a Brassai and have a look at that.</span></div>
</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-73322226937430124142017-06-22T14:47:00.001-06:002017-06-22T14:50:41.911-06:00A Photobook Catalog"Hi, I'm John."<br />
<div>
<br />
<div>
"Hi John."</div>
<div>
<br /></div>
<div>
"I buy books about photography, books of photography and books on Critical Theory and Philosophy. Yes, I'm the first to admit it: I'm a book-aholic."</div>
</div>
<div>
<br /></div>
<div>
In Calgary, when it's -20C and it's snowing and the wind is blowing, photography shuts down for the season; unless you're got a layer of blubber or are a <a href="https://youtu.be/8yYc8mYfrkg" target="_blank">coyote</a>. There's not a lot else to do but hunker down in the digital darkroom or curl up with the books you've acquired over the summer and try and learn a thing or two. </div>
<div>
<br /></div>
<div>
I use <a href="https://www.zotero.org/" target="_blank">Zotero </a>to keep track of books I've read, notes I've made and any idea fragments that may have stirred in the deep dark reaches of my mind. It's a great application and I also use it to keep track of source documents when I'm creating aviation training material for my clients. Neat thing is, you just have to key in the ISBN and it pulls all manner of things of the interwebs like notes, abstracts, tags, yada yada yada. </div>
<div>
<br /></div>
<div>
I exported my library from Zotero and after some finagling with style sheets, here it is:</div>
<div>
<br /></div>
<ul class="report combineChildItems">
<li class="item book" id="i165">
<h2>
20th century photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Museum Ludwig</td>
</tr>
<tr>
<th>Place</th>
<td>Köln; London</td>
</tr>
<tr>
<th>Publisher</th>
<td>Taschen</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-8228-4083-2</td>
</tr>
<tr>
<th>Date</th>
<td>2005</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 57749934</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:55:47 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 2:13:41 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i11">
<h2>
About looking</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>John Berger</td>
</tr>
<tr>
<th>Edition</th>
<td>1st Vintage International ed</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Vintage International</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-679-73655-4</td>
</tr>
<tr>
<th>Date</th>
<td>1991</td>
</tr>
<tr>
<th>Call Number</th>
<td>N71 .B398 1991</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>205</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:42:18 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:42:18 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Art</li>
<li>Meaning (Psychology)</li>
<li>Psychology</li>
<li>Visual perception</li>
</ul>
<h3 class="notes">
Notes:</h3>
<ul class="notes">
<li id="i12">
Originally published: New York : Pantheon Books, 1980<br />
</li>
</ul>
</li>
<li class="item book" id="i142">
<h2>
André Kertész: Paris, Autumn 1963</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>André Kertész</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Matthieu Rivallin</td>
</tr>
<tr>
<th class="author">Author</th>
<td>David Radzinowicz</td>
</tr>
<tr>
<th class="author">Author</th>
<td>André Kertész</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-2-08-020155-3</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 832277981</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>"In October 1963, photographer André Kertész returned to Paris,
almost thirty years after his emigration to the United States, for a
retrospective of his work held at the Biblioth̀eque Nationale. Over a
period of two and a half months, he devoted his days to photographing
the ephemeral autumnal beauty of Paris--from Montmartre, Notre-Dame, and
the Jardins du Luxembourg, to the Canal Saint-Martin and the banks of
the Seine. Through the lens of his Leica camera, he produced more than
1,500 negatives and 313 color slides. From this wealth of images, he
selected fifty-nine of his best photographs and crafted them into a
ferroprussiate process blueprint for a book. This exceptional body of
work remained unpublished during his lifetime but is reproduced here in
its complete form for the first time, as the photographer
intended."--Jacket.</td>
</tr>
<tr>
<th>Short Title</th>
<td>André Kertész</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:43:29 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:43:29 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i65">
<h2>
Ansel Adams: 400 photographs</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Ansel Adams</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Andrea Gray Stillman</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-316-40079-4</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 857109184</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>"Ansel Adams: 400 Photographs presents the full spectrum of Adams'
work in a single volume ... The photographs are arranged chronologically
into five major periods, from his first photographs made in Yosemite
and the High Sierra in 1916 to his work in the National Parks in the
1940s up to his last important photographs from the 1960s. An
introduction and brief essays on selected images provide information
about Adams' life, document the evolution of his technique, and give
voice to his artistic vision."--Amazon.com, viewed November 21, 2013.</td>
</tr>
<tr>
<th>Short Title</th>
<td>Ansel Adams</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:24:06 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:24:06 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i56">
<h2>
Ansel Adams, an autobiography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Ansel Adams</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Mary Street Alinder</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>Boston</td>
</tr>
<tr>
<th>Publisher</th>
<td>Little, Brown</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-8212-1596-8</td>
</tr>
<tr>
<th>Date</th>
<td>1985</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR140.A3 A33 1985</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>400</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:20:12 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:20:12 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Adams, Ansel</li>
<li>Biography</li>
<li>Photographers</li>
<li>United States</li>
</ul>
</li>
<li class="item book" id="i138">
<h2>
Believing is seeing: observations on the mysteries of photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Errol Morris</td>
</tr>
<tr>
<th>Edition</th>
<td>Paperback ed.</td>
</tr>
<tr>
<th>Place</th>
<td>New York, NY</td>
</tr>
<tr>
<th>Publisher</th>
<td>Penguin Books</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-14-312425-2</td>
</tr>
<tr>
<th>Date</th>
<td>2014</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 935797880</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Abstract</th>
<td>"Academy Award-wining filmmaker Errol Morris investigates the hidden
truths behind a series of documentary photographs. In Believing Is
Seeing Academy Award-winning director Errol Morris turns his eye to the
nature of truth in photography. In his inimitable style, Morris
untangles the mysteries behind an eclectic range of documentary
photographs, from the ambrotype of three children found clasped in the
hands of an unknown soldier at Gettysburg to the indelible portraits of
the WPA photography project. Each essay in the book presents the reader
with a conundrum and investigates the relationship between photographs
and the real world they supposedly record. During the Crimean War, Roger
Fenton took two nearly identical photographs of the Valley of the
Shadow of Death-one of a road covered with cannonballs, the other of the
same road without cannonballs. Susan Sontag later claimed that Fenton
posed the first photograph, prompting Morris to return to Crimea to
investigate. Can we recover the truth behind Fenton's intentions in a
photograph taken 150 years ago? In the midst of the Great Depression and
one of the worst droughts on record, FDR's Farm Service Administration
sent several photographers, including Arthur Rothstein, Dorothea Lange,
and Walker Evans, to document rural poverty. When Rothstein was
discovered to have moved the cow skull in his now-iconic photograph,
fiscal conservatives-furious over taxpayer money funding an artistic
project-claimed the photographs were liberal propaganda. What is the
difference between journalistic evidence, fine art, and staged
propaganda? During the Israeli-Lebanese war in 2006, no fewer than four
different photojournalists took photographs in Beirut of toys lying in
the rubble of bombings, provoking accusations of posing and anti-Israeli
bias at the news organizations. Why were there so many similar
photographs? And were the accusers objecting to the photos themselves or
to the conclusions readers drew from them? With his keen sense of
irony, skepticism, and humor, Morris reveals in these and many other
investigations how photographs can obscure as much as they reveal and
how what we see is often determined by our beliefs. Part detective
story, part philosophical meditation, Believing Is Seeing is a highly
original exploration of photography and perception from one of America's
most provocative observers"--Provided by publisher</td>
</tr>
<tr>
<th>Short Title</th>
<td>Believing is seeing</td>
</tr>
<tr>
<th># of Pages</th>
<td>310</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:42:43 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:42:43 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Documentary photography</li>
<li>Dokumentarfotografie</li>
<li>Geschichte</li>
<li>History</li>
<li>Photographic criticism</li>
<li>Photography</li>
<li>PHOTOGRAPHY / Criticism bisacsh</li>
<li>PHOTOGRAPHY / History bisacsh</li>
</ul>
</li>
<li class="item book" id="i14">
<h2>
Camera lucida: reflections on photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Roland Barthes</td>
</tr>
<tr>
<th>Edition</th>
<td>Pbk. ed</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Hill and Wang</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-374-53233-8</td>
</tr>
<tr>
<th>Date</th>
<td>2010</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR642 .B3713 2010</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn671819280</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Short Title</th>
<td>Camera lucida</td>
</tr>
<tr>
<th># of Pages</th>
<td>119</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:44:00 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:44:00 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Philosophy</li>
<li>Photography</li>
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i71">
<h2>
Camera work: the complete photographs 1903 -1917</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Alfred Stieglitz</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Pam Roberts</td>
</tr>
<tr>
<th>Place</th>
<td>Köln</td>
</tr>
<tr>
<th>Publisher</th>
<td>Taschen</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-8365-4407-8</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>ger eng fre</td>
</tr>
<tr>
<th>Short Title</th>
<td>Camera work</td>
</tr>
<tr>
<th># of Pages</th>
<td>552</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:28:45 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:28:45 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Bildband</li>
<li>Camera Work</li>
<li>Fotografie</li>
<li>Geschichte</li>
<li>Stieglitz, Alfred</li>
</ul>
</li>
<li class="item book" id="i143">
<h2>
Classic essays on photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Alan Trachtenberg</td>
</tr>
<tr>
<th>Place</th>
<td>New Haven, Conn</td>
</tr>
<tr>
<th>Publisher</th>
<td>Leete's Island Books</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-918172-07-5 978-0-918172-08-2</td>
</tr>
<tr>
<th>Date</th>
<td>1980</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR185 .C56</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>300</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:44:50 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:44:50 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photography</li>
</ul>
</li>
<li class="item book" id="i112">
<h2>
Contact sheets: the selected photos. Volume 1</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Giammaria De Gasperis</td>
</tr>
<tr>
<th>Place</th>
<td>Rome</td>
</tr>
<tr>
<th>Publisher</th>
<td>Postcart</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-88-86795-86-9</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 926386820</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Short Title</th>
<td>Contact sheets</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:33:28 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:33:47 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i4">
<h2>
Core curriculum: writings on photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Tod Papageorge</td>
</tr>
<tr>
<th>Series</th>
<td>Aperture ideas : writers and artists on photography</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Aperture</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-59711-172-0</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR642 .P363 2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn692287442</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>This is a collection of essays, reviews, and lectures - some of
which have gained a cult following due to online postings by Tod
Papageorge, one of the most influential voices in photography today</td>
</tr>
<tr>
<th>Short Title</th>
<td>Core curriculum</td>
</tr>
<tr>
<th># of Pages</th>
<td>191</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:39:13 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:39:13 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>History</li>
<li>Photography</li>
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i188">
<h2>
For the world to see: the life of Margaret Bourke-White</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jonathan Silverman</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Margaret Bourke-White</td>
</tr>
<tr>
<th>Series</th>
<td>A Studio book</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Viking Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-670-32356-2</td>
</tr>
<tr>
<th>Date</th>
<td>1983</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR140.B6 S59 1983</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>For the world to see</td>
</tr>
<tr>
<th># of Pages</th>
<td>224</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 2:02:51 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 2:02:51 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Biography</li>
<li>Bourke-White, Margaret</li>
<li>Photographers</li>
<li>United States</li>
</ul>
</li>
<li class="item book" id="i64">
<h2>
Fred Herzog: photographs</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Fred Herzog</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Douglas Coupland</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jeff Wall</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Sarah Milroy</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Claudia Gochmann</td>
</tr>
<tr>
<th>Place</th>
<td>Vancouver</td>
</tr>
<tr>
<th>Publisher</th>
<td>Douglas & McIntyre</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-55365-558-9</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 713188025</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>Presents a collection of early color and urban street photography by Fred Herzog.</td>
</tr>
<tr>
<th>Short Title</th>
<td>Fred Herzog</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:23:10 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:23:10 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i69">
<h2>
Henri Cartier-Bresson</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jean Clair</td>
</tr>
<tr>
<th>Place</th>
<td>Arles</td>
</tr>
<tr>
<th>Publisher</th>
<td>Actes Sud</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-2-7427-5366-6</td>
</tr>
<tr>
<th>Date</th>
<td>2004</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 469443963</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>French</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:25:27 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:25:27 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i163">
<h2>
Henri Cartier-Bresson: a retrospective : the man, the image and the world</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Henri Cartier-Bresson</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Philippe Arbaïzar</td>
</tr>
<tr>
<th>Place</th>
<td>London</td>
</tr>
<tr>
<th>Publisher</th>
<td>Thames and Hudson</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-500-28642-5</td>
</tr>
<tr>
<th>Date</th>
<td>2006</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 488056030</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>Fotografisk billedværk.</td>
</tr>
<tr>
<th>Short Title</th>
<td>Henri Cartier-Bresson</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:53:50 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:53:50 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i162">
<h2>
Here far away: photographs from the years 1964-2011</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Pentti Sammallahti</td>
</tr>
<tr>
<th class="author">Author</th>
<td>John Demos</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Mario Peliti</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Finn Thrane</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Kristoffer Albrecht</td>
</tr>
<tr>
<th>Place</th>
<td>Stockport, England</td>
</tr>
<tr>
<th>Publisher</th>
<td>Dewi Lewis</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-907893-26-1</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 808499289</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>"A retrospective work that comprises nearly fifty years of
photographic activity and unfolds in almost as many
countries"--[Preface].</td>
</tr>
<tr>
<th>Short Title</th>
<td>Here far away</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:52:55 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:52:55 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i39">
<h2>
How to read a photograph: lessons from master photographers</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Ian Jeffrey</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Abrams</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-8109-7297-1</td>
</tr>
<tr>
<th>Date</th>
<td>2008</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR183 .J44 2008</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn227919058</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>How to read a photograph</td>
</tr>
<tr>
<th># of Pages</th>
<td>383</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:12:45 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:12:45 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photographers</li>
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i27">
<h2>
Look again!</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Anne D'Alleva</td>
</tr>
<tr>
<th>Place</th>
<td>Upper Saddle River, NJ</td>
</tr>
<tr>
<th>Publisher</th>
<td>Prentice Hall</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-13-189404-4</td>
</tr>
<tr>
<th>Date</th>
<td>2005</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 54692743</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>"This handbook is designed to accompany the major textbooks used in
the art history survey, presenting various methods for analysis of art
as well as extensive tips on writing about art. Professor Anne D'Alleva
created this handbook to accompany the major textbooks used in art
history survey courses. Because the main survey texts focus on the
artworks themselves, she saw the need for a complementary handbook that
introduces students to the methodologies of art history in an open,
accessible way. Look! discusses basic art historical practices, such as
visual and contextual analysis, and provides guidelines for writing
papers and taking examinations in art history. It provides a short
history of the discipline and provides links to related academic
disciplines to provide students with a sense of intellectual context for
their work."--Publisher's website.</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:09:58 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:09:58 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i186">
<h2>
Magnum contact sheets</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Kristen Lubben</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Magnum Photos</td>
</tr>
<tr>
<th>Edition</th>
<td>Compact edition</td>
</tr>
<tr>
<th>Place</th>
<td>London</td>
</tr>
<tr>
<th>Publisher</th>
<td>Thames & Hudson</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-500-54431-0</td>
</tr>
<tr>
<th>Date</th>
<td>2014</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR820 .M2553 2014</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn888462005</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>"This work reveals how Magnum photographers capture and edit the
very best shots. Addressing key questions of photographic practice--was
the final image set-up, or a serendipitous encounter, [etc.]--this book
lays bare the creative methods, strategies, and editing processes behind
some of the world's most iconic images."--Front jacket flap</td>
</tr>
<tr>
<th># of Pages</th>
<td>524</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 2:01:54 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 2:01:54 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Contact printing</li>
<li>Documentary photography</li>
<li>Magnum Photos</li>
<li>Photojournalism</li>
</ul>
</li>
<li class="item book" id="i21">
<h2>
Magnum: fifty years at the front line of history</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Russell Miller</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Grove Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-8021-1631-4 978-0-8021-3653-4</td>
</tr>
<tr>
<th>Date</th>
<td>1998</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 38096934</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>"The history of Magnum is the story of its photographers - some of
the most talented, brave, and resourceful in the world -- including Eve
Arnold, Rene Burri, Cornell Capa, Bruce Davidson, Ernst Haas, Mary Ellen
Mark, Susan Meiselas, Inge Morath, James Nachtwey, Gilles Peress,
Eugene Richards, Sebastiao Salgado, and Dennis Stock. Magnum follows
them on assignment -- including encounters with soldiers, bodyguards,
and visa troubles -- and into the offices of Magnum, with all the
moments of inspiration and inevitable frictions of brilliant and
opinionated people working together. Fifty years after its founding,
Magnum remains a testament to the vision of its founders, and membership
in it is still the most coveted badge of honor and prestige that a
photographer can attain. Full of wonderful stories, heroic feats, and
human drama, Magnum is a dramatic, sweeping portrait of the worlds
greatest photo house and its times."--Jacket.</td>
</tr>
<tr>
<th>Short Title</th>
<td>Magnum</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:07:25 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:07:25 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i66">
<h2>
Margaret Bourke-White: her pictures were her life</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Susan Goldman Rubin</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Margaret Bourke-White</td>
</tr>
<tr>
<th>Place</th>
<td>New York, N.Y</td>
</tr>
<tr>
<th>Publisher</th>
<td>Abrams</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-8109-4381-0</td>
</tr>
<tr>
<th>Date</th>
<td>1999</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR140.B6 R83 1999</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Margaret Bourke-White</td>
</tr>
<tr>
<th># of Pages</th>
<td>96</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:24:30 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:24:30 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Bourke-White, Margaret</li>
<li>Photography, Artistic</li>
<li>Photojournalists</li>
<li>United States</li>
<li>Women photographers</li>
</ul>
</li>
<li class="item book" id="i394">
<h2>
Moonfire: The Epic Journey of Apollo 11</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th>Place</th>
<td>Cologne, Germany</td>
</tr>
<tr>
<th>Publisher</th>
<td>Taschen</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-8365-5622-4</td>
</tr>
<tr>
<th>Date</th>
<td>2015</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Moonfire</td>
</tr>
<tr>
<th># of Pages</th>
<td>613</td>
</tr>
<tr>
<th>Date Added</th>
<td>5/31/2017, 10:38:53 AM</td>
</tr>
<tr>
<th>Modified</th>
<td>5/31/2017, 10:38:53 AM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i391">
<h2>
New Deal photography: USA 1935-1943</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Peter Walther</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>USA</td>
</tr>
<tr>
<th>Series</th>
<td>Bibliotheca universalis</td>
</tr>
<tr>
<th>Place</th>
<td>Cologne</td>
</tr>
<tr>
<th>Publisher</th>
<td>TASCHEN</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-8365-3711-7</td>
</tr>
<tr>
<th>Date</th>
<td>2016</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 932682275</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng ger fre</td>
</tr>
<tr>
<th>Short Title</th>
<td>New Deal photography</td>
</tr>
<tr>
<th># of Pages</th>
<td>605</td>
</tr>
<tr>
<th>Date Added</th>
<td>5/31/2017, 10:38:15 AM</td>
</tr>
<tr>
<th>Modified</th>
<td>5/31/2017, 10:38:15 AM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Bildband</li>
<li>Fotografie</li>
<li>Geschichte 1935-1943</li>
<li>USA</li>
</ul>
</li>
<li class="item book" id="i70">
<h2>
One night on Broadway</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Horst Hamann</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jimmy Breslin</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Katja Guttmann</td>
</tr>
<tr>
<th>Place</th>
<td>München</td>
</tr>
<tr>
<th>Publisher</th>
<td>Schirmer/Mosel</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-8296-0127-6</td>
</tr>
<tr>
<th>Date</th>
<td>2004</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 56068316</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English text with German translation.</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:27:14 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:27:14 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i6">
<h2>
On photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Susan Sontag</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Picador USA</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-312-42009-3</td>
</tr>
<tr>
<th>Date</th>
<td>2001</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 249608627</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th># of Pages</th>
<td>208</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:40:05 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:40:05 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i95">
<h2>
Patrick Litchfield: Perceptions.</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Martin Harrison</td>
</tr>
<tr>
<th>Place</th>
<td>London, UK</td>
</tr>
<tr>
<th>Publisher</th>
<td>Quadrille Publishing</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-84400-948-0</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 752160811</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Short Title</th>
<td>Patrick Litchfield</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:38:41 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:38:41 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i74">
<h2>
Paul Strand</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Paul Strand</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Max Haworth-Booth</td>
</tr>
<tr>
<th>Series</th>
<td>Aperture masters of photography</td>
</tr>
<tr>
<th>Place</th>
<td>New York, NY</td>
</tr>
<tr>
<th>Publisher</th>
<td>Aperture</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-89381-259-1 978-0-89381-077-1</td>
</tr>
<tr>
<th>Date</th>
<td>1987</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 231131898</td>
</tr>
<tr>
<th>Series Number</th>
<td>1</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th># of Pages</th>
<td>95</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:31:51 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:31:51 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i46">
<h2>
Photographically speaking: a deeper look at creating stronger images</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>David DuChemin</td>
</tr>
<tr>
<th>Place</th>
<td>Berkeley, Calif</td>
</tr>
<tr>
<th>Publisher</th>
<td>New Riders</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-321-75044-0</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR146 .D78 2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn704386200</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Photographically speaking</td>
</tr>
<tr>
<th># of Pages</th>
<td>254</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:15:14 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:15:14 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Composition (Photography)</li>
<li>Photography</li>
<li>Photography, Artistic</li>
<li>Technique</li>
</ul>
</li>
<li class="item book" id="i118">
<h2>
Photographs not taken: a collection of photographers' essays</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Will Steacy</td>
</tr>
<tr>
<th>Place</th>
<td>Hillsborough, US</td>
</tr>
<tr>
<th>Publisher</th>
<td>Daylight Community Arts Foundation</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-9832316-1-5</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 934699039</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Short Title</th>
<td>Photographs not taken</td>
</tr>
<tr>
<th># of Pages</th>
<td>133</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:37:35 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:37:35 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i60">
<h2>
Photography!: a special collection at Leiden University</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Maartje van den Heuvel</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Wim van Sinderen</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Joke Pronk</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Donald H. Mader</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Rijksuniversiteit te Leiden</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Fotomuseum Den Haag</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>Leiden] : [The Hague</td>
</tr>
<tr>
<th>Publisher</th>
<td>Leiden University ; Hague Museum of Photography</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-90-8910-191-4</td>
</tr>
<tr>
<th>Date</th>
<td>2010</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR646.N42 L454 2010</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn624618536</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Short Title</th>
<td>Photography!</td>
</tr>
<tr>
<th># of Pages</th>
<td>246</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:21:41 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:21:41 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photograph collections</li>
<li>Photography, Artistic</li>
<li>Rijksuniversiteit te Leiden</li>
</ul>
</li>
<li class="item book" id="i25">
<h2>
Photography: the whole story</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Juliet Hacking</td>
</tr>
<tr>
<th>Place</th>
<td>Munich : New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Prestel Publishing</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-7913-4734-9</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR15 .P493 2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn798061771</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>This ambitious and vibrant publication leads you through the world's
most iconic photographs - those innovative images that have become key
reference points in our conception of ourselves and the world around us.
Organized chronologically, the book traces the evolution of creative
photography period by period, while detailed timelines provide
historical and cultural context--</td>
</tr>
<tr>
<th>Short Title</th>
<td>Photography</td>
</tr>
<tr>
<th># of Pages</th>
<td>576</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:09:02 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 2:13:47 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>19th century</li>
<li>20th century</li>
<li>History</li>
<li>Photography</li>
</ul>
</li>
<li class="item book" id="i10">
<h2>
Photo nomad</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>David Douglas Duncan</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Norton</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-393-05861-1</td>
</tr>
<tr>
<th>Date</th>
<td>2003</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR654 .D86 2003</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>464</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:41:39 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:41:39 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Duncan, David Douglas</li>
<li>Photography, Artistic</li>
<li>Photojournalism</li>
</ul>
</li>
<li class="item book" id="i150">
<h2>
Road to seeing</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Dan Winters</td>
</tr>
<tr>
<th>Place</th>
<td>San Francisco, CA</td>
</tr>
<tr>
<th>Publisher</th>
<td>New Riders</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-321-88639-2</td>
</tr>
<tr>
<th>Date</th>
<td>2014</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR655 .R625 2014</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn816028732</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>"After beginning his career as a photojournalist for a daily
newspaper in southern California, Dan Winters moved to New York to begin
a celebrated career that has since led to more than one hundred awards,
including the Alfred Eisenstaedt Award for Magazine Photography. An
immensely respected portrait photographer, Dan is well known for an
impeccable use of light, color, and depth in his evocative images. In
Road to Seeing , Dan shares his journey to becoming a photographer, as
well as key moments in his career that have influenced and informed the
decisions he has made and the path he has taken. Though this book
appeals to the broader photography audience, it speaks primarily to the
student of photography -- whether enrolled in school or not -- and
addresses such topics as creating a visual language; the history of
photography; the portfolio; street photography; personal projects; his
portraiture work; and the need for key characteristics such as
perseverance, awareness, curiosity, and reverence. By relaying both
personal experiences and a kind of philosophy on photography, Road to
Seeing tells the reader how one photographer carved a path for himself,
and in so doing, helps equip the reader to forge his own"--</td>
</tr>
<tr>
<th># of Pages</th>
<td>663</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:50:28 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:50:46 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photography, Artistic</li>
<li>Winters, Dan</li>
</ul>
</li>
<li class="item book" id="i146">
<h2>
Robert Doisneau: from craft to art</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Robert Doisneau</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Agnès Sire</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jean-François Chevrier</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Fondation Henri Cartier-Bresson</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>Göttingen [Germany]</td>
</tr>
<tr>
<th>Publisher</th>
<td>Steidl</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-3-86930-025-2</td>
</tr>
<tr>
<th>Date</th>
<td>2010</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR647 .D6513 2010</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn499093779</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Short Title</th>
<td>Robert Doisneau</td>
</tr>
<tr>
<th># of Pages</th>
<td>221</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:48:04 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:48:04 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Doisneau, Robert</li>
<li>Paris (France)</li>
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i23">
<h2>
Seeing is forgetting the name of the thing one sees: over thirty years of conversations with Robert Irwin</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Lawrence Weschler</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Getty Foundation</td>
</tr>
<tr>
<th>Edition</th>
<td>Expanded ed</td>
</tr>
<tr>
<th>Place</th>
<td>Berkeley</td>
</tr>
<tr>
<th>Publisher</th>
<td>University of California Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-520-25608-8 978-0-520-25609-5</td>
</tr>
<tr>
<th>Date</th>
<td>2008</td>
</tr>
<tr>
<th>Call Number</th>
<td>N6537.I64 W4 2008</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn225871342</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Seeing is forgetting the name of the thing one sees</td>
</tr>
<tr>
<th># of Pages</th>
<td>310</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:08:33 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:08:33 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>20th century</li>
<li>Aesthetics</li>
<li>Artists</li>
<li>Art, Modern</li>
<li>Irwin, Robert</li>
<li>United States</li>
</ul>
</li>
<li class="item book" id="i148">
<h2>
The Aperture magazine anthology: the Minor White years, 1952-1976</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Minor White</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>New York, N.Y</td>
</tr>
<tr>
<th>Publisher</th>
<td>Aperture Foundation</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-59711-196-6</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR140.W467 A64 2012</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>The Aperture magazine anthology</td>
</tr>
<tr>
<th># of Pages</th>
<td>455</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:48:35 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:48:35 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Aperture (San Francisco, Calif.)</li>
<li>Periodical editors</li>
<li>Photography</li>
<li>White, Minor</li>
</ul>
</li>
<li class="item book" id="i19">
<h2>
The book of photography: [the history, the technique, the art, the future]</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Anne H. Hoy</td>
</tr>
<tr>
<th>Place</th>
<td>Washington, D.C</td>
</tr>
<tr>
<th>Publisher</th>
<td>National Geographic</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-7922-3693-1</td>
</tr>
<tr>
<th>Date</th>
<td>2005</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR146 .H82 2005</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocm60743259</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>The book of photography</td>
</tr>
<tr>
<th># of Pages</th>
<td>447</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:05:52 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:05:52 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photography</li>
</ul>
</li>
<li class="item book" id="i402">
<h2>
The future of the image</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jacques Rancière</td>
</tr>
<tr>
<th>Edition</th>
<td>Pbk. ed</td>
</tr>
<tr>
<th>Place</th>
<td>London ; New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Verso</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-84467-297-4</td>
</tr>
<tr>
<th>Date</th>
<td>2009</td>
</tr>
<tr>
<th>Call Number</th>
<td>BH151 .R36 2009</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th># of Pages</th>
<td>147</td>
</tr>
<tr>
<th>Date Added</th>
<td>6/2/2017, 9:09:10 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>6/2/2017, 9:09:10 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Aesthetics, Modern</li>
</ul>
</li>
<li class="item book" id="i395">
<h2>
The mind's eye: writings on photography and photographers</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Henri Cartier-Bresson</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael L. Sand</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>New York, N.Y</td>
</tr>
<tr>
<th>Publisher</th>
<td>Aperture</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-89381-875-3 978-0-89381-890-6</td>
</tr>
<tr>
<th>Date</th>
<td>1999</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR185 .C37 1999</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>The mind's eye</td>
</tr>
<tr>
<th># of Pages</th>
<td>109</td>
</tr>
<tr>
<th>Date Added</th>
<td>5/31/2017, 10:39:32 AM</td>
</tr>
<tr>
<th>Modified</th>
<td>5/31/2017, 10:39:32 AM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photographers</li>
<li>Photographic interpretation</li>
<li>Photography</li>
</ul>
</li>
<li class="item book" id="i40">
<h2>
The moment it clicks: photography secrets from one of the world's top shooters</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Joe McNally</td>
</tr>
<tr>
<th>Series</th>
<td>Voices that matter</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>Berkeley, CA</td>
</tr>
<tr>
<th>Publisher</th>
<td>New Riders</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-321-54408-7</td>
</tr>
<tr>
<th>Date</th>
<td>2008</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR161 .M46 2008</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn179803230</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>Provides information on the techniques and equipment necessary to take great digital photographs</td>
</tr>
<tr>
<th>Short Title</th>
<td>The moment it clicks</td>
</tr>
<tr>
<th># of Pages</th>
<td>256</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:13:16 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:13:16 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Digital cameras</li>
<li>Digital photography</li>
<li>Photography</li>
<li>Study and teaching</li>
</ul>
</li>
<li class="item book" id="i16">
<h2>
The Ongoing Moment</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Geoff Dyer</td>
</tr>
<tr>
<th>Place</th>
<td>Edinburgh</td>
</tr>
<tr>
<th>Publisher</th>
<td>Canongate Books</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-85786-401-7</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 935820999</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th># of Pages</th>
<td>380</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:45:26 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:50:11 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Fotografie</li>
<li>Geschichte</li>
<li>History</li>
<li>Photography</li>
<li>Photography History</li>
<li>Photography Themes, motives</li>
<li>United States</li>
<li>USA</li>
</ul>
</li>
<li class="item book" id="i36">
<h2>
The passionate photographer: ten steps toward becoming great</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Steve Simon</td>
</tr>
<tr>
<th>Place</th>
<td>Berkeley, CA</td>
</tr>
<tr>
<th>Publisher</th>
<td>New Riders</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-321-71989-8</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR146 .S532 2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn682896806</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>The passionate photographer</td>
</tr>
<tr>
<th># of Pages</th>
<td>253</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:12:09 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:12:09 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Composition (Photography)</li>
<li>Digital techniques</li>
<li>Photography</li>
<li>Technique</li>
</ul>
</li>
<li class="item book" id="i67">
<h2>
The photographer's eye</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>John Szarkowski</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Museum of Modern Art</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-87070-527-4</td>
</tr>
<tr>
<th>Date</th>
<td>2007</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR650 .S92 2007</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>155</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:24:59 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:24:59 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Composition (Photography)</li>
<li>History</li>
<li>Photographs</li>
<li>Photography</li>
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i50">
<h2>
The photographer's eye: a graphic guide: instantly understand composition & design for better digital photos</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael Freeman</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Focal Press, an imprint of the Taylor & Francis Group</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-240-82426-0</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR267 .F754 2013</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn842364587</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>The photographer's eye</td>
</tr>
<tr>
<th># of Pages</th>
<td>192</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:17:26 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:17:26 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Composition (Photography)</li>
<li>Digital techniques</li>
<li>Photography</li>
<li>Technique</li>
</ul>
</li>
<li class="item book" id="i49">
<h2>
The photographer's eye: composition and design for better digital photos</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael Freeman</td>
</tr>
<tr>
<th>Place</th>
<td>Boston</td>
</tr>
<tr>
<th>Publisher</th>
<td>Focal Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-240-80934-2</td>
</tr>
<tr>
<th>Date</th>
<td>2007</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 145084918</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>Presents instructions on traditional photographic composition and
addresses the new techniques of digital photography that allow the image
to be edited, manipulated, or montaged to produce a radically different
final result.</td>
</tr>
<tr>
<th>Short Title</th>
<td>The photographer's eye</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:17:00 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:17:00 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i53">
<h2>
The photographer's mind: creative thinking for better digital photos</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael Freeman</td>
</tr>
<tr>
<th>Place</th>
<td>Amsterdam; Boston</td>
</tr>
<tr>
<th>Publisher</th>
<td>Focal Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-240-81517-6</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 671877603</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>Explains "what makes a photograph great, and explore the ways that
top photographers achieve this goal time and time again."--Back cover.</td>
</tr>
<tr>
<th>Short Title</th>
<td>The photographer's mind</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:17:54 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:17:54 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i55">
<h2>
The photographer's story: the art of visual narrative</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael Freeman</td>
</tr>
<tr>
<th>Place</th>
<td>Burlington, MA</td>
</tr>
<tr>
<th>Publisher</th>
<td>Focal Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-240-81519-0</td>
</tr>
<tr>
<th>Date</th>
<td>2012</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 816511795</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Abstract</th>
<td>How a sequence of photos can be more than the sum of its parts.
Todays photographers approach their craft in a multitude of ways, and
with so many millions of people at it, theres a sizeable support group
for every interest, from iPhoneography to expressive, humanitarian, or
collaborative photography. Narrative is one such popular area, and there
is a new interest in making coherent photo stories. Using Michaels own
work, and that of many other great photographers, this unique book will
show how classic photo stories are shot and edited, and give aspiring
photojournalists and hobbyists alike a wealth of ideas to unlock the
potential of their most powerful storytelling tool: their camera.</td>
</tr>
<tr>
<th>Short Title</th>
<td>The photographer's story</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:19:12 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:19:12 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i54">
<h2>
The photographer's vision: understanding and appreciating great photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael Freeman</td>
</tr>
<tr>
<th>Place</th>
<td>Amsterdam; New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Focal Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-240-81518-3</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 714729557</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Short Title</th>
<td>The photographer's vision</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:18:41 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:18:41 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i96">
<h2>
The photography book</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Phaidon Press</td>
</tr>
<tr>
<th>Place</th>
<td>London</td>
</tr>
<tr>
<th>Publisher</th>
<td>Phaidon Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-7148-3634-8</td>
</tr>
<tr>
<th>Date</th>
<td>1997</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR650 .P493 1997</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>512</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:39:31 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:39:31 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i48">
<h2>
The practice of contemplative photography: seeing the world with fresh eyes</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Andy Karr</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Michael Wood</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>Boston</td>
</tr>
<tr>
<th>Publisher</th>
<td>Shambhala</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-59030-779-3</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR179 .K37 2011</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>The practice of contemplative photography</td>
</tr>
<tr>
<th># of Pages</th>
<td>226</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:16:12 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:16:12 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Composition (Photography)</li>
<li>Photography</li>
<li>Photography, Artistic</li>
<li>Technique</li>
</ul>
</li>
<li class="item book" id="i144">
<h2>
The World Atlas of Street Photography</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jackie Higgins</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Max Kozloff</td>
</tr>
<tr>
<th>Place</th>
<td>New Haven, CT</td>
</tr>
<tr>
<th>Publisher</th>
<td>Yale University Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-300-20716-3</td>
</tr>
<tr>
<th>Date</th>
<td>2014</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR659.8 .H54 2014</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn871788343</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>The energetic, fluctuating pace of the metropolis has long lured
photographers to capture--often candidly--the chaos, character, and
incident of modern urban life ever since the genesis of photography in
the 19th century. The World atlas of street photography focuses on the
abundance of photos created on street corners internationally, including
classic documentary street photography as well as mediated images of
urban landscapes, staged performances, and sculpture. Twelve specially
commissioned artworks are featured, in addition to a wide selection of
striking and well-known images of city life. Lively and informative,
this handsome book compiles expressions of a vibrant genre and is the
first of its kind to scour the globe--from New York to New Delhi,
Beijing to Brighton, Havana to Hamburg, and Sydney to Seoul. This
magnificently illustrated compilation of more than 700 images presents
over one hundred established and emerging contemporary photographers,
including Nikki S. Lee, Lise Sarfati, Jeff Wall, Daido Moriyama, Alexey
Titarenko, Christo and Jeanne-Claude, David Goldblatt, and Julio
Bittencourt, among many others. The World atlas of street photography
offers a peek through the lenses of photographers chronicling the fever,
furor, and intimacy of urban life</td>
</tr>
<tr>
<th># of Pages</th>
<td>399</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:46:58 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:46:58 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Street photography</li>
</ul>
</li>
<li class="item book" id="i8">
<h2>
Under blue cup</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Rosalind E. Krauss</td>
</tr>
<tr>
<th>Place</th>
<td>Cambridge, MA</td>
</tr>
<tr>
<th>Publisher</th>
<td>MIT Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-262-01613-1</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Call Number</th>
<td>N71 .K717 2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn699378944</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>142</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:40:52 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:40:52 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Art</li>
<li>Memory (Philosophy)</li>
<li>Psychology</li>
</ul>
</li>
<li class="item book" id="i129">
<h2>
Understanding a photograph</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>John Berger</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>Geoff Dyer</td>
</tr>
<tr>
<th>Edition</th>
<td>First edition</td>
</tr>
<tr>
<th>Place</th>
<td>New York, NY</td>
</tr>
<tr>
<th>Publisher</th>
<td>Aperture</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-59711-256-7</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR187 .B467 2013</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>173</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:40:51 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:41:00 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Photographers</li>
<li>Photographic criticism</li>
<li>Photography</li>
<li>Social aspects</li>
</ul>
</li>
<li class="item book" id="i58">
<h2>
Unseen Ansel Adams: photographs from the Fiat Lux Collection</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Ansel Adams</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jason Weems</td>
</tr>
<tr>
<th>Place</th>
<td>San Diego, Calif</td>
</tr>
<tr>
<th>Publisher</th>
<td>Thunder Bay Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-60710-013-3</td>
</tr>
<tr>
<th>Date</th>
<td>2010</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 707185719</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Abstract</th>
<td>Showcases one hundred and eighty rare photographs of the artist's
work for the University of California, including scenes of the campus,
the L.A. freeway system, Santa Cruz's forests, and the Santa Barbara
coastline</td>
</tr>
<tr>
<th>Short Title</th>
<td>Unseen Ansel Adams</td>
</tr>
<tr>
<th># of Pages</th>
<td>192</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:20:56 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:20:56 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Adams, Ansel</li>
<li>Artistic photography</li>
<li>Bildband</li>
<li>California</li>
<li>Fotografie</li>
<li>Landscape photography</li>
<li>Landschaft</li>
<li>Photography, Artistic</li>
<li>Schwarzweißfotografie</li>
<li>University of California (System)</li>
</ul>
</li>
<li class="item book" id="i44">
<h2>
Vision & voice: refining your vision in Adobe Photoshop lightroom</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>David DuChemin</td>
</tr>
<tr>
<th>Place</th>
<td>Berkeley, CA</td>
</tr>
<tr>
<th>Publisher</th>
<td>New Riders</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-321-67009-0</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR267.5.A355 D83 2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn540143164</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Vision & voice</td>
</tr>
<tr>
<th># of Pages</th>
<td>257</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:14:48 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:14:48 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Adobe Photoshop lightroom</li>
<li>Developing and developers</li>
<li>Digital techniques Computer programs</li>
<li>Photography</li>
</ul>
</li>
<li class="item book" id="i63">
<h2>
Vivian Maier: street photographer</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Vivian Maier</td>
</tr>
<tr>
<th class="author">Author</th>
<td>John Maloof</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Geoff Dyer</td>
</tr>
<tr>
<th>Edition</th>
<td>1st ed</td>
</tr>
<tr>
<th>Place</th>
<td>Brooklyn, NY</td>
</tr>
<tr>
<th>Publisher</th>
<td>PowerHouse Books</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-1-57687-577-3</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR659.8 .M35 2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: ocn751753013</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Abstract</th>
<td>"A good street photographer must be possessed of many talents: an
eye for detail, light, and composition; impeccable timing; a populist or
humanitarian outlook; and a tireless ability to constantly shoot,
shoot, shoot, shoot and never miss a moment. It is hard enough to find
these qualities in trained photographers with the benefit of schooling
and mentors and a community of fellow artists and aficionados supporting
and rewarding their efforts. It is incredibly rare to find it in
someone with no formal training and no network of peers. Yet Vivian
Maier is all of these things, a professional nanny, who from the 1950s
until the 1990s took over 100,000 photographs worldwide--from France to
New York City to Chicago and dozens of other countries--and yet showed
the results to no one. The photos are amazing both for the breadth of
the work and for the high quality of the humorous, moving, beautiful,
and raw images of all facets of city life in America's post-war golden
age. It wasn't until local historian John Maloof purchased a box of
Maier's negatives from a Chicago auction house and began collecting and
championing her marvelous work just a few years ago that any of it saw
the light of day. Presented here for the first time in print, 'Vivian
Maier: Street Photographer' collects the best of her incredible, unseen
body of work."--Publisher description</td>
</tr>
<tr>
<th>Short Title</th>
<td>Vivian Maier</td>
</tr>
<tr>
<th># of Pages</th>
<td>123</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:22:25 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:22:25 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Illinois Chicago</li>
<li>Maier, Vivian</li>
<li>New York (State) New York</li>
<li>Street life</li>
<li>Street photography</li>
</ul>
</li>
<li class="item book" id="i184">
<h2>
Walker Evans</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Walker Evans</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Maria Morris Hambourg</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Metropolitan Museum of Art (New York, N.Y.)</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>San Francisco Museum of Modern Art</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Museum of Fine Arts, Houston</td>
</tr>
<tr>
<th>Place</th>
<td>New York</td>
</tr>
<tr>
<th>Publisher</th>
<td>Metropolitan Museum of Art in association with Princeton University Press, Princeton</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-87099-937-6 978-0-87099-938-3 978-0-691-05078-2</td>
</tr>
<tr>
<th>Date</th>
<td>2000</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR647 .E9 2000</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>318</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 2:00:09 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 2:00:09 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Evans, Walker</li>
<li>Photography, Artistic</li>
</ul>
</li>
<li class="item book" id="i13">
<h2>
Ways of seeing: based on the BBC television series with John Berger</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="editor">Editor</th>
<td>John Berger</td>
</tr>
<tr>
<th>Edition</th>
<td>Repr</td>
</tr>
<tr>
<th>Place</th>
<td>London</td>
</tr>
<tr>
<th>Publisher</th>
<td>British Broadcasting Corporation and Penguin Books</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-14-013515-2</td>
</tr>
<tr>
<th>Date</th>
<td>1990</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 249411402</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Gemeinsamer Bibliotheksverbund ISBN</td>
</tr>
<tr>
<th>Language</th>
<td>eng</td>
</tr>
<tr>
<th>Short Title</th>
<td>Ways of seeing</td>
</tr>
<tr>
<th># of Pages</th>
<td>166</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 2:43:09 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 2:43:09 PM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i270">
<h2>
Why fonts matter</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Sarah Hyndman</td>
</tr>
<tr>
<th>Place</th>
<td>London</td>
</tr>
<tr>
<th>Publisher</th>
<td>Virgin Books</td>
</tr>
<tr>
<th>Date</th>
<td>2016</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 961287942</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>English</td>
</tr>
<tr>
<th>Date Added</th>
<td>3/19/2017, 11:51:35 AM</td>
</tr>
<tr>
<th>Modified</th>
<td>3/19/2017, 11:51:35 AM</td>
</tr>
</tbody></table>
</li>
<li class="item book" id="i128">
<h2>
Why photography matters</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Jerry L. Thompson</td>
</tr>
<tr>
<th>Place</th>
<td>Cambridge, Massachusetts ; London, England</td>
</tr>
<tr>
<th>Publisher</th>
<td>The MIT Press</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-262-01928-6</td>
</tr>
<tr>
<th>Date</th>
<td>2013</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR183 .T4753 2013</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th># of Pages</th>
<td>92</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:40:22 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:40:22 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Philosophy</li>
<li>Photography</li>
<li>Psychological aspects</li>
</ul>
</li>
<li class="item book" id="i182">
<h2>
Winogrand: figments from the real world</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Garry Winogrand</td>
</tr>
<tr>
<th class="author">Author</th>
<td>John Szarkowski</td>
</tr>
<tr>
<th class="contributor">Contributor</th>
<td>Museum of Modern Art (New York, N.Y.)</td>
</tr>
<tr>
<th>Series</th>
<td>Springs Industries series on the art of photography</td>
</tr>
<tr>
<th>Place</th>
<td>New York, N.Y</td>
</tr>
<tr>
<th>Publisher</th>
<td>Museum of Modern Art : Distributed by New York Graphic Society</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-87070-640-0</td>
</tr>
<tr>
<th>Date</th>
<td>1988</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR647 .W56 1988</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Winogrand</td>
</tr>
<tr>
<th># of Pages</th>
<td>260</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:59:10 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 2:14:24 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Exhibitions</li>
<li>Photography, Artistic</li>
<li>Winogrand, Garry</li>
</ul>
</li>
<li class="item book" id="i42">
<h2>
Within the frame: the journey of photographic vision</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>David DuChemin</td>
</tr>
<tr>
<th>Place</th>
<td>Berkeley, CA</td>
</tr>
<tr>
<th>Publisher</th>
<td>New Riders</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-0-321-60502-3</td>
</tr>
<tr>
<th>Date</th>
<td>2009</td>
</tr>
<tr>
<th>Call Number</th>
<td>TR183 .D84 2009</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Library of Congress ISBN</td>
</tr>
<tr>
<th>Short Title</th>
<td>Within the frame</td>
</tr>
<tr>
<th># of Pages</th>
<td>254</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/25/2016, 5:14:03 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/25/2016, 5:14:03 PM</td>
</tr>
</tbody></table>
<h3 class="tags">
Tags:</h3>
<ul class="tags">
<li>Moral and ethical aspects</li>
<li>Philosophy</li>
<li>Photography</li>
<li>Technique</li>
<li>Travel photography</li>
</ul>
</li>
<li class="item book" id="i119">
<h2>
ロバート・キャパ/Robert Capa</h2>
<table>
<tbody>
<tr>
<th>Type</th>
<td>Book</td>
</tr>
<tr>
<th class="author">Author</th>
<td>Robert Capa</td>
</tr>
<tr>
<th class="author">Author</th>
<td>武 桐谷</td>
</tr>
<tr>
<th>Place</th>
<td>大阪</td>
</tr>
<tr>
<th>Publisher</th>
<td>創元社</td>
</tr>
<tr>
<th>ISBN</th>
<td>978-4-422-70085-4</td>
</tr>
<tr>
<th>Date</th>
<td>2011</td>
</tr>
<tr>
<th>Extra</th>
<td>OCLC: 762973956</td>
</tr>
<tr>
<th>Library Catalog</th>
<td>Open WorldCat</td>
</tr>
<tr>
<th>Language</th>
<td>Japanese</td>
</tr>
<tr>
<th>Date Added</th>
<td>8/30/2016, 1:38:05 PM</td>
</tr>
<tr>
<th>Modified</th>
<td>8/30/2016, 1:38:30 PM</td>
</tr>
</tbody></table>
</li>
</ul>
John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-53493927872443914102017-06-17T15:56:00.001-06:002017-06-17T15:56:27.409-06:00Pictures At An Exhibition<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0aXSoIZ8nsZHz-R6-3eh9H9niZvNpal2BbJpWxh27EbuTSpjKxHOXe12duubiGwHajTnVcboS7NUpqwf6M72AYwtwEAYFXV15QIH8BfPnkVYuLtGcEPs-wHR3B1qWPXNaK2hxKgA36VzT/s1600/51AOtRoQuyL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0aXSoIZ8nsZHz-R6-3eh9H9niZvNpal2BbJpWxh27EbuTSpjKxHOXe12duubiGwHajTnVcboS7NUpqwf6M72AYwtwEAYFXV15QIH8BfPnkVYuLtGcEPs-wHR3B1qWPXNaK2hxKgA36VzT/s200/51AOtRoQuyL.jpg" width="200" /></a></div>
There are two things in life that draw me into a region of space-time where the idea of time passing has no real meaning: bookstores (new and used) and art galleries.<br />
<br />
I had such an experience while in London a while back. The good lady wife was knee deep in horticulture at the Chelsea Flower Show so I hoofed it down the embankment waving at the Battersea Power Station, MI6, on along to Westminster and then over Blackfriars to the <a href="http://www.tate.org.uk/visit/tate-modern" target="_blank">Tate Modern</a>. I was tempted to stop at the Tate Britain as they had a Hockney retrospective but as much as I like Hockney, the Modern was my goal.<br />
<br />
<br />
The spaces there are amazing. The Turbine Hall is a massive space and currently (hah) devoted to a sound installation where as you walk through the hall you are hit by different sound loops. The effect is not dissimilar from "On the Run" from Dark Side of the Moon.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjudkg8fzaKCqZv0athMQfoDk-UvdiHgVMkYw8tiBQ3SyyeSAv5cPVW8yjLNtVjIKHJ_mHsJugIPReLRrr1lIHVo6p5_PjgdLsgLP2YbAFTIyN4TjXnnSlWsHVVI_uDXrTIrpaISTsgNYQP/s1600/IMG_8616_811-L%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjudkg8fzaKCqZv0athMQfoDk-UvdiHgVMkYw8tiBQ3SyyeSAv5cPVW8yjLNtVjIKHJ_mHsJugIPReLRrr1lIHVo6p5_PjgdLsgLP2YbAFTIyN4TjXnnSlWsHVVI_uDXrTIrpaISTsgNYQP/s640/IMG_8616_811-L%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>On The Run</b></td></tr>
</tbody></table>
There's another bit of synchronicity here as the architect of the Bankside Power Station, home to the Tate Modern is the same architect that designed the Battersea Power Stations as featured on the cover of Pink Floyd's album "Animals". The more you know...<br />
<br />
I digress.<br />
<br />
The Tate Modern is a wondrous place. Even when busy, it has the size to allow you to retreat. Time stood still for me as I wandered the halls. Oh the ideas, the dangerous disruptive ideas churning away in there. As I wandered I was struck by the number of people walking at a seemingly brisk pace, raising a camera or smartphone, click and on to harvest the next image. I had started make some images but for some reason I stopped; perhaps the artwork was too captivating.<br />
<br />
Along the way I had an "AHA" moment. A project presented itself: "<a href="https://tomservoca.smugmug.com/OnGoingProjects/Pictures-At-An-Exhibition/" target="_blank">Pictures at an Exhibition</a>". I became interested in the question: "How do people interact with the gallery and the artwork?"<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzjwLNTi1ag3Y6kQ_yPTlYI9bIfmU5kgC48LbzXacIfgq8NTwd5hdjvmRT7S6XBVPtL0itpJHu7V9vrXe6rol1lKwMXZG6km35oZsKf8WGydKp7VllRgg75qI5HcZbax7N25Tuh5tXWQ7/s1600/IMG_8641_815-L%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzjwLNTi1ag3Y6kQ_yPTlYI9bIfmU5kgC48LbzXacIfgq8NTwd5hdjvmRT7S6XBVPtL0itpJHu7V9vrXe6rol1lKwMXZG6km35oZsKf8WGydKp7VllRgg75qI5HcZbax7N25Tuh5tXWQ7/s640/IMG_8641_815-L%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Harvesting Art</b></td></tr>
</tbody></table>
In bygone times you would sit, sketchbook and pencil in hand, and "commune" with the artwork: drinking it in, responding to what Walter Benjamin would refer to as the "aura". You would write down what you felt, make some sketches, trying to understand the technique, trying to read what the artist is trying to tell you, trying to answer questions and seek clarification through contemplation.<br />
<br />
I did see some of that, two men in close, hushed conversation as they tried to work through what was being shown, but unfortunately many where like a botanist from the Age of Exploration, pithing butterflies on blotters and pressing flowers in books.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb27Ihpr4evnQqXy-_IYdMQTeTnRP-HzmqfqQaj4YnP6SlC5y2UIYnWGELxcgHoVajuCs_RskcDWVASUwxdFGEnUbxD6HdlieNcdyP_IFKX9CHU0fDePGNt9kghyVbxkIlpDaKhzXAjc5u/s1600/IMG_8637_814-L%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb27Ihpr4evnQqXy-_IYdMQTeTnRP-HzmqfqQaj4YnP6SlC5y2UIYnWGELxcgHoVajuCs_RskcDWVASUwxdFGEnUbxD6HdlieNcdyP_IFKX9CHU0fDePGNt9kghyVbxkIlpDaKhzXAjc5u/s640/IMG_8637_814-L%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>What's It All About</b></td></tr>
</tbody></table>
Maybe I'm not in tune, may that's the way of the world now: capturing mementos of things seen in museums for later study (possibly), but heavens, the Tate has most of this available on line now: better exposed and annotated.<br />
<br />
Am I trying to obfuscate what a gallery is for? Is in fact the taking of pictures the latest in the democratization of art? Berger writes that once art could be reproduced it was democratized, making it available to all, taking it out of the hands of the moneyed classes and making it available to everyone. Am I trying to block that democratization? Once art has been liberated from the artistic power structures, Berger writes, they try to stuff the genie back into the bottle by surrounding it with complex terminology and controlling access: restricting how close you can come to the artwork and "curating" (controlling access) artists' work.<br />
<br />
Interestingly, the Tate Modern is complicit in this in some regard. I was at the oddly named <a href="https://en.louisiana.dk/" target="_blank">Louisiana Museum of Modern Art</a> in Humlebaek, Denmark just prior. Both galleries had Giacometti. Louisiana encouraged you to interact with the sculpture; the Tate had little white strings around everything and if you got too close an exceedingly bored docent shooed you along. I realize that London isn't a quiet little village outside of Copenhagen and that the two societies are different, but it is interesting. Oddly enough, none of the Danes even thought to touch the Giacometti; it just wasn't done.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqPt_vgqN1WJ0nPmR3zj0CPEX5ztduH1RM2exypXgjnG3r9CZTxiFCDTkUYpvacflodbo9TBlq2JPmejiqIaTtKH2s0viwhInpUUpE37YNFjwh5KmXnOlDwMCOeLuTmm2hrY43SCzh87V/s1600/IMG_8643_816-XL%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="960" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqPt_vgqN1WJ0nPmR3zj0CPEX5ztduH1RM2exypXgjnG3r9CZTxiFCDTkUYpvacflodbo9TBlq2JPmejiqIaTtKH2s0viwhInpUUpE37YNFjwh5KmXnOlDwMCOeLuTmm2hrY43SCzh87V/s640/IMG_8643_816-XL%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Docent</b></td></tr>
</tbody></table>
The last picture in the sequence is not from the Tate Modern, but <a href="http://thephotographersgallery.org.uk/" target="_blank">The Photographers' Gallery</a>. This is an intimate gallery in London and well worth seeking out. When I was there they had the three finalists for the 2017 the Deutsche Börse Photography Foundation Prize and a remounting of Roger Mayne's installation "The British at Leisure". <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfFd-mFwoZ5Pk_p3-VYQYW6Ivl2nMNv99vphyphenhyphenTcY8aLYhS4iUcvCpNWk8i2qUu0FRsj4eJjb4m948gza6h3INQPUym-r1NiUb5sD-12nU6_kp4wDYug9VwwbsVa1SSetvjyUPJArAgcbI/s1600/IMG_8736-L%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="750" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfFd-mFwoZ5Pk_p3-VYQYW6Ivl2nMNv99vphyphenhyphenTcY8aLYhS4iUcvCpNWk8i2qUu0FRsj4eJjb4m948gza6h3INQPUym-r1NiUb5sD-12nU6_kp4wDYug9VwwbsVa1SSetvjyUPJArAgcbI/s640/IMG_8736-L%255B1%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Catalogues</b></td></tr>
</tbody></table>
<b>Technical Notes</b><br />
<br />
These images where all made with my iPhone 6s using the 645 Pro Mk III app. This app shoots Raw (dng) and allows you to save a .tif image using the emulsion of your choice along side the RAW file. It's my go-to photo app and truth be told, it's what's keeping me on the iThingy. I haven't found a suitable Android equivalent yet.John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-64224954998796721092017-06-14T09:35:00.001-06:002017-06-14T09:39:55.101-06:00Working Stiffs: The Book<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxfhkadTMWk7zzTRPvOLZQQhUt9j0Jz6u_Dv70MAi4Q4qZUZvUrH2CjexOQIp4sQFGJV1f2-zAlUmWSs-7YjKEkBgoMyZYPKtRBzGd4TGniGmDNsA6kdTC9SNEDC76jFhnnIpOFXAIQMi/s1600/L1100816-Edit-L%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="960" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxfhkadTMWk7zzTRPvOLZQQhUt9j0Jz6u_Dv70MAi4Q4qZUZvUrH2CjexOQIp4sQFGJV1f2-zAlUmWSs-7YjKEkBgoMyZYPKtRBzGd4TGniGmDNsA6kdTC9SNEDC76jFhnnIpOFXAIQMi/s320/L1100816-Edit-L%255B1%255D.jpg" width="320" /></a></div>
Well, this embarrassing. I opened up my text editor and found the following article. What with one thing and another happening around the maison, I forgot to post the following announcement.<br />
<br />
I’m pleased to announce the publication of my latest photobook, “Working Stiffs: The People”. This is a collection of images is dedicated to the men and women who get things done.<br />
<br />
You know, the ones who deliver the beer, make sure the traffic flows, make sure that the lads don’t get out of control. The ones who build our buildings, clean our streets and catch our fish — the overlooked, the unseen, the ignored, the spoken down to — are the ones without whom our urban world would quickly grind to a halt.<br />
<br />
I started on this <a href="http://intothefoto.blogspot.ca/2016/04/working-stiffs.html" target="_blank">project </a>about a year ago and after some twists and turns prints have been pulled and a book published. You can go have a look at the book by following the link in the sidebar (and buy one).<br />
<br />
I learned a lot of technical "stuff" over the course of the year. Things like:<br />
<br />
<ul>
<li>"Windex cures more than arthritis and tennis elbow" It's true! Best print head cleaner ever! Remove the print head, soak in about 1/8" of Windex for 24 hours, wipe with distilled water (the real stuff, not just Brita filtered) and your're good to go.</li>
<li>Monitors are too bright; turn them down to 80% (at least) and then calibrate. This gives you a fighting chance pulling a print that comes close in luminance to what is printed. To get even closer (at least for black and white prints) order the calibration print from Ilford Labs, download the the calibration file and tweek the monitor so the file and the print match.</li>
<li>Paper makes the difference. When I started printing, I softproofed in Lightroom and printed on some off the shelf Canon Super Glossy II paper. The result where OK but not what I remembered when I was printing in the darkroom all those years ago. I settled on Moab Juniper Baryta paper and the results where stellar. It was like looking at the Ilfobrom Type 3 resin coated paper I cut my teeth on all those years ago.</li>
<li>Keep the book layout simple. I decided on a minimalist layout. The hard bit was deciding on a typeface that was reflected the subject matter and wasn't a distraction to the image. I ended up deciding on the DINPro typeface in varying weights.</li>
<li>Blurb's software doesn't recognize OpenType fonts: I needed to change my OpenType fonts to TrueType. Come on Blurb, that should be a no brainer.</li>
<li>NIK Silver Efex is still the best Black and White tool out there. Franzis BW Projects 5 is getting close and I like some of the effects. I'm going to work with it a lot more. I wish Google would just opensource NIK and be done with it. The world doesn't need more abandonware.</li>
<li>Run a checklist. Being solo means no external eyes to do QA or QC, make sure you're exporting files properly, proofread, spell check and provide feedback on layouts, sequencing and all the million things that go into an enterprise like this.</li>
</ul>
<br />
Be ready for the unexpected turn. In doing the photo selection, I discovered I had another project at about the same state as when I started this one: "Working Stiffs: Tools of the Trade" Given the speed I work at this should be ready this time next year.<br />
<br />
Some photographers are of the school that holds "A photograph isn't exist until it's printed". I have to agree with that. There's an intense satisfaction in seeing the image emerge from whatever process you use.<br />
<br />
The Working Stiffs galleries are <a href="http://tomservoca.smugmug.com/OnGoingProjects/Working-Stiffs" target="_blank">here</a>.John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-54351560326345581062016-09-09T17:42:00.000-06:002016-09-09T17:42:25.582-06:00Zis iz zee castle of my master, Guy de Lombard!<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJPjYbgCYWW6xOGPZZB0HUtVSLVJVXcMqTBb2Pf5VgFtCHSKadAxfYYKOlvNEmcRADHtDnBAuDzJPi8RzUqRLwn08Fa4zHaDkbUgJv8cDGx6KaCUnhOXufqqfNvzqbbd8PuIJlntS31lVR/s1600/kannigitt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJPjYbgCYWW6xOGPZZB0HUtVSLVJVXcMqTBb2Pf5VgFtCHSKadAxfYYKOlvNEmcRADHtDnBAuDzJPi8RzUqRLwn08Fa4zHaDkbUgJv8cDGx6KaCUnhOXufqqfNvzqbbd8PuIJlntS31lVR/s320/kannigitt.jpg" width="320" /></a>Well, not really, but this is photograph a friend of mine made while he was skiving rather than being at the conference he was supposed to be at. He'd posted it on a private board after doing some tinkering and I thought to myself: "Hang on, I think we can get a bit more out of the image than that." He kindly posted the RAW file for me to play with. The image was made by a Samsung NX30, 1/2500 @ f/6.3, ISO 200.</div>
<br />
When I first looked at the RAW file in Lightroom, I was surprised at just how much detail was still available in the shadows given bright sky and the dark castle walls.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkCS1PWCPxFYanHRg41yLKpMeStPhql0xeff3ViGMXYy8bJB5i3IPgGjTzfWZ0KZioa3H-PWG_VnlgKlh5qKZ8hArNoFgRdJq86L7UNmJFLf9e9e_arBlxEmWsioluMjyqYBuAxMdRAAoG/s1600/_SAM3131.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkCS1PWCPxFYanHRg41yLKpMeStPhql0xeff3ViGMXYy8bJB5i3IPgGjTzfWZ0KZioa3H-PWG_VnlgKlh5qKZ8hArNoFgRdJq86L7UNmJFLf9e9e_arBlxEmWsioluMjyqYBuAxMdRAAoG/s640/_SAM3131.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Original Image</b></td></tr>
</tbody></table>
In LR, I did the following adjustments:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_0B8aUy3yfhEI72Qfp4FZinD4CblDacrbJDFWUtiPB7MjsttoR1GFkewcLMDHIbPZBo6aI9m0zNiV-fjhaftDxqWyeRx7dmTHXPdw40VyL7NH2XXLYME-ykGOgKiP2cpyGd53aA0MqICR/s1600/LRSettings.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_0B8aUy3yfhEI72Qfp4FZinD4CblDacrbJDFWUtiPB7MjsttoR1GFkewcLMDHIbPZBo6aI9m0zNiV-fjhaftDxqWyeRx7dmTHXPdw40VyL7NH2XXLYME-ykGOgKiP2cpyGd53aA0MqICR/s320/LRSettings.PNG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Lightroom Adjustments</b></td></tr>
</tbody></table>
The original exposure was OK but I really hit the Highlights and Shadows settings (I also cloned the bird on the left out. Bloody seagull) I found the RAW file to be remarkably robust to this sort of heavy handed tweaking. The only disconcerting thing was the two pure green spots on the castle wall. I think that this is a hot or dead pixel. I did end up cloning them out after I had run the file through Viveza. After this LR jiggery-pokery I ended up with this:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqP8mVZfMZDKdvFrRF6iYK7bo5WFUxirqxn6t6Lmqn4a7cNDpyFEdMeofzQ2nRLHVMP5rqheVC6GE2O5hYEnH0W1R3oGmwqRGJyIn4OoPVd2YgjVExASAHPGibxobda1B_PBiAtD08J4r/s1600/Lightroom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqP8mVZfMZDKdvFrRF6iYK7bo5WFUxirqxn6t6Lmqn4a7cNDpyFEdMeofzQ2nRLHVMP5rqheVC6GE2O5hYEnH0W1R3oGmwqRGJyIn4OoPVd2YgjVExASAHPGibxobda1B_PBiAtD08J4r/s640/Lightroom.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Lightroom Adjustments</b></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
I wanted to lighten up the Welsh flag a bit as I found it a bit dark. I opened the image in NIK Viveza 2.0 (Hey Google, if you're going to abandon the NIK suite, at least have the decency to open source it!) After tweeking the overall brightness, warmth, structure and shadows, using a Control Point set on the flag green of the flag I tweeked the brightness and saturation giving me this:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0xultU8NSIjQ82kATPwsbl0I-SIZV4WcWU5JY0X_Hbh1vADdn6HYV6gI_p_C079SUashJcqTsLb6LAD46ojuNYVvfF62UTtnrH2itG-X4ayZw6qdzGDx7ZaVxTIWrom3LcWHL6NpSCDv/s1600/Viveza.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0xultU8NSIjQ82kATPwsbl0I-SIZV4WcWU5JY0X_Hbh1vADdn6HYV6gI_p_C079SUashJcqTsLb6LAD46ojuNYVvfF62UTtnrH2itG-X4ayZw6qdzGDx7ZaVxTIWrom3LcWHL6NpSCDv/s640/Viveza.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>After Viveza 2.0</b></td></tr>
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Not bad, not bad at all. Now, NIK has a tone mapping HDR application so, since I was going all McGyver on this image anyway, why not try that. There's lots of pre-built settings, ranging from neutral to "OMFG the acid has just kicked in!" Here's the three that I tried:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuec34afia8VWDn9dYy33vg6p7BXiA6DQXLTWZUTNHSfFutz1vp0i9gBB6dgs6iS8ZQC9gimGeThmi1ZLWcJ91s0R_GKyAf9CWbB0kBXSKh-suI6CyqZsR12Yzvio049Thohmq0arokY5/s1600/HDRDefault.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuec34afia8VWDn9dYy33vg6p7BXiA6DQXLTWZUTNHSfFutz1vp0i9gBB6dgs6iS8ZQC9gimGeThmi1ZLWcJ91s0R_GKyAf9CWbB0kBXSKh-suI6CyqZsR12Yzvio049Thohmq0arokY5/s640/HDRDefault.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>NIK HDR Pro Tone Map "Neutral" Setting</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihf_e7nKEGOdyTC0FVoCds5LWUESBamVxS1pqTCHCO_C-e1tUA1KGMRM66i7u2OhbkNvD9j6VXrYqQJMPCp33mTEe8SeJFY_7ulCDWaYr7ajNo8JIQ310_IRia7CMEIDvxG14jwLyp0p2X/s1600/HDRBalanced.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihf_e7nKEGOdyTC0FVoCds5LWUESBamVxS1pqTCHCO_C-e1tUA1KGMRM66i7u2OhbkNvD9j6VXrYqQJMPCp33mTEe8SeJFY_7ulCDWaYr7ajNo8JIQ310_IRia7CMEIDvxG14jwLyp0p2X/s640/HDRBalanced.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>NIK HDR Pro Tone Map "Balanced" Setting</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX7raGBJ86zi4Y6eH15CMe_tqfhEcF5Cvq9OP4Ob0FwGMThJk9YcqMM4mgPB0AK2GTCraMhHjXgWMGZyxrB0Bx6pTZrPkFZYV8CTgxyhou1iPOAZgBgOxlBlfJ9AY54F7wVOc-2VVzGeZY/s1600/HDRBWArt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX7raGBJ86zi4Y6eH15CMe_tqfhEcF5Cvq9OP4Ob0FwGMThJk9YcqMM4mgPB0AK2GTCraMhHjXgWMGZyxrB0Bx6pTZrPkFZYV8CTgxyhou1iPOAZgBgOxlBlfJ9AY54F7wVOc-2VVzGeZY/s640/HDRBWArt.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>NIK HDR Pro Tone Map "Artistic B/W" Setting</b></td></tr>
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I think I prefer my handbombed colour processing using LR and Viveza over any of the HDR colour presets.<br />
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I do like the B/W except for the burnt out sun, so back to the original image and this time I loaded it up in Viveza and set a control point on the burnt out sun and reduced the brightness until I got it to blend in to the cloud bank. Next I ran it through NIK HDR tone mapping, selecting the "Natural" preset. Finally into the ab fab NIK SilverFX. I selected the Ilford HP5 profile and worked with the fine structure, brightness, dynamic brightness and soft contrast sliders until I got this:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghcTOLdgkBNAyG_zaAenAiS-OpQoQ3Bm6u0tL8b3zUaThyBWHCH1qXoxhKI09n7E2Sfz476oUqMHQpnqh8G0g02phbynddFVSW5__FGWvpw20N09hCetOIQdAmGTPHXaXUVIDWZCZGkyVs/s1600/BestBW.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghcTOLdgkBNAyG_zaAenAiS-OpQoQ3Bm6u0tL8b3zUaThyBWHCH1qXoxhKI09n7E2Sfz476oUqMHQpnqh8G0g02phbynddFVSW5__FGWvpw20N09hCetOIQdAmGTPHXaXUVIDWZCZGkyVs/s640/BestBW.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>NIK SilverFX</b></td></tr>
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This I think is the image I felt was hiding inside the image (except for the bright pixels and the bloody seagull)<br />
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For my friend, who is a Linux guy, I think you can do the LR adjustments and Viveza style spot adjustments in Darktable. I've got it running on Junior but I just haven't had the time to understand the UI yet. I don't know what application you'd use to do the tone mapping HDR, but LightZone does run on Linux and it does some pretty neat tone mapping.<br />
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Oh, and if Mike from Australia is reading this, well, you know what to do...John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-16078087423334309272016-08-21T17:36:00.001-06:002016-08-21T20:21:57.712-06:00Big Alberta Sky<div class="separator" style="clear: both; text-align: left;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/gzFlFr7CpEs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/gzFlFr7CpEs?feature=player_embedded" width="320"></iframe>You’ll notice that rather than a photograph next to the lead-in paragraph I’ve embedded a YouTube link to an Ian Tyson song “Land of Shining Mountains”. I’ve been listening to that old cowpoke quite a bit and there is lot in his body of work that resonates with me having spent some formative years in Kamloops which, at the time, was a rail junction for both the CNR and CPR as well as a cowtown. The fancy hotel was called “The Stockman’s” featuring dinner and floor show Friday and Saturday nights for the well-heeled. It had its stockyards, its cowboy hotels and saloons and at certain times of the year your Mom and Dad hustled you across the street just “because”; later I found out it was because a cowhand had passed out in a doorway. I still recall wanting nothing more than a pair of cowboy boots and blue jeans to walk just that way like they did in the Lone Ranger and Rifleman.</div>
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It was Stampede and I had to get out of the city. As I wrote in my journal: “it feels like my head is being crushed”. In town, the sidewalks were filled with not the cowboys I grew up around in Kamloops but the Ricky Rodeos who forgot that the bullshit is supposed to be on the outside of the boots. I’ve always loved the Porcupine Hills and the sagebrush and short grass prairie south of Highway 3 and north of the 49th Parallel so I loaded up the truck and headed south.</div>
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In a review on Amazon.com of Ian Tyson’s album “I Outgrew the Wagon” Jim Cleary writes:</div>
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<i>“You'll smell the dust and sage; you'll feel the blazing sun and stinging sleet; and you'll hear the sound of the wind in the wire. The prairie’s infinite expansiveness, its quiet and loneliness and unquenchable thirstiness, its midday deadness and its spring to life at low sun, it's nourishing protection for the lucky and its steadfast brutality for the unprepared.”</i></blockquote>
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And the sky. Oh my lord the sky. It arches over you streaming to forever. It’s different than up in the Peace Country. I always felt the sky there oppressive, pressing down on you like the Lutheran god of the Swedes and Norwegians that settled there. The southern sky just is. It passes no judgement, pays no heed to the busy-ness of man. It can be quick to anger: a prairie thunderstorm can appear and disappear in a blink leaving flattened fields, damaged buildings, flooded streams and roads. It can also caress: sitting by the side of the road, the breeze rustling the grass, brushing your face and carrying away the cares of the world. </div>
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I’ll be the first to admit that I’m not a very good landscape photographer. I find that I just can’t capture the emotions I feel when confronted with some of the vistas that I have here in my backyard. But hey, I tried. It’s something that takes time, like writing cowboy poetry. </div>
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I have to come clean that I’ve fudged a bit. The standard 3x2 “full-frame” and 4x3 “Micro-Four Thirds” aspect ratios don’t do bupkis to help me get even close to showing my feelings of expanse: I cropped the images to a 16x9 aspect ratio to try to get me there. This is truly a subject area that needs a <i>wiiiiide </i>canvas.</div>
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As you drive through Porcupine Hills you come across ranches, some old, some new, some gone, some not much changed from when they were founded. Some are nestled in the hills; some are out in the open. This one is long gone and only the sighing of the wind bears witness to what once was.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjygSM35beN033RYz2JgzSs-3e3YqfB03MwCfX6umt_N04IuTkyNqpGy93SY3d2wEPEfhjygNYeXlxXMuDpr6d7AZ99Dws02TkMSo5YmQ8avGU4yQilZ3Rwee2zyq74T5zDac3wNmJ-GwJ-/s1600/P7125247.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjygSM35beN033RYz2JgzSs-3e3YqfB03MwCfX6umt_N04IuTkyNqpGy93SY3d2wEPEfhjygNYeXlxXMuDpr6d7AZ99Dws02TkMSo5YmQ8avGU4yQilZ3Rwee2zyq74T5zDac3wNmJ-GwJ-/s640/P7125247.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Abandoned Ranch, Porcupine Hills</b></td></tr>
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The month of July had brought storm after storm roiling out of the mountains and onto the plains. After slithering up the wet gravel, I crested a hill and whompf! There it was: the foothills, the Rockies and the sky. I wondered what de La Vérendrye felt when he crested a hill like this one in 1743.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FGaagKT-rADJ2eVl1AELkGnGE6EedL_xa92Vft0YqvJAEkNr6JQrndl6t_H1fTq6RL6sx_EyPyBxXa0i9jKJWZ_dCeUWWadff9BmuED4NQ-AjAtPiRtZle700NrZ4YDANTkbEcEQVvAP/s1600/P7125254.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FGaagKT-rADJ2eVl1AELkGnGE6EedL_xa92Vft0YqvJAEkNr6JQrndl6t_H1fTq6RL6sx_EyPyBxXa0i9jKJWZ_dCeUWWadff9BmuED4NQ-AjAtPiRtZle700NrZ4YDANTkbEcEQVvAP/s640/P7125254.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Southern Rockies, North of Pincher Creek</b></td></tr>
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<div>
The next day I set out from Lethbridge and headed back west, heading south towards Del Bonita, now a ghost town although the two teacherages are for sale.</div>
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The sky to north would be threatening a nasty series of thunderstorms brewing, even in the early morning. This turbulent sky was to be my constant companion for the rest of the day. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ngxyTjbymlWabOTp59zLSyYm45epa4l2OyjocFbWEPqysKpH8qka9ZLlWjFrLz8uE3gXRUDl4fFkAoe3JVTcqRTUdvhVdGsppCqpRa2ioLPsGLMna-tuqNeFYwYU4N7eiTwUMusjT8go/s1600/L1101769.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ngxyTjbymlWabOTp59zLSyYm45epa4l2OyjocFbWEPqysKpH8qka9ZLlWjFrLz8uE3gXRUDl4fFkAoe3JVTcqRTUdvhVdGsppCqpRa2ioLPsGLMna-tuqNeFYwYU4N7eiTwUMusjT8go/s640/L1101769.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Infinity</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Qqt0lxAzdcPgucmFXbkKB9XjHnt4JHm8xp4BHrDGN-wBnqvXhNLpe_Oh8LvA2bnW5c4k23yjo7pRLgfdjGpZNoNaUSpotMQcK5pyMogOVE_qGkKZjceMlqmu_Z6LPWI_YAE3bRGdlXjD/s1600/L1101778.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Qqt0lxAzdcPgucmFXbkKB9XjHnt4JHm8xp4BHrDGN-wBnqvXhNLpe_Oh8LvA2bnW5c4k23yjo7pRLgfdjGpZNoNaUSpotMQcK5pyMogOVE_qGkKZjceMlqmu_Z6LPWI_YAE3bRGdlXjD/s640/L1101778.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Canola and Fence Line</b></td></tr>
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<div>
Heading deeper into the south and east, as if being drawn to the Sweetgrass Hills by a magnet, the land changes from cropland to sagebrush and short grass prairie. This is the land of the cowboy.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakHCMgCq0H9FsiqJk3KY-i4W0SBNJMfTFYFQTe-vXYVUR_cgGeCsVvef90WoN3DyHGpKuGquXN3yj81bxlIMVTFYRxuTuyPlKW6fhlFWNO5d7f-PqzOb4hbi7n1M66FFUc3zHSCLVJMAP/s1600/P7135273.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakHCMgCq0H9FsiqJk3KY-i4W0SBNJMfTFYFQTe-vXYVUR_cgGeCsVvef90WoN3DyHGpKuGquXN3yj81bxlIMVTFYRxuTuyPlKW6fhlFWNO5d7f-PqzOb4hbi7n1M66FFUc3zHSCLVJMAP/s640/P7135273.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Short Grass and Sagebrush</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKM1oduUHHPb-uu_iYzf37XKzDZWuXEpapdE8hc4EmS_Ta_Rhf7-3IcIkCKCg-fPeP2-U8NX6MgoVEmA5COrVs_UNzvLoBRipYw9bQ5pF6qsMGH6D7c2rhawdCKxys6_eB_8QTMqCOWnN/s1600/L1101784.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKM1oduUHHPb-uu_iYzf37XKzDZWuXEpapdE8hc4EmS_Ta_Rhf7-3IcIkCKCg-fPeP2-U8NX6MgoVEmA5COrVs_UNzvLoBRipYw9bQ5pF6qsMGH6D7c2rhawdCKxys6_eB_8QTMqCOWnN/s640/L1101784.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Gate</b></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBfGpqJh-OuyOHuZgV0sP9aC_J6jVVEU-lAnZHhwxn5sv8RcmzdHgx2KsL34y__Sh2WePS3q7XC8-nxjYIiX9Ghfw2CtUAxKlKwHK-WV4esEK3l0SZz5f3XT4lPNV4sSmVD1M7KdX0CuKj/s1600/L1101792.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBfGpqJh-OuyOHuZgV0sP9aC_J6jVVEU-lAnZHhwxn5sv8RcmzdHgx2KsL34y__Sh2WePS3q7XC8-nxjYIiX9Ghfw2CtUAxKlKwHK-WV4esEK3l0SZz5f3XT4lPNV4sSmVD1M7KdX0CuKj/s640/L1101792.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Old Corral and Sagebrush (Thanks, Ian)</b></td></tr>
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<div>
And always, always, the sky.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqP2xYcK387HNCyOebJPaQyn0LtIS1cK_oufjU4CvrCxO4pnmM26M3TjgOhOzhBQTl-_8uPxzLI8kL23IO5Wg-OHuR7QMLV8-6u4SxeJc3sUAS7k7HI21p7H3JM3Ez2WufXGx52yd1-yLQ/s1600/L1101798.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqP2xYcK387HNCyOebJPaQyn0LtIS1cK_oufjU4CvrCxO4pnmM26M3TjgOhOzhBQTl-_8uPxzLI8kL23IO5Wg-OHuR7QMLV8-6u4SxeJc3sUAS7k7HI21p7H3JM3Ez2WufXGx52yd1-yLQ/s640/L1101798.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Brewing Storm</b></td></tr>
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<div>
South, south, further and further south on the gravel roads until you brush up against the United States. The Sweetgrass Hills, at first just a ripple on the horizon now are the landscape rising up purple, untouched by the great Pleistocene ice sheets. </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIp-kYGbVYrm9yLVnXJu3WaxF-X6GJHRbRpNram-xxPc7dokWALRR1AEnYqlHZqsW_vbcRQicbomVi3Nv3R0WD0EwVpXvBvlYC18Z-NNVNbBMGuQzkoKVjIS06xCVJBBkqOkLcbNY9bT-/s1600/L1101806.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIp-kYGbVYrm9yLVnXJu3WaxF-X6GJHRbRpNram-xxPc7dokWALRR1AEnYqlHZqsW_vbcRQicbomVi3Nv3R0WD0EwVpXvBvlYC18Z-NNVNbBMGuQzkoKVjIS06xCVJBBkqOkLcbNY9bT-/s640/L1101806.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Sweetgrass Hills</b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b>Sweetgrass Hills #2</b></td></tr>
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All through this trip the ghosts of the cowboys were riding with me: Casey Tibbs, Bob Fudge, Jerry Ambler. Authors Zane Grey and Louis L’Amour were with me too; their descriptions of the prairie and the purple sage with me. It is a beautiful land and I hope that these images do it justice: I'll keep going back until my images do. </div>
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-86340262740413414552016-04-22T20:08:00.001-06:002016-04-23T09:11:03.470-06:00Working Stiffs<div class="separator" style="clear: both; text-align: center;">
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It's been a while since I've written anything about, let done anything with a backlog of images dating to summer of last year.<br />
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First some background. My day job was (note the use of the word was) working as a flight coordinator for a charter airline. The airline flew oil company personnel to and from work sites in Northern Alberta and British Columbia. With the current geopolitical situation driving oil prices to below the costs of production (let's face it, the Western Sedimentary Basin and the Oil Sands are not low cost production environments) the flying started to slow down and my shift switched from a four on, four off rotation to three days on the weekends. All well and good. I had to do something productive with my time so I took in upon myself to write a boat load of software (something I did in a previous life, back when dinosaurs ruled and Borland was still a real company) for the OCC to streamline our operations, revamp the operations handbook and develop a series of online courses. Oddly enough this kinda sapped any creative juices I had left and I only photographed in fits and starts.</div>
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Well, as you can surmise, the flying kept going down and I got laid off about two weeks ago. No big deal, shit happens. I'll just re-invent myself, again (even though it is getting a litle stale, this re-inventing business, it being the third or fourth time; I've lost count).</div>
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Wouldn't you know it, I was able to return to the backlog and there, the creative juices started to flow. I noticed that I had a quite a few images of the working man, the guy that BTO sang about in opening verse "Takin' Care of Business". You know the ones: the ones who deliver the beer, make sure the traffic flows, make sure that the lads don't get out of control. The ones who build our buildings, clean our streets, catch our fish. I went back to some off my older images, and found a seam of hard working souls that had gone unrecognized.</div>
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I'll be adding to this collection and what is in the post gallery will change over time as images get added and deleted as the concept unfold.</div>
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After the parade, the sweeper comes always comes out. It's a tiresome job and it never seems to end.</div>
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<tr><td class="tr-caption" style="text-align: center;"><b>Sweeper</b></td></tr>
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New York cops, like the boys from Joisey have a natural knack for hanging out. These guys in Times Square on a hot and very muggy evening were watching the usual goings on with a sense of ennui that only comes from having seen it all night after night after night.</div>
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<tr><td class="tr-caption" style="text-align: center;"><b>Another Night at Times Square</b></td></tr>
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Steveston Docks is where you can buy fresh fish in Vancouver, right off the boat. It was one of those cold, damp, foggy days; the Scots would call it dreich. This fisherman kept warm by a space heater at his feet and bundled up in a parka was selling this morning's catch of spotted shrimp</div>
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<tr><td class="tr-caption" style="text-align: center;"><b>Shrimp on Ice</b></td></tr>
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Calgary has its dreich days as well, usually in early March when the rain is mixed with wet snow. This delivery driver is loading up in Chinatown with beef from a hole in the wall butcher shop.</div>
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<tr><td class="tr-caption" style="text-align: center;"><b>Beef</b></td></tr>
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Finally, this old timer was photographed in Nobleford, Alberta. He's retired, but had worked as a rig hand across the Prairies and from north of the Arctic Circle down to the Middle East. We spent a pleasant while yarning about the patch (I've worked the rigs too) and I was able to make this image.</div>
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<tr><td class="tr-caption" style="text-align: center;"><b>Rig Hand</b></td></tr>
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So here's to all those folks: the ones who make sure things get done. </div>
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You can view the <a href="http://tomservoca.smugmug.com/OnGoingProjects/Working-Stiffs" target="_blank">project here</a>.</div>
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John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com1tag:blogger.com,1999:blog-8988622180515008504.post-60599174271484291432015-09-12T20:50:00.003-06:002015-09-12T20:50:55.433-06:00Insecurities, Navel Gazing and Just Getting On With It<a href="https://tomservoca.smugmug.com/Travel/NYC-Summer-2015/i-BRzVHQz/1/X2/L1100710-Edit-X2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://tomservoca.smugmug.com/Travel/NYC-Summer-2015/i-BRzVHQz/1/X2/L1100710-Edit-X2.jpg" width="256" /></a>It's been a while. I've been sitting on three photo shoots from all over and have really dragged my ass in getting them into something workable. The reasons are manifold: converting the backroom to a studio, the normal vicissitudes of domestic life and, more to the point, wrestling with what goes in, what goes out and what gets filed in "Maybe Later: The Nascent Project File"<br /><br />For the past while I've been watching the photostream of the G+ Communities I subscribe to with a certain amount of disquiet; nothing overt but more a Columbo-esque "somethin's been botherin' me" kind of niggle in the quiet recesses of my brain. The best way I can put it is like this: "Is it just me, or are people just posting 'happy snaps' and passing them off as photographs? And why is it that frequent posters are not showing any improvement in story telling, technique, drama tension, humour or composition?" I have other questions that I can't articulate yet but it all forms quite the interesting cocktail party in that area of my brain. Admittedly G+ contributors are all enthusiastic amateurs (in the best sense of the word) like myself so perhaps these perceptions are realistic given the population of these communities. <br /><br />On top of this there have been several insightful articles with titles such as "Kill Your Babies" (on editing your work) and "Street Photography Has No Clothes". These are but two but you get my drift.<br /><br />It is with this in the background that I pulled back completely to ponder my a) editorial process, b) my entire process of engaging with the environment in which I work on any given day and c) am I getting any better or is just random chance that I make an image that is decent and finally d) are any of the images that friends and family say are good, good or is just a mercy compliment?<br /><br />I finally decided that all of this was, in the end, just mental masturbation and that I should just get on with things. It was in reading Minor White's article in the first issue of Aperture that kicked me out of my funk. If you don't have it, buy "<a href="http://aperture.org/shop/aperture-magazine-anthology-book" target="_blank">Aperture Magazine Anthology - The Minor White Years</a>" and you'll see that many photographers today are just treading the same road as White, Lange, Newhall, and the rest trod all those years ago.<br />
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With that, I'm going to start with a my second shoot and work my way around to the other two in future posts.<br /><br />I was in New York this summer for about a week (never long enough) and walked. I think I logged about 25 miles a day. After letting them stew in LightRoom for a few weeks I edited down the equivalent of 20 rolls of 36 down to <a href="https://tomservoca.smugmug.com/Travel/NYC-Summer-2015" target="_blank">14 images</a> that I thought were OK. After shuffling the order around to see what narratives and groupings popped out I found that I had 3 things running through the 14: Children, Workers, and Isolation.<br />
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Children</h3>
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It was odd that I had taken so many images of children as I normally don't photograph them, more out of respect and not wanting to be a creep, but I was presented with such rich opportunities that this is what fell out:<br />
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Workers </h3>
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It was brutally hot in NYC when I was there but the hard work of making the city run has to continue.<br /><br />
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Isolation </h3>
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I've been working on two projects called "Converse" and "Communion". They're not very strong projects yet, but I think there is some meat on those bones I can make a decent stew from given some time. Conversation's obverse is Isolation and even in Times Square (which in the summer at peak tourist season makes a Japanese subway car at rush hour seem spacious) there are moments of isolation.<br />
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All Said and Done </h3>
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Looking at these, I think there is one great image that could stand on its own without any other context. Perhaps three others that are strong enough to be included in a portfolio. Kill your babies. <br />John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0tag:blogger.com,1999:blog-8988622180515008504.post-46686674183436530532015-08-07T22:22:00.000-06:002015-08-07T22:22:06.520-06:00A Reflecton on "Photographs Not Taken"I've been reading a thought provoking little book "Photographs Not Taken" edited by Will Steacy. Many book blurbs say this book is a collection of essays by photographers about failed attempts to make a picture. I concur with the description by the publisher however: "about moments that never became a picture". It's a big difference, that change in phrasing and I think the former denigrates Steacy original aim.<br /><br />The essays are short, some just a few paragraphs. Others run to two or three pages. Some are lists, some are stream of consciousness, others are diary entries. Although some commentards disagree, I was struck by how articulate (in there own way) these photographers are; they who work by telling our stories visually. Each essay is a thoughtful reflection on the circumstances surrounding an event where the shutter was not released (or in some cases shouldn't have been released).<br /><br />Several themes appear throughout the book behind why an image was not made:<br />
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<li>Looking back to youth when photography was not on their radar</li>
<li>Acts of violence (random or premeditated) that required other responses</li>
<li>A realization that the moment was not meant to be or could not be shared</li>
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And yet, for each moment "that never became an image" there is no regret, no "aw shucks", no "woulda, coulda, shoulda". Rather there is a restful acceptance that even though no physical image was made, the image and all of its emotions remain with the photographer for good or ill.<br /><br />This book also provides an insight into how photographers think about photography, what it means to be a photographer and what a photographers responsibilities are. <br /><br />Hetherington's description of the the flight from Monrovia with rebel forces is unnerving: you feel like an adrenalin junkie when he finally ends with:<br />
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"There isn’t much more to add, but I always remember that day and the feeling of being so empty — physically, mentally, and spiritually — that it was impossible to make the photograph."</blockquote>
Doug Dubois lamenting his lack of courage to stop photographing his subject and hiding the resulting images in a box.<br /><br />Chris Jordan gently remembering an image of a backyard barbeque that took on a mystical aura but was never made; now residing in a private exhibition in his mind to be visited at will.<br /><br />Ed Kashi on how at the end of a shoot in Lahore happening on a horrific car wreck springing into action to help the injured, putting aside the urge to make an image.<br /><br />I don't profess to have been in the same situations as the photographers in this book nor do I have the same breadth and depth of experience as they (let alone being in the same league). Perhaps like Lisa Kereszi the images I didn't make happened while I was young: those images in my memory of my extended family, those images I did make while the images I should have made were peering over my shoulder but in my youthful arrogance I ignored (and can no longer remember).<br /><br />Now, approaching 60 (god that weirds me out) I am finally hitting my stride, learning to make the images that need to be made for me, by me as well as images that will not be made by me. Yes, like Ed Kashi says, <br />
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"Usually there are various ethical, personal, or tactical reasons for this decision."</blockquote>
I usually baulk when I can't do the subject justice or treat the subject with dignity that any subject is due. Having suffered from depression, I will not photograph the mentally ill or the outcasts unless somehow I can build a bridge with them and in someway tell their story. Anything else is just a cheap shot.<br /><br />This book is a must read for anyone who thinks about what it means to be an honest photographer. This book is a reminder that to be a successful and dare I say mature photographer you have to be truly present and in the moment: even if that means not making an image.<br /><br /><a href="http://daylightbooks.org/products/photographs-not-taken-a-collection-of-photographers-essays" target="_blank">"Photographs Not Taken" Edited by Will Steacy Published by Daylight Books ISBN 978-0983231615</a>John Westerhttp://www.blogger.com/profile/01667002160289797663noreply@blogger.com0