Off Topic Sunday: Gadgets, Gizmos, and Music

Every once in a while I get so many little things going on that I decide to share them with you all. I call them Off-Topic Sundays and they are always fun for me.

So here we go:

2015-06-14_1023First… ever have your phone die on location? Not good, and since so many of us USE our phones for business and for making BTS photos and videos, they have become indispensable. Here is a nifty solution.


The Anker Astro E7 Ultra-High Capacity 25600mAh 3-Port 4A Compact Portable Charger External Battery Power Bank with PowerIQ Technology for iPhone, iPad, Samsung and More (Black)

Giant Capacity: Charges the iPhone 6 ten times, the iPhone 6 Plus or Galaxy S6 over six times or the iPad Air twice. Safely recharges with a 2 amp or higher output charger (please note most phone chargers only have 1 amp)

Available at Amazon (Affil)


 

iPhone Tripod Mount

I have just purchased one of these iPhone Tripod Mounts… slick as can be. Great for making videos without that iPhone/Android camera shake. You will make more movies… :-)

RetiCAM® Smartphone Tripod Mount – Metal Universal Smartphone Tripod Adapter – Standard Size, Black


Are you a wedding or consumer shooter?

Ya gotta love this… heh.


Bill Evans at his finest.

Looking for some quiet, but quite modern jazz for those long hours processing? Try this very mellow album out.


 

Like old lenses? Like alternative processes?

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Image © Geoffrey Berliner

Check out this article with some amazing images taken with old Russian lenses.

“Geoffrey Berliner is the Executive Director of the Penumbra Foundation and the Center for Alternative Photography in New York. As the head of an organization whose goals are ‘to be a comprehensive resource for photographers at any level’ and ‘to continue to publicize the impact photography has had and continues to have on culture, history and the arts,’ his exposure to photographic materials -from 19th century gems to modern equipment- is so extensive, one cannot even begin to fathom just how much knowledge and experience this man has acquired. His collection of over 2000 vintage Petzval lenses is unparalleled, and the object of envy of both traditional and contemporary photographers. Although such lenses are reputed to require a certain level of skill to be used, Berliner seems to manage them with so much ease, producing splendid results.”

I am looking into some alternative lenses as well. Possibly going to try to adapt a few old enlarging lenses for my digital cameras.

A friend of mine, Moses Wilson, sent this very cool idea of using old projector lenses and the results are pretty darn cool.

I am working on getting a lot of props together for a TinType shoot I want to do, and also building a ‘quick-setup’ darkroom for processing sheet film and prints I shoot in the Deardorff.

Shooting paper is quite interesting. A rough ISO of 6 means a long exposure or lots and lots of light. It also shoots in reverse so the print is a negative, and backwards. No problem since I then shoot or scan the print and reverse it in Photoshop.

I am looking forward to sharing some of this stuff with you later in the summer.


 

Last thing – Nikon Lens Junkies

… you are going to love this. All the major Nikkor lenses with the stories of how they came about. My favorite Nikkors were always the 35MM f2 and the 180MM f2.8. Both are stunningly beautiful to work with.

Anyway – if you have the time – this is really fun and informative article.


 

Project 52 – “NO FEAR” Edition.

Project 52 only has a few seats left for this one last season. If you are or have been interested in it, NOW is the time to take a look. I have built a lot of new and super cool stuff into it. Here is the site if you are interested.

 

 

Off Topic Sunday, October 26, 2014

An absolutely astoundingly hectic week. My daughter got married Friday night, and Saturday was spent on a hundred different unrelated errands. Now, Sunday is going to be for catching up and getting ready for next week.

Check out this amazing commercial. And please stay to the end so you can really see how powerfully creative this spot is. Kudos for the creators and a BIG shout out to the manufacturer of this product for having the guts to go with something so different.


Our weekly Jazz entry:

Don Ellis was an innovator, a visionary and a hell of an incredible Jazz arranger / composer. This piece, “Strawberry Soup” is his seminal piece and one of my all time favorite works. For jazz orchestra, string quartet and a bunch of different types of wind instruments, the piece has the structure of a symphony in three parts – with a drum solo. There are four drummers in the group. Ellis plays the trumpet and has the trumpet solo and jumps in the drum solos at the fourth drummer spot. Don Ellis died too young at the age of 44 from a heart condition.


 

Our weekly classical entry:

Samuel Barber’s Piano Concerto is one of his most atonal pieces and was composed in 1960 for a commission by his publisher G. Schirmer. It is scored for full orchestra and piano soloist. While it has a very modern approach to tonality, it is still an easy piece to listen to and is quite accessible to the classical music newbie.

https://www.youtube.com/watch?v=VUwSytqsxf0


 

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If you are running your site on WordPress, you may find these eleven plugins worth downloading. All of them are tested and they perform functions that keep you focused on creating and not screwing around with code.

See you next Sunday.

 

Off Topic Sunday: October 20

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Yesterday I was asked to shoot one of the new choirs at Phoenix Children’s Chorus. This is an elite group of singers that are available for gigs in the valley. This is one of my favorites from the shoot.


 

ON SIMPLIFICATION
I am going through a simplification moment in my life. Looking to do more with less, and not being enamored of every shiny object that comes along. Whether photography or design, I am taking a more simple approach and looking to let go of things that are un-needed or simply take too much time and attention. This post at Unclutterer caught my attention.

Using simple tools, when that’s all you need.

I used to be intrigued by all the fancy apps for creating and managing to-do lists, and those apps certainly make sense for some people. But at some point, I realized that for me,  a simple text file was sufficient, and going back to that basic tool made my life easier. Sometimes extra features are a distraction, not a benefit.”

Yes.


 

CLASSICAL
The Italian Opera composer, Puccini could never have known that one of his arias would become a world favorite, and THE audition piece for every male opera singer to ever hit a “talent” TV show. The great tenor Pavaortti made the song a household tune in the late 90’s.

From Wiki:
” “Nessun dorma” achieved pop status after Luciano Pavarotti‘s 1972 recording of it was used as the theme song of BBC television’s coverage of the 1990 FIFA World Cup in Italy. It subsequently reached #2 on the UK Singles Chart Although Pavarotti rarely sang the role of Calaf on stage, Nessun dorma became his signature aria and, in turn, a sporting anthem in its own right, especially for football.[5]Pavarotti gave a rendition of “Nessun dorma” at his final performance, the finale of the Opening Ceremony of the 2006 Torino Winter Olympics, although it was later revealed that he had lip-synched the specially pre-recorded performance (at the time of his Winter Olympics appearance Pavarotti was physically incapable of performing as he was suffering from pancreatic cancer to which he succumbed the year following). His Decca recording of the aria was played at his funeral during the flypast by the Italian Air Force.[7] In 2013, the track was certified gold by the Federation of the Italian Music Industry.”

In 1998, Pavarotti was scheduled to sing at the Grammy’s, but at the last moment became quite ill. The show’s producers, knowing that Aretha Franklin was attending the show, asked her to sing in Pavarotti’s stead. She agreed, and this magical moment occured – live on TV.

While some Opera “aficionados” decried the performance because of the liberties Aretha took, many others welcomed this expression and personally approached rendition as something the classical world could certainly embrace.

I agree. Why not allow the performers to bring something new, their own spin to the songs we have allowed to go unchanged for decades. Jazz players do it. Pop music does it. Why not classical?

I am not suggesting adding a disco beat to the Verdi Requiem, I am happy with letting voices of renown add their color and personal attention to the performance. Perhaps one day we could look forward to hearing Sting in Pagliaci… yeah, that would be cool.


 

JAZZ
One of John Coltrane’s most celebrated masterpieces was “A Love Supreme”. (Wiki) It is one of the most highly regarded jazz albums of all time, and sold over 500,000 copies in Trane’s lifetime… and hundreds of thousands since then as well.

Here is the incredible Branford Marsalis doing “A Love Supreme” and doing it supremely well.


 

PHOTOSHOP
And this may be actually a bit on topic, but it is very nice little look at Photoshop’s Patch Tool.

Off Topic Sunday…

Off Topic Sunday…

Been reading a really interesting book this past couple of weeks… lots to digest. “The Power of Visual Storytelling” by Ekaterina Walter and Jessica Gioglio is about how visuals are beginning to dominate not only our news and information channels, but the ways people interact with each other on many other social platforms.

If you are a photographer/designer, this is very good reading for you.

Pick it up for Kindle or in paperback.

Another book I am really enjoying is “The Freaks Shall Inherit the Earth: Entrepreneurship for Weirdos, Misfits, and World Dominators” by Chris Brogan. If you are an entrepreneur in life or in spirit, this book is for you. I am most definitely all those things… and still working on the ‘world domination’ thing…

Also for Kindle and hardcover. I think you will really enjoy it.


 

Joe Sample passed this week. He was a pianist with a lot of charm, and I have many of his recordings. Funny how you can go back and listen to music made by people no longer with us. The power of technology that continues to surprise me.


 

Hey, did you know that Photoshop has a “Background Eraser”? Heh… this is pretty cool.

eraser_6


 

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This from Graphic Design Blender:

Freelancing is a legitimate business model, which means you need to treat it like a business. Here’s a brief look at the various roles you need to fulfil in your day-to-day operations:

  • The CEO – the person who does the strategic thinking and calls all of the shots.
  • The Designer – the person who actually puts in the work and ships client projects.
  • The CFO – the person who manages all of the finances for the business.
  • The HR Manager – the person who manages all of the people you bring in to help grow your business.
  • The Administration Assistant – the person who takes care of all of the emails, bookings, file management to ensure things are in order.
  • The Marketing Manager – the person who actively markets your business to ensure you always have new leads coming in.

There are 6 main roles in total, and in case you haven’t picked up on it already, you are all of these roles. I don’t want to freak you out, but this is the reality.

How we handle all these different rolls of our business persona is all important for the freelancer.

Read this important article here.

 

OT Sunday: Eliot Carter, American Composer

OT Sunday: Eliot Carter, American Composer

Eliot Carter was my favorite contemporary composer. It was his first and second string quartets that opened my mind to the possibilities of linear melody/rhythm and the transformative nature of time. I discovered his music in my second year of music school and have listened to something of his every week since.

Eliot Carter passed last Monday, November 5, 2012. He was 103 years old.

From the New York Times:

Elliott Carter, the American composer whose kaleidoscopic, rigorously organized works established him as one of the most important and enduring voices in contemporary music, died on Monday in Manhattan. He was 103 and had continued to compose into his 11th decade, completing his last piece in August.

The String Quartets, of which there are five, are some of my earliest loves. The first time I heard String Quartet #1 was in the music building at Arizona State University. The room was quite cool, and the musicians were there to share their new repertoire, and some works that had been commissioned for them.

They decided to share the first movement of the first quartet, and I was simply blown away. I can only compare it to the first time I heard Coltrane… and my life changed forever.

Many of the other music students there were aghast… where was the ‘melody’, why was the music so jarring. For the life of me, I had no idea what they had heard… but it wasn’t what I had heard.

I have nearly every recording made of the quartets, including a couple of imports. I even have the scores to both the first and second quartet.

Photography and music are two drivers of who I am. The polytonality and rhythmic challenges of Carter’s pieces fed my brain its much needed challenges, and it led to other discoveries, both in my music and my photography.

Mr. Carter’s music is not easy to listen to at first, especially for those who are not aware of the 20th century musical progression. But it is a challenge worth taking, in my opinion. Although, the meters and extreme difficulty of the performance of many of his mid-period works led to lots of angst among those who decided to take up that challenge, those who did found themselves quite transformed.

Listen:

String Quartet, First Movement

A Symphony for Three Orchestras

Variations for Orchestra

The Last Interview with Alisa Weilerstein

 

I performed his piece, Eight Pieces for Four Tympani, and it left me exhausted. And, exhilarated. The tempos ‘modulate’ through time as though it were a flexible substance rather than a temporal imperative. Damned difficult, and no, I could not play it today… heh.

Shifting meters, rhythm that was both polyphonic and amorphous, melodies that stretched over others with seemingly no relation… it was demanding stuff. And it made demands on the listeners that some were not willing to do. His music was not something most people would leave the theater humming to themselves.

Also from the NYT:

As Mr. Carter’s centenary neared, the frequency with which his music could be heard only increased, making it clear that for at least two generations of young performers, even his thorniest works held little terror. In the summer of 2008, for example, the entire Festival of Contemporary Music at the Tanglewood Music Center was devoted to Mr. Carter’s work, with performances of dozens of pieces from every stage of his career (including several premieres). Mr. Carter attended most of the concerts. There were many such tributes that year, and the attention unnerved him, he said.

“It’s a little bit frightening, because I’m not used to being appreciated,” he said in an onstage interview at Zankel Hall the night after a celebration with the Boston Symphony Orchestra. “So when I am, I think I’ve made a mistake.” 

From the Guardian:

Eventually Carter realised that all the accumulated baggage of his music – the neoclassicism, the madrigalian references, the Greek texts, the Americana – would have to go. In the Piano Sonata of 1945, written the year he moved with his wife into the brownstone apartment he would live in for the rest of his life, Carter retains the massive rhetoric of the American sublime. But the cyclic form, the startling use of piano resonances and rhythmic flexibility mark a huge step forward. The Cello Sonata of 1948 is another leap towards a really radical conception of form. The piece at the end seems to loop back to its opening, in a way that recalls Stéphane Mallarmé’s conception of a book that one can begin at any point. At the beginning, a strict metronomic “ticking” in the piano is combined with a rhapsodically unfolding line in the cello. Nothing quite like this joining of two radically opposed worlds moving at different speeds had been heard in music before.

But it was in the First String Quartet of 1951 that Carter’s new conception of independent musical layers, sometimes co-operating, sometimes clashing in purposeful disunity, came fully into focus. To achieve it, Carter cut himself off from his usual surroundings and moved to the Arizona desert for several months. What survives from his old manner is a heroic rhetoric of wide intervals, as if the American sublime has been sublimated and purged of anything local.”

This music, so utterly grounded in a complex, and for me, an almost visual experience, made my journey into music both a fascinating and joyful adventure, and a disquieting and elusively disconnected vision of what I wanted to do. Both with music and photography.

It is that air of conundrum that drives me today as well.

From the Boston Globe:

“In many ways, Carter was cut from the same cloth as the Founders. Crossing back and forth across the Atlantic with his father, a lace importer, Carter spoke French before he spoke English. At Harvard, he initially spurned music, opting instead for Greek and mathematics and philosophy. He recapitulated some of the background of the aristocrats who founded the United States: a classical education with a French flair. He was a modernist equipped with the intellectual tool kit of the Enlightenment.

He came to be a composer in deliberate fashion; he was well into his 30s before he wrote music he thought worth keeping. It would be another decade before he began to realize his own style. The decisive break came in his first two string quartets, dating from 1951 and 1959, where the four players become strikingly individual characters, with their own motives, articulations, and even tempi, an intricately managed clash of temperaments. Almost all of his subsequent music would similarly straddle the line Thomas Paine drew between society and government: “The one encourages intercourse, the other creates distinctions.” Carter’s goal was to give every instrument in the ensemble its own individuality within the piece’s entirety. ‘‘This seems to me a very dramatic thing in a democratic society,’’ he said. In honor of the American Bicentennial, Elliott Carter even split the orchestra asunder, composing “A Symphony for Three Orchestras,” a work that, indeed, divides that ensemble into three distinct and often disputatious groups. It might have been only a coincidence that the onetime revolutionaries who assembled for the Constitutional Convention in 1787 came up with a similar model for the federal government.”

From the Washington Post:

“Mr. Carter experimented most notably with meter, or rhythm, and challenged audiences to follow multiple instruments that played simultaneously to different beats.

“A piano accelerates to a flickering tremolo as a harpsichord slows to silence,” wrote composer and musicologist David Schiff, describing Mr. Carter’s music. “Second violin and viola, half of a quartet, sound cold, mechanical pulses, while first violin and cello, the remaining duo, play with intense expressive passion. Two, three or four orchestras superimpose clashing, unrelated sounds. A bass lyrically declaims classical Greek against a mezzo-soprano’s American patter.”

Mr. Carter said that his music presented society as he hoped it would be: “A lot of individuals dealing with each other, sensitive to each other, cooperating and yet not losing their own individuality.””

Yes… controlled cacophony. Distilled life sounds played out in a chamber or orchestral setting. Music to live by, think by… create by. Rhythms that seem disconnected from each other are found to have deep relationships after careful listening.

And this music is made for careful listening. It is not Mozart for background string melodies. Nor is it the driving, pulsating, deeply spiritual John Coltrane.

It is music for listening to as an action in itself, for involving ones self within each bar and linear melody. It is for “active” engagement, not background filler.

Perhaps that is what I found so totally and honestly engaging about Carter’s music. It demanded that you listen to it, not daydream or dance or plan the next vacation while it was on. LISTEN to each sound and melody and rhythm – and feel the complexity slide away to reveal simple, intimate truths.

Individuality of spirit is ensconced deeply into his works, and that wondrous spirit was a gift to us all.

If we take the time to listen for it.

I wondered how I would feel when I heard of his death. I know now.

I wish I didn’t.

From Alex Ross:

“The American master, seemingly inextinguishable, died this afternoon, at the age of 103. An entire world of culture dies with him — a landscape of memory that included Stravinsky, Nadia Boulanger, Ives, Gershwin, even Gustav Holst.”

OT Sunday: Hot Shots, Drums, Books and Jazz

OT Sunday: Hot Shots, Drums, Books and Jazz

Hey Hot Shot is a photo competition held by the Jen Bekman Gallery in New York. Featuring the work of up and coming photographers, the competition introduces new ways of seeing to an ever widening audience.

It is certainly one place to go on the internet to see work that may surprise. shock, confuse and delight you. From tranquil to bizarre, photographers working in the ‘fine art’ field deliver a wide variety of interest.

I love to visit on beautiful Sunday mornings like this one.

This Round of Hey Hot Shot features the winner Laura Plageman.

Photograph by Laura Plageman

Response to Print of Kudzu, Texas, Laura Plageman
We are thrilled to announce that Laura Plageman is our Grand Prize-winning photographer! Laura will receive $10,000, in addition to a solo exhibition at Jen Bekman Gallery and two years of representation from the gallery. She was selected from the 10 Hot Shots of 2011—Michael Cappabianca, Cristina De Middel, Robert Grimm, Phil Jung, Laurie Kang, Brendan George Ko, Kevin Kunishi, Meike Nixdorf, Laura Plageman and Uygur Yilmaz.

She was selected from the 10 Hot Shots of 2011—Michael CappabiancaCristina De MiddelRobert GrimmPhil JungLaurie Kang,Brendan George KoKevin KunishiMeike NixdorfLaura Plageman and Uygur Yilmaz.

Grab a cup-o-joe, or a diet Pepsi… heh, and spend some time with photographers who present a different look at the world than we may be used to.

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