the 37 minute homework

it is great to bring gear on a trip, and then to gather it, get all enthusiastic about the photowalks and what can be found. that is not what happened here. yes, yes, I packed 3 cameras, a suite of lenses, a tripod and they were not used. 

well, except for the compact and the phone.

not surprisingly, Los Angeles traffic ate up most of my time, and it was after a quick lunch, and before heading to the airport, that the industrial neighborhood (where the lunch Café is located) offered some 37 minutes to walk about and take some photos. the Walt Disney Concert Hall photo was taken while attending a concert, and was the only photo taken prior to the photowalk.

here are the fruits of it. the photos were taken with the iPhone 5S or the Fuji X20, and then "developed" with Snapseed's (Tune and Crop modules) on the phone or iPad, then applied the Film NC-1G* preset from the CameraBag2 app and adjustments made with the controls offered.

as usual, the photos are framed square (with the phone) and 16x9 with the Fuji. with these photos, and the 16x9 it is about simple subjects with a 1/3 layered framing — either vertically or horizontally. thus, industrial and people-less scenes are perfect for it.

the photowalk is not about taking amazing photos, but to think differently, execute and provide a challenge to the confined photograph that present the area, but also abstract it into something that belies its industrial nature.

* the Film NC-1B for black and white conversion

[ ps ] the post on facebook open for comments [ link ]

the internet in the workflow (part 2)

•A Shift In Workflow

in the first part [ link ], it was noted that the old way for many to work their photographs through a system/workflow for feedback, or understanding , was (effectively) no longer valid. for many, flickr was the sole source for many functions and results in sharing a photograph online. the decline of flickr, and the rise of mobile devices and apps-based photography, along with other sites picking up on disenchanted flickr users, meant that some sort of change was required.

one of the negative aspects of internet sharing was the urge to get a photo up and ready to share: maybe one per day, to maximize comments and activity on the photo. not surprisingly, this is not really a way for someone to take photography serious, never mind the distraction from social quid pro quo.

Becoming Independent

then, a new of thinking of how to use the internet for a photographic workflow is required. this new way has to be much more independent, to remove the dependency on one site, and perhaps shed the urgency that social-sharing brings into the selection, and processing, of a photograph — among many other issues affecting the process. 

this also means that one must begin to rely on repeated viewing of one’s own photographs to see how well they fit into the current vision.  this is not too different to listening to music, and with time seeing how the song details come into our way of hearing details, or it just is a “flash in the pan.”

since there is no urgency to post photos to the internet, it is good to work the photos all at once. that is, all of the photos constituting a potential project are gathered to consider which ones are suitable for further work on them, if any of them are needed. a lot of deletion should occur here, but it is only a first step. if some photos are just “soooo good,” then one can still do as before, and process one or two and post them in the process of the first step noted below.

•Use The Entire Internet

the steps, or segmentation, would be something like:

  1. post photos to fish for interest
  2. revisit sites to reconsider the work
  3. group the work into projects to “kill your darlings”
  4. complete the projects via book product and/or portfolio website


  • curate
  • shake up the process with Mobile Photography

for Step 1, the many social-photo sites are not as active in commentary about photography. just presence-actions like faves/likes, posting to groups (if available), and short 3-word comments are the norm. however, search engines and search through tags offer a way to put photos to bait for additional work, and the rare useful feedback. this step also offers a way to get some photos out while the entire project is being edited.

consequently, one can post one’s work to many sites — flickr, 500px, Instagram, etc. — without increasing one’s energy put into such endeavor. especially since editing software now has automatic uploads to many of these sites. 

because of Step 1, or because of Step 3, the biggest benefit is to look at one’s recent work against the old, and repeated viewing in varying context to reconsider if the photo is in final form. this is Step 2. perhaps a heavy-handed processing is noticed, or a change in composition to improve the impression comes as a result. in a way, Step 2 is on-going through Step 3... all the way until the end of Step 4.

the hardest element of photography is editing one’s work. not the presentation, but removing/deleting seemingly favorite photographs from a set to make the collected work stronger. Step 3 is about this process, through repetition and reconsideration. the repeated viewing that leads to re-editing the photo’s presentation also brings about a consideration of its strength in a group. it also becomes apparent how a body work “hangs together” and/or can be subdivided.

Step 4, while it is just about making a final selection of the photographs in a project, and giving them a portfolio — or final resting place — it is perhaps the most difficult of steps. this one is much more personal, and up to one’s personal demands on phoography. this step can be complemented, or substituted, by proceeding with a book project. the book forces a process of selection, flow, and possibly writing, which can be very enriching — even if the book is not to be a “big seller.” actually, it is best to make the book for oneself, rather than for an audience.

For Example... Kodiak Xyza on the Internets... woo hoo!

for Step 1, I post photos to flickr and 500px, though I do not care to post all of the photos to flickr, and posts a bit of the strong ones, once the project is near completion, to 500px since I am using the site as an intermediate portfolio. consequently, I post the photos in different sequence to each site to keep looking at the work.

the projects for effecting Step 3 are uploaded to Dunked [ link ], where they get revisited, and perhaps some subdivision of the projects take place. along with the project segmentation, it is good to write some words that would go with the photographs in a book.

for Step 4, I have a “resting” place for projects: A Touching Display [ link ], of which Wedding Photography is a very quick process to get to it — this is because the project is dealing with a client, and there is nothing to write about it.

it is good to shake up the normal process as well, and two ways is to look at photographs from other photographers, and pursue a Curation project. there are many sites to pursue this curation, especially if one wants to blog about it. I want to keep it simple and use tumblr: Moments After A Dream [ link ]. however, given the awkward “dashboard” in tumblr, there is no attempt to make a connections to other tumblrs, as the site is usually used just like twitter and Instagram: the idea of following and presence-interaction.

in some instances, one can see a scene in different ways that is dependent on the camera used, and I like to carry a couple of cameras, and one of them constitutes the mantra I am pursuing for Mobile Photography. (an article on this is soon to be posted, for now there is a preview on Dunked [ link ].) in this case, it is a way to shake-up the more contemplative approach to photography, and quickly decide on a preset, in my case from VSCOcam, and upload to VSCO Grid [ link ]

I quite like that Dunked and VSCO Grid are not social, and merely allow links to be provided to direct people to the work: people can look at the work as they wish, for however long they wish, and there is no need to make a presence-interaction of any kind.

from movies to photography

yes, paintings was the medium that informed photography in the early days, and perhaps would choke it to death, but for some photographers at the turn of the 20th Century that said... “hey, discover this.” 

in a simplification for the internets, and my bias of photography, these trails were dominated by Edward Weston [ link ] in one direction, and Paul Strand [ link ] in another. outside America, André Kertész [ link ] would be another force in this movement away from the grips of the painterly... and to “hey, discover this”.

perhaps for many in my generation, it is easier to watch movies throughout a longer period of life, thus an earlier start, than it is to be educated into the canon of photographers that began what we know as photography today.

in my case, Orson Well’s Citizen Kane made me take note of composition, and since I could not go after a movie camera, the question became: can I do that with photography? the magnificence of light, and Black and White tonality, would come at a later date. for now, I was tranced by the composition. in particular, the entrance into this scene:



perhaps it would have been Carl Theodor Dreyer’s Passion of Joan of Arc to offer the composition knock out, or German Expressionism since Fritz Lang’s « M » was also a knockout. however, silent film and early talkies were not something I sought in movies until recently.

many years passed since Citizen Kane until I was to be as shocked again about movies as inspiration for photography, though certainly many movies were appreciated for their cinematography in the interim — not the least The Godfather, 2001: A Space Odyssey, and Blade Runner —  despite the growing loudness and in-your-face approach taken by Hollywood; this loudness and obviousness is not only visually, but also with scripts/dialogue.

then, a one two punch with The Double Life of Veronique by (the much missed) Krzysztof Kieszlowski [ link ], and In The Mood for Love by Wong Kar-Wai. for the first time, colour was revealed as a useful tool in a photograph, that is, used as a language that felt rather intuitively correct and emotive. in a way, colour was not illustrating the frame, it was offering a layered translation over the composition and use of light: colour, like composition and tonality, was an emotive element in synch with my view of a frame.

meanwhile, from the late 1920’s, Yasujirō Ozu [ link ] in Japan was beginning to develop an impressive body of work, starting with silent movies in the late 1920s. a total of 53 films were made by Ozu, and 26 in his first five years.  

fast-forward to Ozu’s Floating Weeds, itself a remake from his silent film era,  and one of his four colour movies and done a couple of years before his death. then there is this scene:

which can be contrasted, many years later, to Wong Kar-Wai’s:

Christopher Doyle (cinematographer for In The Mood For Love), presents an insight that can apply to both cases:

«  what happens in Western Cinema is “look at this, you are so stupid, you don’t know what we are trying to tell you, let me tell you something”... and we say “hey, discover this”. » — [ link ]

this idea is relevant in spite of Doyle having a completely opposite attitude towards camera placement/movement to Ozu. since Ozu controlled the direction and composition, as well as co-writing the script, more of his vision makes it into the final frame. two key concepts seem to be often referenced to Ozu’s work.

Kieszlowski practiced these Western Cinema values, but Ozu cinematically propelled, in his movies, the photographic composition — via a stationary camera — and the idea of mono no aware ( “the pathos of things” ) [ link ] in a patina of wabi-sabi [ link ]. a stationary camera/scene has an immediate impact to a photographer seeing his movies — a non-photographic mind my relate to a fixed scene as what happens in a theater.

these teachings from Ozu then inform a longer journey into one’s own photography, which perhaps started with a big bang of Citizen Kane. the idea then evolves into achieving a shift from “omg, look at this photo!!1!1!” to a more calm “hey, discover this photograph,” which is proxy to discover the photographer: a much richer experience, most certainly.