Technology close up
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Something is going wrong when the camera with its impressive algorithms and countless AF options forces itself into the centre and, hence, between photographer and object. Ideally, I would think, we photographers ought to use the camera as if it was not there. Just focussing on the composition and the 'essence' of the object and having the settings run in the background. I am not advocating 'point and shoot', I am saying that a camera should be built in such a way that we can 'forget' about it and focus on taking the picture. I think my older cameras do that. My newer ones are much more sophisticated and what they are increasingly trying to do is take over decisions I could make myself. What is my reaction? Number one, I prefer using my older cameras. And two, when using my sophisticated ones, I turn off a lot of their computer-powered procedures. I wonder what you think.
Sure, since we have printing, tele-communication, the worldwide web and AI, there is more light. More light, however, by definition creates more shadow. When we ask ourselves whether the technological advances have lead to a reduction of atrocities and violence I am sure we would hesitate with our response. In my humble opinion, every type of new technology so far has been appropriated by the same old type of Homo sapiens we have known for millennia. Our propensity for violence has not shifted one iota. My understanding is that technology is like a gigantic amplifier of human ambition. In short, technology can amplify violence too. Fuji X-Pro1 plus Helios 44M-7 wide-open (ignore Exif data).
A lady wearing the traditional Vietnamese dress (Ao Dai) checks her phone whilst walking through the grounds of the Royal Palace in Hue, Vietnam.
She was going to be photographed as part of her wedding celebrations - a common practice that connects couples with Vietnamese history using the imperial architecture as a backdrop.
In 1968, the Royal Palace was the location of one of the most intense battles of the Vietnamese war. Much of the damage to the wall behind this lady results from that action - including many obvious bullet holes.
Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024
Bob Sorrell was an automotive designer and builder of the 1950s. His work includes building land speed racers, show cars, drag racers, hot rods, customs, and tether cars. His fiberglass creations were outrageous and memorable, the earliest being the SR-100 roadster. It was a Sorrell original design that was unique and creative with its unified fender-to-body expression and envelope-design.
The Sorrell-Larkin SR-200 began life as a Lister-Chevrolet. In 1960 it was involved in a tragic accident at the Los Angeles Times Grand Prix at Riverside. The wreckage was acquired by Bob Sorrell and had it brought back to his shop, where he and Jim Larkin shared space. The car required extensive modifications to the frame and many other mechanical components. A fiberglass body finished in patriotic colors was carefully and expertly crafted, and based on past Sorrell designs (the SR-100).
It was involved in another crash at Riverside in 1962, close to where the Lister had come to a rest in 1960. This time, an extensive fire transformed the wreckage into ash. The car was totally destroyed. The blaze was so intense that track workers had to use a skid loader to cover the flaming wreckage in dirt. This SR-200 was reincarnated by the original builders, Mike and Jim Larkin, who used the original models and technology they developed back in the late 1950s. After the original designer, Bob Sorrell, passed in 2003, they replicated a car that no longer existed. The original SR-200 raced twice at the Riverside Raceway, once in 1961, then again at a Cal Club race in 1962, where it was destroyed by fire in a crash. Unable to extinguish the fire, which has spread to the magnesium wheels, a skip-loader was brought in and the car was buried where it sat, at Turn 1. Everyone, including the Larkin brothers, believed to this day that the car still lie buried under what is now condos.
Since it took almost ten years for the Larkin brothers to finish this project, advancing age and health issues evolved which prevented the brothers from going racing with their SR-200. In late 2013, Mike Larkin sold the project to Wes Abendroth. Wes has been racing and restoring specials for over twenty years and, after working on the Sorrell for three months, he was able to put it in the proper livery for vintage racing.
This car was accepted to the 2014 Monterey Historic Races and The Coronado Speed Festival with the driving duties given to Wes' good friend, Bill Sadler, then 83 years of age: he was one of the oldest living drivers currently competing in sanctioned events.
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
Sitting on the window-sill and enjoying the low afternoon sun. Illuminated and in sharp focus is the "good" eye, the one I use for photography. The other one plays second fiddle. However, none of them was really involved in taking this self-portrait. It was the artificial eye of the camera in connection with a clever algorithm (automatic eye recognition) that kicked in when I pressed the shutter release (via a long cable). This is one of the situations where camera technology enables me to do things with ease that, if done manually, would have been quite difficult to achieve.
Sunset in the Allgäu and view directed to Germany's highest mountain, Zugspitze, while a regional train passed the scene.
Crazy Tuesday - Vintage Technology
A set of heavy metal scales (I borrowed) and imperial weights ranging from 2lb down to 1/4oz !!
The spokes of a wheel cast their shadow on the wall behind.
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Die Speichen eines Rades werfen ihren Schatten auf die Wand dahinter.
Absolutely love the way this turned out. It's inspired by this concept art from Elysium. Something I've wanted to do for quite a while now. Not quite done yet as I need to add to the interior cargo area and make some actual cargo for it, but I wanted to get this photo before the decals aged or something happened to them. This is also the first time I've been able to get a white background to look good in a long time! XD
“The difference between technology and slavery is slaves are fully aware they are not free”
Nassim Nicholas Taleb
Inquiring about the buildings which look like 'half a building' we were informed, "these were the slave quarters.' While slavery wasn't the first thing we thought about while absorbing NOLAs fine sense of heritage and hospitality, when you become calibrated to it, it is hard not to think of elephants in the room.
French Quarter New Orleans
Stagecoach 34627 (KX54 OPB) operating route 4 along Technology Drive, Rugby. I had not seen this dart for several months (My last shot seems to be July last year) as it seemed to have been out-posted to Kettering. However, it is now in the reserve fleet, and today. the 1st of June 2018, I saw it pass me here on the way to Brownsover, so I decided to wait for it return, bound for the Admirals Estate.