Life among the humans

Figure 1 - Mannequin in a black dress, IPhone photograph, (c) DE Wolf 2014.

Figure 1 – Mannequin in a black dress, IPhone photograph, (c) DE Wolf 2014.

There is something both appealing and haunting about mannequins.  They are almost human and at the same time other worldly.  And, I suppose, for people like me who grew up watching the Twilight Zone called “The After Hours” and the adventures of a certain Miss Marsha White, played by the beautiful Anne Francis, in a department store.  She ultimately discovers that she is herself merely (?) a mannequin.  It is an adventure that can only happen in (doo-dee-doo-doo) the twilight zone.

So I was thinking about Miss White this morning as I was walking in the mall (IPhone camera in hand) in quest for my espresso.  There she was in a simple, yet elegant, tasteful black dress. She had no hair and her eyes were darkened by deep shadows giving her a most alien specter.

Polar extremes

Figure 1 - The last formal photograph of Abraham Lincoln taken on February 5, 1865 by Alexander Gardner. From the US LOC and in the public domain.

Figure 1 – The last formal photograph of Abraham Lincoln taken on February 5, 1865 by Alexander Gardner. From the US LOC and in the public domain.

Today is April 15th.  Yesterday I posted two images taken on April 14th – the second was on April 14t, 1865. This is a black day in American history because on April 15, 1865 – a day after the second image President Abraham Lincoln was assassinated by John Wilkes Booth of the then famous Booth family of actors. He died at 7.22 on the morning of April 15, 1865.

So my pictures of today were both taken by Alexander Gardener, one of the great Civil War photographers, and a rival of Mathew Brady.  Figure 1 shows Gardner’s “Last formal picture of Abraham Lincoln” and was taken on February 5, 1865.  Figure to is Gardner’s portrait of the famous (now infamous) actor John Wilkes Booth taken on an unknown date also in 1865.

The two images in a sense represent polar extremes – extremes of political thought certainly.  The camera in a way fails us.  It does not allow us to really see, and only to speculate in retrospect with knowledge of who the sitters were, into the tormented souls of these two men – Lincoln tormented by the heavy responsibility for so man deaths and Booth tormented by the lost cause of his beloved South.

Lincoln, as we know, had a premonition of his own death.  It was as if his worldly task was to save the Union and with that accomplished the fates discarded him.

Figure 2 - John Wilkes Booth Figure 1 - The last formal photograph of Abraham Lincoln taken in 1865 by Alexander Gardner. From the US LOC and in the public domain.

Figure 2 – John Wilkes Booth Figure 1 – The last formal photograph of Abraham Lincoln taken in 1865 by Alexander Gardner. From the US LOC and in the public domain.

About 10 days ago, I retired very late. I had been up waiting for
important dispatches from the front. I could not have been long in bed
when I fell into a slumber, for I was weary. I soon began to dream.
There seemed to be a death-like stillness about me. Then I heard subdued
sobs, as if a number of people were weeping. I thought I left my bed
and wandered downstairs. There the silence was broken by the same
pitiful sobbing, but the mourners were invisible. I went from room to
room; no living person was in sight, but the same mournful sounds of
distress met me as I passed along. I saw light in all the rooms; every
object was familiar to me; but where were all the people who were
grieving as if their hearts would break? I was puzzled and alarmed. What
could be the meaning of all this? Determined to find the cause of a
state of things so mysterious and so shocking, I kept on until I arrived
at the East Room, which I entered. There I met with a sickening surprise. Before me was a catafalque,  on which rested a corpse wrapped in funeral vestments. Around it were stationed soldiers who were acting as guards; and there was a throng of people, gazing mournfully upon the corpse, whose face was covered,
others weeping pitifully. ‘Who is dead in the White House?’ I demanded
of one of the soldiers, ‘The President,’ was his answer; ‘he was killed
by an assassin.’ Then came a loud burst of grief from the crowd, which
woke me from my dream. I slept no more that night; and although it was
only a dream, I have been strangely annoyed by it ever since.[12]

A difference of four years

Figure 1 - The raising of the Confederate flag over Fort Sumter on April 14, 1861. From the LOC and in the public domain.

Figure 1 – The raising of the Confederate flag over Fort Sumter on April 14, 1861. From the LOC and in the public domain.

Today is April 14th.  Today and tomorrow I’d like to talk about images that represent polar extremes.  Todays are a pair separated in time by four years.  The years are 1861 and 1865.  Today I’m posting two pictures from the United States Library of Congress: one taken on April 14, 1861 and the other taken on April 14, 1865.  On April 14, 1861 after the bombardment by confederate forces of Fort Sumter in Charleston Harbor and its subsequent evacuation by Major Robert Anderson and his Union troops, the Confederates raised their flag over the fort (Figure 1).  On April 14, 1865, Brigadier General Anderson returned to Fort Sumter for the raising of Old Glory over the fort.  Also present on that day was Harriet Beecher Stowe (Figure 2).

The contrast or similarity of these two historic images speaks to the symbolism of flags and to the aspiration of men and women with conflicting ideas.  History is ultimately a cauldron, and war its most unpredictable brew.  Wars like the American Civil War are so terrible that you would think that we would do everything possible to avoid them.  Yet in our imperfections we tumble irrevocably towards them.  This particular war, really the second phase of the American Revolution, was truly born of unresolved conflicts of the eighteenth century. Ultimately, we are driven forward by the ideas of the times and these images can only in a very small way give us a glimpse what was in the minds of Americans during those years.

Figure 2- The raising of Old Glory over Fort Sumter on April 14, 1865.  From the US LOC and in the public domain.

Figure 2- The raising of Old Glory over Fort Sumter on April 14, 1865. From the US LOC and in the public domain.

Extinct jobs and lost professions

Yesterday, I found a thought-provoking photo series on MSN showing professions that no longer exist. They call it “Extinct Jobs.” When I was in high school, my father had a colleague who liked to photograph scenes in New York City that were likely to soon vanish.  It is a worthwhile endeavor, and this is an example of such work, albeit not by a single person.  With regards to our own times it is truly amazing how fast things have changed.  I suspect that we would not have predicted witnessing such rapid technological and indeed, sociological change in our lifetimes.

As for this series there are a number that catch my eye and mind in particular.  We have, of course, the telephone operator.  Try to reach a living person today.  But there are quainter(?) lost professions. In this context, I think that quainter means more antiquated and beyond the common memory.  So how about the “Knocker-up” of 1920’s London.  No it doesn’t mean that.  The knocker up was a man whose job it was to carry a long stick and knock on the windows of people who had to get up early.  He was a human alarm clock. Then there is the “rat catcher,” whose job it was to catch and kill rats in English train stations.  The image was taken on November 7, 1939.  But the image that seems most distant and raises the hairs on the back of my neck is the “London gas-lamp lighter.”  The image is from 1935.  But what it evokes, in the cobwebs of my mind, is almost exactly exactly a century old (August 3, 1914).  On the eve of World War I, Sir Edward Grey, British foreign secretary, is said to have remarked that “The lamps are going out all over Europe, we shall not see them lit again in our life-time.”  There is some controversy as to whether Sir Grey actually said this.  However, both this series of photographs and those words emphasize a profound truth: that the events of human history can offer up profound change.

Cláirseach

Figure 1 - The , Sudbury, MA, (c) DE Wolf, 2014.

Figure 1 – The  Cláirseach, Sudbury, MA, (c) DE Wolf, 2014.

There is a bridge over a bog in the Sudbury River watershed on Landham Road, in Sudbury that I often drive over.  It is a beautiful place and I have tried to photograph there in all seasons. I am particularly drawn to old tree stumps and a wonderful beaver dam.  Last Sunday I thought that I would try to capture it in this early spring light.  The sun was reasonably intense and glistened off the water.  Everything was still dead, which won’t last for long.  All the signs of spring are there.  I loved the bearing of this old tree (Figure 1) looking ever so much like an Irish harp or cláirseach. You may recall my blog in January about pareidolia.

As for the blah-de-blah…  This was taken using a monopod with my Canon T2i using my EF70-200mm f/4L USM lens at 84 mm.  I fall in love again with this lens every time. ISO was 400.  Exposure was 1/250 sec at f/11.0.

Shadows and geometrics

Figure 1 - Shadows and Geometrics, (c) DE Wolf 2014.I was struck the other morning by this combination of shadows and geometric patterns on a wall.  It seemed the perfect indulgence for an IPhone image, converted to pure greyscale, and I felt, in the end, that it was better without any toning.  I had zoomed in just a bit when I took the image.  As a result, I found that any amount of sharpening accentuated the pixels unpleasantly.  So in the end I did some cropping on the final image and a little dodging to light zones in the shadow regions and and complementary burning in to shadows in the light areas.  I like the end result and I am almost always amazed at what the IPhone 4s camera can accomplish.

Mall photographers

Figure 1 - Photo with the Easter Bunny, (c) DE Wolf 2014.

Figure 1 – Photo with the Easter Bunny, (c) DE Wolf 2014.

Back in February, I blogged about “The Street Photographers of Afghanistan.”  I was at the mall again yesterday and it occurred to me that that while these Afghan street photographers bear a unique national and cultural signature they share a common history and proud tradition with similar commercial photographers everywhere.  It used to be that you would find people ready to snap your photograph and sell you a copy at all of the major tourist attractions.  You can still find them on cruise ships and at amusement parks (albeit in robotic form). And of course, you find them at the malls, which to me is just a little surprising in a world, where digital cameras are ubiquitous and the selfie reigns supreme.

It seems that somehow there is still a legitimacy associated with having a “professional” take your picture – even if the “professional” has little more training than you do.  When I come up the escalator at my local mall the first thing that I see is a display of a professional photography studio.  And then the mall itself has no less than three places where you can go and have your child’s photograph taken.  It is always fun to watch the little tykes all dressed up in what used to be called “their Sunday best.”

And then there are the photos with Santa at Christmas time and the photos with the Easter Bunny this time of year.  Yesterday I went to the mall for a walk early and was amazed at how much traffic there was.  That is until I saw the line for the Easter Bunny.

If I look through the photographic paraphernalia of my own son’s childhood, I find numerous pictures taken by professionals on cruise ships, pictures with Santa including a picture with me and Santa played by a colleague Bob O’Connell dressed as Santa, and then there are several professional family portraits.  In one set my wife had us all wear blue shirts or sweaters.  The most expensive of these “professional portraits” is really no better than I could have taken myself.  But, as I said, there is a certain mystique and legitimacy associated with the term “professional” – as if it implied “good.”

I will in the end admit, that I love the mall Santas and Easter Bunnies.  I love to watch the excitement when Santa arrives and greets all the children in the line.  I find myself secretly wanting to sit in Santa’s chair, when he isn’t there – just in hopes that some of the magic will rubbed off on me.

Digitizing 35 mm slides

 

Figure 1 - Using a slide projector to digitize slides.  Insert top right shows slide projected on screen.  Method proved to be unsatisfactory because of the projector's lens quality. (c) DE Wolf 2013.

Figure 1 – Using a slide projector to digitize slides. Insert top right shows slide projected on screen. Method proved to be unsatisfactory because of the projector’s lens quality. (c) DE Wolf 2013.

I am a little perplexed, but I was doing some housekeeping on Hati and Skoll and discovered this blog that was meant to post on May 5 of last year, never did.  The world went on.  However, it covers what I think is a relatively important technical topic; so I thought that I would correct the error and post it today.

Recently, I decided to digitize my fairly voluminous collection of 35 mm slides.  This is not a trivial undertaking, but it does serve a couple of fun purposes.  First, you get to revisit all those “Kodak moments,” and second all the manipulations and subtle modifications that you wanted to do but couldn’t are no at your fingertips.

Actually, this last point is interesting.  In the glory days of film, you had three choices: take slides, where once you mastered the medium, what you took was what you got; take color prints, where what you got was invariably washed out by the commercial lab’s print machine’s compulsion to set overall intensity to neutral gray;  do your own color work, which was a truly daunting task, because of the level of temperature control required. This is not to mention expense. This all sounds like whining, but is pretty much true.

So, I went to the closet and unearthed the hundred of slides that I have squirreled away there and sorted them out into three not so neat piles: rejects, maybes, and definites.  So far so good.  Now I had to figure out out how to digitize them.  1. flatbed scanner? – don’t even think about it. 2.   Have a service do it for you? – I’ve had bad experiences with this, but obviously it’s going to depend on the service and their equipment. 3. – get a slide copier? – I’ve not been happy with the sharpness this provides, but others have had success. 4. Get a slide copying attachment that screws into the from of a camera lens? – I’ve read such bad reviews of this approach that I decide that even at ~$40  it wasn’t worth the effort. 5. Put the slides in a slide trade.  Put the slide tray in a projector. Project the slides on a sheet of paper, and take digital images.  6. Put the slides one by one on a viewing box and copy them with some kind of closeup lens system.

Figure 2 - Using a clos-up lens and opalescent light box to digitize slides. (c) DE Wolf 2013.

Figure 2 – Using a close-up lens and opalescent light box to digitize slides. (c) DE Wolf 2013.

The first method that I tried is number 5, and I have an picture of my setup in Figure 1.  Basically, you’ve got a slide projector, which tips the image slight vertically and then the camera behind the projector with a compensating tilt.  This would be so great and convenient, if it worked.  The problem is that the projector lens is the rate limiting factor.  I chose a Leica Slide Projector in the hopes that the lens would be up to the job.  And bottom line there is nothing that I hate more than a fuzzy picture. REJECT!

So then I setup the system shown in Figure 2, which is method 6 above.  Since it works well let me explain it in detail.

  1. Slide is copiously clean with compressed air.
  2. Slide is placed emulsion side up (that’s the duller side) on an opalescence (untextured) light box.  Again the box is tilted and the camera has a compensating tilt so that it is perpendicular to the light box. You can also obviously use a copying stand, or use a piece of opalescent plastic taped to a window.  Note the black paper jig that I built to mask out excess light and hold the slide in place.  This way you will get the exposure right and also there will be no glare in the image.  It is important to position the slide so bottom is bottom and top is top, that is so that the subject looks right.
  3. I am using a zoom lens at 100 mm focal length, with manual focus, and there is a closeup extension tube on the camera body.  I had some interesting problems with this.  First, my Tamron zoom lens was not up to the job of getting a crisp image.  It never is.  I then tried my Canon EFS 18-55 mm zoom and found that it would not work with my extension tube.  the electrical connection wouldn’t work.  I then resorted to my Canon L Series 70 to 200 mm zoom.  This worked beautifully, with the one exception that the ideal is to totally fill the field of view with the image.  I had to settle for only half filling the field of view.  However, my Canon T2i offered enough pixels that this was not a serious drawback (as you will see).  I set the f-number to 7.0, because as we have shown previously this is approximately where maximum sharpness is achieved on a flat subject.  I shot at 100 ISO and adjusted the exposure compensation according to the detail on each slide.  (Yes, this is a lot of work.  But it is worth the effort).  I always take raw image format. FOCUS VERY CAREFULLY!
  4. Next take the picture, making sure that things look right in terms of the focus and the dynamic range.
  5. Convert the image to a TIF file.
  6. Next in your image processor you NEED TO FLIP THE IMAGE HORIZONTALLY.  That is you need to make a mirror image.
  7. Then crop the picture to get rid of any images of cardboard.
  8. Then adjust the levels to set a reasonable white, black, and gamma.
  9. You are now ready to make any additional adjustments.  One important point is sharpening.  I tend to use Smart Sharpen for Lens Blur in Adobe Photoshop.  I usually sharpen between 4.0 and 8.0 pixels (depending upon the subject) with an average of about 6.0.  If you need to sharpen more, you’ve got a lens or focusing problem.

As an example, Figure 3 shows and image that I took of the San Francisco skyline from the Sausilto Ferry in 1975.

Figure 3 - "San Francisco from the Sausilito Ferry, 1975," Digitized 35 mm Kodachrome Transparency." (c) DE Wolf 2013.

Figure 3 – “San Francisco from the Sausilito Ferry, 1975,” Digitized 35 mm Kodachrome Transparency.” (c) DE Wolf 2013.

 

 

 

Jumpin’ with meteors

First, we had “Dancing with Wolves.” Then there was “Swimming with sharks.”  And now the latest “Jumpin’ with meteors.” Oh BTW for you shark fans, “Sharknado II” is scheduled to be released in July.  But I digress – could not resist this story.  It seems that two years ago Norweigian sky diver, Anders Helstrup, went jumping in, or above, Hedmark, Norway and was almost hit by a meteor while parachuting and the best part is that he caught it all with his helmet cameras.    So we get both this cool still frame, with the meteor caught in multiple positions on its path and even a great video of the whole event. The meteor was in what is referred to as its “dark flight” when it has slowed and cooled down sufficiently not to be glowing. It is estimated that the meteor was a few meters from Helstrup and weighed about 5 Kg. Technically it doesn’t become a meteorite until it hits the ground.  Hitting a sky diver apparently does not count!

This, needless-to-say, kind of begs the question why Helstrup has waited two years before releasing the images.  The answer is that they were trying to keep it all hush hush while they searched, apparently unsuccessfully so far for the meteorite. Rocks falling from the sky?  The odds against this are, well, astronomical. And that’s lucky for Helstrup who probably would have been cut in half by the encounter if it had occurred.