Got any gazelles in here?

I was flipping through the latest round of “pictures of the month” and came across something that you don’t see everyday from Caters News.  It is a picture by Australian photographer Bobby-Jo Clow, who works as an elephant keeper at a Tanzanian zoo, and shows a cheetah poking its head through the sunroof of a safari vehicle and sniffing the head of a guide in the Tanzanian Serengeti National Park. “Got any gazelles in here?”

Hmm!  We are told that everyone remained calm as the cheetah dangled its paws in front of their faces and sniffed at their hair.  Yikes! I am not sure that I would have remained calm.  Question 1, aren’t you supposed to keep the sun roof closed on safari?  Question 2, was the guide’s hair still dark the next morning?

 

Tone-on-tone 3 – Bunched indigo

 

Figure 1 - Tone-on-tone 3 - Bunched Indigo, (c) DE Wolf 2014.

Figure 1 – Tone-on-tone 3 – Bunched Indigo, (c) DE Wolf 2014.

Last April I posted an IPhone image of folds or bunching in a wedding gown that I found during one of my mall walks.  Every spring our local mall features dress and fashion designs by local students that attend regional fashion programs.  It’s done as a contest where the public judges the “best in show.” This morning I was delighted to find that this year’s show had begun.  It is a sure sign of spring, and the colors are truly like spring flowers.

What caught my eye this morning was a puffy indigo skirt by a very talented young lady named Eboni Bell from Mount Ida College.  I just loved the folds and took a close-up of them.  Folding and bunching so as to create drama and a sense of spontaneity is no small feat – and requires an excellent eye.

As for the tone-on-tone of my photograph, taken again with my IPhone 4S, I love the challenge that monochromicity poses.  It is so too easy to over do the dynamic range, to plunge to total blackness, and soar to pure white.  It is a mistake that kills the whole effect of the tone-on-tone.

Your f-numbers don’t make no never mind to me!

Figure 1 - Charleston Cock, Charleston, SC, (c) DE Wolf 2014.

Figure 1 – Charleston Cock, Charleston, SC, (c) DE Wolf 2014.

I was delighted to learn today that the expression, “it don’t make no never mind to me,” is South Carolinian in origin. That makes it a perfect complement to the cock of Figure1.  In encountered this fellow and an avian friend by Charleston Old Market, where the horse-drawn carriages depart.  I am not sure why he was there, although I suspect that it had something to do with what the horses leave behind.  And I hasten to add that the City of Charleston has these sanitary trucks that follow the horse paths, clean up, and disinfect.  Perhaps the chickens are municipal employees.

So now the litany.  This picture was taken with my Canon T2i camera using    EF70-200mm f/4L USM, exposure compensation +1, at a focal length of 131 mm, 1/100th of a second at F/9.0. WHO CARES! And frankly your f-numbers don’t make no never mind to me either, or perhaps neither. 8<)

It’s kind of like a scientific notebook.  Scientists are religious about taking notes, recording all the facts and details, and usually it turns out in retrospect that they wish that they had recorded some salient point.  Still too much is too much!  When I was a postdoctoral fellow in Michael Edidin’s laboratory at the Johns Hopkins University, several of the graduate students would spend hours producing multicolored, neatly written, masterpiece, notes.  They would then proudly sit down with Michael and become infuriated, when Michael would scribble all over their notebooks with his fountain pen.  (Allow me to assist those of you who are strictly of a digital age.  A fountain pen is a writing implement that leaves little annoying pools of ink on paper, fingertips, and shirt pockets).  Michael was teaching an important lessen, that the purpose of a scientific notebook was to be a free flowing, on the spot record of an experiment, and not an impediment to getting work done.  Indeed, I have learned over the years that in science the amount of good work accomplished is inversely proportional to the beauty of a lab notebook!

Returning to exposure details, the point is that rarely is all of this information of any value to anyone but you.  Ansel Adam has it right, when his picture taking began with absolute and relative measurement of the light and its dynamic range.  The important point is that he was developing a critical system of photography, “the zone system.” It was a system that starting with the key element “light measurement” and systematically provided a modus operandi for producing “the best” print using the exquisitely annoying nonlinear media of film and photographic paper. .  Note that “best image” is in quotes because that too had to be defined within the zone system.  It was brilliantly designed to overcome uncontrollable variables, like how exhausted your developer was, and produce the same high quality print again and again from a given negative.

And arguable you could develop such a system for your digital images.  But the starting point would need to be a measurement of the intensity and dynamic range of the light and a scrupulously consistent workflow with standardized (your own) curves or look-up tables.  That being the digital equivalent of film type.  Without that it all starts to unravel and become pretty meaningless.

I do not argue that in surveying your own work that the exposure data is useless.  It teaches you how your camera and lenses perform under certain circumstances, albeit qualitative circumstances.  Is a given lens sharp enough at a given f-number and focal length?  How does lens type affect depth of field?  How far with your camera can you push the ISO?

What about other people’s exposure data.  While I would never say that it is useless, I do have to say that without a lot more information it’s of little value.  There are just too many unknowns to make meaningful assessments.  So I have to return to the statement that “your f-numbers make no never mind to me.”

You have to love the expression.  It is a quadruple negative, easily driven driven to quintupleness with the addition of the word neither at the end- “your f-numbers don’t make no never mind to me neither.”  And can even be made a sextuple negative in the subjunctive- “your f-numbers wouldn’t make no never mind to me neither.”  It all flies in the face of those bratty English teachers, who insisted that it was improper to use a double negative (despite the fact that most other romance languages do), to blatantly split an infinitive.  The concept of ending a sentence with a preposition I shall not bring up.

Picasso’s Minotaur at Charleston’s Mellow Mushroom

Picasso's Minotaur, Charleston, SC, (c) DE Wolf 2014.

Picasso’s Minotaur, Charleston, SC, (c) DE Wolf 2014.

So the usual – get up at three thirty in the morning, drive to the airport bus, take the bus to Logan Airport, fly two hours to Charleston, hassle at the car rental (the old bait and switch), drive to hotel (kinda bait and switch again).  But I am not a bitter person.  OK, well maybe just a little.  I have been accused of having a glass empty view of the world.  So finally around two in the afternoon we arrive at the King Street Mellow Mushroom for well a pretty good lunch.

I am itching to get out and take some pictures, when the chandeliers above the two front tables catch my eye – my favorite abstractions white tone on tones.  So now there’s this weird guy at the front of the restaurant taking pictures of the lighting.  People are tolerant in the American South! Taken with my Canon T2i with my EF70-200mm f/4L USM using IS 1/60th second at f/13.0 ISO=800.This was not my expected first photograph in Charleston.  But, the result is Figure 1, which I entitle Picasso’s Minotaur – hopefully for obvious reasons.

A soggy vacation in Charleston, SC

Figure 1 - On the Ashley River at Middleton Plantation, SC, (c) DE Wolf 2014.

Figure 1 – On the Ashley River at Middleton Plantation, SC, (c) DE Wolf 2014.

We have just returned from vacation in Charleston, SC.  We sent there to seek relief from what has seemed an endless winter of snowstorms and bad weather.  We went there in search of sunlight.  There was two hours of that in five days.  We went there in search of warn. Ixnay on that.  It was cold, rainy, and dreary. And yes it was rather challenging photographically.  The light was continuously dark, flat, and uninteresting.  I guess that it may be said to have been a challenge.  And from such challenges you can learn a lot about how to take pictures.

Did I mention that it is a beautiful city. And the food…  Well the food is wonderful, and I find myself to be so much in grit withdrawal that today I had to have polenta with my lunch.

Over the next few days, I shall post some of the pictures that I took in Charleston.  They are what I would call quirky because of the weather.  I want today to start with Figure 1, which shows a venerable oak at Middleton Plantation on the Ashley River gloriously adorned in Spanish Moss – what can be more quintessentially South Carolina. And I have to say that I could spend years learning to take such pictures.

This was taken with my Canon T2i at ISO 3200 f/9.0 at 1/320 s with my EF-S18-55mm f/3.5-5.6 IS STM lens, IS on.  Because of the dull lighting the image took quite a bit of work and it is not as sharp as I like.  But I will say that the subject matter seems to demand a painterly style; so I will not begrudge it being a bit fuzzy to match the light and over dramatic in effect.  It captures not only what I saw but what I felt, the mood of the moment.

Bill Cunningham – Fashion and architecture at the Museum of the New York Historical Society

In 1968 photographer Bill Cunningham, who died last year at the age of 101, began an eight year project photographing the great architectural facades of New York City.  The catch in Mr. Cunningham’s photoseries was that he posed models in front of the building who were dressed in the period clothing of the year that the building or structure was constructed.  The result is a fascinating combination of historical context, apparent anachronism, and often poignant commentary.

I think that one of my favorite images is that of model Editta Sherman riding the subway for a photoshoot at the Brooklyn Botanic Garden in 1972 dressed in a Victorian period costume.  Ms. Sherman is the picture of an imagine dainty time.  She sits among the dirt and graffiti of modern New York – and we are left to imagine what has changed, what has been lost, and yes, even what has been gained.

There is a exhibitr of these works on exhibition of the Museum of the New York Historical Society that contains many images from the project not seen before.  And I should also comment that the NYHS is a treasure trove of historical images that document that history and vitality of New York City.  The exhibition is on display now through June 15th.

Where in the spectrum is the image?

Yesterday’s discussion about gravity waves and the Big Bang raises a significant point or question.  Where in the electromagnetic spectrum is the image?  Indeed, do you have to use light?  We can easily argue that a sound images, like a sonogram of a fetus en utero is an image, even a beautiful one at that. And the  X-ray image of the Hand of God nebula that we spoke about a while back is certainly beautiful and has a photographic image quality about it.

I think that the gravity wave images hold an important answer.  There are two of them.  With this first one, you might argue that I am stretching the envelope to ascribe a photographic image quality to it. Arguably it looks more like a graph or even a watercolor. But how about this one. And we don’t need to worry about the technicalities of what these are. This certainly possesses a photographic quality.

I believe that these two images illustrate the important dividing line. It does not matter what form or wavelength of energy was used.  Rather there is an aesthetic quality of pictureness, being like a photographic, that our mind uses to make the judgment: Ich bin eine Fotografie! And remember, to say that the distinction is an aesthetic one is really to say that because of a combination of wiring and training our mind associates a certain set of image qualities as being photographic.

 

 

 

 

Images of the birth of the universe

Today’s going to be one of those days when I cheat just a little bit and my blog slips ever so much away from photography into the realm of physics. A team of scientists from the Harvard-Smithsonian Center for Astrophysics has announced detection of the very first direct evidence for what is referred to as the cosmic inflation and as a result published the first ever images of gravitational waves.  These can be seen on the Center for Astrophysics’ website.  They are essentially maps of the sky showing the gravity waves.

Say what! Cosmic inflation?  Gravity waves?  Cosmic inflation is the massive initial explosion of the Big Bang, when the universe was born and expanded exponentially.  And with this cosmic nativity should come waves or ripples in space time.  You may remember a short while ago that we spoke about quantum mechanical waves in the context of Schrodinger’s Cat and quantum mechanics.  Therein lies the significance of gravity waves.  They were predicted by Albert Einstein and they represent a unification, if you will, a missing linking between gravity theory and quantum mechanics.  And now after at least forty years of hard looking we have not only found them, but we have seen them.

How can that be? Think about the great 19th century volcano Krakatoa. A sound wave from that blast circled the globe multiple times and was recorded on sensitive barometers.  If you think about it, those waves are still circling the globe, except that they have become lost in the background variations in atmospheric pressure.

Similarly, scientists found the gravity waves from the cosmic inflation by examining the cosmic microwave background (CMB). Remember that visible light has wavengths which are fractions of a micron.  Microwave wavelengths are ten or more times that.  That’s very low energy stuff, but gravitational waves left their signature there, a pattern imprinted on the faint glow leftover from the Big Bang.

 

Happy Saint Patrick’s Day

Figure 1 - Dying the Chicago River Green on Saint Patrick's Day 2009.  Image from the Wikipedia Commons, an original work by Mike Boehmer from Chicago, IL, USA and in the public domain under creative commons attribution license.

Figure 1 – Dying the Chicago River Green on Saint Patrick’s Day 2009. Image from the Wikipedia Commons, an original work by Mike Boehmer from Chicago, IL, USA and in the public domain under creative commons attribution license.

Today is the day where everyone is Irish – or seeks to be Irish.  And, I suppose, that tomorrow is that day when everyone is hung over.  So I thought that I would celebrate the occasion today on Haiti and Skill with the quintessential Saint Patrick’s Day image.  Every year on Saint Patrick’s Day in Chicago, they dye the Chicago river green.  Have you ever wondered who the proverbial “They” actually are?  Hmm!  Anyway I found on the Wikipedia Commons this absolutely beautiful photograph of the festivities in 2009.  The photograph is by Mike Boehmer from Chicago, IL,  and is spectacular and, well, gloriously green.  So let me wish everyone “Éirinn go Brach”