Tuesday, December 21, 2010
Tuesday, November 30, 2010
FUD - Fear Uncertainty and Doubt
Black Star Rising.
For Photographers, the Future Is Storytelling
Most still photographers say their best pictures tell stories. To a limited degree, this is true. But photographers need to start thinking about more complete and complex stories, not just the best story they can tell in a single frame. This is where the opportunities lie.
Currently, there is such an abundance of single-frame stories, created by amateurs as well as professionals, that the market is saturated. It has become difficult to compete. Amateurs are taking a significant share of the market for this type of imagery.
Telling Customers’ Stories
Some still photographers are reluctant to get into multimedia or video because they see amateurs producing videos for YouTube and expect the competition in that arena to be just as fierce as it is in the stills market. However, many of these videographers are either telling their own story, or not much of a story at all.
The key to success for the professional videographer — and there will be lots of growing demand for this — will be in finding customers who have a story they want told and telling that story effectively.
Here is one example of where demand will be: 80 percent of those who travel go online for travel information. Those who view a video online are 20 percent more likely to visit the destination. Will all types of vacation and travel facilities be anxious to tell their story with a video or multimedia presentation?
Multi-frame stories with sound, narration and sequence are much more complex to produce than a still image. Consequently, those who can produce such stories are likely to face less competition from amateurs.
The Evolution of the Picture Story
Fifty years ago a picture story was a 10- to 15-page epic in Life or Look, usually with brief captions, and maybe seven to 20 images. These stories gave the reader a larger understanding of a situation or event than any single image could convey.
Today, such still-photo picture stories have all but disappeared due to lack of space in print publications. Now, the pictures in magazines and newspapers are usually one shot supporting a long text piece.
There is a movement in the publishing business to show more still images related to a story on their websites, but the pictures and the text (other than captions) usually aren’t directly connected. Some publications are also putting videos on their sites.
In some instances still pictures are very powerful, but seldom, if ever, will a single still image supply as much information as a sequence of images supported by sound, music and an appropriate verbal story.
An Unmet Demand
The only thing that is holding back an explosive demand for multimedia and video content is the ability of creative people to think in terms of telling stories rather than producing single images.
It was clear from the seminar offerings at last month’s PhotoPlus Expo that many image producers are trying to learn more about video and multimedia. Most of the seminars on these subjects were packed.
By contrast, no one showed much interest in stock. There used to be a whole track on stock at PhotoPlus. This year there was one seminar and it was on microstock. On the trade show floor there was no evidence whatsoever of anything relating to stock photography.
One thing that came through loud and clear for anyone interested in getting into video was that it will not be an easy transition. It is not just a matter of buying new equipment. There is a lot to learn about storytelling that most of today’s photographers have either forgotten or never learned.
A Different Mindset
Producing a multimedia or video story requires a totally different approach and mindset from that used by most still shooters.
When shooting for print, photographers tend to assess a situation, determine the prime or most important angle and ignore photographing any other aspect of the situation. Their focus is to capture single, exciting, dramatic moments in time.
After they have captured their “moment,” someone else will write a story that may or may not closely relate to the photographer’s moment.
With a multimedia or video story, words and imagery must support each other and be harmonious. At the outset, the photographer needs to have a clear understanding of the story that needs to be told and how the images will relate to and support the words, and vice versa.
In her PhotoPlus Expo presentation, Paula Lerner pointed out that sound is at least as important as the images in any story. A story with so-so images and great sound will be fine. One with great images and so-so sound will likely lose viewers’ interest.
Words and Images in Harmony
Lerner often does her interviews first, edits the audio and on commercial jobs gets approval of the audio before she starts shooting. Then she illustrates the audio story.
To understand more about how this is done, and where future demand lies, look at some of the stories on the experiences of individual students that Paula produced and shot for Boston University Sargent College and BU Admissions.
Producing a story by doing the audio first isn’t always possible, although Paula finds it preferable. Often it is necessary to shoot as the story develops. When working in this way, it is important to shoot wide, medium and close-up shots of every situation in order to have visuals that will cut with the audio and cover every aspect of the story thoroughly.
In multimedia stories, most images will only be seen for two or three seconds — sometimes less. If a sentence or a paragraph goes on for 10 or 15 seconds to make a certain point, it is necessary to have a variety of related images that amplify the point in order to hold the viewer’s interest.
Because each image is viewed for such a short period of time, every image must be easy to read. Sequence becomes much more important than having an image that someone might examine in all its subtleties if it were displayed in print or on an art gallery wall.
This often means simpler images, each one showing a different aspect of the overall situation. When strung together properly, such a sequence can have more information-conveying power than any single still image. Appropriate images will also be needed when transitioning from one point to another in the audio.
Getting Started
Lerner suggests that still photographers start out by learning sound and editing and using stills for the visuals before moving to video. Shooting video with pans, dollies, follow focus and maybe a whole different type of lighting adds another whole level of complexity to the production that can easily overwhelm those just starting out.
Learning to put together a story, get quality sound and learning to use Final Cut Pro or other editing software is more than enough of a challenge for the beginning storyteller. Once you’re comfortable with these skills, start adding video to your repertoire.
Some other sites that can provide insights into how stills can be used effectively in multimedia projects include:
- The work of Brian Storm’s MediaStorm. Be sure to look at the “Intended Consequences” and “Common Ground” pieces. Many of these pieces were done for non-profit organizations. Some people think that “non-profit” means doing the work for little or no money. However, many non-profits are prepared to pay competitive rates and find that good multimedia presentations are very helpful in their fundraising efforts.
- The New York Times is doing an extended series of multimedia presentations called “1 in 8 Million,” which chronicles the lives of individual New Yorkers in their everyday jobs.
- Also be sure to look at Lerner’s series on “The Women of Kabul.” Lerner says that editorial work is no longer a way to make money, but she does it to tell stories she feels strongly about. Having these pieces in her portfolio has also helped her get the more lucrative commercial and non-profit work.
Luminous Landscape
Currently, there is such an abundance of single-frame stories, created by amateurs as well as professionals, that the market is saturated. It has become difficult to compete. Amateurs are taking a significant share of the market for this type of imagery.
Telling Customers’ Stories
Some still photographers are reluctant to get into multimedia or video because they see amateurs producing videos for YouTube and expect the competition in that arena to be just as fierce as it is in the stills market. However, many of these videographers are either telling their own story, or not much of a story at all.
The key to success for the professional videographer — and there will be lots of growing demand for this — will be in finding customers who have a story they want told and telling that story effectively.
Here is one example of where demand will be: 80 percent of those who travel go online for travel information. Those who view a video online are 20 percent more likely to visit the destination. Will all types of vacation and travel facilities be anxious to tell their story with a video or multimedia presentation?
Multi-frame stories with sound, narration and sequence are much more complex to produce than a still image. Consequently, those who can produce such stories are likely to face less competition from amateurs.
The Evolution of the Picture Story
Fifty years ago a picture story was a 10- to 15-page epic in Life or Look, usually with brief captions, and maybe seven to 20 images. These stories gave the reader a larger understanding of a situation or event than any single image could convey.
Today, such still-photo picture stories have all but disappeared due to lack of space in print publications. Now, the pictures in magazines and newspapers are usually one shot supporting a long text piece.
There is a movement in the publishing business to show more still images related to a story on their websites, but the pictures and the text (other than captions) usually aren’t directly connected. Some publications are also putting videos on their sites.
In some instances still pictures are very powerful, but seldom, if ever, will a single still image supply as much information as a sequence of images supported by sound, music and an appropriate verbal story.
An Unmet Demand
The only thing that is holding back an explosive demand for multimedia and video content is the ability of creative people to think in terms of telling stories rather than producing single images.
It was clear from the seminar offerings at last month’s PhotoPlus Expo that many image producers are trying to learn more about video and multimedia. Most of the seminars on these subjects were packed.
By contrast, no one showed much interest in stock. There used to be a whole track on stock at PhotoPlus. This year there was one seminar and it was on microstock. On the trade show floor there was no evidence whatsoever of anything relating to stock photography.
One thing that came through loud and clear for anyone interested in getting into video was that it will not be an easy transition. It is not just a matter of buying new equipment. There is a lot to learn about storytelling that most of today’s photographers have either forgotten or never learned.
A Different Mindset
Producing a multimedia or video story requires a totally different approach and mindset from that used by most still shooters.
When shooting for print, photographers tend to assess a situation, determine the prime or most important angle and ignore photographing any other aspect of the situation. Their focus is to capture single, exciting, dramatic moments in time.
After they have captured their “moment,” someone else will write a story that may or may not closely relate to the photographer’s moment.
With a multimedia or video story, words and imagery must support each other and be harmonious. At the outset, the photographer needs to have a clear understanding of the story that needs to be told and how the images will relate to and support the words, and vice versa.
In her PhotoPlus Expo presentation, Paula Lerner pointed out that sound is at least as important as the images in any story. A story with so-so images and great sound will be fine. One with great images and so-so sound will likely lose viewers’ interest.
Words and Images in Harmony
Lerner often does her interviews first, edits the audio and on commercial jobs gets approval of the audio before she starts shooting. Then she illustrates the audio story.
To understand more about how this is done, and where future demand lies, look at some of the stories on the experiences of individual students that Paula produced and shot for Boston University Sargent College and BU Admissions.
Producing a story by doing the audio first isn’t always possible, although Paula finds it preferable. Often it is necessary to shoot as the story develops. When working in this way, it is important to shoot wide, medium and close-up shots of every situation in order to have visuals that will cut with the audio and cover every aspect of the story thoroughly.
In multimedia stories, most images will only be seen for two or three seconds — sometimes less. If a sentence or a paragraph goes on for 10 or 15 seconds to make a certain point, it is necessary to have a variety of related images that amplify the point in order to hold the viewer’s interest.
Because each image is viewed for such a short period of time, every image must be easy to read. Sequence becomes much more important than having an image that someone might examine in all its subtleties if it were displayed in print or on an art gallery wall.
This often means simpler images, each one showing a different aspect of the overall situation. When strung together properly, such a sequence can have more information-conveying power than any single still image. Appropriate images will also be needed when transitioning from one point to another in the audio.
Getting Started
Lerner suggests that still photographers start out by learning sound and editing and using stills for the visuals before moving to video. Shooting video with pans, dollies, follow focus and maybe a whole different type of lighting adds another whole level of complexity to the production that can easily overwhelm those just starting out.
Learning to put together a story, get quality sound and learning to use Final Cut Pro or other editing software is more than enough of a challenge for the beginning storyteller. Once you’re comfortable with these skills, start adding video to your repertoire.
Some other sites that can provide insights into how stills can be used effectively in multimedia projects include:
- The work of Brian Storm’s MediaStorm. Be sure to look at the “Intended Consequences” and “Common Ground” pieces. Many of these pieces were done for non-profit organizations. Some people think that “non-profit” means doing the work for little or no money. However, many non-profits are prepared to pay competitive rates and find that good multimedia presentations are very helpful in their fundraising efforts.
- The New York Times is doing an extended series of multimedia presentations called “1 in 8 Million,” which chronicles the lives of individual New Yorkers in their everyday jobs.
- Also be sure to look at Lerner’s series on “The Women of Kabul.” Lerner says that editorial work is no longer a way to make money, but she does it to tell stories she feels strongly about. Having these pieces in her portfolio has also helped her get the more lucrative commercial and non-profit work.
Luminous Landscape
Where Do We Go From Here?
Trying to forecast this industry (stills and video) is a mugs game. Not even the major companies with their marketing gurus and product specialists can accurately see more than a couple of quarters into the future. The rate of change of both technology and the marketplace is simply too fast for Five Year Plans, or even two years.
Clearly the revolution that started in photography some dozen years ago with the switch from film to sensor, continues to evolve unabated. During that period, just a decade or so, the video industry has seen the transition from tape to solid state, from SD to HD, and now from small sensors to large sensors. RED has shown that professionals want and need raw video, just as still photographers do, and its only a matter of time, now that the new generation of video cameras use much the same sensors as those in DSLRs, that raw video will become available from the major Asian players, not just Ari and RED.
Not long ago we thought that the revolution would come in the form of still cameras that could also shoot video. We weren't wrong in that. But still photographers aren't really interested in shooting video. Videomakers are interested in shooting video, and they want the best tools that they can get at the lowest possible price.
Till now the video DSLR has been their choice because it's been the only game in town at the sub-$7,000 price point. But that changes as of now, and it's likely that a year or two from now we'll see very few DSLRs being used in video production.
But, Panasonic and Sony are sitting in a commanding position when it comes to stills / video convergence. Sony has its E series lenses used on NEX stills and video cameras, and Panasonic its Micro Four Thirds lenses shared with its G series stills cameras and new AF series video cameras. Because of their short back focus distance (due to the mirrorless stills design) both company's stills and video cameras can also take a wide range of legacy lenses from many manufacturers, including the all-important PL mount from the movie industry.
It therefore seems that the decision by both Sony and Panasonic to pursue the mirrorless stills/video convergence market was a sound one, well thought out in advance, in broad stokes if not in specifics and timing. Both companies stand to benefit from this foresightedness.
What About Canon and Nikon?
Of course Nikon and Canon are two giants of the traditional DSLR industry. Neither is as diversified as Sony and Panasonic in consumer electronics, but Canon has long been a player in prosumer and prosumer video, as well as broadcast video optics. Nikon has world-class lenses, but has never been a player in the video world at any level. (Nikon used to make some pretty cool Super-8 film cameras though). Both companies also have sensor design capabilities, but of the two only Canon owns its own sensor fabrication plant.
Curiously, though Canon stumbled into becoming the leader thus far in larger sensor video DSLRs, and Nikon has been introducing video capable models at a fast clip as well, neither company has yet seen fit to release either a dedicated large sensor video camera or a mirrorless DSLR (for lack of a better name).
Whether this is because they are afraid of cannibalizing their own high margin DSLR market, or some other reason, the fact remains that the fastest growing market segment at the moment are mirrorless convergence cameras, and neither of the two industry stalwarts are playing (yet). It will be interesting to see if they allow Panasonic and Sony to continue to eat their lunch in this segment.
Wednesday, September 1, 2010
HighTide Gallery September Show Tom Elliott
Tom Elliot is showing three large format works at HighTide Gallery
www.hightidegallery.com
Tom a long time photographer was a founding member of Photoforum NZ and has not shown much work in public of late , although he has shot consistently over a long time.
Formats including 35mm 5x4, 10x8 film and digital have all been brought to different periods of Toms work..
Tom travelled to the United States to workshop with large format experts Michael A. Smith and Paula Chamlee, specialists in Pyro developement and Azo Papers. Tom's work with his 10x8 was mostly to the negative stage, and only recently has he started scanning these to print.
Tuesday, August 31, 2010
No.8 Wire workshop @ Magical Mangawhai Sept 11.12.
From big events to small backwaters, and in sheds all over the country, maritime photographer Paul Gilbert has been documenting NZ’s classic heritage vessels for more than 20 years.Depending on leads from a network of boating and history enthusiasts, he travels widely to document the rich and varied history of the nation’s watercraft.
Paul documented the relaunch in Waiuku of the scow Jane Gifford , its sad demise beside skips full of her rotting timbers at Orakei and her near miraculous, resurrection and re-commissioning in Warkworth.
A regular attendee at The Tall ships Regatta in the Bay of Islands and a keen sailor on Northland's east coast, Paul is responding to demand and running a photographic workshop at
Milestone Cottages in Mangwahai this month.
http://www.milestonecottages.co.nz/Accommodation/SchoonerCottage/tabid/24329/Default.aspx
Drawing on his many years experience as both a technical commercial and fine arts photographer, he has been more recently teaching photographic technique in a tertiary art school setting, freelancing, mentoring and running workshops.
Paul is looking forward to sharing his knowledge and experience from a wide background in photography, in a course described as “a No.8 wire” approach to creative freedom.
The emphasis will be on getting the most from digital cameras, demystifying the menus and gaining control of technology to express creativity.
“Small numbers and a stunning venue overlooking the Mangawhai estuary will allow for a personal, inclusive approach in which all ranges of experience are catered for and skills moved ahead,” Paul says. “Of course, the chance to find new projects and boats to document is never far from my mind either.”
The course will be run on the weekend of September 11 and 12.
Images: Examples of Paul Gilbert's work. For more info: www.aquapx.com
Thursday, August 26, 2010
Tuesday, August 24, 2010
from the 2 inches behind the viewfinder: Really good cogs
from the 2 inches behind the viewfinder: Really good cogs: "http://readingthemaps.blogspot.com/2010/08/getting-technical.html"
NZ Government Lift Your Horizons For GODZONE now!
HELPLESS IN PARADISE.
We, KIWI's could lead the world in sustainable energy,
Solar ,
Tidal ,
Wind
Energy Opportunity's Abound !.
Failure to respond decisively at governmental level NOW! Will surely jeopardise any sustainable solutions, being economically installed.
Failure to respond decisively at governmental level NOW! Will surely jeopardise any sustainable solutions, being economically installed.
Will our government leave us
Helpless as PEAK OIL
Impacts our ability to bring about effective change in NZ's infrastructure within the next 5yrs,- a generous lead by many accounts, before the downturn and collapse of the economic global oil supply chain.
Preserve for your kids, a quality of life,
that our size, location and environment
have blessed us with.
We need socially responsible Government
with a long term sustainable vision,
for our isolated position globally
into the future
Not grasping capitalists, looking at gouging their fill, in their next 3 yr term.
Tuesday, August 17, 2010
from the 2 inches behind the viewfinder: Mayday Mayday Mayday ! What May day ?
from the 2 inches behind the viewfinder: Mayday Mayday Mayday ! What May day ?: "The emergency call that rang out, said that there was a diminishing head count of P.O.B.'s , in this case it was `Photographers on Boar..."
from the 2 inches behind the viewfinder: Bronze, a link to the past
from the 2 inches behind the viewfinder: Bronze, a link to the past: "I am actively searching for bronze fittings for my new boat. Many people have helped and a selection of fine bronze is accumulating as the r..."
Bronze, a link to the past
I am actively searching for bronze fittings for my new boat. Many people have helped and a selection of fine bronze is accumulating as the refit progresses, My recent knee operation was a great success and didn't stop me wrapping the hinge in glad wrap and electrical tape , and plunging into deep mud to recycle fittings off a rotting hull 2 days after the operation.
Of course I had some assistance, Many thanks to Mark, his new toy, and Pete.
I am currently reading about the early Euro discovery of the Americas and Farley Mowats
`The Farfarer's' chronicling the earliest seafarers in the far north, predating the vikings and learning that ivory, copper and bronze has ages immemorial long association with men of war and the sea.
My boat already having two names, I am in flux regarding her name at relaunching.
Tiana, originally named after a lost daughter in Tahiti by the builder
Waylany, re-christened by the Swede who registered her as Swedish ship
Maybe
Artemisia, Long a favorite of mine
or
Farfarer ? a return to her northern design origins
email me with your thoughts.
This blog is replacing the Ning water Photographers blog site , so please email your contributions to aquapx@gmail.com .
Blog in the subject line.
Paul.
Of course I had some assistance, Many thanks to Mark, his new toy, and Pete.
I am currently reading about the early Euro discovery of the Americas and Farley Mowats
`The Farfarer's' chronicling the earliest seafarers in the far north, predating the vikings and learning that ivory, copper and bronze has ages immemorial long association with men of war and the sea.
My boat already having two names, I am in flux regarding her name at relaunching.
Tiana, originally named after a lost daughter in Tahiti by the builder
Waylany, re-christened by the Swede who registered her as Swedish ship
Maybe
Artemisia, Long a favorite of mine
or
Farfarer ? a return to her northern design origins
email me with your thoughts.
This blog is replacing the Ning water Photographers blog site , so please email your contributions to aquapx@gmail.com .
Blog in the subject line.
Paul.
Monday, July 26, 2010
Sunday, July 25, 2010
Boatshed time in the City of Sails
The boatsheds at Orakei , on Ngapipi Rd face the setting sun on a full moon tide.
Monday, July 19, 2010
Winter maintenance
Hardstands and slips are getting busy as winter maintenance is undertaken and the scars and improvements following a long glorious season in the City of Sails are tended to.
Tradditional coastal replica Ripple is hauled for her topsides paint to be stripped and a coat of oil stain finish applied. Her builder Ralph Sewell saturated her redwood timbers with linseed oil when he built her and this has had her throwing off paint ever since, so skipper Rodger Morris is stripping her topsides right back and revealing her woodenheart. Bravo!
Tuesday, June 8, 2010
Monday, May 31, 2010
Electric car
Sunday, May 30, 2010
Night watch Blue Coffee Mug from Zazzle.com
Do check out my funky online gifts for Fathers Day or the Sailor in your life.
Here's my latest addition to the range of cards mugs and Tee's in my store.
Friday, May 28, 2010
Where will the oil go?
These images show that this catastrophe is in effect contained and therefore potentially disastrous to all the shorelines in the Gulf of Mexico, and the approaching Hurricane season will soon be the potentially the predominant force at play.
The leak must be stopped.!
Tuesday, May 25, 2010
Monday, May 24, 2010
Mayday Mayday Mayday ! What May day ?
The emergency call that rang out, said that there was a diminishing head count of P.O.B.'s , in this case it was `Photographers on Board' .The question is, should that be a Securitae Securitae, Pan Pan, or a genuine Mayday ?
Well this May day, the 25th /2010 with the overheated and shifting market for images proving elusive even to the young and savvy and baffling to the established players, the question is a fair one.
The digital democratisation of photography, global dominance of the image stock market by Getty and Corbus, the proliferation of micro stock and royalty free imagery, has started to severely impact the established model and methodology of making a living as a professional photographer.
Litmus tests that I have logged, have seen package image deals from these major players dominate local editorial content, the news that Getty were trawling Flickr for stock really sounded the beat of the new drum to me.
Local specialist photographic magazines stopping print, photographic blog list owners abdicating with notice of their new ways of finding income, and every tertiary institution turning out a flood of talented media smart players into a traditional market model that is wallowing in uncertainty and direction but exploding with potential.
The Digital Democrotisation of Photography -TDDOP- what does that mean?, well in my view its the `Kodak Moment' reincarnate, but on a level that challenges the void that separated the snapshot album from the professional's portfolio.
Powerful digital capture powered by increasingly intuitive and customizable software is putting high end photographic imaging into the hands of tyros, bringing into question rightly or wrongly the place of trained skilled photographic practitioners in the market place. Or Does it ? Certainly in this period of transition it is being challenged and championed by our graduates entering and revolutionizing the face of visual media.
Questions to ask.
Does the ubiquitous plethora of visual imagery that surounds us, devalue its punctum (impact) ?
Are we therefore, less critical of established quality judgements over raw input and processing, within accelerated and compressed attention spans ? .
Is this shifting attention span no longer devoted to lingering over and devolving the still image's message?
How can this medium compete on paper against the multi layered digital platform.
By this I mean, are we using and interpreting visual (still) imagery as devalued currency in a changed digital environment.
Consider the merge of HD video capable still slrs , utube, phone cams, web app's and 3d TV into our visual indexing of instantaneous world events via the web. Print news media have been sending photojournalists out with HD video and frame grabbing the front page for some time in the US and beyond.
Media rich web content and fluid transfer of this multimedia across the digital landscape will redefine the palette and interpretation of the creative output as we knew it.
I say knew as apposed to know it , because photographic imaging has come out of an unusually stable period of capture on silver emulsion on a flexible acetate backing and liquid chemistry, defining its presence from a previously relentlessly shifting platform of support capture and stabilisation.
So what separates this shift to pixels and software in its evolution as a visual medium ?
Automation,flexibility, cost, image manipulation and the ability to contain the full process to a common home user platform. This combined with high speed transmission and access by a huge audience in cyberspace have been the defining shifts.
That describes the process and environment, what then of the content and values apportioned to this capture medium and its status in commercial and fine arts contexts ?
Does the content receive less kudos amid these quicksands of perception ?
Or are fashion style, and period the only immutable signposts to reinterpret.
Institutions are faced with the shift in allocating facilities , with the purpose built infrastructure of wet darkrooms competing for space with vastly more flexible digital workstations. Some that were scraped early have been partially reinstated, and decisions on preserving elements of surviving facilities are being hotly debated.
The ability to cross platform so many references to traditional media digitally has seen a shift in boundary's within established art practice. Not surprisingly this has been debated and defended by traditional practitioners.
An overview of process and familiar context, point toward the preservation of the silver gelatin process within the stable of Print, already hosting a catalogue of historic and signature processes that have remained active within the larger print family, and so perhaps will the silver gelatin photographic process be adopted into its fold for its distinguishing qualities.
Indeed recent trends have seen a return to retro processes, perhaps as a reaction to the perceived homogenous nature of binary digital representation.
The question remains , will there be sufficient demand to send bulldozers out and trucks to deliver raw materials to dedicated mechanized plants devoted to the `old' process. Economic indications are not favourable.
So then, what of the business captured through the viewfinders rectangle.
Well if it's to be the message, not the medium then truly its the concern of the most flexible and powerful tool in our arsenal .
Ultimately its `the two inches behind the viewfinder' that all before is manipulated ,interacted with and diminished by.
The challenge at hand is the adaptation and application of excellence to the emerging creative palette and the transmission of concept emotion and authenticity that will define the road forward.
Some things simply don't change.
Saturday, April 17, 2010
Sunday, March 28, 2010
Big Brother and the Holding Company
I guess this gives a new twist on the title of the old song.
When visiting the Iconic whale watching tourist destination of Kaikoura in New Zealand's South Island, I was hugely impressed with the public toilet.
I did note the `no tolerance for graffiti' sign outside bravo!,
complete with photos of offenders and the resulting lack of
defacement in a spotlessly clean facility.
Terrific , well done !
I was restfully reflecting on this pro active initiative while perched
securely in a stall ( and spotless it was) as I entering into my
daily contemplation of planetary movements
WHEN!
I glanced up ?
"Here the photo can best describe the view."
Suddenly the experience took on a whole new dimension.
I was not especially expecting an interactive experience, in this bastion of privacy.
a sudden rush of questions flooded my ...well mind.
Simultaneously all other motion froze,
I felt like a possum in the headlights of the council rubbish truck,
my life flashed before my eyes and I was incapable of reaction ,so stunned was I.
Was it a link to Kaikoura Council headquarters ,
in colour?,
with sound bites ,
was it sublet to a pay channel on Internet TV ?
- utube perhaps ?
Did it profile the victim, with face ?.. recognition technology
Who archived the footage ,
was it a direct link to the mayors office desk ?
Who is the mayor?
and WHAT were they thinking!
protecting a few glazed tiles with this level of surveillance ?
What are my rights here.
Actually` here' held very little appeal to complete the job at hand. (I know bad choice of words but you get the drift).
suddenly I saw the whole Whale Watching industry mindset with a different view
- an intrusive one, if this was anything to go by.
Denizen's of the deep, I fear for your privacy.
Hell I fear for mine.
I put my shades on wrapped a scarf around my neck
and got out'a that mans town.
favourite Saying
`Humour is simply common sense Dancing'
Those without humour should be trusted with nothing !
Atribt: Clive James
Wednesday, March 24, 2010
It's not the equipment it's what you bring to it.
Welcome to my blog,
In which I will roam uncharted waters
and with your contributions plumb the depths of an ocean of imagination and visual realisation.
Cast off,
As my tee shirt says
Chart a course, then follow your instincts.
Paul.
www.aquapx.com
Sunday, March 21, 2010
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