I had planned to enter this in the Me and my Camera contest over on Google+, but looking at it now, I’m having second thoughts.
I’m not particularly fond of the composition, it would probably be better in black & white, and there’s all sorts of grain in the camera because I forgot to reset the ISO from 2 days ago.
So I’ll have another go at it in a day or two.
D7000. Sigma 30mm f/1.4. ISO400, 1/160th (AP mode), f/1.4, -1EV. Flipped, cropped, spot/stray hair/etc. removal, and maybe 30 seconds of slider play in Aperture.
This may or may not be my best attempt at the A Simple Tap event over on G+. Only time and distance will tell. But it’s the one I’m going to enter. I really like the lower half, and the top half has loads going for it too. Plus, it was shot with the Zomb-E, so GoGo.
D7000. Nikon 75-150mm f/3.5 Zomb-E Series. ISO400, 1/20th, f/3.5. SB-700, SU-4’d, at 1/128th, fired into the ceramic backsplash and triggered by the pop-up in commander mode. B/W conversion and about 3 minutes of slider play in Aperture.
Let me say straight off that I agree with his point. Loosely stated: so many pictures have already been made—and are, these days, always already being made—that we must strive to capture the “fleeting moments” within our subjects if we want to make memorable photographs.
This is especially true of Fine Art photographers, landscape shooters, abstractionists, etc., and has been true of people shooters at least since Cartier-Bresson’s Decisive Moment, and likely since the first artists scribbled on the walls of the cave.*
But I do have a minor quibble, stemming from this absolutely true, yet still somewhat curious, claim: “if I were a modern day Ansel Adams, my best photos… have probably been duplicated by dozens of like-minded photographers.”
First, Ansel Adams. Let’s take that picture of Half Dome that everybody knows, the one with the moon.
How many people have made that picture? How many people have tried to make a similar picture?
There has been exactly one picture of Half Dome and Moon made (or one negative and n prints), by exactly one person. And there have been numerous attempts, some more successful than others, perhaps some that might one day be even more well known, but there is only one “Moon and Half Dome” by Ansel Adams.
So there is duplication, and then there is duplication.
Sure, I can make a picture of Half Dome. You can make a picture of Half Dome. Everyone can make a picture of Half Dome: this is likely the duplication of which Mr. Chilvers speaks.
But all of these are simulacra: copies without an original. By the very nature of time itself, every picture of Half Dome is a unique picture of Half Dome. After all, you can’t step in the same river twice.
This is, of course, not A Lesser Photographer’s point: he wants to make a picture of Half Dome that carries some longevity within it, and likely some longevity out in the world, and not simply sitting on a hard drive or in some forgotten photo album. No, if we want to make memorable pictures, there must be something in them that is more or less unique, and this is where the fleeting moment comes in.
Now the question becomes something different: how to determine the fleetingness of the moment.
Does Half Dome have fleeting moments? On some measures of geologic time, I suppose it does, though these could never be captured by a digital sensor or on film, as the time scales are too long. In the Heraclitean sense, however, every moment is a fleeting moment, though, again, this is not what Chilvers means.
Perhaps the fleeting moment of Half Dome is one where the light is just so, and the Moon is precisely the perfect spot.
If so, that moment happened once, and will never again occur in precisely the same way. Even if the Moon were to be in exactly the same spot during precisely the same phase, there would be clouds, or birds flying, or some other thing that would make it some other fleeting moment, and not the fleeting moment that Adams captured so famously.
Despite the differences in language (and likely audience), I take this to capture the same sentiment found in the A Lesser Photographer post.
If I want my picture of Half Dome to have even half of the longevity of Ansel Adams’s Half Dome, my picture must have something that is does not, and that something must be something memorable or important or meaningful or especially aesthetic or whatever.
So, again, I agree with Mr. Chilvers. And I’ve offered nothing new here, and I’ve left much unsaid, and glossed over some bits that require more explication to have any meaning to most readers, and I should probably save this as a Draft and come back to it later, but I won’t: this is the curse of the 365.
D7000. Vivitar 70-210mm f/3.5 Series 1 (Kiron, maybe), in Close Focus mode. ISO400, 1/20th, f/8. 11 images, all with the same minimal adjustments to exposure, contrast, saturation, and vibrancy (less than 15 seconds of slider play on one image, then copied/stamped onto the other 10), plus a slight crop to remove some dead space.
And speaking of fleeting/decisive moments, did I pick the right one? Can you even tell which of the below I picked to be the 365 pic?
*to call these people ‘artists’ is likely inaccurate: they were perhaps priests or shamans, or perhaps adolescent taggers. But the they were capturing the fleeting moments of the hunt or some other otherwise mundane subject.
When I loaded this into the computer, my first thought was “That looks like a Jeff Koons painting!”
I’m somewhat less sure about that now, but it does look painted, does it not?
Well, it wasn’t.
D7000. Vivitar 70-210mm f/3.5 Series 1 (Kiron, maybe), in Macro mode. ISO100, 1/10th, f/3.5. Pop-up set in Commander mode, and the SB-700, SU-4’d, at 1/64th. Less than 20 seconds of slider play in Aperture.
I really expected to be frantically trying to find something to shoot for the 365 about now, but (and thankfully) I decided to check and see if any of the run-grab-the-camera-before-the-nice-neighbor-lady-freed-the-trapped-butterfly grab shots grabbed my attention…
Exactly one was in focus. Exactly one had a reasonable composition.
Given this was shot by prefocusing on the handle of the door (about 3 feet above this), then crouching and pointing the camera in the general direction of where I thought I might get a decent shot, and given that I only made 3 pictures (one, before this, had no butterfly at all; one after this had the butterfly mostly in the black frame section), and given that I shot this at f/1.4 with the Sigma 30mm, I think I did a pretty flipping good job.
Go me.
D7000. Sigma 30mm f/1.4. ISO100, 1/2000th (AP mode), f/1.4, -1EV. A very slight crop, and about 2 minutes of slider play (a slight dodge of the butterfly body, and some levels adjustments) in Aperture.
And anyone have any idea why Aperture didn’t record the EXIF on this one? I reuploaded the original file, and got the EXIF data just fine. I hope this isn’t an indication of some strange Aperture bug, especially after finding that iTunes is still randomly deleting music from my external storage with absolutely no indication (other than the ! when I go to play the missing tracks, and the CCC archives I have set up).
This was shot for the Nature in Monochrome event on Google+, sort of at the last minute, and only after I found out that the pictures I made earlier in the day were mis-focused.
I guess this works, in a sort of noir kinda way, but I’m not very pleased with it. Oh well.
D7000. Nikon 75-150mm f/3.5 Zomb-E Series. ISO100, 1/125th (AP mode), f/3.5, -1EV. Black & White conversion and maybe 5 minutes of slider play in Aperture.
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