Category Archives: Uncategorized

The Future

In the future men and women will wear the same makeup and hair styles. Soon pets will have collars that allow them to talk to humans. Children will be selected from vending machines. I will finally get my personal helicopter. There will be no need for cars because public transportation will be perfect.

The Future

In the future doctors will have two-year associate degrees and teachers will live in fear of malpractice suits. Everyone will have live-in lawyers. The rich will wear tattered jeans. The poor will wear sparkling uniforms. Horses will attend track meets as spectators. Honest citizens will be vilified and criminals will be held in high esteem. Barbershop quartets will perform rap music and we will all speak Chinese. And everything will contain analog computer chips.

In short, the future will be so much like the present that its noisiest authorities will insist on its being described in the superlative degree of comparison only.

Hotel Utata

Here’s a night shot of the Hotel Utah on Brannan Street in San Francisco. I used Photoshop to alter the image so the sign painted on the building reads “Utata” rather than “Utah.”

Hotel Utata

I have no idea as to the meaning or origin of the word Utata. It’s the name of a Flickr group that features some excellent photography and some that is cliché and sappy – rather like most Flickr groups. For many of my photo friends, like the folk at Flickr DMU, Utata is the place where they urge people to go as an insult. Whatever.

After altering my Hotel Utah photo, I put it up for a vote at DMU, bearing the title “Hotel Utah.” There’s nothing special about the photo, so I didn’t expect it to do well. Nor did I expect big laughs from my Photoshop alterations. But I did expect that voters – who are required to write some sort of review in order to cast a vote – would comment on Hotel “Utata”, since they so often refer to Utata as a place you and your cheesy photos should, uh, “[go] off to.”

A prominent (brightened in Photoshop for added prominence) wire cable runs diagonally across the top of the picture. It would have been easy to remove. Most of the reviewers commented on the cable. Only a few mentioned the “Utata.” How could people critiquing a photo miss this detail? I’m not sure, but I think it has something to do with that shiny cable and the prominent turnbuckle on it.

It reminds me of a psychology experiment by Dan Simons and Christopher Chabris did to show how we often miss significant details when we’re concentrating on something else, the famous “Missing the 200-Pound Gorilla” study. In it and other variations that followed, you’re asked to count the number of passes of a basketball between a group of players in a circle. Meanwhile a guy in a gorilla suit walks through the circle and waves. If you’re counting the tosses, you tend to completely miss the gorilla.

Chabris’s discussion of the experiment plays some additional tricks on you to make the same point. In my aerospace days we often referred to the fact that when pilots have too much to do they omit things (task shedding); unfortunately, tasks are not shed on an inverse-priority basis but rather randomly. I’m not sure if the same thing is at work with Hotel Utata, but I’m reasonably sure you shouldn’t text photo critiques with an iPhone to your friends while driving an F-18.

DMU San Francisco 1-16-11

The Flickr Delete Me Uncensored group met in San Francisco on Sunday, January 16th. We walked through the Tenderloin, Union Square and the Financial District. The fun part of walking in a large group shooting the same area at the same time is comparing the results. I find that not only do other see the same things I saw but in a different way, they often see entirely different things. Some of what I saw is below. You can see what the rest of the group saw in this Flickr set.

Strand

Ellis Fog

Rhyolite

Rhyolite, Nevada, about one hundred miles northwest of Las Vegas, was named for the silica-rich igneous rock exposed in the area. In 1906, about a year after the first prospectors arrived there, Charles M. Schwab bought the town’s mine and invested heavily in infrastructure. The mine dried up a few years later. The banks pulled out a year or two later and by 1920 Rhyolite was abandoned. The three-story John S. Cook and Co. Bank, shown below, cost nearly $100,00 to build in 1908, then a hefty sum. It featured Italian marble stairways and imported stained-glass windows. Now a common stop for ghost-town enthusiasts and photographers, Rhyolite is a short detour off the route from Las Vegas to Death Valley. The best source of history on Rhyolite and Death Valley is Richard Lingenfelter’s Death Valley and the Amargosa: A Land of Illusion.

Rhyolite, Nevada

Nearly Driven to Abstraction

Because you're mineI nearly drove myself to distraction, but I decided to walk, taking in the scenery. I used a camera along the way.

Abstract photography covers quite a range. It seems to me that complete independence from visual reference works for painting, but not necessarily for photography. Abstraction now seems a bit too abstract a term to be meaningful in light of the directions within cubism, abstract expressionism, neo-plasticism and post-modernism. I’ll leave it to the theorists, cynics and critics.

Abstract art: a product of the untalented sold by the unprincipled to the utterly bewildered.  – Al Capp

History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody’s own vacancy. – Robert Smithson

How many people make themselves abstract to appear profound. The most useful part of abstract terms are the shadows they create to hide a vacuum. – Joseph Joubert

 It’s better to be wrong than vague. – Freeman Dyson

I hardly need to abstract things, for each object is unreal enough already. – Max Beckmann

 It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws. – Hans Hofmann

The longer you look at an object, the more abstract it becomes, and, ironically, the more real. – Lucian Freud

Metreon Rorschach

Tubes

The Works

Happy New Year.

Set the Clock in Your Camera!

I usually forget to reset the clock in my cameras for several weeks after Daylight Savings Time changes. Get on it.

Set Your Camera Clock!

Photographer’s Guide to the Golden Gate Bridge, Part 3

Photographer’s Guide to the Golden Gate Bridge, Part 3 – Langdon Court and Merchant Road
(see intro/pt 1 and part 2)

Golden Gate Bridge at DuskBoth these locations are at the level of the Golden Gate Bridge, near the toll gate. You can drive to both locations and park. One half hour after sunset, the bridge from the parking lot at the end of Langdon Court is a great shot all year. The main issue is tuning your white balance to trade between a blue sky and a red bridge. Since the sky is lit by natural light and the bridge and ocean are lit by incandescent lighting, you’ll need to make artistic decisions about color. If you show in RAW, you can obviously delay the white-balance choice til processing time. Otherwise white-balance bracketing makes sense, since it’s tough to color accurately on the small LCD display of a digital camera. As a starting point, note that a tungsten white balance (or tungsten film) on a clear night will result in an accurate bridge color but a sky that is way too blue for most tastes. In framing this photo, be conscious of the weeds and wild fennel that will try to enter the bottom right edge of the photo. You can decide whether to include them or not, but you might not notice them through a viewfinder in the dark.

The first two shots are from Langdon Court. The first, from the north end of the parking lot, uses Daylight white balance. The second, from a bit farther south, is partway between daylight and tungsten.

Access – from San Francisco, take the last San Francisco northbound exit off Highway 101, just before the bridge. The exit sign reads “Golden Gate National Recreation Area View Area”. At the stop sign turn right (Vista Access Road) and then in 150 feet another right at the next stop sign, Lincoln Blvd. Follow Lincoln Blvd for .26 miles (past the stop sign at Merchant Road) and turn right on Langdon Court. Follow Langdon Ct. through the paved parking lot and then around the left side of the old military structure to a gravel parking lot. This photo was taken from the northwest corner of the parking lot. The edge of the parking lot is no more than 20 feet from the top of the steep slope down to Baker Beach. Be careful not to fall off the edge in the dark.

Traveling southbound, proceed through the far right toll lane #1 (west side). Take an immediate right exiting Highway 101. Continue through the stop sign on Merchant Road. At the next stop sign turn right on Lincoln Blvd and an immediate right onto Langdon Court and continue as described above.

Map view

Golden Gate from Langdon Court

Location Langdon Court (37.8037 N, 122.4780 W)
Date/time Dec. 5, 2005, 5:26 p.m. PST (35 minutes after sunset)
Aperture f/8
Exposure time 8 sec.
ISO rating 100
35 mm lens length 108 mm
White balance/film type Daylight

 

Golden Gate Bridge

Location Langdon Court (37.8037 N, 122.4780 W)
Date/time Jul 17, 2001, 8:02 pm PDT
Aperture f/5
Exposure time 1.6 sec.
ISO rating 100
35 mm lens length 50 mm
White balance/film type Daylight

 

The Merchant Road shot works in all sorts of weather. Since traffic helps the slow shutter shots, shoot at rush hour to get a lot of brake and tail lights. Adjust aperture and film speed to get the right exposure time for the traffic speed. Five seconds is a good place to start. Too long an exposure and the traffic can disappear altogether. Follow the directions below to a point where you can set a tripod to line up the north and south towers of the bridge nearly perfectly. I used a large tripod fully extended to get above the vegetation.

A major spoiler of this type of photo is ghosting – the appearance of phantom headlights and street lights at a position symmetrically opposite of the actual light source in the image. These come from surface reflections in front of the lens aperture. Lens makers try to prevent the problem by multi-coating the glass surfaces inside the lens and using several types of glass with different indices of refraction. Lens filters, regardless of their claims of being multicoated greatly increase the ghosts in this type of photo so I don’t use them.

Merchant Road Access – from San Francisco, take the last San Francisco northbound exit off Highway 101, just before the bridge. The exit sign reads “Golden Gate National Recreation Area View Area”. At the stop sign turn right (Vista Access Road) and then in 150 feet another right at the next stop sign, Lincoln Blvd. Follow Lincoln Blvd for .25 miles to the stop sign at Merchant Road. Turn right on Merchant Road and go about a tenth of a mile to a dirt parking lot on the left (northwest) side of Merchant Road. Battery Godfrey will be in front of you. At this point there is a small hill (with a roadcut from the previous path of Merchant Road in it) that will get you up another 15 feet so you can look straight down the bridge roadway.

Traveling southbound, use the far right toll lane #1 (west side). Take an immediate right exiting Highway 101. Continue through the stop sign on Merchant Road. Follow Merchant Road about .1 miles and park at the parking lot on the right side of the road just before it curves to the left.

Map view

Bridge Traffic

Location Merchant Road (37.8045 N, 122.4763 W)
Date/time Jan 08, 2003, 5:59 p.m. PST (51 minutes after sunset)
Aperture f/5
Exposure time 2 seconds
ISO rating 100
35 mm lens length 300 mm
White balance/film type Tungsten

 

Golden Gate Weather

Location Merchant Road (37.8045 N, 122.4763 W)
Date/time Oct. 9, 2002, 1:08 p.m. PST
Aperture f/5
Exposure time 1/400 second
ISO rating 100
35 mm lens length 240 mm
White balance/film type Cloudy

Follow-ups, Jan. 23, 2010

In My Favorite Motivational Photo I mentioned a manager from Goodyear Aerospace who told me I was a sharp guy and that he understood why I left Goodyear. That guy was Robert Chin, a soft spoken man I barely knew while at Goodyear.  Purple HeartBob, who died on December 13, 2009 in Akron Ohio at age 84, is an example of why it’s incorrect to equate soft-spoken with weak.  His obituary reveals that after moving to the US from China, Bob graduated from Canton High, then became part of General Patton’s invasion force in England, was wounded in the Battle of the Bulge, and received a Purple Heart. He doesn’t seem to have mentioned this to anyone at Goodyear.

In Mightier than the Airbrush, I talked about bad photo retouching, Photoshop disasters, and foolish attempts by regulators to protect the public from deceptive photos. Some amusing websites dedicated to bad Photoshop technique, particularly in advertising, include Photoshop Disasters, Photoshop Gone Bad, and Photoshop Mistakes.

Another recent fake photo scandal involves the Natural History Museum’s Wildlife Photographer of the Year competition. This one isn’t about photo editing, but about a trained wolf being used in a photo that alleges to show a wild wolf. See the story on Treehugger.

Maybe it’s actually a good thing that these are the types of photo scandals in recent news – better than a few years ago when Reuters, the New York Times, and US News and World Report were the ones who couldn’t resist image manipulation to support their political leanings. Wikipedia now has a decent summary of the Adnan Hajj image manipulation story from 2006. A very thorough analysis of the proposition that Reuters was sympathetic to the aims of Hezbollah and used images that exaggerated Israeli force to build world pressure against Israel is at zombietime.com. Its anonymous author addresses digitally manipulating images, photos of scenes staged by Hezbollah, photos of scenes staged by photographers, and the use of real photos that were taken at a different time or place than that covered by the news story. The analysis is a good study for those interested in deception with photos, even beyond the scope of middle east politics.

On the topic of inappropriate no-photography policies (Everyone Loves a Photographer), friends report that now the U.S. Capitol Visitor Center has banned photography of any sort in its Exhibition Hall. Of the people… for the people compromised in the hands of some curatorial bureaucrat with a badge, I guess. 

A few recent shots of San Francisco at night on Rollerblades with a tripod:

Old Navy

John's Grill

Market Street

Happy to Be Here

We are living in the golden age of photography and people don’t realize it. We have capabilities to record, edit, print, publish and disseminate photos that were barely imagined a decade ago.

Photo technology has done some cool things since I got my first camera. I’ll mention just a few. The earliest big news in my photo career was the Olympus OM2N. This SLR, tiny compared to competitors then and now, had a meter that was accurate at -6.5EV, meaning auto-exposures in the 3 to 4 minute range. Nothing Nikon or Canon had came close. Better yet the OM2N performed real-time metering, meaning it processed changes in light level during the exposure; you could autoexpose a light painting. I don’t follow photo gear closely, but I don’t think any DSLR today can come close to the OM2′s metering. Mine lasted 20 years without a problem, scratched and dinged to hell because I carried it naked in a pack full of climbing gear.

Don BockFor me the most impressive change in film technology was the release of Ilford XP1, invented because the price of silver rose by a factor of eight in 1980 (scan of XP1 print at left, 1981). XP1, the first chromogenic (dye-based) black and white film, was rated at ISO 400, but gave fantastic results from ISO 25 to 1600. Its latitude was so great that you could practically pick any combination of aperture and shutter speed and get a great B/W shot. In other words, you could effectively switch ISO values from frame to frame within a roll.

The Nikonos 5, released in 1984, was an engineering wonder, and digital photography has nothing remotely equivalent (damn you, Nikon). It was nearly indestructible and served my caving, water sports and bad-weather needs for two decades. Its lens had giant, mechanical depth-of-field and focus indicators that let you plan focus and DOF of a shot (without looking thru the viewfinder of this non-SLR) like nothing that exists today. Think about using your DSLR in the cave environment shown below (original exploration of Cueva de Agua Carlota, Mexico, 1990), even with a plastic housing.

Cueva de Agua Carlota with the Nikonos 5For normal SLR work, I switched from Olympus to the Canon EOS  not because of EOS’s autofocus, but because the EOS Elan (EOS 100 – around 1991) had a big wheel on the back, the Quick Control Dial. That meant you could simultaneously change aperture and shutter speed (or aperture and exposure compensation) with your right hand without dropping the camera from your eye. This meant everything to a guy who had missed a lot of action shots. Interestingly, my EOS Elan also did eye-controlled focusing by tracking eyeball movement. Really. Canon’s competitors and some EOS users saw this as a useless gimmick. I loved it, especially for handheld macro work. The eye control also allowed you to glance up in the top left corner of the frame to a tiny red rectangle, thereby closing down the aperture without using the depth of field preview button (still today inconveniently located near the lens mount) to show actual field depth.

Nate with hat, Canon D30, 3 megapixelsIn 1992 I got to use a Kodak/Nikon DCS-200 at  the Comdex show in Las Vegas. This $25,000 early DSLR ran on the venerable Intel 80C196 processor and an internal 80-megabyte hard drive. Ooh. 1.5 megapixels. I also made a print on a digital printer that looked better than anything I had ever seen in all my years of Cibachrome, a print quality that museum seem so fond of and that I despised (and still despise). 

I bought the first consumer DSLR, the Canon D30, when it was release in late 2000. Its 3 megapixels serve as a great reminder that all pixels aren’t created equal. D30 images rival many digicams with several times as many pixels (see large version of D30 photo of Nate with his “Titleless” hat).

Enough reminiscing – now is where the future’s at - or so a guy with long hair once said. In some ways, all this history pales in comparison to very recent advances in all brands of digital cameras. The real news of DSLR’s last generation is high ISO. Where 400 was the reasonable maximum ISO on my D30, my 5D Mkii (and your Nikon D3x and probably others) can make very good images at ISO 3200. This is huge. An entire world of hand-held night shots and shots in dark museums that don’t allow flash or tripod just opened before us.

Also amazing, yet already taken for granted, is the fact that you can effortlessly publish a photo at no cost and write a description of it that will be found by a Google search one second later. Try it. Post your image, add a description involving a statistically improbable combination of words (e.g. “William Storage Agua Carlota”) and search for that text in Google. Voila, your photo.

Another unsung aspect of photography is truly of Gutenberg significance. For the price of two movie tickets and dinner at McDonald’s you can have Blurb or Lulu print a 75-page hardback book of your photos with an image-wrapped (casewrap) cover – not merely a photo dust jacket. That’s not a per-copy price based on an order of 1000; its the price for an order of one. In other words, there is no minimum order size and no nonrecurring setup fee. Edward Weston could not have imagined such a thing.

Finally, the most underutilized modern photo resource: peer review. When your friends and family tell you how wonderful your photos are it means they love you. Until a few years ago you had very little opportunity to get any impartial review, simply because there was little means of getting your stuff "Porcelain" Dahlia, Golden Gate Parkseen by strangers. Flickr and Picassa get you seen, but comments on your submission will tend to be positive or none at all. The culture of photo sites is not generally one of critical review. However, Flickr has a number of forums aimed at this problem; I’ve mentioned my favorite, Delete Me Uncensored, in previous posts. You can post a photo on DMU and receive intensely critical comments within minutes. After weeding out comments that stem from personal tastes of the reviewer and a few (surprisingly few, actually) that are ignorant or revengeful, you’re left with a free but nearly priceless resource - critical peer review. Reviewers unconcerned with telling you they love you will instantly find things in your photo that you never saw (e.g., they trashed my prized dahlia).  And they’ll clobber you with them. This can be a good thing. Posting on DMU requires that you first judge the recent postings there. Giving reviews will make you address your own criteria for what makes a good shot. Try it, and you might discover an increased awareness to those criteria next time you’re shooting.

These are good times for photographers. I’m happy to be here.

My Favorite Motivational Photo

 A leader of a web discussion group just asked us to post our favorite photo – not necessarily the one we thought was our best work, but the one that meant most to us. Loved ones and family members were to be excluded for obvious reasons. Friends were ok if something beyond the bond of friendship came through. I know that I’d never give the same answer to a question like that two days in a row, but for today at least, I’ll submit a shot from decades ago of a coworker chewing me out. I think this was my first shoot-from-the-hip stealth shot. I like this photo because it froze a moment of dialog that I wanted to capture as a motivational reminder – rather like those tacky posters go-getters decorate the office with. It played a role in my forcing myself to address the fact that I was in a job I hated, and that continued complacency might result in a lot of regret someday. I’d title this shot:

Chuck Beatty, 1984The Goodyear Aerospace Experience

Sometime in the mid 80s I was in men’s room when the division head of Goodyear Aerospace, Roy Wiseman, looked over at me and asked how I was doing in my new position as Technical Liaison to the Air Force. I said it was going well and that I thought there was a good opportunity to regain much of the spares business that had been lost to bogus parts suppliers. Congress had told the USAF Air Logistics Command to reduce spares cost by competitive procurement of aircraft brake system parts. These were the razor blade parts for which my employer, Goodyear Aerospace, had sold the razor; the ultra-high tech brake systems that safely decelerate the USAF fighters, bombers, and cargo transports. Over the previous ten years, most of the spare parts for the C-141, C-130, F-4, F-104, CH-53, F-16 and F-15 business had been lost, and Goodyear was not even allowed to compete on them. These parts were now in the realm of “Small Business Set-Aside” meaning that big guys like Goodyear couldn’t play.

 Goodyear had originally priced most of their aircraft brakes, like the well-known razor, very low, and the break-even point for some of them was never reached due to the set-aside of brake cylinders and disks – the razor blade equivalent in this business. One way to recover the business, while making the USAF a happier customer I reckoned, was to redesign many of those disks and cylinders, adding improvements based on the USAF’s failure data, resulting in new part numbers for detail parts and subassemblies. It would then take years for the small competitors to reverse-engineer the new stuff and get their bids in order.

 Great idea, said Roy. Let’s talk about it. So Roy called a big meeting, inviting big wigs from Engineering, Marketing, Contract Administration, and Field Service, including the three or four tiers of management in my own department. Finally I naively thought, my department head, who never recognized me as we passed in the hallway, might cough up more than a token raise.

Meeting day: Roy had studied his information his secretary had taken from me. He explained the whole thing without mentioning me directly, right down to the return-spring subassemblies of the F-4 brake housings. Aircraft count times times assemblies per plane times wear life equals tens of millions of dollars. And Bill Storage, he said, had suggested this approach.

After a few seconds of silence Jim Harry, manager of Marketing, spoke up from the back of the room. There were a few things that needed to be added to this discussion. Surprisingly enough, he said, standing up and walking to the podium, there was a similar initiative being worked by his own department. Roy took a seat and lit his pipe.

In fact, said Jim, if only Bill Storage had come to him with his idea, he would have directed him to Marion Henshaw, who was right now preparing a part-by-part prioritized list of regained sales opportunities, based on records of what we used to sell and no longer do. It now appeared that Roy’s whole presentation was a waste of time that could have been prevented if I had exercised good judgment by not really giving Roy any information in the bathroom when he asked for it. A political blunder they all thought for sure. I should have suggested the idea to my Group Leader, Ralph, who would in time have passed it up, maybe with a slight touch of supervisory improvement, to Section Leader Gary, who would in time get it to Charlie, the sub-head of the Department. He would have transmitted it, by means of my written communication to Ralph, annotated and no doubt corrected, along with a formal cover letter, to Chuck Sackett, my department head. Chuck, in theory, would have seen the wisdom of the idea, if advantageous to his own standing, and formally communicated it to other department heads and the office of Roy Wiseman, division head. Roy would then have taken recommendations from various department heads, including his long time companion, Jim Harry, who had challenged me in Roy’s meeting. Jim would no doubt have cleared it up, ultimately resulting in my being assigned to assist Marion Henshaw in preparing his list of candidates for redesign and regained sales.

Roy dismissed the meeting and I walked straight to Marion Henshaw’s cubicle - straight enough in fact that I got there before Jim Harry could. Marion, I said, let me see your list of candidates for reclaimed sales on the C-141 brake system. Jim Harry wants me to work with you on it.

As those who have lived a part of the movie Brazil might suspect, (or those who have worked in such a place as Goodyear Aerospace will by now know for certain) Marion Henshaw had absolutely no idea what I was talking about. Even after giving him a lot of background, Marion looked at me like I had two heads.

So it seemed to me Jim Harry’s response to Roy’s talk wasn’t a mistake or a small or even large exaggeration. I’ll never know what was in his head, but I could reach no conclusion but  that it was pure fiction. This fiction was perhaps born of the same stuff that caused many other lost opportunities for Goodyear, at the stake of a miniscule advantage for insecure workers fallen prey to rivalries at odds with success of the company. Perhaps Jim couldn’t tolerate the prospect that someone might for a second consider that his department wasn’t on their toes. Perhaps to avoid this reflecting badly on him, he sacrificed an opportunity for Goodyear that was worth tens of millions of dollars. Nothing ever came of the idea, except what I could implement piecemeal, under the management radar.

Some time later, Chuck Beatty and I sat in the diner of the Ramada Inn in Ogden Utah, talking about my story, lost sales, and politics at Goodyear. Chuck, a marketing man reporting to Jim Harry, was a sharp guy who seemed to me to be far from another standard corporate robot dweeb. Nevertheless he played the role because he liked being employed. He chided me for my recklessness in giving a straight answer to a division head with no consideration of the five lower levels of butt-kissing management (my wording, not Chuck’s).

“I want you to know something, Bill…”  Those were Chuck’s exact words at the moment I snapped that photo. The something was that I might not survive another stunt like that. I printed that photo, taken at our diner talk with a stealthy Olympus XA film camera in my outstretched left hand, and tacked it on the bulletin board in my bedroom. It was a reminder over the next year - though I had nothing at all against Chuck – of all I hated about corporate baloney.

A year later I quit and moved to California, and have never returned to corporate life. I took an independent consultant gig with one of Goodyear’s main customers, McDonnell Douglas (now Boeing). Sensibly, they kept me away from Goodyear for a year or so, but someone there resigned and I was thrust into the role of judging some kind of proposal coming from Goodyear Aerospace. I met Goodyear’s new head of Project Engineering, a man I had only spoken to once or twice in all my time at Goodyear, in a one-on-one at the McDonnell facility. He told me I was a smart guy and that he understood why I left Goodyear. Thanks… maybe so, I said.

Chuck, if you’re out there, give me a call. I want you to know something…

Chuck Beatty, 1984