Booked

My friend Doug McCulloh was in town for a few days. You should probably buy his books:

Oh, Snap

Had a good studio lighting session in Seriously Fun Photography. Above: what happens when a strobe fires while taking an iPhone snapshot.

Adobe Photoshop For iPhone

Above: I took a snap of a micro pumpkin patch on 89th Street this evening. It was a great opportunity to test out Adobe's Photoshop for iPhone.

Here's the process: I clicked on the Photoshop icon, and it asked if I wanted to take a photo or use an existing image. I chose the image, then used the crop tool to take out some unneeded detail, turned the saturation slider to plus 10, turned the exposure adjustment up a little, and chose to exit and save. That's it. The photo appeared in my phone's photo library and was ready to post. The original is at left.

It's a very simple app, it's free, and it does the basics. Not bad at all.

Sunday In The Park With Joel

Is there any news from the world of photography? Tons of it. Joel Meyerowitz in NYC parks, for one.

Documentary Photographer Turns His Lens on City Parks

In the latest phase of his career, Mr. Meyerowitz, 71, has turned his lens onto nature and wildlife in city parks, in a project evocative of the work of the artists and writers hired by the Works Progress Administration during the New Deal. The city’s Department of Parks and Recreation has commissioned a series of expansive photographs of city green spaces from Mr. Meyerowitz. The resulting works — 90 photographs — are now on view in an exhibition, “Legacy: The Preservation of Wilderness in New York City Parks,” that opened on Friday at the Museum of the City of New York."

Touching Retouching

Great article about students in Baltimore who salvage photographs, then use Photoshop to restore them. I think there's something in my eye.

High school students try to save neighbors' memories

"The Patapsco photography class was spending part of Monday afternoon examining their first batch of work: photos from the flooded basement of Jane Haines. Haines lives in Logan Village, one of the communities affected last month by a main break that sent water gushing into more than 100 homes in the Dundalk area. Throughout this month, the students are offering to digitally restore photographs ruined in the deluge."

Eggnog All Around

As of this weekend, stores were ready. Break out the Santa suits.

34th Street Revisited

Friday evening I found myself standing in the same spot where the end of Blind Faith: A Film About Seeing was filmed.

Above: an iPhone snap from that spot.

Speaking Of Snapshots

Above: an iPhone snapshot on 91st Street earlier this evening.

The Snapshot Gap

All those U.S. presidents who had brush-clearing as a hobby, take note: there are better ways to spend your time away from starting pointless wars.

Dmitry Medvedev, Russia's Photographer-in-Chief?

"A wide shot of a rising moon, a macro close-up of an icy branch and flames dancing in the darkness are a small taste of the photos in a large collection of personal photography by Russian President Dmitry Medvedev the Kremlin has posted online."

Seriously Fun Photography, Session Two

Last Thursday night was the second session of Seriously Fun Photography

We reviewed what we learned Week One then thought again about the relationship between aperture and depth of field. While we start to get the idea when we say "f/2 -- shallow depth of field and f/22 -- deep depth of field" actually trying this out in with some real world shots is always a good experiment. So, to make a photo where a person is in focus but the background is out of focus, we did the following:

1. Set your zoom lens toward telephoto -- 50mm or longer -- or use a telephoto lens. 90mm would be an excellent choice.

2. Set your aperature toward f/2 -- on most basic zoom lenses, you might only be able to go to f/3.5 or f/4 or f/5.6, but that's okay. If you can get closer to f/2, that will work even better.

3. Position yourself, your subject, and the background. Generally, you should be close to your subject and the background should be far away to achieve this result.

We experimented, and soon everyone was able to produce a photo with the subject in focus and the background somewhat out of focus. This is a great way to emphasize the main subject of the photograph.

We then went on to begin the long and complicated process of thinking about compositional strategies. For example, we introduced the "rule of thirds" -- which I have posts on here and here and here.

We then looked at how to create a relationship in a photo -- between a subject and the negative space around them, between two or three people, and in various other senses.

Nearer the end of class, we looked at ways to think about the space we are photographing in and how this can change / work with our compositional idea.

Color On The Street

Thursday night I teach my photo class at Hunter Extension. I've asked the students to tune in to color during the week, so I've tried to as well. Here's an iPhone snapshot from this morning, probably taken at 1st Avenue and 89th Street.

Call It "Barking Mad"

In these difficult economic times, newspapers like to give their readers a glimpse at alternative, wacky careers. You know, like photography.

How hard is it to photograph a wedding?

"The memorable shots from Marc and Sylvia Day's wedding are unusual, to say the least. Decapitated guests, a ceremony hardly visible through the gloom, and random close-ups of... not the bouquet, or a snatched kiss, but of carriage wheels."

The noisy art of pooch photography

"When the gadgets don’t work, Schwartz mimicks animals, woofing, mooing, clucking, sometimes resorting to bogus sneezing and the occasional raspberry; whatever it takes to garner cooperation from his subjects, who tend to be preoccupied by their surroundings."

I like the idea of a situation comedy about a pet photographer forced in hard times to shoot weddings -- keeping the tactic of making animal noises, of course -- or maybe something on the world's worst wedding photographer. More likely: a reality show where pet photographers and wedding photographers switch jobs for the day.

Photography In The News

Brian Duffy, for most people who follow photography, is not the first name to come to mind. Say "David Bailey" and a particular place and time and attitude will come to mind. But Duffy?

He was right there, though, part of the "Terrible Trio" with Bailey and Terence Donovan. Swinging London. Picture David Hemmings in Blow Up. So why isn't he remembered?

For one: he quit photography. Also: he burnt quite a bit of his work.

Why would you burn your life's work?

"One morning I came into work, my assistant said we haven't got any toilet paper. I was employing four staff, was managing director, head of this organisation and my decision was on toilet paper. At that moment I cracked. Later that day I burned something, then I went into burning mode. I got reported and the council came round. "They were in a big bin. I was making a lot of smoke. Negatives don't burn easily. They make a hell of a lot of smoke."

Happy Holidays

It's October. Duane Reade is ready.

Documentary Digital Distribution Dollars Delineated

Scott Kirsner has an article and followup on the current state of independent film distribution through online venues -- and actually provides some hard numbers to consider.

The numbers:

One of the most popular documentaries on iTunes brought in over $100,000 from downloads; Apple gives a 70/30 revenue split. Typical results are more like $1,000 per title over a year, however.

Netflix pays a flat annual fee; one source claims the one-year rate ranges from $1,000 to $10,000 for the "Watch Instantly" streaming service.

Hulu is bringing in 6 million unique visitors each month, but mostly for the mainstream material, not the indy material.

SnagFilms appears small next to Hulu, but its distribution model (you "snag" the film and put it on your own site) means it's probably larger than initial reports; it also feeds some documentaries to Hulu.

The most significant point, I think, is just hinted at in the article: indie films, especially documentaries, now need a smartly timed release cycle. Get the film into festivals, get the media talking about it, then find a way to sell viewings in a cycled release: maybe $9.99 early, then at lower rates as the cycle cools. Maybe the long tail is DVD sales, maybe it's pennies per click via advertisements inserted into "free" viewings. Theatrical release or a cable purchase can happen in the middle, but this hasn't been a great year for that, really.

Indies still looking for Internet equation

'One thing the Internet has clearly changed, observes distribution consultant Adam Chapnick, is access to an audience. "But having easy access to the global audience doesn't get anyone to see your movie," he says. A solid marketing strategy, whether traditional or digital, is still essential.'

An Update on the State of Indie Film Online

'Rick Allen, CEO of doc-streaming network Snagfilms, takes issue with the traffic figures I cited in the story, supplied by Compete.com. Compete says the Snagfilms site gets about 100,000 unique visitors a month, compared to about six million for Hulu. Allen accurately points out that some of Hulu's most popular full-length films actually come from Snag (like 'The Future of Food' and 'Super-Size Me.') And he argues that a lot of Snagfilms content is viewed on other sites, describing Snag as "a massively sub-distributed network."'

By the way, did I mention you can see Blind Faith: A Film About Seeing on SnagFilms? For "free" -- so watch it over and over.

Update on Polanski Doc

On my other blog, there's a little more on the revelations about that documentary on Polanski. Less Hypothetically

“The director of the documentary told me..."

Marcia Clark reports that David Wells lied in Roman Polanski: Wanted and Desired.

Polanski's Lost Alibi

'“I lied,” Wells told me yesterday, referring to his comments in the movie that he told the judge how he could renege on a plea bargain agreement and send Polanski back to jail after he had been released from a 42-day psychiatric evaluation—the heart of Polanski’s claims of prosecutorial and judicial misconduct. “I know I shouldn’t have done it, but I did. The director of the documentary told me it would never air in the States. I thought it made a better story if I said I’d told the judge what to do.”'

Will this change the position of the 100+ directors who have signed the petition supporting freeing Polanski?

Besides removing one of the arguments those supporting Polanski have used, it leaves one curious about the process of interviewing Wells. Will the production of the documentary become a discussion in the -- already overflowing -- set of ethical questions documentarians face?

Carl Schurz Park

I always forget Carl Schurz Park is one block from our apartment. Mrs. New York Portraits and I went for a walk at sundown tonight, through the park and then along East 78th Street. I'm not sure why I like 78th so much, but it feels very neighborhoody to me.

Above: an iPhone snapshot, looking toward the Queensboro Bridge.

Polanski Update

I posted yesterday that Facts Matter in the Polanski case. Since then, many incredible directors, authors, and others I respect have come out in support of Mr. Polanski.

I am still correct, and they are still wrong -- no matter how wonderful they are in all other ways..

I am embarrassed that they have come out in support of this man's actions, as support for an admitted child rapist is a stain on their reputations. I believe the facts will be revealed. I expect some of them may have signed the petition based on their misperception that this was a charge related to consensual sex. A thirteen year old cannot give consent -- and the court testimony reveals she said no, told Mr. Polanski to stop, and resisted in other ways.

There's much more to this, but I want to repost fact one, a fact you can check yourself and decide for yourself: Go and read the victim's testimony, starting on page 26 and count how many times the 13 YEAR OLD GIRL said "NO" and "STOP" and indicated she did not want to stay or for Polanski to continue.

I think that is rape. You may feel otherwise, but I think that's clear.

Whoopi Goldberg doesn't seem to think so, and she is wrong. As are Salman Rushdie, Milan Kundera, Mike Nichols, Claude Lanzmann and Woody Allen.

I'm aware of what seems to be judicial misconduct regarding the sentence. Please note -- not judicial misconduct while determining the facts. Mr. Polanski admitted the facts of the case.

I think Mr. Polanski should appeal because of what happened with the sentencing. Perhaps he will be given time served, perhaps he will be given a substantial sentence. He does not get to decide -- a judge or jury does.

Even if he were given no further time to serve, the facts of the case will not change: the evidence says he drugged and raped a 13-year-old girl. There were six charges against him, the outcome was a plea agreement to a lesser charge.

I am embarrassed for those speaking out for him. He committed a crime, and fled when he did not like the sentence he would receive. He did not stay and begin an appeal, he did not argue his case in the media, he fled. And now he's been apprehended. It's a matter for the courts, not for film directors and television hosts -- especially if they have not read the facts of the case.

Yes, I've seen the documentary on the matter. As always, I'm for documentaries on difficult issues. Yes, I'm aware his victim does not want him to serve more time.

But the main point here -- that smart people are signing a very stupid petition, calling for the release of a man who fled sentencing and who did not serve the time decided by the state of California for a crime he admits committing -- stands. Mr. Polanski, by his own admission, committed very serious acts. I cannot support his inability to be man enough to stand up to the charges and I cannot support this misguided petition in his name.

Facts Matter

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William Eggleston on SnagFilms

One of my students brought up William Eggleston. And ... here he is.

(You have to be in the right mood for this. In a way, that's true about Eggleston's work as well.)

Friday Film

I mentioned this film in class last night, so ... here it is.

Blind Faith: A Film About Seeing follows the Seeing With Photography Collective, a group of blind photographers working in New York. (You need Flash installed to see the video player above.)

Click the player above, or you can also see the film at: SnagFilms. (If you click "snag this film" you can embed it on any site.)

Rhymes With Class

Well, the first "Seriously Fun Photography" class is all behind me now.

We learned that to control exposure, we need to work with three related elements: Aperture, Shutter Speed, and Sensitivity.

Aperture:
The f/stops to memorize are f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22. If you forget these, make two columns, and at the top of the left one write 1.4 and at the top of the right one write 2.0. Now double each number as you go down the column (rounding off when needed). Changing one stop lets in twice as much light (or half as much, depending on which direction you go. f/2 lets in a lot of light, f/22 lets in very little light. So if you took a picture using f/8 and it seemed a little too dark, you would switch to f/5.6. If you took a picture using f/8 and it seemed a little too bright, you'd switch to f/11.

Shutter Speed:
The common shutter speeds are:

1/1000th of a second
1/500th
1/250th
1/125th
1/60th
1/30th
1/15th
1/8th
1/4th
1/2
1 second.

-- As a rule of thumb, if you are moving and you're subject is moving, you'll want to be shooting at 1/1000th of a second to get a sharp picture.

-- If you are still but the subject is moving along, it would be good to be at 1/250th or faster.

-- If you and the subject are both relatively still, you can probably handhold the camera as slow as 1/60th, but slower than that and you'll get a soft picture because of camera shake caused by pressing the shutter.

-- At speeds that are slower, you'll need a tripod to steady the camera, and probably want to trigger it using the self-timer or a release.

-- Many decent cameras have higher shutter speeds, and these are very useful for action or sports.

Notice that the relationship of these shutter speed settings is also doubling (or halving) the amount of light that hits your sensor.

Sensitivity:
This is the ISO "speed" of a digital sensor or of film. ISO 100, 200, 400, 800, 1600 and 3200 are available on many cameras (but not all), and you should take some test shots with yours to find out if the higher ISO settings are usable or not. Figure out the fastest ISO speed you find produces acceptable shots on your camera -- you'll need to switch to it sooner or later. Notice that each ISO speed is twice as sensitive (or half as sensitive) as the next.

Then we decided to start applying our general knowledge about the relationship between apertures and depth of field. While we start to get the idea when we say "f/2 -- shallow depth of field and f/22 - deep depth of field" actually trying this out in with some real world shots is always a good experiment.

So we set up an experiment that can be repeated at home: set your camera on a table or a tripod, and in front of it arrange people or objects in a receding line. Put the first person or thing just 3 feet away from the lens, and have the furthest be at least 12 feet away. Now set the widest aperture you can -- I use a lens that goes to f/1.4 for this -- and focus on the closest person or object. You'll probably find that the people / objects behind that are out of focus. Now run through the whole series of aperture settings you have available (you'll probably want to be in "aperture priority mode" so that the camera sets the corresponding shutter speed for an acceptable exposure. Or you can set that yourself). Try this and compare each shot -- more and more will be in focus until you should be able to get everyone in focus.

Now, keep in mind there's one other factor here -- the focal length you shoot with. Usually the effect of getting a main subject in focus and the background out of focus is much easier to achieve if you use a lens of at least 50mm or set as zoom to 50mm focal length or a more telephoto setting.

Many photographers think that "telephoto lenses have shallow depth of field and wide angle lenses have deep depth of field" -- it turns out that isn't exactly true, but for pragmatic purposes it isn't a bad way to think. If the goal is a sharp subject and a blurry background -- grab a 90mm or set your zoom lens about there.

(For a discussion on why the wide focal lens = deep depth of field idea isn't precisely true, read Do wide-angle lenses give you greater depth of field than long lenses?.)

Another thing that comes up at this point: some lenses allow your camera to reach to f/1.4 or f/2 or f/2.8, but many times the "kit lens" zoom that comes with a DSLR or the zoom lens built into a compact camera will not go to that wide-open an aperture. And to further add to the confusion: many common lenses that go from 18mm to 55mm (or 70mm) let you go to f/3.5 when using the widest focal length (18mm) but only to f/5.6 when you are using the long end of the lens (55mm or 70mm). That's just how those lenses are built.

Now, once we know a technique to control depth of field -- go towards f/2 to get a sharp person, blurry background or toward f/22 to get subject and background both focuses -- we want to think about why we would do it. Well, it's that kind of control that lets us emphasize or deemphasize what a viewer sees in a photograph, so we want to master it so we can control our images. Need to photograph a person against a cluttered, distracting background? Use selective focus. Need to show that a person has kids but keep the emphasis on the person? Use selective focus to make the kids visible but de-emphasized.

So, from a technical standpoint, as we approach any photo situation we'll want to decide on an ISO setting, a shutter speed and an aperture. The three are interrelated and all use a doubling / halving system so it is easy to calculate how to change them when needed.

De Chirico In The Bronx

This term I'm teaching one class in The Bronx instead of two. Which means instead of a trip north, a class, a break, a class, and a trip down to 86th Street, my day is train / class / train.

I like that significantly less, and it messes up my schedule, wipes out what remains of my energy and makes it hard to get everything done. Still, it's not a bad commute -- just long enough I can read a bit on the train.

Above: an iPhone snap from today.

Followed By Bad

So Festival A emails during the summer: "Please send Film X for our consideration."

"Huh," I say. "I didn't think that was a good match for that fest, but they must have some programming idea going if they've asked for it. I'll send it in. Maybe they'll go for it. That's really exciting."

The very next day, Festival B emails: "We'd like to see Film X -- we think it might be a match for a program we're putting together."

"Well, alright," I say. "It does seem like a match there. Never heard of them before, but it looks like it could be a good event. How exciting. Everyone wants Film X."

Dissolve to: Months later. Festival A emails: no thanks.

Cut to: Five minutes later. Festival B emails: no thanks.

That's how it goes. I then look at what films have been chosen:

"Ah, that one is good, and that one. Don't know the rest.... Wait. There's that one short film that's been screening at every fest I've been in recently. It's made by a filmmaker who has completed and sold multiple feature films. It's in -- in the Amateur Production category? What the heck?"

Did the filmmaker enter it in the "Amateur" category? Did the fest look at it and say "this is a great amateur production!" and select it? I guess I'll never know.

Good News

My Seriously Fun Photography class is a go. We meet for our first session Thursday night.

It's walking distance from my apartment, and we keep everything low-stress and high-fun. So I'm looking forward to it. (An advanced class is scheduled to start in six weeks, also, if enough people enroll.)

Above: an iPhone snap from today.

On University Avenue

Above: an iPhone snap from today in The Bronx.

Updating

I'm updating http://tedfisher.com/. I've made many, many Web sites, but I always forget to update my own.

Documentaries in the News

John Cage once told this story:

Artists talk a lot about freedom. So, recalling the expression “free as a bird,” Morton Feldman went to a park one day and spent some time watching our feathered friends. When he came back, he said, “You know? They’re not free: they’re fighting over bits of food.”

There's a sense, as the distribution system for documentaries seems to slowly implode, that there's a glut of content. So, a lot of documentarians are fighting over bits of food.

With the wind blowing in that direction, the Los Angeles Times asks:

Ken Burns: Was a backlash inevitable?

"While Burns is one of the best known and most watched documentarian of recent times, he has also acquired his share of detractors. Though he's generally respected by critics and scholars, a backlash has been building, dismissing him as middlebrow, charging that he's repeating himself, that he's too earnest, too dark or naively patriotic."

Law And Order

Had to go to the Court House today. They happened to be shooting Law and Order at the front of the building. Snapped this iPhone pic as I walked in.

A Golden Age For Shorts?

On my other blog I have a post up about Docunomics looking at how penny-per-view and "long tail" models add up, or don't. It started me thinking, though, about how this might change the way we think about feature films and short films.

Basically, for online distributors, the model is to put a commercial at the beginning of the video. In a short film, that's very simple: you watch a 15 second (sometimes longer!) commercial then see the short film. In a sense, that's the most direct translation of the original free television model, with the added bonus for viewers of choosing what they see and when, and the added bonus for advertisers in that they can precisely target an audience.

In feature-length films, however, it gets a little trickier. Generally, there's an ad at the beginning, then sometimes 4 or 5 ads inserted into breaking points in the film. If someone doesn't watch the later ones, there's no payment for those.

Well, think that through: a feature film, unless made as a no-budget effort with everything deferred, has a huge production budget. For narrative film, that's in the millions, for big-budget documentary that's in the 100,000s, for small-budget documentary -- if you are honestly counting everyone's deferred salary -- in the 10,000s.

Still, to an advertiser, one view is one view. If a 3-minute short gets someone to watch one ad, and the feature length film only gets someone to watch 5 ads, there's an interesting advantage to the short. Someone who made 5 incredibly-popular shorts could in theory match the online advertising revenue of one feature film.

Of course, good features become juggernauts: they get written about in the media, gain fans, get reviews, get nominated for awards. They are marketed, and -- usually, but not always -- cycle through film festivals, DVD sales, broadcast and DVD rental before going online. So the online ad money is icing on the cake.

It's interesting, though, that some advantages appear in this model for short films: many people are comfortable watching a short online, but don't want to spend 90 minutes hunched over a computer or wearing headphones. Someone not specifically looking for a film would certainly be more likely to impulse-watch a short than a feature, as well.

So while traditionally short films have been seen as a "training" area of filmmaking -- lower production cost in time, money and other resources, but less interest in general and usually no DVD sales except in collections (where the revenue is then split many ways) -- an ad view is an ad view, and online that might mean making many shorts could be a viable production model.

These are interesting times, no question.

Dektol, Google, Squabble?

Danny Lyon has a few words about his books The Bikeriders, The Destruction of Lower Manhattan, and Conversations with the Dead showing up online.

Under Google’s new rules, Conversations with the Dead could be scanned and put on line by Google without even contacting me. Many photo book makers are torn between standing up for their rights, and “being left out” by the Ruler of the Internet.

Linear

Today I taught a class in linear editing. That means tape decks, not computers. It's a good step in the learning process: it forces people to organize and think before cutting. It's slow, though, and challenging, and leaves little room for changing your mind or experimenting. At one time, that was video editing.

Latest Book Re-read

I teach both online and in person. In person, I see the frowns when I say "... and finish the Walter Murch book by Wednesday, there will be a quiz."

C'mon, people -- the main part of the book is only 72 pages. It's in big type. It's in a friendly style.

So I've just re-read it, and highly recommend it for anyone interested in the big ideas behind editing -- and some very good practical advice.

The Big Three Oh Oh

My other blog just hit a milestone. In fact, there are several posts there you might like to see: on Documentary Ethics, on HD cameras, and on the Olympia Film Festival.

Hoop Springs Eternal Going To Olympia Film Festival

Just confirmed: our short film "Hoop Springs Eternal" will screen in November at the Olympia Film Festival. More soon.

Robert Frank and Helen Levitt at Film Forum

I hope to be able to go and see An American Journey: In Robert Frank's Footsteps when it shows at Film Forum at the end of the month. Included in the program is a short film by Helen Levitt.

The Title Says It All

These Photographs Were Taken By Dogs

I like the last one.

The Twittering Class

My second venture onto Twitter has, so far, been more enjoyable. I'm not completely convinced of it's value, but I do now think you can use it without too much annoyance.

Sometimes, that's enough of a goal.

Still, I find myself seeing people looking at their phone instead of their friend, or walking-while-texting, or otherwise not seeing what's around them. I think they may be missing the point.

Photo Class at Hunter

My Seriously Fun Photography class starts at Hunter Continuing Education September 17th. If enough people sign up. So tell your friends.

Go to this interface and type "photography" into the search box. (That will also reveal the advanced class I'll be teaching later in the season.)

"SERIOUSLY FUN PHOTOGRAPHY
Build on the basics and master the skills and ideas advanced photographers use in a fun, low-pressure class. Open to anyone able to shoot a photo and import it into a computer (and welcoming advanced students as well), in this class we'll use the digital camera as a fast way to learn the essentials of photography. We'll learn-by-doing, exploring professional techniques while creating a portfolio project (on any topic of your choice) to show your advanced skills. If you've always been interested in photography, but have put off becoming great at it, this is your chance.

6 Session(s) 12 Hour(s) Tuition: $250.00 Meet: Thursday
Date: 09/17/09-10/22/09 Time: 06:00PM-08:00PM
Location: CS, 71 E 94 ST./ Instructor(s): FISHER, TED"

Above: an iPhone snapshot, today on 89th Street.

Blind Faith: A Film About Seeing

Blind Faith: A Film About Seeing follows the Seeing With Photography Collective, a group of blind photographers working in New York. (You need Flash installed to see the video player above.)

Click the player above, or you can also see the film at: SnagFilms. (If you click "snag this film" you can embed it on any site.)

Day for Night

Every once in a while I realize there's a film I should have seen, but somehow missed. Fortunately, our local video store is on the corner, less than 50 yards away. So a very easy, very worthwhile walk means I have Truffaut's film in hand. I'll report back on it after a close viewing.

Report from Rooftop

Enjoyed the screening at Rooftop. "Notebook" played well, causing steady chuckling and a few bigger laughs. The word for the evening: quirky.

Above: free beer at Fontana's after the screening.

Notebook at Rooftops

Tonight, I'll be at the Storms Expected screening.

Screening "Notebook" Saturday Night

Saturday night I will be at Storms Expected showing Notebook on Santas and Elves. Rooftop Films puts together great programs, so I expect it will be a fun time. Also, there's an open bar, and Mrs. New York Portraits tells me that Raderberger is a fine beer, perfect for LES rooftop screenings.

STORMS EXPECTED (short films)
Venue: On the Open Road Rooftop above New Design High School
Address: 350 Grand St. @ Essex (Lower East Side, Manhattan)
Directions: F/J/M/Z to Essex/Delancey
Rain: In the event of rain the show will be held indoors at the same location
8:00PM: Doors open
8:30PM: Live music presented by Sound Fix Records
9:00PM: Films
11:30PM-1:00AM: After-party: Open Bar at Fontana’s (105 Eldridge St. @ Grand) Courtesy of Radeberger Pilsner
Tickets: $9 at the door or online at www.rooftopfilms.com

Be Gentle, Slow Down

I've had to slow down, for a number of reasons. It's important to get things in order and focus on the most important things. It does seem like the law of averages is not currently on my side, but perhaps that will change.

A related note: Am I back on Twitter, which I've previously likened to a cocktail party for people with earplugs? (Picture everyone standing alone, shouting at intervals, and rarely listening to anything except their own insights on how much more important making a brand is than making art.)

Well, yes.

I have a screening coming up this Saturday, two films currently on Snagfilms, and a Continuing Ed class to promote. While I am struggling to catch up with everything -- and, at the same time, very purposefully trying to avoid overwork and the difficulties it causes -- it seems important to make myself easy to find. For whatever that's worth. So follow me there, but keep in mind I'm only following people I know in "real life" or that I have a lot in common with. I can't, at the moment, focus on too many things at once or in the midst of noise. I think I'm supposed to be adding quiet, and I'm not sure how that's done.

Above: an iPhone snap. Very busy street, turned to the side and saw this. Luckily, since it is the iPhone, the door didn't move.

iPhoning It In

Chris Corradino has an iPhone Gallery up, so I thought I would post a quick snap from mine. I find the iPhone is great for buildings, items on the ground, and anything that will wait a very long time.

Seriously Fun Photography September 17th

My Seriously Fun Photography class starts at Hunter Continuing Education starts September 17th. So, register now.

They've changed the Web site, so the way to see the listing and register is to go to this interface and type "photography" into the search box. (That will also reveal the advanced class I'll be teaching later in the season.)

"SERIOUSLY FUN PHOTOGRAPHY
Build on the basics and master the skills and ideas advanced photographers use in a fun, low-pressure class. Open to anyone able to shoot a photo and import it into a computer (and welcoming advanced students as well), in this class we'll use the digital camera as a fast way to learn the essentials of photography. We'll learn-by-doing, exploring professional techniques while creating a portfolio project (on any topic of your choice) to show your advanced skills. If you've always been interested in photography, but have put off becoming great at it, this is your chance.

6 Session(s) 12 Hour(s) Tuition: $250.00 Meet: Thursday
Date: 09/17/09-10/22/09 Time: 06:00PM-08:00PM
Location: CS, 71 E 94 ST./ Instructor(s): FISHER, TED"

Snagged

Blind Faith: A Film About Seeing is now on Snagfilms.

Apparently the International Doc Challenge is putting up some of the films from that event. So you might as well watch it. It's free. It's made with a mix of standard video combined with a stop-motion technique, made by shooting black and white stills at about three frames-per-second.

Three Years

I started this blog three years ago with this post.

In those three years I've posted over 610 times, and another 283 times at my other blog. Very few of those posts, however, have been made recently. This summer has been a tough one, and it isn't over yet. I'm eager for a change of seasons.

Ah well, back to work. More posting "soon" I hope.

Notebook at Rooftop Films in September

My 18-minute film "Notebook on Santas and Elves" will be screening at Rooftop Films in September in the program Storms Expected.

It looks like a fun night: live music and seven films -- under the stars on a rooftop on the Lower East Side. An open bar after. You really can't go wrong.

Saturday, September 5
STORMS EXPECTED (short films)
Venue: On the Open Road Rooftop above New Design High School
Address: 350 Grand St. @ Essex (Lower East Side, Manhattan)
Directions: F/J/M/Z to Essex/Delancey
Rain: In the event of rain the show will be held indoors at the same location
8:00PM: Doors open
8:30PM: Live music presented by Sound Fix Records
9:00PM: Films
11:30PM-1:00AM: After-party: Open Bar at Fontana’s (105 Eldridge St. @ Grand) Courtesy of Radeberger Pilsner
Tickets: $9 at the door or online at www.rooftopfilms.com

Back to Our Regularly Scheduled Whatever

I know, I know ... but now I'm back.

A few items of good news, soon, when some things are official. Until then, on my other blog, a little post about an editing book.

Last Book Read: Ralph Rosenblum

SATA Yadda Yadda

Well, my recent computer issues seem to be entirely a case of two SATA hard drives just coming to the end of their existence. The replacement drive -- just $80 for a 500 gigabyte 7200 RPM with a 16 megabyte buffer -- seems to be working great. Cross your fingers.

Ah, Computers

Had a hard drive go out. Installed an operating system on the second hard drive, installed my applications, got back in business.

Then the second hard drive went out.

Managed to get the needed files off of it, but no go on the reinstall. Been working on my laptop in the meantime, which is a bit slow and tough, compared.

It's Not You, It's Me

I deleted my Twitter account. It's not for me.

I've also turned off the Flash plug-in for my Web browser. (Advertisements show up as empty white boxes for me now.) As well, I've unsubscribed from a lot of RSS feeds. I've started turning my cell phone off whenever possible.

Back in April, on my friend's blog, I said I would.

Ted and Internet

“Between your 16 blogs and everyone else telling me to Facebook and Twitter… I’m about to get rid of everything except one email account. It’s starting to look a bit empty. (I can’t think of one interesting thing I’ve seen online in the last two months anywhere. I don’t care about the Octomom, I don’t know anyone making decent money from blogging, and online video is generally weak crap.)

It might be time to return to the real world — just to tick people off.

Or maybe that was the plan: get the Internet started, wait for all the normal people people to get fully committed to it, then get off of it — so only the cool people will be offline.”

I'm not advising anyone to do this. I just think that people talking on their cell phones as they attempt to walk down the street look a bit dumb. I'm sure you don't.

My brief experience with social media was rather unsocial. Everyone was very friendly, they posted links to things I read last week, and told me that social media was the path to success. (Good luck with that.) When I responded, they generally ignored me.

My friend who posted my comment above knows: I'm not any sort of Luddite. I've been on the Internet forever. A lot of the things people send me excitedly as something new -- I did back in 1997.

The thing is this: I'm noticing that my students increasingly can't focus as well as I'd expect. That the media gets away, increasingly, with posting water cooler talk, easily debunked with any search or thinking, but right there in the big red headline. That as a culture we can't match the post-destruction resolve of the ancient Greeks -- who rebuilt the Acropolis -- and instead rebuild movies from our collective childhood.

I don't care about Star Wars, Star Trek, Transformers, G.I. Joe, etc. I'm not twelve years old, and I think there's a lot more to sophistication than better visual effects underneath improved marketing.

I'm noticing that things are getting shallower, and that folks seem happy with that. That's fine. There's someone just waiting for them. His bio says:

"I make stuff, actually I make up stuff, stories mostly, collaborations of thoughts, dreams, and actions. Thats me."

Go check him out.

Photography in the News

Are there any really unfortunate stories about photography in today's news?

Yes, yes there are.

Thief steals camera with couple's 800 wedding photos

"In a crime caught on tape, a thief dressed in a suit to look like he was a wedding guest snatched the photographer's camera when he set it down for a moment while shooting the affair Saturday. The camera contains nearly 800 wedding photographs on a flash card inside it."

Bitter on Twitter? Au Contraire, Mon Frere

I've been using Twitter, but perhaps not in the way it's intended.

Basically, whenever someone follows me, I take a quick look at their post timeline, and if it is at all reasonable I follow them back. (If they aren't posting, or seem to be a marketer, I don't.) That's normal, I think.

Then, however, I diverge from the social contract. I've learned some interesting things, seen many well-intended, positive posts, and understand that there's a community there.

But I can't help myself: the minute someone posts something naive and stupid, or otherwise idiotic, my radar switches on. If they do it again, I enjoy a slight frisson when unfollowing them.

It's fun: one minute, their quoting some idiot motivational speaker, the next, they are no longer in my universe.

Of course, people might do the same to me, and I'll end up with no followers. I'd be fine with that.

Report from the Met

We went to the Met on the holiday Monday, and saw three photography shows:

The Pictures Generation, 1974–1984

Walker Evans and the Picture Postcard

The Model as Muse: Embodying Fashion

All three seemed to me on the shallow side. It's my opinion that none of these shows know when to stop, really.

Model as Muse would have been fine with just the photos and the clothes. More than fine.

Instead, its credibility is destroyed by an overlay of crap culture. An ill-considered and immature "era" approach is taken in which fake graffiti, bad pop songs and off-base cultural references distract us from the content so that we won't discover there's no material here that actually addresses the basic conceit of the show.

You can't present fantastic taste -- which is what fashion photography is, in the end -- underneath a frame that seems like an underinformed 19-year-old trying to encapsulate past decades. Using the unsophisticated idea of "the 1950s was this, then the 1960s was this, then..." is bad enough, but trying to then flesh that out with the weakest and least cool cultural touchstones reduces the show to a touristy, bland blanket, smothering fantastic images and clothes.

This is not a case of the Emperor wearing nothing. Rather, the Emperor turns out to be wearing a poncho, and hoping we'll say it's very nice.

It was, however, fun to see a connection to William Klein's Qui êtes-vous, Polly Maggoo? integrated into the show in the one room that worked. I just wished they'd paid more attention to what Klein was satirizing.

I enjoyed Francis Bacon: A Centenary Retrospective much, much more.

Above: an iPhone snapshot at the Met today.

Weekend Edition

Catching up on two news items:

The International Documentary Challenge DVD -- which includes our short documentary Bend & Bow -- is now available on Netflix.

My Seriously Fun Photography class starts this Thursday. I believe you can still sign up.

Above: iPhone snap from Saturday.

You Know, For Cuts

You know what's great about Fox News?

They always focus on the story you really care about, even when that story isn't true at all. Even when the newswriter says the story isn't true, right there in the middle of the article.

Wait. What?

Well, let me clarify. The important story this weekend is that Alexandra Pelosi shot video footage of her mother at a news conference, and that Fox News protested.

Alexandra Pelosi, daughter of House Speaker Nancy Pelosi, has made such documentaries as Journeys with George and Right America: Feeling Wronged - Some Voices from the Campaign Trail. Now, according to this Fox News story, she "shot video of her mother at her weekly news conference" using a "cuts" camera.

Now, I know that's scandalous.

Because it's a cuts camera. Which makes people very uncomfortable. Somehow. The problem, according to the article, is that it's not a "straight-on camera." Which would be fine. Apparently.

But it gets worse. According to the article, "Pelosi's office later told FOX News that the filmmaker shot the footage for her own private use and does not intend to use it for a documentary."

Which is pretty shocking, considering that the first paragraph of the article makes it clear to us -- and by "us" I mean Americans who watch Fox News, waiting for stories about documentaries made with straight-on cameras, a group I include myself in -- that non-straight-on camera footage would be used by the younger Pelosi, somehow.

But don't take my word for it. Go and read:

Pelosi's Filmmaker Daughter Captures Mother's Weekly News Conference After CIA Flap

And note, that beyond using a "cuts camera" -- by the way, next week I will be posting on where to acquire one, its proper use, and also how to differentiate it from a "straight-on" camera -- the filmmaker also "continues to maintain her friendship with former President Bush." Again: shocking. Because he has a very clear don't-ask-don't-tell policy on non-straight-on cameras.

It should be noted that the two authors of this article -- TWO! -- also reveal the fact that her ex-President friend will be having a two-hour "conversation" -- that's right, in quotes, and we all know what that means, I suppose, or perhaps one of the two (TWO!) "authors" of the piece may, possibly, know why that's in quotes -- with another ex-President. (One who was definitely straight-on.)

The most shocking disclosure by Chad Pergram and Hadley Gamble, the two (TWO!) "journalists" involved, however, was that: "Alexandra Pelosi was at Johns Hopkins University Thursday to attend her mother's commencement address to some in the graduating class and her receipt of an honorary degree."

That's right: Speaker Pelosi only addressed some of those in the graduating class as she gave the commencement address. Somehow. Apparently. (I suspect she may have used a cuts microphone, which is not straight-on.)

And for videotaping that act of exclusion Alexandra was given an honorary degree.

Now, don't blame me if you're confused -- I'm just reading what Chad and Hadley have "written" here. I wasn't there. If they say -- in "words" -- that it happened, I know it did. Or that they ran out of time to include the necessary "verbs," "pronouns," or "facts" that might be of use in a normal article because they were defending the need for the second "her" in the sentence, which clarifies things. More or less. Less.

The real issue here, though, is not whether things are "true" or "false" -- heck, just use the straight-on camera if that's all you're concerned with -- but protecting Fox News from the challenge bloggers present to professional news production. You see, by writing complete gibberish, the news team of Chad and Hadley have single-handedly stopped bloggers from stealing the story to post on their blogs. Since it makes no sense at all, focuses on facts that turn out to not be factual, and leaves Chad pointing at Hadley and vice-versa regarding its incoherence, no self-respecting blogger will touch it.

It will be left for the commenters. So go and read the comments.

I have, and it's clear that there are many, many Americans who will not allow this use of a "cuts" camera to stand. As well, they will not let their inability to spell or use punctuation stand in their way of commenting on this important issue.

One day, they'll organize. They'll toss cuts cameras into the ocean, and refuse to attend the film that's not going to be made from the footage that was shot. There will be signs, praising Chad and Hadley.

The signs will be spelled wrong, but they'll be straight-on.

Blind Photographers Update

My friend Doug McCulloh's exhibition is in Time Magazine today.

The Art and Heart of Blind Photographers

"The whole trajectory of modern art for the last 100 years has been toward the concept of mental construction, and blind photography comes from that place," says the show's "sighted" curator Douglas McCulloh, himself a photographer. "They're creating that image in their head first — really elaborate, fully realized visions — and then bringing some version of that vision into the world for the rest of us to see."

Mentioned in the article are the Seeing With Photography Collective, Mark Andres, and Sonia Soberats -- and you might remember they all appear in our short documentary Blind Faith: A Film About Seeing.

New Sony Alphas Announced

New Sony Alphas, new lenses. Basically a refresh of the low end of the Sony line, but that's a good sign -- they'll update the midlevel and high end soon enough.

SONY INTRODUCES THREE MAINSTREAM ALPHA CAMERAS DESIGNED FOR FIRST-TIME DIGITAL SLR BUYERS

"... three new easy-to-use α (alpha) cameras (models DSLR-A380, DSLR-A330 and DSLR-A230), four new lenses, a flash and accessories."

See the cameras and the lenses.

Of interest: a 50mm F/1.8 and a 30mm F/2.8. I have a 50 F/1.4, but for those who don't it's likely the 1.8 will offer some bargain optical quality. The 30mm is interesting, though. I wonder how it will compare to the existing 28mm F/2.8?

Yet More Photography in the News

Any stories about photography in the news? Yep. It's been a busy week for photographers, as they've been beaten, arrested and blamed slightly more than usual.

Updates on all fronts:

Gerard Butler Charged With Battery in LA

"City prosecutors have charged Gerard Butler with misdemeanor battery in connection with a scuffle with a paparazzo."

Carrie Prejean explains those new topless photos: Gosh darn wind!

"She explained that the photos were taken about two years ago for Bliss magazine, and that it was just her and a photographer standing on a cliff on a windy day. She added the photos should not "have been released."

Alt Weekly Paper Runs Photo That Got Photographer Arrested

"Why is it on the front of The Stranger? Becker got in trouble for this picture. The photo led to an argument between Becker and the ATM personnel, which led to the cops being called, which led to Becker being detained for half an hour and officially banned from REI. (An REI spokesperson says Loomis is welcome back in the store, though the police apparently ordered him to stay away for a year.) Read about it in The Stranger story or on Becker's blog."

What happened at REI. An Update.

"Here are a few quick updates on things that have happened related to that blog post that I wrote about what happened at REI."

Photography in the News

Are there any stories about photography in the news? Sure -- stories of lucky photographs, lucky photographers, unlucky photographers, and as always: the claim that everything is the photographer's fault.

The Unlikely Events of a Water Landing: New Photos From Flight 1549

"On a hunch, Mallon put down his drink to call Jason Marchioni, manager of Weeks' Heavy Lift Division. The next morning, the photographer confirmed that Weeks had been tapped for the salvage job, and the company offered to hire him to record the operation. By the afternoon the ecstatic photographer was aboard a tugboat headed to the scene."

PHOTOGRAPHER'S SCUBA-DIVING 'MURDER' PICTURE BACK IN THE NEWS

"A man faces a possible murder trial over the death of his wife whose motionless body was revealed in a photograph taken by a tourist during a scuba-diving trip."

Indian American Photographer Beaten, Camera Damaged

"In addition to his injury, two of his state-of-the-art cameras worth $25,000 have been damaged, and he is still trying to retrieve two memory cards which assailants had taken away from him.Mandal has been covering events for the South Asian community in both South Asia and the U.S. for decades."

Miss California: It was the photographer’s fault

"I’ve done many photo shoots, Matt,” Prejean told TODAY’s Matt Lauer Wednesday in New York. She said that sometimes photographers continue to take pictures when she’s dressing. It would be like a photographer going into my dressing room and snapping a photo of me without my being aware of it. If a photographer is willing to make an extra buck and did get a photo of me, so be it."

Not OK Computer

Yesterday, just after I finished working with some photos in Adobe Lightroom and uploaded them for a client, I let my computer download an Apple security update and the updater for Safari. I'm not sure if the update killed it, or if the main drive went out coincidently, or something else happened -- but it would not restart. Couldn't get a restart from an Install disk, and when I tried to restart in safe mode it would shut down -- a bad sign.

I thought of this photo but had to shoot some photos for another client and had to leave the problem sit. Worked on my laptop to get those photos ready, but it was a much slower process.

I'm not sure if this is going to be an easy fix....

Above: an iPhone snap during the session.

From the Facepalm Files

Ah, this again. And again. And again.

Man Threatened, Arrested For Taking Picture Of Open ATM In Public

"After spending around 30 minutes handcuffed in a cell and being unsuccessfully grilled about why he snapped the photo, Becker signed a REI trespassing form that instructed him not to come back to the store for a year. In the end, the authorities never asked to see the photo, much less for Becker to delete it from his iPhone."

Perhaps they thought the photographer was a zombie? Will we hear more once he finds the right attorney?

Sight Unseen

My pal Doug McCulloh's exhibition Sight Unseen is in Time Magazine.

Included in both the show and mag are works by Victorine Floyd Fludd and the Seeing with Photography Collective, who were featured in our short documentary Blind Faith: A Film About Seeing back in 2007.

Congrats to everyone -- I wish I could get out to the show.

In the Galleries

Was too busy this weekend to go places, but I'm looking forward to seeing:

HELEN LEVITT: A Memorial Tribute at Laurence Miller.

"HELEN LEVITT: A Memorial Tribute will present a series of passages, in both color and black-and-white, from her extraordinary 70-year career. Featured will be her pictures of animals, which were among her earliest as well as last pictures taken; a little-known series of portraits taken on the subway using Walker Evans’ camera; children’s street drawings; elderly folks in conversation; and children at play, the photographs for which she is most well-known. Helen Levitt’s classic and rarely seen silent film, In the Street, from 1944, will be shown as well."

Photo Rumors Are Always Wrongish

Rumors of new cameras are generally not correct. That is, something leaks, then the forums get involved, and add a dozen features to the rumor and double the megapixels. Then, when new cameras are actually revealed, the forums are disappointed.

So, let's help out with that process. There are rumors of new Sony DSLR bodies, and a few lenses as well. Most likely, we'll see some version of this come true -- probably Sony will redesign the low end of the line, step up the megapixels, pull out the in-body motors, and add "30" to the model numbers. And release some non-full-frame lenses.

But go check the forums in a few days: they'll say that all the models will have 1080p HD video, and they'll add some magic features that don't make sense at all. Then they'll say there'll be a replacement for the Alpha 900. We'll see.

Rumor: Sony UK Support Page Reveals 'Alpha 330' DSLR Line, Lenses

Alpha 330 - future model?

Photography in the News

Are there any stories on photography in the news? Sure, there are. But are you certain you don't want to consider changing careers? It's rough out there....

State Senator Kevin Parker busted over tussle with photographer

"The battling Brooklyn Democrat allegedly roughed up a New York Post photographer and smashed his camera in front of Parker's home at Avenue H and 37th St. in Flatbush, police said."

Lindsay Throws Eggs At The Paparazzi

Ben Affleck Throws Ball At Photographer

I dunno. Is it too late to go into accounting?

Real Fakes

With all the talk of newspapers evolving or vanishing, I think we've missed a key point: reputable newspapers generally put out photographs they can stand behind. There have been plenty of scandals over the years, of course, but that's the point -- if a fake photo runs in a major newspaper, it's a big deal and gets a retraction or correction.

That just won't be the case in pay-per-click driven aggregators.

So what does the future of fakery look like? To consider that, don't think of the photos that will be revealed as fakes amid scandal. Instead, look at the way known fakes are becoming par for the course, greeted only by a shrug.

BOB GELDOF - FURY OVER GELDOF GIRLS' FAKE PHOTO

"Rocker BOB GELDOF's daughters PEACHES and PIXIE are reportedly furious over a new art exhibition which depicts them in a seedy bondage sex pose. In a doctored photograph, the pair are shown tied together by ropes, wearing kinky leather underwear, with their breasts on show."

Drudge smears "joker" Franken with doctored photo

"On May 4, the Drudge Report posted a photo of Minnesota Democrat Al Franken wearing a diaper and bunny ears. As the blog ThinkProgress noted in October 2006, the photo is doctored. Indeed, a spokesman for Franken told the Cincinnati Enquirer at that time that the "picture is a fake.""

Colombo says shelling images 'fake'

"Sri Lanka's military has accused the separatist Liberation Tigers of Tamil Eelam of fabricating images that purported to show the aftermath of a deadly army attack on a hospital in the conflict zone. The photographs, first published on a website, depicted what Tamil separatist sources said was an artillery hit on a makeshift hospital in Mullivaikal on Saturday."

An End To Fun

My "Seriously Fun Photography" class is usually small, generally between 5 and 10 people. This was one of those terms where it was on the small side.

But we had three students complete their six-week portfolio project with a long critique process tonight, our last class. All three were good. One was a set of portraits, one was on flowers and one on central park. But all went further than the basic subject matter would suggest. I was impressed.

And Then There's More Fashion

Sure, I know I didn't thoroughly enjoy the recent ICP fashion exhibitions. And, yes, sure, I did complain a little about the AIPAD panel on fashion of photography.

But that's all in the past. Upcoming in the museums:

Model As Muse

"Exploring the reciprocal relationship between high fashion and evolving ideals of beauty, The Model as Muse: Embodying Fashion focuses on iconic models of the twentieth century and their roles in projecting, and sometimes inspiring, the fashion of their respective eras."

Richard Avedon

"This exhibition will be the most comprehensive exploration to date of Avedon's fashion photography during his long career at Harper's Bazaar, Vogue, The New Yorker, and beyond. Working closely with The Richard Avedon Foundation, ICP curator Carol Squiers and guest curator Vince Aletti will present new scholarship on the evolution and extraordinary, ongoing impact of his work."

Both are going to be great. I just know it.

Summertime Seriously

Thursday night is the last session of my six-week Seriously Fun Photography course through Hunter College Continuing Education.

(Don't worry -- there's another session that starts May 28th and runs to July 2nd.)

Last term there was talk of starting an advanced version, but the idea only became official right before the registration deadline, so we ended up with too few people signing up. It was a relief, actually, since I had a lot going on right then and would have been a little stretched to start a new class. If anyone's interested in the advanced version, let me know via email or comments or the T-word. (Umm, "twaiku.")

Who's "Seriously" for? If you've got to the point where you can shoot your DSLR (or advanced compact) and get the photos on the computer, but you're looking at them and wondering how to get control of making those images, then it's for you. If you have mastered control of aperture, shutter speed and sensitivity and all that those settings might effect, and you have your creative ideas flowing, you might need to wait until I get the advanced class rolling....

A Brief Period of Textual Experimentation

Well, I'm still not sure if it's for me, but I'm giving Twitter a trial run.

Mainly because Maureen Dowd won't. It's the one place I can be sure not to run into her by accident.

I'm at http://twitter.com/tediting. You know, in case you need to know what I had for lunch.

As David Carson Said, Sexism Sucks

I've always thought that there's a built-in sexist side to most of the sources one seeks out to study photography. While some lens tests are done with color charts and little arrangements of objects, just as many include studying the depth of field of a bikini. That's sort of a leftover from when photo magazines were bought mainly by youngish guys.

Don't get me wrong: I'm not opposed to any type of photography. I just think the fake "to test the camera out, we followed Photographer X as he shot the Swimsuit Issue" feature we often see is hypocritical compared to the honesty of not-safe-for-work-viewing blog Pretty Girl Shooter. When Jimmy D talks about lenses and lighting in relation to his typical gig -- shooting the covers for porn video packaging -- there's nothing fake about it. (Oddly enough, he often goes into more specific detail than the photo magazines.)

So here's what I wanted to mention: we're getting near the technical moment when still cameras are capable of shooting moving images, and where moving image cameras have enough quality to shoot stills. Both developments may change the way we make images and will be on the minds of both photographers and documentarians in the near future.

So Filmmaker magazine has, understandably, shown some interest in Esquire using the RedONE camera to photograph Megan Fox.

"For the first time in Esquire's history (and, we imagine, magazine history in general), a cover image was shot as a video. Using the RedONE, a video camera that captures images at four times the resolution of high-definition, photographer-director Greg Williams (see below) recorded ten minutes of loosely scripted footage with Fox — getting out of bed, rolling around on a pool chair, inexplicably lighting a barbecue."

If we skip past the built-in "it's still the 1950s, right?" feel of the whole thing (the title is "Megan Fox-ing") this is a fairly amazing development. In recent years we've seen a few newspapers take to shooting HD video in place of stills and then selecting a still frame for use, and this is the natural next step -- higher resolution and able to match the requirements for a magazine cover.

In the end, though, if we're to judge from the video -- Good Morning, Megan, a purely cheesecake, lingerie / swimsuit session -- there's nothing to be discovered. Except:

1. The RedOne does in fact produce a very film-like look and seems to use fantastic lenses.

2. You really can't shoot for both stills and video at the same time effectively.

Well, lesson learned. I look forward to when they get the new holographic cameras in. I hear they've got a special issue planned for that.

One Biiiiiiiillionth of a Second

The tough part about working with a laser beam as a flash? Getting the sharks to position their heads in the right direction.

A little bit of photography mad science via Wired....

World’s Fastest Camera: Shutter Speed Half a Billionth of a Second

Frugal Wins The Webby

The web series I produced and edited 14 episodes of last summer -- The Frugal Traveler: Budget Europe -- just won the Webby in the Online Film & Video / Travel category.

Cool.

Dream Street

My pal Doug McCulloh has a new book out. I think you should buy it. I'll post more on this when things slow down (not sure when that will be) but trust me -- you can't go wrong with this. Great photographs, and an amazing story.

Local News

In local news, Mrs. New York Portraits and I went to the Metropolitan Opera Friday for the opening night of La Cenerentola, then on Saturday hit the fashion photography shows at ICP.

Weird Beauty seems to me to get the role of curator completely backwards: you are supposed to take material and amplify it, not diminish and confuse it.

The idea of showing contemporary fashion photographs as tearsheets is a good one -- but completely undermined because it's done in a half-assed way. That is, the text for the show explains that work from fashion magazines should be shown as tearsheets, but the exhibition puts the tearsheets on the wall and mixes in framed versions of some pieces, a meaningless roman numeral system of dividing sections, and places some of the work so high that you can't really see it properly.

The thing about work in fashion magazines is that the presentation is one of oversized glossy splendor -- you hold the magazine close, it's large and at a scale that fills your visual field. Presented as in this show, however, the scale of the work is ruined: the top row of images feels different than the middle row, since you can't get close to it; the unneeded framed works are sometimes just a little bigger than the tearsheet versions and only distract; and as presented all the work feels small.

That's not helpful for fashion photography, as the point is sensual fulfillment (since there's at best one or two new ideas in this room filled with 200 magazine snaps, you should at least let it be pretty rather than pretty vacant). A last flaw: if a show is going to be completely dependent on current fashion magazines -- which thrive on the idea of being cutting edge, now, and wild -- why make such a conservative selection? I like the NYT fashion shooters, but seeing several spreads from such a mainstream source made me realize that there are likely a lot of people dragging around the Lower East Side who have a better grasp of what's been cutting edge in the magazines lately than the curators of this show. This collection is too mainstream, and fails at the main goal of fashion photography: to possess stopping power. As presented, the strongest images in this show lose much of their ability to stop you from flipping past, on to the next image.

This Is Not a Fashion Photograph makes an even bigger faux pas: it takes fantastic images from the ICP collection, and asks us to consider them in the context of fashion photography. That does no favors to the images or fashion photography. The photos are merely crowded together, and after the disaster of a show one has just seen the effect is not the intended one but pure confusion: the feeling is that these images have been misunderstood, and half of them should quickly be put away so that those which make sense in this context could be properly understood. That is, a smaller show with more context could work here -- there are many photographs that are in fact interesting when re-thought in the context of fashion -- but this presentation reduces that theme to nothingness by simply accepting anything at all. It's diluted.

Edward Steichen: In High Fashion, on the other hand, is just fine. It presents 175 photographs without destroying the context of the work or making them hard to see and therefore beats out the previous exhibitions. The work is, of course, great.

My only complaint is that there's a lot here that could be informative in light of the contemporary fashion photo show upstairs -- and it isn't brought out. As one specific, note that Steichen is allowed to let clothing fall into complete shadow -- a contemporary no-no -- which shows he's holding a lot of the power in the creation of these images. Take a look at this image and imagine a contemporary fashion mag editor letting a shooter get away with that dark, textureless dress. A contemporary Vionnet would be at the shoot, previewing each shot on a laptop and yelling about featuring the dress -- then threatening to pull 14 pages of ads.

Sakura on UES

Chris Corradino has a nice shot of our neighborhood from a Springtime Stroll Through Central Park.

Oil and Older Lenses

Last night I was working with some students on lighting for photography, and I pulled out my Minolta IIIF flashmeter and checked the output of light. I read off the settings to a student, she adjusted her camera to match, and took a photo.

Normally, that's kind of impressive -- it's an accurate meter, and usually that first shot is pretty close to perfect. But her results were overexposed.

Well, I thought, maybe there's a calibration issue here. So she adjusted, and adjusted, and still, her shots were over.

I didn't realize it until later, but it's very likely that -- since she was using an older lens on her new camera -- the issue is that there is some broken down oil in the lens that is stopping the lens from closing down quickly enough to the desired aperture.

In other words: a lens sits with its aperture on its widest setting while you look through and frame your shot. When you press the shutter, it very quickly stops down to the aperture you've set, then opens back up to fully open after the shot. (That way, you are seeing the brightest view when you look through your viewfinder, but the shot is taken at the aperture you select.)

But older lenses that have been stored sometimes have the oil inside break down -- and this can mean the aperture sticks a lot or a little, causing just the kind of problem we were experiencing. Changing her aperture setting didn't seem to change her exposure -- meaning when she was set on f/16 the lens couldn't close down to f/16 and it may have really been shooting at f/5.6.