It's the most boring lens I've ever owned.
I'll never get rid of it, of course, because sharpness and speed and accurate color are things you need for voyeurism of the journalistic variety.
But...there's no way of getting around it...it's boring.
Tuesday, May 23, 2006
Sly Tech
Recently I came across a great deal on a very nice piece of glass, a long telephoto zoom that opens up to an aperature of 2.8. A very, very nice piece of glass. And it captures nice images. Crisp, sharp details, full of nice color and contrast.
It's the most boring lens I've ever owned.
I'll never get rid of it, of course, because sharpness and speed and accurate color are things you need for voyeurism of the journalistic variety.
But...there's no way of getting around it...it's boring.
It's the most boring lens I've ever owned.
I'll never get rid of it, of course, because sharpness and speed and accurate color are things you need for voyeurism of the journalistic variety.
But...there's no way of getting around it...it's boring.
Saturday, May 13, 2006
Flowers for Vincent
About 20 years ago, the art world went through a spasmodic love affair with Vincent van Gogh. It turned out a lot of the high prices were complete bunk - artificially inflated, Enron-style - but however you looked at it, van Gogh was, for a little while, the be-all and end-all of painting. Personally, I didn't get it. Then a few years later, I saw my first "live" van Gogh.
And I got it, instantly.
Van Gogh does not translate on a flat page or screen. He painted in three dimensions, piling and shaping the paint until the shadows of the textures intermingled with the shadows of the image he was recasting. It's not sculpture, it's far more subtle than that, but the end result is a visual sledgehammer.
And I got it, instantly.
Van Gogh does not translate on a flat page or screen. He painted in three dimensions, piling and shaping the paint until the shadows of the textures intermingled with the shadows of the image he was recasting. It's not sculpture, it's far more subtle than that, but the end result is a visual sledgehammer.
Sunday, May 07, 2006
Steel
Some day in the future, large metallic objects may be too valuable to be left lying around, waiting for someone with a vision to turn them into something interesting. Fortunately, that day is not yet here.
Taken near Michael den Hertog's Granville Island studio. LensBaby, with a little grain mixed in.
Taken near Michael den Hertog's Granville Island studio. LensBaby, with a little grain mixed in.
Mobitel Camera
Somewhere in the archives I have an image of Emily and her grandfather at the Tour de Gastown. It had that quality about it where all references to space and time seemed to be removed: it could have been taken nearly anywhere in the Western world, nearly anytime in the past century.
This is not that photo, but for some reason it reminded me of it. Or maybe I'm just perpetually seeing the world through Daddy Eyes, and what triggers my subconcious is seeing my daughter with her grandfather.
Who knows?
The astute viewer will notice this one doesn't get bigger when clicked: it was taken with a camera phone, 1/3 megapixel resolution.
This is not that photo, but for some reason it reminded me of it. Or maybe I'm just perpetually seeing the world through Daddy Eyes, and what triggers my subconcious is seeing my daughter with her grandfather.
Who knows?
The astute viewer will notice this one doesn't get bigger when clicked: it was taken with a camera phone, 1/3 megapixel resolution.
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