“Artless and indifferent, without human intention”

Nine Eyes of Google Street View is over ten years old now. For a while, no new photos were being added, but it seems to have picked up again in recent months. Here are a number of old articles about the project, interspersed with some of the newer images.

Nine Eyes of Google Street ViewNet Art Anthology
In 2008, Jon Rafman began to collect screenshots of images from Google Street View. At the time, Street View was a relatively new initiative, an effort to document everything in the world that could be seen from a moving car. A massive, undiscerning machine for image-making whose purpose is to simply capture everything, Street View takes photographs without apparent concern for ethics or aesthetics, from a supposedly neutral point of view.

Towards a postinternet sublime: Jon Rafman’s Street View romanticismRhizome
As postinternet photography, the images in Nine Eyes of Google Street View testify above all to the processes of their own making and dissemination. There is no coherent subject matter unifying the images. Certain themes recur, such as glitches in the stitching system or people giving the finger to the camera, but what organizes the photographs together into one single work is simply that they have been selected from Street View during one of the artist’s marathon surfing sessions. Rafman highlights the digital aspects of his photographs—such as pixelation, watermarks, and the navigational interface which appears in nearly every image—but this never detracts from the sense that the photographs portray something real. Instead, they declare the extent to which offline life is always already structured by the online. This is what leads Geoff Dyer to describe Nine Eyes of Google Street View as giving the impression that not only is Rafman not an “old-school photographer,” but that it almost seems as if he has never even been outdoors, and that “his knowledge of the world derives entirely from representations of it.”

Poaching memories from Google’s wandering eye – The New York Times
At first I saw the camera as totally neutral: It’s just whoever happens to be out gets captured. But the truth is that the neutrality of the camera is actually somewhat . . . there’s hidden ideologies within it. For example, the camera only captures who’s on the street during daylight hours, while most, let’s say, white-collar workers are in their offices somewhere. People like prostitutes, people living on the street, they have much more of a chance to be captured by the camera.

He’s not the only one working in this area of course.

How Google Street View is inspiring new photographyThe Guardian
[Michael Wolf] saw quickly that the indifferent gaze of the Street View camera randomly recorded what he called (in one of the series resulting from this discovery) Unfortunate Events: altercations and accidents, pissings and pukings, fights and fatalities. The Street View cars usually go about their business unnoticed – or at least unheeded – but occasionally people respond to their all-seeing presence by giving them the finger (hence the title of another of Wolf’s series, FY). And so Wolf combed through mile after uneventful mile of boring footage in search of moments that might or might not prove decisive.

So perhaps we can all be armchair photographers now.

Black lives, history, respect, status matters

From across the USA …

These pictures show just how large the protests against police brutality really areBuzzfeed News
Across major cities and small towns, people turned out en masse to demonstrate against the police killing of George Floyd and to call for change in the US.

… and across the decades …

This is what 100 years of racial protest looks like in AmericaBuzzfeed News
From the 1917 silent protests in the streets of Manhattan to the recent national unrest following the killing of George Floyd, these pictures capture the long and tumultuous struggle for racial justice in the US.

… to cities all around the world, right now.

Images from a worldwide protest movementThe Atlantic
Over the weekend, demonstrations took place around the world, with thousands of people outside the United States marching to show solidarity with American protests over the killing of George Floyd by Minneapolis police. In many places, marchers also voiced their anger about systemic racism and police brutality within their own countries.

From our streets, to our museums …

‘Time to give back the swag, guys!’ British Museum unleashes Twitter storm with statement on Black Lives MatterThe Art Newspaper
“Look, I love you guys, but maybe you ought to sit this one out,” said one Twitter user, Jeff Pearce, a novelist and historian. “Unless you plan to return the looted Ethiopian treasures, the stolen Elgin Marbles and permanently return the Benin Bronzes.”

… and living rooms.

Little Britain pulled from iPlayer and Netflix because ‘times have changed’BBC News
In 2017, Lucas said: “If I could go back and do Little Britain again, I wouldn’t make those jokes about transvestites. I wouldn’t play black characters. Basically, I wouldn’t make that show now. It would upset people. We made a more cruel kind of comedy than I’d do now.” Walliams has also said he would “definitely do it differently” in today’s cultural landscape.

Times may have changed for some, but change is moving too slowly for others.

Windrush scandal: only 60 victims given compensation so farThe Guardian
Only 60 people have received Windrush compensation payments during the first year of the scheme’s operation, with just £360,000 distributed from a fund officials expected might be required to pay out between £200m and £500m.

Things are looking up #3

Find yourself staring blankly into space more often these days? Here’s how to do that properly.

The secrets to stargazing from your backyardThe Guardian
How to search the sky and what to see, from moon and stars to planets and the International Space Station. Go on a journey of billions of miles … from your garden.

This is something you won’t see, though.

New image captures ‘impossible’ view of the moon’s surfaceLive Science
McCarthy trained his camera on the craters closest to the lunar terminator every night for two weeks as the moon waxed toward complete illumination. By the time the moon was full, McCarthy had a series of high-contrast, high-definition photos of every crater on the moon’s Earth-facing side. Blending them into a single composite image was “exhausting,” he wrote, but ultimately resulted in the gorgeously detailed shot seen above — an image that McCarthy calls the “all terminator” moon.

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Whenever I look at a full moon I find it hard to remember it’s spherical. It’s just a flat white circle an inch or two across that someone’s pinned up there, surely, not a solid ball of rock, the size of the United States, that’s slowly drifting away from us. This image, whilst being incredibly detailed, doesn’t help—for all its deep shadows and highlights, the lack of a ‘proper’ lunar terminator still makes it look more disk-like than globe-like, I think. (I wonder if there’s a Flat Moon Society I could join.)

If the moon is a fundamentally strange and other-worldly object, what to make of black holes? This film, like the composite photograph above, might be bending the truth, but is nevertheless equally impactful.

An unnerving new film by Paul Trillo imagines Earth moments before it’s sucked into a black holeColossal
“Until There Was Nothing” considers how Earth’s natural landscapes and city life would look just moments before being consumed by a black hole. The surreal work shows massive waves suddenly crawling up the left side of the frame, the tops of taxi cabs shooting into the air, and an entire forest of trees ascending in an amorphous mass.

If contemplating our cosmic oblivion is all too much, let’s lighten the mood with this lockdown-inspired blast from the starry past.

Nebula-75, a new puppet lockdown drama from the folks that brought us Thunderbirds, Stingray, Fireball-XL5Boing Boing
Nebula-75 is a new “puppet lockdown drama” being made by some of the folks at Century 21, the Gerry Anderson studio that was responsible for “Supermarionation” programming in the 60s (and beyond), with such shows as Thunderbirds, Stingray, Supercar, and Fireball-XL5. Nebula-75 is also being filmed in “SuperIsolation” and Lo-Budget! […]

Nebula-75 feels so much like the show I wanted to make myself, with cardboard boxes, kitchen implements, and household junk, after watching these programs when I was a wee one. That was one of the things that made them so seductive to a young and over-active imagination — they seemed so doable. And here, lo these many years later, folks associated with the legacy of these shows are doing it. At home. With cardboard boxes and junk. I’m inspired all over again.

Thunderbirds! Captain Scarlet! They don’t make ’em like that anymore. It turns out, they do.

Staying safe, then and now

Are things getting better? It doesn’t feel like it.

Paris salons, Shanghai Disney reopen despite global alarm over second coronavirus waveReuters
News that the “reproduction rate” – the number of people each person with the disease goes on to infect – had surged back to 1.1 in Germany cast a shadow over the reopening of businesses ranging from Paris hair salons to Shanghai Disneyland. A rate that stays above 1 means the virus is spreading exponentially.

Look at the numbers, they say. But I’ve seen so many I’m becoming curve-blind.

COVID-19 CoronaVirus infographic datapackInformation is Beautiful
COVID-19 #Coronavirus latest data visualized. Updated 11th May. Created by David McCandless, Omid Kashan, Fabio Bergamaschi, Dr Stephanie Starling, Univers Labs

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Some are saying we’ve been here before, but this time’s different. Thankfully.

Coronavirus is very different from the Spanish Flu of 1918. Here’s how.The New York Times
In 1918, the world was a very different place, even without the disruptive influence of World War I. Doctors knew viruses existed but had never seen one — there were no electron microscopes, and the genetic material of viruses had not yet been discovered. Today, however, researchers not only know how to isolate a virus but can find its genetic sequence, test antiviral drugs and develop a vaccine.

Virus-afflicted 2020 looks like 1918 despite science’s marchAP News
As in 1918, people are again hearing hollow assurances at odds with the reality of hospitals and morgues filling up and bank accounts draining. The ancient common sense of quarantining is back. So is quackery: Rub raw onions on your chest, they said in 1918. How about disinfectant in your veins now? mused President Donald Trump, drawing gasps instead of laughs over what he weakly tried to pass off as a joke.

There are so many coronavirus myths that even Snopes can’t keep upThe Washington Post
“The fact-checking industry is so undervalued and underinvested,” he said, “that even with this traffic boom and the rise in prominence and responsibility at this moment when people are relying so heavily on fact-checkers for credible information, we have no hopes for scaling up our businesses.”

1918 feels too distant now, it’s hard to relate to it. But perhaps we should count ourselves lucky that we find it hard to relate to.

The 1918 flu pandemic killed millions. So why does its cultural memory feel so faint?Slate
Reading letters from survivors of the flu pandemic, one of the things that strikes me over and over again, that’s so moving, is that almost every one of them says, “I never forgot; I never forgot; I never forgot.” [Researching the book], I interviewed one 105-year-old woman who had the flu in Richmond, when she was 8. And in my cheery way, I said something like “Why do you think people forgot the flu?” And she looked at me like I was crazy. “We didn’t forget! We didn’t ignore it! We didn’t forget.” She’s 105, right? And she was like, “It never faded—not for us.”

Meet the 107-year-old woman who survived the coronavirus and Spanish fluThe Jerusalem Post
“It’s remarkable,” Shapiro said. “That’s all I can say. It’s just unbelievable. I think perhaps it’s because of her art that she’s still involved in.”

The numbers are crazy, “6 percent of the Earth’s population in just over a year,” according to this collection of images from the time.

Historical photos of the 1918 Spanish Flu that show what a global pandemic looked like in the 1910sDesign You Trust
The speed of the pandemic was shocking; the numbers of dead bodies overwhelmed hospitals and cemeteries. Quarantine centers, emergency hospitals, public use of gauze masks, and awareness campaigns were all undertaken swiftly to halt the spread. But as World War I was coming to a close, millions of soldiers were still traveling across the globe, aiding the spread of the disease.

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The flu was first observed in Europe, the US and parts of Asia before it quickly spread throughout the world. It was wrongly named the Spanish flu because it was first reported in the Madrid daily newspaper ABC. However, modern scientists now believe the virus could have started in Kansas, US.

Kansas, you say? Hmm.

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Face masks, then. So what are our options (apart from using socks)?

Face Shield: How do we encourage mass adoption of an unwanted necessity?Joe Doucet
To try and create a face shield that people would actually want to wear rather than simply put up with, Joe Doucet has designed a shield with integrated sunglass lenses and arms that make them more practical and feel less alien and intrusive on the wearer than a typical face shield would. It is hoped that improving the basic face shield design will encourage far greater uptake of its usage and help everyone adjust to the “new normal” that awaits us.

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The Micrashell Futuresuit lets you party like it’s 2099Design Milk
Taking design cues from sportswear brands like Yohji Yamamoto and Nike Lab, the Production Club Micrashell wraps an array of speculative environmental technologies within a futuristic athleisure design straight out of the Cyberpunk 2077 trailer. The Micrashell is intended to allow for human-to-human interaction in group settings with a virus-shielded and disinfectable air-tight suit, specifically for attendees of “nightlife and entertainment industries”.

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Plastique Fantastique’s iSphere mask is informed by 1950s sci-fi comicsDezeen
Berlin-based art collective Plastique Fantastique has created an open-source, retro-futuristic face shield shaped like a fish bowl to protect wearers against coronavirus. The helmet-like design, called the iSphere, comprises two transparent, hollow hemispheres that have been secured together and cut to create a hole for the user to fit their head through.

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Canevacci and Young wanted to bring an element of humour to a serious object for non-medical users.

Perfect!

Need something to read?

In this age of 24-hour, panic-driven, conflict-addictive news content designed just to be clicked on, glanced at and forgotten, here’s an archive of journalism worth spending some time with.

The Stacks Reader
The Stacks Reader is an online collection of classic journalism and writing about the arts that would otherwise be lost to history. Motivated less by nostalgia than by preservation, The Stacks Reader is a living archive of memorable storytelling—a museum for stories. We celebrate writers, highlight memorable publications, honor notable personalities, and produce interviews with writers and editors and illustrators in the hope of offering compelling insight into how journalism worked, particularly in the second half of the 20th Century.

For those of you with a little more time on your hands, perhaps you want to settle down with a good book.

Internet Archive’s ‘national emergency library’ has over a million books to read right nowCNET
The Internet Archive will suspend its waiting lists for digital copies of books, as part of its National Emergency Library. “Users will be able to borrow books from the National Emergency Library without joining a waitlist, ensuring that students will have access to assigned readings and library materials that the Internet Archive has digitized,” the organization said in a blog post last week.

The decision comes as schools around the country are shut down in the midst of the coronavirus pandemic and as it’s become more difficult to get goods of all kinds. The post noted that many people can’t physically go to their local libraries these days.

More open eBooks: routinizing open access eBook workflowsThe Signal
We are excited to share that anyone anywhere can now access a growing online collection of contemporary open access eBooks from the Library of Congress website. For example, you can now directly access books such as Cory Doctorow’s Little Brother, Yochai Benkler’s The Wealth of Networks, and Youjeong Oh’s Pop City: Korean Popular Culture and the Selling of Place from the Library of Congress website. All of these books have been made broadly available online in keeping with the intent of their creators and publishers, which chose to publish these works under open access licenses.

Or if you fancy something older and more visual, check out this remarkable archive from the Cambridge Digital Library.

There’s so much in here, I’m having trouble deciding what to highlight.

Newton PapersCambridge Digital Library
Cambridge University Library is pleased to present the first items in its Foundations of Science collection: a selection from the Papers of Sir Isaac Newton. The Library holds the most important and substantial collection of Newton’s scientific and mathematical manuscripts and over the next few months we intend to make most of our Newton papers available on this site.

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Sassoon JournalsCambridge Digital Library
The notebooks kept by the soldier-poet Siegfried Sassoon (1886–1967) during his service in the British Army in the First World War are among the most remarkable documents of their kind, and provide an extraordinary insight into his participation in one of the defining conflicts of European history.

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It’s not all scans of historic documents, however.

Department of Engineering Photography competitionCambridge Digital Library
The annual Department of Engineering photo competition highlights the variety and beauty of engineering. For many people, engineering conjures up images of bridges, tunnels and buildings. But the annual University of Cambridge engineering photo competition shows that not only is engineering an incredibly diverse field, it’s a beautiful one too.

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Christian Hoecker – Carbon Nanotube WebCambridge Digital Library
This fibrous material is made of self-assembled carbon nanotubes. The diameter of each nanotube is more than a thousand times smaller than the diameter of a human hair.

Just a few drinks

What do you get if you cross the scale of Toby Harriman’s block towers and the aerial abstraction of Magali Chesnel’s coastlines with Ursus Wehrli’s art-based neatness?

This.

Thousands of satisfyingly stacked drinks crates or a real life Tetris game waiting to be played?It’s Nice That
“I wanted to capture just a few shots of the crate stacks location,” Bernhard tells It’s Nice That, “But when I looked through the viewfinder and saw how interesting the crate stacks looked, we spontaneously changed the plan and flew over the location several times from different heights and angles to get as many interesting and different motives as possible.” Flying over the stacks, which look more like some kind of digitally rendered bar chart than real life, the photographer captured a little known aspect of the drinks industry.

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It goes to show, no matter how many times Bernhard takes to the air, the stance he returns with never fails to surprise. From the skies, Bernhard presents us viewers with a different way to look at the world. What may seem trivial or unalarmingly ubiquitous in every day life, like a crate for instance, is seen in a totally new light from the way Bernhard twists and turns the camera lens from high above.

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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.