deantaylor

<p>not an active link for some reason...possibly copy/paste URL...</p> <p>https://www.facebook.com/jukka.isokoski.9/videos/10153192665217006/</p>

<p><em>This is an abbreviate sample of making a daguerrotypia by Jalo Porkkala. Daguerreotypy was the first publicly announced photographic process, and for nearly twenty years it was the one most commonly used. This video has been shootin in Kankaanpää art school for 2014 by Jukka Isokoski.Roope Niemelä has made the music.</em><br> <em> </em><br> <em>https://www.fcebook.com/jukka.isokoski.9/videos/10153192665217006/</em></p>

<p><em>'An impression of the state of the world in 1929, contrasting similarities and differences in religion, customs, art and entertainment from all over the world. The film is constructed like a symphony. Melodie der Welt - the first German sound feature. [Walter] Ruttmann's innovative experimentations in movement, color and sound confirm his status as a pioneer of modern media art.'</em><br> <em> </em><br> <em> </em><br> http://www.ubu.com/film/ruttmann_melodie.html</p>

<p>extraordinary chronicle by Smith's protégé, James Karales:</p> <p><em>'Meanwhile, Karales, fresh out of school, had moved to New York to seek work as a professional photographer. He knocked on Magnum’s door and asked [John] Morris whether there was any work for a young photographer. “Do you want to be Gene Smith’s darkroom assistant?” Morris replied.'</em><br /> <br /> http://www.theparisreview.org/blog/2013/11/20/in-the-darkroom-with-w-eugene-smith/</p>

<p><em>'Two 18-wheel trucks packed with 22 tons of Smith’s material rolled from NYC to Tucson'...</em><br /> http://www.jazzloftproject.org/index.php?s=people&ss=W.%20Eugene%20Smith<em><br /></em></p>

<p><br /><em>Cartier-Bresson</em>: <em>Pen, Brush and Camera</em><br> <em> </em><br> <em>https://www.youtube.com/watch?v=ei45S87R2dk</em></p>

<p>'Young British filmmaker Tom Oliver’s half-hour short film <em>In the Near Light</em> is a beautifully envisioned <br> story visually influenced by the works of such cinematic greats as Wim Wenders and Jim Jarmusch. <br> The colors are bleak, the atmosphere is surreal, haunting and to a degree it takes us back to <br> Wings of Desire, while the subtle writing makes sure the story is fully grasped in all of its pedantically <br> crafted beauty. In the Near Light is an impressive success of visual storytelling, but also an important <br> lesson for all potential filmmakers possibly concerned with their lack of formal education' [<Cinephilia<br> and Beyond].<br /><br /><br /><br /><a href="https://vimeo.com/104898086" rel="nofollow" target="_blank">https://vimeo.com/104898086</a></p>

<p>for the 4x5 Speed Graphic, the formula is necessary to the setup, though...</p> <p>...regarding the Gossen Luna Pro you had mentioned, it can be used in lieu of the 'sunny 16' evaluation<br> card...the meter provides the aperture and speed settings for the lens-to-subject distance, and it is<br> directed at the subject from the lens--not at the subject directed at the light source--correct?</p> <p>Best,</p> <p>D.</p> <p> </p>

<blockquote> <p>At the same distance the gn would have to double.<br> </p> </blockquote> <p>at the same distance, would the flash setting, then, be too powerful for that setup?</p>

<p>of course...</p> <p>and, for a more sensitive film--ISO 400--the GN increases fourfold?</p> <p>thank you</p>

<h2 > </h2> <blockquote >hello<br /><br />a beginner asks about the compatibility of the Nikon F100 and the SB-24, specifically whether TTL is an option...differing viewpoints here--some argue that manual mode on the flash is the only option, others comments seem to contradict (possibly a misread):<br /><br /></blockquote> <em>Specifications for Nikon SB-24 TTL AF Speedlight<br /><br />Electronic construction: Automatic silicon-controlled rectifier and series circuitry<br /><strong>Flash exposure control: TTL automatic control with Nikon F5, F100...</strong></em> <blockquote > <em><strong> </strong></em> <a href="http://www.mir.com.my/rb/photography/hardwares/classics/nikonf4/flash/SB24/" target="_blank">http://www.mir.com.my/rb/photography...f4/flash/SB24/</a><br /><br />is TTL an option for the F100, or, only with CPU lenses, or other specific conditions (language misread in the otherwise comprehensive article)?<br /><br />also...<br /><br />how to interpret the GN, according to the linked article:</blockquote> <em>Guide number (ISO 100, in): 118 (ft), 36 (m)</em> <blockquote >do we simply multiply that 118' figure by the f stop being used?<br /><br />thank you</blockquote>

<p>Lex Jenkins, Fred and Barry Fisher: pardon the fit of pique--not excused, but explained by having <br />encountered the aggression exhibited by Diane and Bruce (the Donny and Marie of predatory photography).<br />On re-reading the entire prior page, one discerns a frustration in play when terms like 'exploit,' 'dehumanize,'<br />etc., are given short shrift. My attempt to clear the hurdle of what was perceived as patent denial needed the<br />objective distance that time provides...To wit:</p> <p>Having an ethic implies a moral boundary one establishes: 'this far and no farther', despite the likelihood of <br />having to forego lucrative 'rewards'...<br />Conversely, the attitude that asserts, 'anything that enters the cityscape--anything--is in my domain, and is<br />fair game,' is not a moral ethic so much as an unprincipled business drive. There are instances in people's <br />lives where one simply does not intrude--full stop. If one encounters a casualty of our remarkable (to say the<br />least) ongoing class war, we either intercede, if we are able, or look away. Common decency dictates that this<br />is so!<br />Directing our idle gaze upon the walking wounded--a displaced member of the community--when we have<br />absolutely no intention of intervening in a material way, is a mark of the insensitive, the callous, or worse, the<br />malicious: we are either part of the solution or part of the problem. In this instance, we are adding insult to<br />grievous injury.<br />Further, to then conclude that we will document the victim in order to market same--and, continuing, to<br />attempt to rationalize one's venal behaviour by arguing to knowledge ('they don't understand my "art"') is<br />deceitful. It is degrading and humiliating for all parties.<br />To insist DA was engaged in a moral fight to purge a dark persona, when she went about it by intruding<br />upon the institutionalized--and documenting them, as if they were lab specimens she might inspect at her<br />leisure--is self-indulgence at another's expense. But it is not an instance of art as moral chronicle and<br />discernment of societal failure and dire dysfunction, to ameliorate same--it is, in fact, its own chronicle and<br />example of societal failure and dire dysfunction.<br /> DA (and like-minded colleagues) does not improve her milieu: she merely replicates the crisis by creating<br /> another victim. To argue, then, that she 'asked for permission,' is akin to engaging a minor in illicit acts, and <br /> claiming consent was given. Similarly, to insist, 'but, how can you possibly know that no good ever came of <br />her work,' is specious, desperate 'reasoning.' Inadvertently, some good might occur via almost any <br />suspect, wrongheaded behaviour. To claim attribution, then, from the misdeed to the 'good,' is misguided, <br />at the very least. <br />It is categorically wrong to exhibit another human being in the light of the 'grotesque'--we do not do this! We<br />do not do this for monetary gain, we do not do this to purge neuroses, we do not do this via the imposture<br />of 'art.' It is a heinous affront to the community! To then argue that everyone does it, or it is unavoidable<br />if we wish to 'progress' is the pernicious 'logic' of those Ivy-League guardians of the status quo who have<br />brought us to the precipice (TV watchers will be at a loss here). <br />Here. Of exploitation of others: everyone does not do it. Again: everyone does not do it. It is not necessary <br />for the community--quite the contrary.<br /> exploit: 1) to make productive use of : <exploiting your talents> <exploit your opponent's weakness><br />2) to make use of meanly or unfairly for one's own advantage <exploiting migrant farm workers> <br />[Merriam-Webster].</p>

<P>NYC Street Photos in Which Every Stranger is Staring at the Photographer</p> <p>http://is.gd/tFDKpb</p>

<p>yeah, maybe someone missed it back then--eh, Shun?</p>

<h2 id="post-major-title" >Nikon Unveils the P∞, the First Compact Camera</h2> <h2 >with a 1458x Zoom Lens</h2> <p>http://petapixel.com/2015/04/01/nikon-unveils-the-p%E2%88%9E-the-first-compact-camera-with-a-1458x-zoom-lens/</p> <p> </p>

<p>David Alan Harvey’s Reunion with a Long-Lost Subject...<br /><br /><a href="http://pdnpulse.pdnonline.com/2015/06/look3-2015-david-alan-harveys-reunion-with-a-long-lost-subject-and-other-surprises.html#.VYE9QpTYmJ0.facebook" rel="nofollow" target="_blank">http://pdnpulse.pdnonline.com/2015/06/look3-2015-david-alan-harveys-reunion-with-a-long-lost-subject-and-other-surprises.html#.VYE9QpTYmJ0.facebook</a></p>

<p><em><strong>'Camera Rig Uses 16 GoPros</strong>...Google today announced a new virtual reality system called <a title="" href="https://www.google.com/get/cardboard/jump/" target="_blank">Jump</a> that uses a special new camera rig created in partnership with GoPro. It’s a crazy-looking 360-degree camera array that uses 16 separate GoPro cameras.'</em><br> <em> </em><br> <em>http://is.gd/3YZsd3</em></p>

<h1 >Ninety Days in Ninety Seconds—A Photographer’s Journey in the Blink of an Eye</h1> <p><em>"David Guttenfelder is a National Geographic photographer who is used to spending countless days on the road. While most people think of it as a dream job, the reality can be a lot more complex. So to share what it actually feels like to be on assignment, he made a video with a unique approach."</em><br> <em> </em><br> <em>http://is.gd/A0q0Ae</em></p>

<p>"...a new TV series that follows 5 top photographers as they take their cameras to the ends of the Earth — photographers who have an unquenchable desire to capture and share the wonders of this world with the rest of us."<br /><br /><br /><a href="http://petapixel.com/2015/05/25/this-tales-by-light-trailer-is-2-minutes-of-pure-photo-passion/" rel="nofollow" target="_blank">http://petapixel.com/2015/05/25/this-tales-by-light-trailer-is-2-minutes-of-pure-photo-passion/</a></p>

<p><em>The work was shocking to some in her day because she showed people that most of the general public </em><br> <em>never saw except in freak shows and circuses. </em><br /> <br /> Are you people unconscious--or, what? That is the f... [same expletive again] point!<br> <br /> Dearest, ambitious Diane, in what can only be described as a 'career move,' had <strong>calculated</strong> that<br> <strong>new product</strong> was to be had by photographing the suffering institutionalized--this is what she had in<br> mind the whole time: bringing to the photographic 'market' <strong>new product</strong>! Get it?<br> <em>exploit: 1) to make productive use of <strong>:</strong> <exploiting your talents> <exploit your opponent's weakness></em><br> <em>2) to make use of meanly or unfairly for one's own advantage <exploiting migrant farm workers> </em><br> <em>[Merriam-Webster].</em><br> This is the definition--i.e., the <em>dictionary</em> definition--of the verb, "exploit." It is not an <em>opinion</em>--it has<br> utility in <em>communication</em>.</p>

<p><em>I think some things are shocking to our sensibilities when we're not used to them and no one was used to seeing quite so plainly what Arbus was showing. But that's a good thing, not a vicious thing. </em><br> <em> </em><br> <em><br /></em>Right, and 'some things' are vulgar, crude attempts at exploiting human beings in order to make <br> a name for ourselves (in addition to 'making a good dollar'--okay?) in the NY art community. We don't<br> accomplish our 'career goals' in New York City with reticence and goodwill...rather, we accomplish same by the<br> 'exchange value' of our 'product.'<br> To argue, then, that DA was a disinterested naif, who was doing the socio-cultural milieu a service with<br> these...'studies'--in the way that, e.g., Lewis Hine was exposing child labor in America--is something akin to denial.<br> All, then, the observer would need to do, then, is to "get used to them," and all is well! Is that the argument?</p> <p><em>The first sentence is a bit over the top for my tastes.</em><br> <em> </em><br> A [expletive here] stream of words, you find troubling--but, Arbus' calculated intrusion into the lives<br> of the institutionalized--in order to meet her career goals--this is less bothersome, eh? Well, maybe, Fred 'G',<br> you simply need to get used to them--a bit...</p> <p> </p>

<p>Does the Graflex 135mm 4.7 front element simply unscrew from the Graphex #2 shutter? Initial attempts<br> found it to be quite resistant...also, does the back element disassemble as well...It appears to be even<br> more of a challenge than the front element (difficult to locate a seam between the rear element and the<br> back of the shutter)...<br> thank you</p> <p><img src="http://i1382.photobucket.com/albums/ah250/stonewhite54/graflex_zpsrjbmaqwh.png" alt="" width="1024" height="679" /></p>

<p><em>Arbus' photos occasionally seem a bit grotesque...</em><br> <em> </em><br> Right! That is the point--we're referring to human beings here depicted in Arbus' (and others, of course)<br> captures as--your succinct, apt term: 'grotesque,' i.e., a human being in an exploitive depiction.</p> <p><em>to dehumanize: to deprive of human qualities, personality, or spirit</em> [Merriam-Webster].</p> <p>It appears condemning, humiliating, i.e., a kind of a sadistic voyeurism on the part of DA.<br> To put this into context: physicians attend school for--what?--15-20 years before they practice,<br> but when they fail or falter, they are held responsible. Artists, no matter the critical esteem bestowed,<br> ought to be held to the same rigorous standards, ethics, etc.</p> <p>DA, (and others) it appears, had something less than an 'ethic' than a drive, a will to succeed.</p> <p>I'm from NYC as well--fifty years, born and raised, on the mean streets. I've experienced the 'vicious,'<br> and I know from the 'street ethic': it is unforgiving, often brutal...you get caught up in it,<br> like a Metropolitan war zone...to pretend it is not there is disingenuous at best, and dangerous<br> at the other pole. <br> The need, then, is to monitor one's milieu, one's self, to avoid going over to the other side, i.e.,<br> to forfeit one's one humanity in the struggle.</p> <p>We are what we eat. Take care, then, lest we assimilate ourselves into a dysfunctional, dystopian<br> environment, artistic and otherwise. It is crucial that artists--photographers, writers, etc.--have<br> this dialogue...</p> <p> </p>

<p>BG explores his street ethic, with a sample from the London show...</p> <p>http://is.gd/ERe2mO</p> <p>http://is.gd/4sBPsX</p> <p>The article from 'Vice' notes: <em>His work is about getting up-close-and-personal, about </em><br /> <em>creating photographs that are upfront <strong>without being confrontational</strong>...</em><br /> <br /> Editorial license aside, much of his work, however, does have a 'confrontational' tension in it:<br /> e.g., the startled look, the fear in the subjects knit brow, anxious eyes, etc.</p> <p>Another example might be this capture:</p> <p>http://is.gd/7EVnfo</p> <p>At what point does the need to locate a subject lapse into intrusion,<br /> manipulation, maneuvering, etc., of the person on the other side of the<br /> lens--call it the seduction of exploitation...for example, some of Arbus' work appears downright<br /> vicious, dehumanizing, etc....</p>

<h1 >10 Lessons William Klein Has Taught Me About Street Photography</h1> <p>http://is.gd/zmQPWv</p>