Dark rainbows

Night photography can often be very colourful, crowded cities full of noisy neon, but this new series from Lucas Zimmerman uses colour in a much darker, desolate way. (via Kottke)

Traffic Lights 2.0Behance
I have been waiting for two long years to finally go out again and progress on my traffic lights series. It was worth the wait.

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Directing traffic that isn’t there—seems appropriate at the moment. As does another one of Lucas’s series of photos, highlighting our desire for connection.

Solitude PalaceBehance
Dedicated to the 20th anniversary of the smarthpone. A magical device that connects and divides us. Lets see what the future holds.

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Fun with colour

I thought these two went together well.

colors.lol – Overly descriptive color palettes
Created as a fun way to discover interesting color combinations. Palettes are hand-selected from the Twitter bot @colorschemez. The feed randomly generates color combinations as well as their descriptions, with each color being matched with an adjective from a list of over 20,000 words.

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A painting and photography duo poking fun at fine artIt’s Nice That
The idea behind the project is for the pair to travel to locations any arts aficionado may recognise. Environments painted by Paul Cezanne, Claude Monet or Vincent Van Gogh are all visited, but rather than replicating their celebrated works, Hank chooses to paint the pattern of his shirt instead.

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Getting through it

Photos: Life in the coronavirus eraThe Atlantic
In an all-out effort to slow the spread of the new coronavirus, health and government officials worldwide have mandated travel restrictions, closed schools and businesses, and set limits on public gatherings. People have also been urged to practice social distancing in public spaces, and to isolate themselves at home as much as possible. This rapid and widespread shift in rules and behavior has left much of the world looking very different than it did a few months ago, with emptied streets, schools, workplaces, and restaurants, and almost everyone staying home.

Rather than the expected shots of empty streets, stadiums and train stations, I find more moving the photos of how this is impacting on individuals, of all ages.

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Lori Spencer visits her mom, Judie Shape, 81, who Spencer said had tested positive for the coronavirus, at Life Care Center of Kirkland, the Seattle-area nursing home at the epicenter of one of the biggest coronavirus outbreaks in the United States, in Kirkland, Washington, on March 11, 2020.

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Caidence Miller, a fourth grader at Cottage Lake Elementary, tries to figure out assignment instructions without working speakers on his laptop as he and his grandmother, Chrissy Brackett, navigate the online-learning system the Northshore School District will use for two weeks because of coronavirus concerns, at Brackett’s home in Woodinville, Washington, on March 11, 2020.

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A woman makes a video call with her smartphone inside her home after the Italian government clamped down on public events, closed bars, restaurants, and schools, imposed travel restrictions, and advised citizens to stay at home in an attempt to slow the spread of the coronavirus on March 15, 2020, in Turin, Italy.

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A man wearing a mask looks up at a couple looking out of a house window on the 15th day of quarantine in San Fiorano, one of the small towns in northern Italy that has been on lockdown since February, in this picture taken by schoolteacher Marzio Toniolo on March 6, 2020.

Featured image: A student attends an online class at home as students’ return to school has been delayed in Fuyang, Anhui province, China, on March 2, 2020.

Sadly, I think there’ll be plenty of time for more of these photos.

Scientists warn we may need to live with social distancing for a year or moreVox
As Kucharski, a top expert on this situation, sees it, “this virus is going to be circulating, potentially for a year or two, so we need to be thinking on those time scales. There are no good options here. Every scenario you can think of playing out has some really hefty downsides. … At the moment, it seems the only way to sustainably reduce transmission are really severe unsustainable measures.”

The long goodbye

Such a simple yet poignant photo series.

A photographer’s parents wave farewellThe New Yorker
At the end of their daughter’s visits, like countless other mothers and fathers in the suburbs, Dikeman’s parents would stand outside the house to send her off while she got in her car and drove away. One day in 1991, she thought to photograph them in this pose, moved by a mounting awareness that the peaceful years would not last forever. […] For more than twenty years, during every departure thereafter, Dikeman photographed her parents at the same moment, rolling down her car window and aiming her lens toward their home. Dikeman’s mother was known to scold her daughter for her incessant photography. “Oh, Deanna, put that thing away,” she’d say. Both parents followed her outdoors anyway.

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It ends as you would expect, sadly.

Who’s a good dog?

TLS reviews a number of recent books on our best friends.

The ways of dog to Mann: Various responses to canine companionsTLS
For several of the contributors, the most prominent thread that runs through the book is love – both the love dogs have for people and the love that people return. Our love of dogs is in part a response to their happiness but also, as the legendary French actor and animal welfare activist Brigitte Bardot observes, to their wanting us to be happy. Our love, in effect, responds to their love. “Response”, perhaps, is not the ideal word. Certainly, love for a dog need not be an unconsidered, mechanical reaction to their affection. As Monty Don pointed out in his book on his golden retriever Nigel, a dog is an “opportunity” for a person to develop, shape and manifest love for a being that is not going to reject or betray this love. […]

Powerful stuff.

For other contributors, admiration stems less from canine virtue than canine wisdom – what, in other words, do dogs teach us? Alice Walker learns from the ease with which Marley bounces back after a telling-off that, when we behave badly, it is “because we are temporarily not ourselves”. Several other writers express admiration for the dog’s ability to “live in the moment”.

That reminded me of that line by Iris Murdoch about paying attention, to watch “as a dog watches”. The review continues:

This is an element perhaps in the wisdom that Mark Alizart attributes to dogs in Dogs: A philosophical guide to our best friends. It is an ability, identified by Stoics, Buddhists and Spinozans alike, of “accommodating oneself, with simplicity and gratitude, to what life has to offer”. “The dog is joyous because it made man”, he concludes, and since “the human descends from the dog”, its joy is like that which parents take in their offspring. Alizart makes no attempt to elaborate, or even to state in less paradoxical terms, what I take to be the familiar truth behind this rhetoric: namely, that dogs played a significant role in the origins and development of human society. Indeed, the book is certainly not the guide to understanding our best friend that its sub-title promises.

Here’s a look at a new photography book from Martin Usborne, The Silence of Dogs in Cars. They’re not the only ones who can feel a little sad and dejected sometimes.

Martin Usborne’s heartbreaking photos of dogs in cars speak to humans’ fear of abandonmentIt’s Nice That
Featuring rejected, lonely and expectant pups, often meeting the lens of the camera with unbearable sadness, the series extrapolates from his very personal experience while commenting on the way humans treat voiceless animals more widely. “The dog in the car is a metaphor, I suppose, not just for the way that animals (domestic and wild) are so often silenced and controlled by humans but for the way that we so often silence and control the darker parts of ourselves: the fear, the loneliness that we all feel at times,” Martin explains.

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It’s described as a new book, but this 2013 article from The Independent suggests otherwise. Not that it matters. Perhaps just a new edition.

The silence of dogs in carsThe Independent
Usborne didn’t frequent supermarket car parks in order to photograph dogs left in cars. He set everything up in a studio with careful planning. He says he even chose cars which “matched the dog”, for maximum impact.

“The camera is the perfect tool for capturing a sense of silence and longing,” Usborne says. “The silence freezes the shutter forever and two layers of glass are placed between the viewer and the viewed: the glass of the lens, the glass of the picture frame and, in this instance, the glass of the car window further isolates the animal. The dog is truly trapped.”

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Walking the dog

What else doesn’t exist?

I admit I had fun with those people who don’t exist and their related websites, but it’s getting a little silly now. An artificially intelligent songwriter? AI feet??

These lyrics do not exist
This website generates completely original lyrics for various topics, uses state of the art AI to generate an original chorus and original verses.

Want some happy metal lyrics about dogs? No problem.

I am the dog in you
I am the dog in you
How one animal can be so tense, yet so free?
Such vicious dogs in search of a trophy

This foot does not exist
The foot pic, then, becomes a commodity which the consumer is willing to pay for on its basis as an intimate, revealing, and/or pornographic (and perhaps power-granting, when provided on request) asset, while the producer may** see it as a meme, a dupe, a way to trick the horny-credible out of their ill-spent cash.

Photography pioneer with a modern eye

Let’s take a step back from that self-congratulatory, sycophantic ceremony, and look at the cinematic imagery of Heinrich Kühn, regarded as one of the forefathers of fine art photography.

The astonishing cinematic autochrome photography of Heinrich KühnFlashbak
As cameras slowly changed during the 1890s, becoming lighter, more manoeuvrable, there grew a desire among photographs to create more artistic images. pictures that rivalled painting for their impressionistic beauty. One pioneer of this trend was Heinrich Kühn, a German-born amateur photographer. […]

From 1890 onwards, Kühn started working on creating his “total art” photographs. His pictures were described as “painterly” and “impressionistic” but to our modern eye look more like movie stills from some great, unreleased film.

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And talking of cinematic, here’s a fresh look at what would have been 1896’s nominee for best picture.

Neural networks upscale film from 1896 to 4K, make it look like it was shot on a modern smartphoneGizmodo
L’Arrivée d’un train en gare de La Ciotat doesn’t have the same effect on modern audiences, but Denis Shiryaev wondered if it could be made more compelling by using neural network powered algorithms (including Topaz Labs’ Gigapixel AI and DAIN) to not only upscale the footage to 4K, but also increase the frame rate to 60 frames per second. You might yell at your parents for using the motion smoothing setting on their fancy new TV, but here the increased frame rate has a dramatic effect on drawing you into the action.

[4k, 60 fps] Arrival of a Train at La Ciotat (The Lumière Brothers, 1896)YouTube

What would Louis Lumière have made of that, I wonder. As a reminder, here’s his original. The place looks a little different now. I wonder if they do requests to update other old film.

Real life Rothko

We’ve seen Rothkos on iPhones before, but how about some from the algae covered marshes of the south of France?

Defying vertigo to capture aerials from an ultralight planeWired
From above, Chesnel discovered, the seaside landscapes of southern France look like abstract paintings, with vibrant bands of color bleeding into each other. They reminded her of canvases by the mid-century American artist Mark Rothko. Some marshes were pink or orange, thanks to the proliferation of an algae called Dunaliella salina. Depending on their levels of salinization and types of algae, other marshes were green, golden yellow, or brown. “I like pushing the boundary between paintings and photographs,” says Chesnel, who trained as a painter and only recently transitioned into photography. […]

Chesnel hopes that viewers of the images will be temporarily lifted out of their everyday concerns and given a fresh outlook on the world. … “From the ground you may see something that doesn’t look glamorous at all, but from above it becomes beautiful,” she says.

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Just as mad as those in China.

A secret photographer #2

The enigmatic Vivian Maier may be the most street photographer to hide her work from the world, and a while ago I shared an article about Masha Ivashintsova, a Russian equivalent. Here’s another, though Saul Leiter might be a little different; he was still around to see his work finally recognised.

Why Saul Leiter kept his colorful street photography secret for decadesArtsy
Yet except for his inner circle, no one saw Leiter’s personal color work until toward the end of his life. He adopted the nascent medium in the 1940s, when it was relegated to splashy advertisements and amateur shooters, not fine artists. Walker Evans called color photography “vulgar,” and his contemporaries like Robert Frank and Ansel Adams agreed. When William Eggleston, Helen Levitt, and Stephen Shore ushered in the era of color in the 1970s, Leiter, a private man who never sought fame, was barely a footnote. He had made a living shooting fashion during the heyday of Harper’s Bazaar and Vogue, but by the ’80s, he was deep in debt and nearly forgotten.

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Leiter wasn’t interested in the human condition, like Frank or Diane Arbus; instead he understood the simple poetry of a stranger’s silhouette, or raindrops on a window pane. “I may be old-fashioned, but I believe there is such a thing as a search for beauty—a delight in the nice things in the world. And I don’t think one should have to apologize for it.”

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Men in suits

The subject might sound dry, but this photographic series from Jakob Schnetz looking at the trade fair industry offers us glimpses into a strange, strained, suited world.

Place of promise, a photographic series examining the capitalist world of trade showsIGNANT
Over a period of five years, Schnetz visited more than 40 trade fairs, documenting on film an intriguing world driven by fierce competition to maximise profit. “In Germany’s exhibition halls the newest products are presented, the most efficient services are praised, and the best know-how is exploited,” he continues. “The place of perfect marketing is dominated by standardized scenery, live-shows, men in suits, and the tough fight for customers.” Nevertheless, the images in Place of Promise focus on the social occurrences of the shows, the in-between moments: the phone calls, the morning rituals, and the coffee and cigarette breaks.

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A year of unrest

It’s that time of year again.

Top 25 news photos of 2019The Atlantic
As we approach the end of a year of unrest, here is a look back at some of the major news events and moments of 2019. Massive protests were staged against existing governments in Hong Kong, Chile, Iraq, Iran, Venezuela, Haiti, Algeria, Sudan, and Bolivia, while climate-change demonstrations and strikes took place worldwide. An impeachment inquiry into President Donald Trump was started, conflict in Syria continued, the United States won the Women’s World Cup, Hurricane Dorian lashed the Bahamas, and so much more.

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See also 2019: The year revolt went global.

The year in pictures 2019The New York Times
5.6 million. That’s roughly the number of images photo editors of The New York Times sift through each year to find the perfect photographs to represent the news for our readers. This collection of images is a testament to a mere fraction of the conflicts and triumphs, catastrophes and achievements and simple but poignant moments of everyday life in the past 365 days.

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Not an easy task.

From 500,000 photos to 116: How our editors distill the year in picturesThe New York Times
Mr. Furst described the initial stage as daunting: “When you feel like you can see the light at the end of the tunnel, you’re reminded that you missed a dozen different news events or these 20 photographers or these 15 projects in the newsroom.” …

“One of the big balances is news value versus craftsmanship and beauty,” Mr. Henson Scales said. “We’re always having to juggle those kinds of elements.”

Getting just the right mix of images was the most challenging part. The editors considered a number of factors, such as the impact of a photo or its ability to delight, and the variety of images in each month. A beautiful, poignant picture could edge out a more newsworthy one, and vice versa.

The beautiful game

Not being a fan of the game doesn’t stop me from enjoying these two recent football articles from The Guardian’s Art Weekly newsletter, especially with one being from my home town.

A fan’s-eye view at the football – a photo essayThe Guardian
I was interested in capturing characters, emotions and expressions and also the dynamics of the group. I kept an instinctive approach throughout and often shot from the hip. Nothing was planned or staged. It was all about capturing those little moments – a feeling that could so often get lost if I’d spent time framing the shots.

It definitely helped being a Spurs boy, but you don’t just turn up and get invited in and start taking pictures. In the beginning there were certainly a few people who questioned what I was doing pointing a camera in their face. I knew from the beginning that I had to take my time. It was important for me to get to know people first, find out what they are doing and just go with the flow. It might sound like a cliché, but you can’t make images happen when you want them to – the images will come to you. It’s a little bit like fishing – sometimes you catch something and sometimes you come home empty-handed.

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The Leeds United fan making the city beautiful – one electric box at a timeThe Guardian
Popular with fans and residents alike, McVeigh creates his designs independently – he isn’t paid for his time or imagination – simply seeking to improve the aesthetics of his local neighbourhoods and honour his home club. “There’s virtually no Leeds United art anywhere in the city, which seems daft to me,” says Andy. “Even in the City Museum there’s a pretty pathetic token gesture to the club when it’s one of the most famous things about the place.”

The murals leading to the ground have become part of the matchday experience for many, with fans tapping the boxes for luck before games. Younger fans are also enamoured with his colourful compositions. “Kids love it, which is brilliant because I’m a primary teacher and had that in mind when I did them. One bloke told me his kids asked him to do a tour of them with him.”

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Up our street

A strange juxtaposition — a sophisticated New York arts magazine highlighting some very familiar terraced streets from the north of England.

Shirley Baker’s half century of street photographyThe New Yorker
Shirley Baker was born in Kersal, North Salford, England, in 1932. The body of work for which she is remembered is fairly limited, encompassing her street photography of Manchester and Salford, shot between the 1960 and 1973 (and including early experiments with color, beginning in 1965). The images reflect on a time of rapid economic and social change, when the British-built environment, and ideals of home and community, were upturned. In the wake of the Housing Repairs and Rents Act, of 1954, 1.3 million homes were demolished between 1955 and 1973. In Baker’s images, we see the clash of old and new as sooty children play in front of decrepit houses, with tower blocks emerging in the distance. “I did know that fundamental changes were taking place … and nobody seemed to be interested in recording the face of the people or anything in their lives,” Baker wrote in “Street Photographs: Manchester and Salford,” in 1989. “My interest grew into a compulsion even though the notion of someone wandering the unpicturesque streets of Manchester and Salford with a camera seemed quite crazy to most people then.”

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As Colin Ford, the first director of the National Museum of Photography, wrote, of Baker, “Not since the photographs of the Farm Security Administration in America in the thirties have I seen someone photographing people in deprived states and getting herself so involved.”

(See this earlier post for more about the Farm Security Administration project.)

VICE has an interview with Lou Stoppard, the editor of a new book showcasing her work.

Glorious photos of life up northVICE
She was born in Salford, so it was her stomping ground. These terraced houses are being cleared and she was aware that no one was documenting that process. She very much sees herself as one of her subjects, too, and she talks about all the energy that would have gone into putting those homes together, and how no one was really documenting it. All of those lives that had been destroyed and those narratives that had been acted out, and that was all going to be swept away. So she started wandering around and making pictures, and the people there came to know her and trust her. So there’s definitely a connection in the sense of: this is her hometown.

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Meanwhile, across the Atlantic.

Vancouver street photographer Fred Herzog has died, age 88The Art Newspaper
The passing of the Vancouver-based photographer Fred Herzog on Monday, at age 88, marked not only the loss of a great artist, but also the end of an era, since the city he documented over more than half a century has itself vanished. The Kodachrome images of mid-century street life he became famous for late in his career show Vancouver before it became overrun by luxury apartment towers and international real estate speculation.

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But if you’re wanting a little more glamour with your street photography, try these.

Bill Cunningham: On the StreetKottke
Until his death in 2016, Bill Cunningham captured the fashions of people walking the streets and catwalks of NYC and elsewhere, mostly for the NY Times over the past five decades. A new book, Bill Cunningham: On the Street, is the first published collection of his work and includes more than 700 photos along with a number of essays by friends, subjects, and cultural critics.

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Take a closer look

This year we’ve seen photography competitions for the best sea view and for views a little closer to home. But how about something real close — the winning images from Nikon’s Small World competition.

2019 Photomicrography Competition
The Nikon International Small World Competition first began in 1975 as a means to recognize and applaud the efforts of those involved with photography through the light microscope. Since then, Small World has become a leading showcase for photomicrographers from the widest array of scientific disciplines.

Phantom midge larva (though it reminds me of something else), Christopher Algar:

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Neuron growth, Dr Torsten Wittman:

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Housefly compound eye pattern, Dr Razvan Cornel Constantin:

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Small white hair spider, Javier Rupérez:

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OK that’s maybe a little too close. Let’s take a step back. Wayyy back.

These beautiful, swirling images are maps of Washington’s geology
These maps reveal the shapes of the state’s landslides, river basins, and glaciers, along with other strange features, like glacial drumlins and mysterious mima mounds. Lidar data can be used to make maps that highlight elevation contours as well as the aspect and slope of the land. They can reveal landslides hidden by trees and faults beneath the earth’s surface.

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So that’s Washington. What about the rest of the globe?

Can we make a 3-D map of the whole world?
Their ultimate goal now is to create a comprehensive archive of lidar scans, including some that are already in existence and more to be added over time, to fuel an immense dataset of the Earth’s surface, in three dimensions. It will have tremendous utility in the short term for finding ancient sites and large-scale patterns, but Fisher and Leisz are taking a long view. With such a tool, they say, when the full impacts of climate change begin to set in, future generations will have a comprehensive understanding of how things once were.

The plan, he says, is to start with the most vulnerable ecological and cultural heritage sites, and go from there. For example, Fisher estimates that the entire Amazon rain forest, where a scourge of forest fires recently made international headlines, could be lidar scanned by plane and helicopter in six years, for $15 million. The next step could be to use some future technology that puts lidar in orbit and makes covering large areas easier.

“Right now we’re not able to put a lidar instrument into the orbit that would give us the kind of resolution we’re requiring,” Fisher says. “Ten years from now, maybe that might not be true. But we can’t wait 10 years.”

I’ve just added a reminder in my Google calendar to come back to this post in ten years’ time, to see how they got on.

Do not erase

For a number of weekends now, my son and I have attended several university open days, touring facilities and listening to presentations in lecture theatres up and down the land. These photos of blackboards by Jessica Wynne look quite familiar—and equally incomprehensible.

A photographic survey by Jessica Wynne of chalkboards filled by mathematicians
Wynne tells Colossal that she enjoys photographing the dusty work surfaces because of “their beauty, mystery and the pleasure of creating a permanent document of something that is ephemeral.” The “Do Not Erase” photo series, soon to be published in a book by Princeton University Press for release in 2020, includes boards from institutions and universities around the world. Wynne hopes that viewers can appreciate the aesthetic of the worked surfaces while “simultaneously appreciating that the work on the board represents something much deeper, beyond the surface.”

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More people who aren’t there

Remember that website full of photos of fake faces? Well, Dr Julian Koplin from the University of Melbourne has been combining those AI generated portraits with AI generated text, and now there’s a whole city of them.

Humans of an unreal city
These stories were composed by Open AI’s GPT-2 language model and AllenAI’s Grover news generator, which were given various prompts and asked to elaborate. My favourite results are recorded here – some lightly edited, many entirely intact. The accompanying photos were generated by the AI at This Person Does Not Exist. They are not real humans, but you can look into their eyes nonetheless.

As he explains in this commentary on the ethics of the project, some of the results are convincingly human.

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The very human language of AI
AI can tell stories about oceans and drowning, about dinners shared with friends, about childhood trauma and loveless marriages. They can write about the glare and heat of the sun without ever having seen light or felt heat. It seems so human. At the same time, the weirdness of some AI-generated text shows that they ‘understand’ the world very differently to us.

I’m worried less about the machines becoming sentient and taking over, with their AI generated art and poetry, and more about the dangers these tools pose when in the hands of ill-intentioned humans.

Meanwhile.

100,000 free AI-generated headshots put stock photo companies on notice
It’s getting easier and easier to use AI to generate convincing-looking, yet entirely fake, pictures of people. Now, one company wants to find a use for these photos, by offering a resource of 100,000 AI-generated faces to anyone that can use them — royalty free. Many of the images look fake but others are difficult to distinguish from images licensed by stock photo companies. […]

Zhabinskiy is keen to emphasize that the AI used to generate these images was trained using data shot in-house, rather than using stock media or scraping photographs from the internet. “Such an approach requires thousands of hours of labor, but in the end, it will certainly be worth it!” exclaims an Icons8 blog post. Ivan Braun, the founder of Icons8, says that in total the team took 29,000 pictures of 69 models over the course of three years which it used to train its algorithm.

There are valid concerns about technology that’s able to generate convincing-looking fakes like these at scale. This project is trying to create images that make life easier for designers, but the software could one day be used for all sorts of malicious activity.

Fixing space and time

Here’s a wonderfully poetic extract on time and impermanence from Maria Popova’s new book, Figuring.

The first surviving photograph of the Moon: John Adams Whipple and how the birth of astrophotography married immortality and impermanence
Four years into it, the thirty-year-old Whipple would awe the world with his stunning photographs of celestial objects — particularly his photographs of the Moon. Louis Daguerre himself had taken the first lunar photograph on January 2, 1839 — five days before announcing his invention, which marked the birth of photography — but his studio and his entire archive were destroyed by a fire two months later. Whipple’s remains the earliest known surviving photograph of the Moon — an image that continues to stun with its simple visual poetics even as technology has far eclipsed the primitive equipment of its photographer.

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Yes, it’s an incredible photograph (here’s my own version), but this is about more than just astronomy.

We say that photographs “immortalize,” and yet they do the very opposite. Every photograph razes us on our ephemeral temporality by forcing us to contemplate a moment — an unrepeatable fragment of existence — that once was and never again will be. To look at a daguerreotype is to confront the fact of your own mortality in the countenance of a person long dead, a person who once inhabited a fleeting moment — alive with dreams and desperations — just as you now inhabit this one. Rather than bringing us closer to immortality, photography humbled us before our mortal finitude. Florence Nightingale resisted it. “I wish to be forgotten,” she wrote, and consented to being photographed only when Queen Victoria insisted.

I wonder about this as I stand amid the stacks of the Harvard College Observatory surrounded by half a million glass plates meticulously annotated by the hands of women long returned to stardust. I imagine the flesh of steady fingers, atoms spun into molecules throbbing with life, carefully slipping a glass plate from its paper sleeve to examine it. In a museum jar across the Atlantic, Galileo’s finger, which once pointed to the Moon with flesh just as alive, shrivels like all of our certitudes.

Pinned above the main desk area at the observatory is an archival photograph of Annie Jump Cannon — the deaf computer who catalogued more than 20,000 variable stars in a short period after joining the observatory — examining one of the photographic plates with a magnifying glass. I take out my smartphone — a disembodied computer of Venus, mundane proof of Einstein’s relativity, instant access to more knowledge than Newton ever knew — and take a photograph of a photograph of a photograph.

 

The sea, the sea

UK’s best sea view photography competition 2019
National maritime charity, the Shipwrecked Mariners’ Society, has revealed the eagerly awaited results of its seventh annual photography competition, showcasing images relating to all aspects of the UK’s historic relationship with the sea.

Some stunning photographs here, but I wonder if in the future, given what we were discussing yesterday, we might see fewer images like this…

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… and more like these.

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Almost a Great Wave, that last one.

Cut-up cameras

They may be on their way out, but film cameras are nevertheless remarkable machines. This project from Fabian Oefner shows them off in a whole new way.

Vintage cameras dissected with a saw and suspended in resin by Fabian Oefner
For his latest series titled “CutUp,” artist Fabian Oefner used a band saw to slice film and still cameras into pieces, revealing their beautiful and complex inner workings. The pieces were rearranged, reassembled, and suspended in resin in interesting configurations. Each new sculpture transforms the tools for making art into new works of art designed to be viewed from multiple angles.

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There are more images of these familiar yet previously unseen objects on his website.

CutUp – Studio Oefner
Oefner deliberately selected still and video cameras to slice apart. This is an allusion to his earlier photographic work, where the image made with the camera is the “art” and the camera itself is merely a tool. For this series, the tool is transformed into a piece of art. It is at the same time a deconstruction of the technology of image capturing, revealing the beauty underneath the surface of these objects.

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And here’s how it’s done.

Fabian Oefner – CutUp
CutUp is a series of technical objects, that are sliced, rearranged and distorted into a new form. The objects are encapsulated in resin, captured in their current state forever.

Reminds me a little of Damien Hirst’s cows.

Good night Japan

Tokyo is such an evocative place, futuristic yet grounded. No wonder it attracts so many visual artists.

Davide Sasso’s seductive “video game inspired” photographs of a neon-lit Tokyo at night
Inspired by his favourite films – Blade Runner, Akira and Enter the Void – as well as video games like Final Fantasy VII and Snatcher, these photographs are seductive, nostalgic yet manage to capture the modern vibrancy of the world’s largest city.

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Here’s another photographer with a similar idea.

Night photography of urban Japan
Photographer Jun Yamamoto (a.k.a. jungraphy) takes these subdued (but somehow also vibrant) photos of Japanese cities at night.

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