See. Stop. Click

We walk around, make our way to or from something. If we look with easy eyes, arrangements, occasions, even sounds prompt attention. Further inspection, reaction. Most of us, for most of the time are more involved with something else to see what is seeable. People drive thousands of miles without seeing what they drive past so they can do what they think is expected; do what the great-one did.

Three instances of misses, and the effort of making them. These are all part of the infinite roll. They aren’t edited; not even change of exposure. They remain direct phonecaptures.

I notice something — not a snake. has a shiny part. So, I make an exposure. This assures that the angle, first surface of the render is made.

walking closer, make another exposure.. it will need post to succeed. As it is, it fails.

Inside, a mirror and shop display. It must be something. Feels like it, because of the light patterns. As I adjust my position things arrange themselves. Three tries. I’m tempted to move the mirror; even the bench. I don’t. This isn’t a studio shot. If it were, I’d feather the lights. Make changes to the surface of the mirror. Dulling spray applied locally.

Three it didn’t work. If it had been on film no chance of getting that image — film that could have done it would be cinema film.

Outside; windows with words. Breaking the scene into one word pulled apart. It fails. The bush that would do the main “obscuring” isn’t dense enough. This could be retouched. Not certain this is worth the effort, given the format of the file — too low pixel density. Is it worth the return with the Phase Back?

We can see before we can walk. We can walk before we read. Everything leads us toward understanding.

If you think it might be something, make it into that something. If you can’t; if it just doesn’t work, make the effort anyway, otherwise, you won’t know, and if you don’t know, you don’t learn. The main learning isn’t about the how of things. It is the other part of things.

Definitely Digital: GENERATIVE SYSTEME

Gottfried Jäger (*1937) Jäger has been part of some of the most iconic computer art exhibitions of the 1960s, such as New Tendencies  (1969) in Zagreb, Experiments in Art and Technology  (1968) at the Brooklyn Museum

generative photography.

https://www.souslesetoilesgallery.net/publications/gottfried-jager

https://www.souslesetoilesgallery.net/publications/gottfried-jager2


the network image

Just estimating from the number of YouTube subscribers, the generative/network image makers and curators are no threat to the Film Experience broadcasters. Two different approaches to film, PersonA & PersonB have more than 13,000 subscribers with more than 100 likes on their most recent posts. On the other hand, one of the above Digital posts has only 2 likes and less than 200 views as of this post.

And meanwhile, the industrial base of chemical photography is noticeably fragile. It is said by a German participant in the industry, says that their chemistry sales support the R&D into their emulsion+ business. Without profitable developer sales, there is no development within the business.

ai is generative grown up
made better by becoming a better student

human computer interaction
machine man interface
made to become credible; to understand conversation, the emotion part.. science being told art is communication of emotion.

art became their teacher.
the turing test. beyond counting and classifying images, to finding them, to making them

hci human computer imagery