Getty Museum

I went to the Getty recently to see the Irving Penn exhibition, which I recommend, especially if you are interested in printing black and white photographs. But that’s another post. I’m always annoyed by the decision to use the reflective Travertine marble as a pavement, because it makes the plaza so bright. You need to wear spf 45 sunblock just to cross from one building to the next. So I guess that put me in a high-key mood…

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After the rain storm

Yesterday the storm finished in the late afternoon. One of my first reactions was to go out and see what the light was like and make some pictures. This is one of the perks of photography – inspiring us to explore and to be curious about our environment. Then when walking on the trail, my senses were in that heightened state of looking for pictures, not just walking and generally enjoying myself.

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Embrace the blur…

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iPhone pictures

I’m still evaluating what the iPhone is good at.

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Exterior daytime is pretty good although I had to open the shadows in post-production.

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The interior white balance isn’t bad. Not much dynamic range – the windows are blown out.

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An overcast day looks good.

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This had a greenish color cast which I fixed.

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This was taken under mixed lighting – not bad colors which can be improved with a white balance.

Japanese photobooks

From an interview with Ivan Vartanian, author of “Japanese Photobooks of the 1960s and 70s”

“It’s very different from western photography, which has this idea that photographs must exist as a print. Japanese photography, in its ultimate form, is the photobook. [...] It’s like an edition in and of itself; the book becomes an original print. No one image is more important than the other and in the photographer’s eyes, the prints themselves, which are going to make the book, are useless. They have no value other than the reproduction at the printing plant. So the photographs as a collection don’t exist beyond the book. This can be true of non-Japanese photobooks as well but it’s taken to an extreme with Japanese photobooks.”

Thanks to Jeorg Colberg for the tip.

Dawn

I woke at dawn this morning and decided to try and capture that unique light. However, there was an overcast cloud layer which was reflecting street lights, so the light was very diffuse. I think it would read more as dawn if the light was breaking on the horizon.

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I like the warm glow of the window light. Nice contrast with the lavender.

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An illuminated tree.

Shadows on the street

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More of a night look, not so much dawn.

New Topographics exhibit coming to LACMA

From the LACMA web site:

New Topographics: Photographs of a Man-Altered Landscape

October 25, 2009–January 10, 2010

The 1975 exhibition New Topographics: Photographs of a Man-Altered Landscape brought together nine photographers—Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel, Jr.—at the International Museum of Photography. Signaling the emergence of a new approach to landscape, the show effectively gave a name to a movement or style. New Topographics has since come to be understood as marking a paradigm shift with the artists thoughtfully engaged with their medium and its history in different ways. This version of New Topographics will also include some thirty prints and books by other relevant artists—clearly distinguished by physical presentation from the primary works—to provide additional historical and contemporary context. Relevant artists include key figures such as Timothy O’Sullivan, Walker Evans, Ed Ruscha, Robert Smithson, and Dan Graham. Curator at LACMA: Charlotte Cotton, Photography.

Vermont Ave.

I’ve been working with reflections on store-front windows.

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I’m not entirely happy with any of them.

I found good signage on Vermont Ave., but I will have to return to try again.

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Store-front and small-office Acuptuncture clinics are common.

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This florist shop has possibilities, but I didn’t get the exposure right. Another re-shoot.

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I love the colors in these piñatas, but the photo seems cliched.

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This guy has a pretty trick motorcycle. A shame the picture isn’t better. This photo was taken on Sixth St., not Vermont Ave.

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Night shoot in Koreatown

Yesterday the 24mm lens I bought through ebay arrived so I wasted no time going out and shooting. I wanted to emulate the feel of 1600 iso black and white 35mm film. I set the D80 to iso 1600 and made the lcd screen show the images in black and white. I was disappointed how few people were on the streets and in the malls.

On the web, black and white looks fine, but at home my printer just can’t get the deep blacks necessary for high contrast black and white prints. It does a good job with wide tonality greyscale prints, but lacks the dynamic range for these images.

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I must return to reshoot this in a way that shows the faces of bus-riders more clearly. This is at Vermont & Wilshire.

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These guys were working on a construction job around 9 PM. I’m always worried that people think I may be working for a government agency.

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As always, there was good signage to be found.

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I really like this image but I’m concerned that it more or less just appropriates another photographer’s work. I probably won’t use it. Check out how cool it looks in color:

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Here’s another one that works better in color than in black and white:

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Caring For Mother

Caring For Mother:
“Caring For Mother,” by Virginia Stem Owens. In the introduction, Owens says something like “this is not a cheerful book,” but it is inspiring for its content and enjoyable for its writing. If there is a genre of Caregiver Memoirs, in which people describe their harrowing experiences as their close relatives or friends end their lives, this surely must rank among the best. The events described take place over the period of seven years in which her proudly independent mother gradually succumbs to physical and mental deterioration. In a sense the story parallels “The Diving Bell and The Butterfly,” in which one of the medical nightmares we all fear comes true. Owens wisely avoids focusing too much on the shortcomings of the medical profession and the endless frustrations for patients and their relatives in the U.S. Healthcare system. Instead, she chronicles her own experiences, especially the inner experiences of conflicted emotions and intellectual adaptation. Always ruthlessly honest, Owens describes emotional acceptance (“serenity”) as a transient experience, probably more the exception than the rule as it would be for anyone. Her intellectual research ranged from medical information to Greek philosophy to religous theology; for an overtly Christian person, Owens references far more Jewish theology than Christian, and declines to make the story into a testing of her personal faith.

After studying Aristotle’s concepts of the “essential whatness” of the soul, Owens creates her own understanding of her mother’s diminished state and their possibilities for communication: “My mother’s “essential whatness,” however little remained accessible to me, was what I tried to touch each day I was with her.”

“As time went by, I grew increasingly convinced of one thing, at least: she [her mother] had an underlying signification system, even in the midst of her dementia. Her intelligence was now entirely emotional. One understood it only by attending to metaphor, not logic. What I watched for were gestures. What I listened for were persistent images. These became the icons through which I recognized whatever self remains to her.”

Medical research seems to have helped her resolve the question of how to react to a patient’s hallucination – to confront/contradict or to mollify by agreement. Owens “… read about a strategy called Validation Therapy used especially with Alzheimer’s patients. It disinquished four successive stages of dementia: disorientation, time confusion, repetitive motions, and a final vegetative state. The therapy aims at helping people resolve certain emotional conflicts before they reach that final stage when the cause of their internal discord will no longer be available to the memory.”

By combining validation with metaphoric interpretation, Owens developed a means of relating to the altered version of her mother – by using her personal understanding of her mother’s history and character, she was able to interpret the delusions and provide sympathetic responses: “The day before my brother or my daughters arrive for visits, she spends the afternoon cooking in her nursing home bed, propped up on pillows, handing me finished dishes to store away,” Owens recounts. “‘Is there enough?’ she asks me with a worried look. ‘Are the beds made?’ These are her metaphors for love.”

Highly recommended.

Reviews of Caring For Mother bring to light the dilemma that Alzheimer’s has created for devout Christians. From Valerie Weaver-Zercher’s review in Books & Culture:

Caring for Mother is, in a word, relentless. Owens is unfailingly honest about the agony of watching her mother lose her faculties, her own frequent sense of failure and guilt, and her floundering faith in a gracious God. She does not shield herself or her readers from the anguish of a parent’s decline with Christian platitudes about heaven or the virtue of a life well-lived; indeed, she quashes the notion that spiritual fortitude or lifelong practices of faith will necessarily carry a person into tranquil twilight years. At the end of her life, Owens’ mother found no comfort in the faith that once sustained her, and she became displeased by any mention of religion. Owens tries repeatedly to help her mother recover her belief, to “find the switch that can flip on that steadfast faith she had always relied on.” In a heartrending scene toward the end of the book, Owens’ mother has a panic attack at the imminence of her death. Gripping her daughter’s hand, she says, “I don’t want to go away from you.” Owens is speechless and can only stroke her mother’s arm, “abashed to discover she loves me more than God.”

Before reading Caring for Mother, I assumed that the serenity that characterizes my own grandmother, who will turn 100 later this year, was bought with the countless hours she has spent throughout life in prayer, Scripture reading, and spiritual attentiveness. She’s the archetypal “prayer warrior,” that most cherished of Christian images of aging: the grandmother who spends hours praying for the struggling great-grandson, the overworked pastor, the granddaughter with three small children who lives an hour’s drive from family (that would be me). It seems that for some people, a lifetime’s stockpile of spiritual resources can be cashed in for peace at the end of life. But Alzheimer’s, which has been called “the theological disease” because it ravages memory and identity, can deplete even the most saintly Christian’s spiritual capital.

Indeed, end-stage dementia threatens the popular Christian narrative of “prayer warrior” aging to its core. That narrative can accomodate some humorous lapses in memory and judgment: the old woman can forget her children’s names, confuse a nurse for a granddaughter, even hobble into the dining room in her slip. What this narrative has not managed to hold, however, is an aging Christian’s agnosticism, what Owens calls, in her mother’s case, “the amputation of her spiritual sensibility.”

Wither, Aperture?

The Inside Aperture blog has a recent post about migrating pictures from Aperture, just in case you want to switch to another app. They are careful to say they still use and love Aperture but they also raise the question of Aperture’s survival. This makes me uneasy. If the main Aperture blog is openly discussing life after Aperture, that’s a bad sign. I hope they are trying to put pressure on Apple to work more quickly on the next release. The last release was over a year ago at PMA. I sure hope Apple will release the next version at MacWorld in January. I haven’t looked at Lightroom since the beta; I know it has improved since then. I guess the good news is that if I do have to migrate to it, Adobe keeps improving it.

It’s a curious thing: there’s nothing wrong with Aperture, in fact it still exceeds the competition in features, so I can’t say that I need a new version to get work done. It’s just the perception of problems because so much time has gone by since an upgrade. That does create the appearance of Apple not responding to their customers. The delay also increases expectations, which is never good.

What’s at the top of my list of needed improvements?
Synchronizing laptop and desktop libraries.
Better noise reduction.
Better printing – make it print identically to Photoshop.
Faster GUI for renaming versions.
Keyword selection during import.
User-editing of web gallery templates and book templates.
Better highlight recovery.
Add a shadow boost control to complement the current control.
Add a curves control like Adobe’s.
Match all of Adobe’s adjustments in features, quality and speed.
Faster compatibility with new camera’s raw files.

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