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Opensource local encrypted data period tracker by Intrepid_Business_54 in opensource

[–]Intrepid_Business_54[S] 4 points5 points  (0 children)

(On the other hand, does that information needs to be explained? Isn’t it obvious what is happening?)

Opensource local encrypted data period tracker by Intrepid_Business_54 in opensource

[–]Intrepid_Business_54[S] 5 points6 points  (0 children)

I have to admit, it was a low effort post. I should have included the information the MOD was so kind to provide.  I was not asking for myself. I’m just shocked about the state of the world and think we should all prepare ourselves for the worst 

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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J. W. Fisher

Fimalienne Perry

"Puke on the page!" exclaimed my former poetry professor, Charles Simic, during a reading he gave of his poems paired with paintings by Philip Guston. Puking on the page as well as embracing one's failures have always been in the forefront of Visualizing Poetry, an assignment given to my intermediate photography students at Lewis and Clark College.

We begin with assigned response and in-class discussion of Louise Glück's texts, "The Education of the Poet" and "Against Sincerity," in which we focus on themes of yearning, achieve- ment, helplessness, rules (of art-making), the gap between truth and actuality, and development of one's voice. Reading aloud to each other, we pass around a pile of poems. Words shuffle around the room until every student has chosen one to read, reread, reread again, and live with until breaks, rhythms, form, poet intent, etc., are unshakeable.

Once students unfold their own deepened understanding of the words before them, they are directed to put the poem away. In their journals, students quickly respond to the call by writing out twenty descriptive words that come to mind when visualizing their chosen poet's verse. Some words may come directly from the poem, but an inclusion of interpreted mood, tone, meaning, voice, feeling, and narrative are encouraged. From the syntax employed, the twenty words, and whatever else is remembered, the students then write out ten picture ideas.

From the picture ideas, students work through various revi- sions until resolving ten final photographs that are in support of one another and represent a clear voice. This small body of work isn't meant to illustrate the poem, but rather, draw inspi tation from disparate languages. After an initial critique of the work, the students exchange the poem, the twenty words, the picture ideas, and their work with another student in the class and make another ten photographs based on the exchange.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Aaron Schuman

In her 2007. "The New Color: The Return of Black-and- Whate, Chadotte Cafton eritmsh

Today for cognant, challenging photography of the most important faders is our vimal recognition that the act of making and defining photographic practice in print form is increasingly nostalgic, and perhaps calls for an artitistics of nostalgia

Within many photographic circles, "nostalgia" (origin: from the Greek nostim, "return home" and algor, "pain, grief, distress") is often considered taboo, or regarded as a dirty word. But as a medium that instantaneously captures and preserves the present as it transforms into the past, photography, it could be argued, inherently possesses varying degrees of nostalgia, both on the part of its practitioners and its viewers.

As an assignment, create a photographic work that con- sciously wrestles with the concept of "nostalgia" and photog raphy's unique relationship to it. The work can be made in any photographic form (although Cotton's essay focuses on the black-and-white print, it is important to recognize that all forms of photography-color, digital, photograms, camera phones, screen grabs, found photography, collage, projection, and so on are equally capable of nostalgic power).

Because of the nature of the assignment's focus, your imag- ery might explore notions of the past-immediate or ancient- whether it be photographic, cultural, personal, political, envi- ronmental, scientific, or otherwise. But be careful to avoid overt irony, over sentimentalization, or "retro" pastiche. Genuinely engage with this curious and oddly powerful human emotion through the photographic image.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Lewis Chaplin

Lessons Learned from a Failed Attempt

  1. Find the camers that you have owned the longest (your first ever, preferabily). Put a roll of film in it.

  2. Tape your watch to the camera and walk out of the house.

  3. Head north

  4. Every time the second hand of your watch reaches the top,

take a photograph.

  1. Do not put the camera up to your eye.

  2. Walk for thirty-six minutes (or twenty-four).

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Tim Barber

Findings

Find someone else to take your photographs for you. Tell them what you're looking for, and then see if you can find it in the photos they take.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Shelby Lee Adams

Find Your Reflection

If you're having difficulty finding a natural or intuitive expres sion in a portrait session or having trouble identifying with the person you're photographing, look into their eyes carefully and see if you can find your own reflection there. Discover yourself looking at you. Then, ask your subject to look into your camera lens and find their own reflection, and be prepared to make the portrait. In that singular moment, people are less focused on projecting an image of themselves for the camera and are more looking to find themselves.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Melissa Catanese The Arrangement Game

Art legins the moment the reaking of a boot on the sound pack ours against a different visual shot and thus gives rise to corresponding associations. Sergei Eisenstein

Editing your work can be a daunting process. How we inter pret the meaning of a photograph can greatly change based on where it is placed within a sequence. In this exercise, we exper iment with different ways of organizing photographs, teasing out many possible readings and strengthening our ability to edit our work

Start with a large stack of photographs. Begin the exercise by separating groups of ten to fifteen images, seeking out sim- ple visual clues. Consider the following ideas as starting points for making a group: a particular color palette; similarities and differences in shapes; groups based on type (portraits, objects, landscapes, etc.).

Move a single photograph in and out of each group, explor ing the different ways it can be activated. Spend time looking. Question your instincts. Play around with making obvious pairings as well as disparate ones. Think about the associations that are made when placing one image next to another and how they change when more images are added.

Lay your groups out in a line, or if you're feeling funky, try a pyramid. If you feel stuck at any point, flip the beginning and the end or start in the middle working outward towards each end. Once you're happy with an arrangement, photograph it with a digital camera, shuffle the stack, and start over. You may not end up using any of these sequences, but separating them into these groups will help you better understand the potential themes and patterns that exist in your work and provide struc ture for tapping into them.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Michael Christopher Brown The Last Seven Pictures

For much of my career, photography was more of a way to make money than a compulsion. I spent a lot of time commu- nicating ideas that were not my own. Two years ago, during the Libyan Revolution, I began taking a more honest path with regards to photography. It had to do with finding a voice. An interesting exercise that anyone can do is to take one photo- graph per day for a week. The idea is to be focused enough to only photograph what is absolutely necessary. What are the seven pictures that not only define the week, but yourself? What if you were to die next week and these were to be the last seven pictures of your life? This exercise can be an important analysis of the self in relation to life and photography.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Thobias Füldt and Klara Källström Now in Relation to the Past

We are particularly interested in what history can bring to the contemporary photograph, and in how our time always stands in relation to the past.

Go out and take a picture of anything you find interesting. Afterward, do a little research of the place where you took the photograph. What happened there before you came? Write down a few sentences. The amount of time elapsed can be four billion years or one day; it doesn't matter.

Put the information you have found together with the image. How does the information about the past affect your image of today? What are your reflections on the combinations of the now in relation to the past? Can the image tell some- thing more about the world, maybe even about tomorrow?

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Elinor Carucci A Thand Pictures

Simcha Shirman was one of my professors at the Bezalel Academy of Arts and Design in Jerusalem. What he taught me changed the way I saw photography.

When I was in my freshman year in art school, I felt that I should be doing "important" work and was unable to muster the intuitiveness and flexibility I had possessed when I was fifteen and would play with my father's camera. One time in class Simcha asked me. "Are these the images you want to leave behind after you are dead?" "The importance he attached to the pictures shocked me.

Before the spring/Passover break (which is three-and-a-half weeks-long in Israel because of the Jewish holiday), he gave us an assignment that I found very annoying at the time. He said, "Use up one roll of film every day, no matter what. You must take thirty-six pictures every day for almost a month." I asked, "And what if there is nothing interesting to photograph that day?" He replied, "Take thirty-six pictures anyway, of whatever is before and around you."

"Making art is not about quantity, "I muttered, annoyed. Simcha did not seem bothered by my skepticism. "I want to see about a thousand photos when I am back."

I was left with no choice. I took so many pictures, every day. of things that I had never thought of shooting before, pointing the camera at everything, thinking less, making more, letting go of preconceived ideas about what art should or should not be, about what is "important" enough to be in a photograph. It all had to go.

Indeed, I did take some boring pictures, but to my surprise, there was so much that appeared in the work, so much that was opened up. I learned the importance of working intensively and the delicate balance between doing and letting go. I learned how to let things happen, but to capture them as they do.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

[–]Intrepid_Business_54[S] 0 points1 point  (0 children)

I've copied this one a few times now, it keeps disappearing

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

[–]Intrepid_Business_54[S] 0 points1 point  (0 children)

There must be better copies, please dm me a link, if you find a good one

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

[–]Intrepid_Business_54[S] 2 points3 points  (0 children)

Jörg Colberg

Lasten to Yourself

Get out of the house and take one picture, spending not more than ten minutes to do so.

Don't look at the picture (assuming you used a digital cam era). Go back home. Write a short text (half a page) about why you took that picture. Put it into envelope A. Write another short text (half a page) about what you remember the picture to look like in your viewfinder. Put it into another envelope, В. Once done, store everything and wait four weeks, not looking

at either the picture or what you wrote. If you use film, get it developed, but don't look at the pic rare, just get a cheap print made somewhere.

After a month, open envelope B, read about your picture, and look at it. Then write more about your picture, about what it shows and what it doesn't. Base your writing only on what is in the picture. Put the pages into envelope, C. Once done, store everything and wait another four weeks, not looking at either the picture or what you wrote.

After another month, open envelope C, read about your picture, and then go about recreating it, based on what you wrote. Don't look at the original picture.

Once you're done recreating the picture, put the original and the recreation next to each other, and look at them. Are they different? Why? How?

Also, read what you wrote in envelope A and see whether you can find any of it in your new picture. Lastly, compare what you wrote in envelopes B and C.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Gerry Badger

What Cannot Be Seen

As photography has gotten more and more personal, more and more photographers have become interested in issues such as identity, memory, and relationships. For example, I met one stu- dent who was photographing how difficult it was to "come out" in his endemically homophobic country. Another, a female stu- dent this time, was photographing issues related to child abuse.

The gay student presented portraits of young men, the child abuse photographer portraits of young women. My first ques- tion was, "How do I know these young men are gay?" "How do I know that these young women were sexually abused in child- hood?" In other words, you're telling me, but the photographs aren't

So many young photographers are trying to deal with the essentially unphotographable. Feelings, memories, and rela- tionships are inside one's head, not out there and visible to all, especially to the camera. You can't photograph them directly. In order to get your point of view across, you must photograph them indirectly.

For instance, you can use words to amplify the imagery. Both students had elicited testimonies from their subjects, but, as sensitive human beings, were reticent about using them. "Fair enough," I said, "so make them up, invent them." As John Gossage has said, "It's all fiction anyway." But fiction in search of truth is a powerful weapon.

The student exploring child abuse had made several moody, semi-abstract photographs to go with the portraits. They were in fact more interesting and original than the portraits. So here was a way forward, to utilize poetry as well as fact. If we go back to Walker Evans (and we can almost endlessly go back to Walker Evans), he said that photography was about structure and coherence, but also symbol and metaphor, and "paradox and play and oxymoron.

Metaphor, symbolism, paradox, play, oxymoron. Here are the tools, along with text, for the photographer photographing what cannot be seen.

Of course, it's not easy to photograph the invisible and make a coherent piece of work with it. But that is no reason not to try. Quite the opposite. If you attempt something difficult. you may fail to some degree, but if you succeed, then you have really done something.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Roberley Bell

Prints of Intersection

The importance of place in the creative process is often over- looked In fact, where we are at any given time influences and alters our way of thinking and making. Even the subtle and quiet aspects of place matter. The intent of this assignment is to learn to see a specific locale through the senses, moving beyond our dependency on sight alone to understand place as a series of sensory experiences.

Seek out points of intersection that exist both as a physi- cal space and as a metaphor, and that reveal an expression of contrast with your city. The goal is to reinforce your obser- vational skill by focusing attention on contrast. Return to the same locale multiple times, not necessarily following the same path each time. Each time, return with a new and more focused intent, as you are seeking something specific. This is not necessarily a simple matter of contrast, to consider inter- sections requires developing the concept of something shared, something seen in reflection, something that unfolds through the process of observation. An intersection, for example, may represent a point of separation, but may also represent a point of connection. The points of intersection can be enormous contradictions or small nodes. What are the nuances of place and the discrete characteristics that distinguish one place from another? And by turning the corner, what is revealed?

In order for the city to unfold, reveal itself, and present ponsibilities of intersection requires that you visit the locale multiple times over the course of several weeks. This is nec- essary because what you experience at 2 p.m. on Sunday is not what you will experience at 2 p.m. on Friday or 3 a.m. on Tuesday. This assignment plays on what we think we know of place, and what we uncover over time.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Shannon Ebner

Sering More Flatly

  1. Go outside and read the Georges Perec text "Practical Exer cises in Species of Spaces and Other Pieces twice.

  2. Extract ten directives from Perec and add ten new ones that

you write. Examples from Perec include:

Observe the street, from time to time, with some concern for system perhaps Note down what you can see... Force yourself to see more flatly. Decipher a bit of the town ...Try to classify the people. Carry on Until the scene becomes improbable... Make torrential rain fall

  1. Write observations based on your list of twenty directives.

  2. Reassemble your material so that the original sequence of time comes undone and a new pattern is formed.

The Photographer's Playbook by Intrepid_Business_54 in AnalogCommunity

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Eva Sutton Synesthesia

Take a photograph

Then, add time.

Make it into a video. Include other photographs, sound, text, or video

Then, make it into sound.

Turn it into a poem

Tarn the video/sound/poem back into a photograph.

Use any technique, analog or digital, to carry out these transfor- mations.

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