Shodo

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After a nearly nine-month break, my wife and I are back to practicing shodo (Japanese calligraphy). I wanted to post my writing attempts on Flickr, and found, to my surprise, that when I started doing the same thing three year ago, my first post was of exactly the same writing (the image below is from three years ago.) It reads “しゅんらいききむかう.” As with many of the sayings typically used in calligraphy, the exact translation is a bit elusive (and somewhat missing the point),  but “Welcome spring” is close enough. This is kaisho – formal script.

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When I wrote this three years ago, it was also a re-start of our photo practice. Our daughter was just a newborn, and we would bring her to our teacher’s house. She would sleep peacefully (at least, this is how I remember it now) in her car seat, while my wife and I would write and then eat incredibly delicious dinners cooked by our sensei’s wife. Having a child with us was a major change in dynamics of our practice from the time when there were just two of us. I guess, this is just another illustration that shodo, like kendo, is a mirror of of the entire life.

Our daughter is not a little bundle laying in a car seat beside the chair anymore. She is a person, who wants to draw, and write, and play, and watch TV, and read, and eat, and drink, and talk. The change of dynamics and pace seems to be continuous. Perhaps, embracing it is the point of practice.

These days, our daughter likes to do everything together with us. I know that this will pass, as the need to assert her independence will take over, but I wonder if one day we would have a chance to write calligraphy side-by-side.

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On confidence

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“We should devote ourselves to being self-sufficient and must not depend upon the external ratings by others for our happiness.”

-Bruce Lee

I came across an interesting article by Paul Graham, called “How to do what you love.” It is curious how similar are his thoughts regarding prestige, particularly in academic circles, to the words of Bruce Lee above. Graham goes bit more into details of why it is dangerous to let prestige be the guide in the choice of what we do. It is because the aura of prestige substitutes our own values with those “of the rest of the world.” Incidentally, he expands even further on this in “Hackers & Painters.”

I think there should be a balance between using the opinions of others as a constructive tool and being confident enough to disregard them when appropriate. In fact, it is in determining when it is appropriate to filter out the opinion of others that confidence is needed the most. After all, there is a thin line between confidence and arrogance.

For artists, photographers included, opinion of other people is a major factor that can influence the entire career. The challenge is not to let it dictate the direction of the art itself.

There is an effective way of approaching the confidence/arrogance dilemma in kendo. I have heard a saying that in practice (keiko), one should cultivate a feeling as if he/she is the worst (least capable) student in the group, while during shiai (read: real fight) one should feel as if he is the best. This way, we can be humble, yet not swayed by external factors during pivotal moments and decisions.

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Indigo

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My favourite colour is blue. Or maybe, purple, because in painting, it can appear either cool or warm, depending on the adjacent colours. Naturally, I find the colour indigo, which is between blue and purple in the electromagnetic spectrum, fascinating, with all its history and applications in art (fashion) and martial arts.

The indigo dye was developed in India, and it was a very rare commodity in Europe in the middle ages. During Napoleonic wars, which coincided with the development of technology that allowed mass production and dyeing of fabrics, the French uniforms (habit à la française) were dyed with indigo.

In Japan, the import of silk from China was restricted during various prolonged periods, and cotton was difficult to dye with anything, except indigo. Over time, an intricate process, indeed an art form in itself, of indigo dyeing was developed. There is a belief that indigo dye repels bacteria and insects. Probably, for that reason, practice uniforms for kendo (keiko go) are traditionally coloured with indigo.

Nowadays, indigo is often used to colour denim fabric. Interestingly, the much thought-after Japanese denim is often made on vintage shuttle looms, developed by Toyoda company in the 1920s. These looms are slow and produce a nonuniform fabric by today’s standards, but for denim, this is a valuable feature, as slight variations and imperfections is what makes the jeans unique.

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I took some macro photos of the fabric of two pairs of jeans that I own: a factory-distressed pair bought as a souvenir while I was on sabbatical in Japan (I was lucky to find a size that fit) and a brand new “raw” denim pair (i.e. it has not been washed after dyeing). True denim enthusiasts are rumoured to go month or even years before washing their raw jeans in order to develop the wear patterns that are unique to the wearer. I don’t think I will go that far (my kendo keiko gi is sufficiently sweaty, so I would rather keep my other clothes relatively clean), but breaking in the new jeans will be a fun little project, even just for observing the changing hue of the indigo dye. Perhaps, I will take more closeup shots of the fabric to record the process.

I don’t think I will be able to reproduce the cool wear patterns of the pre-distressed jeans, but it is neat to know that they will be will be one-of-a-king and, in a very direct way, an expression of my lifestyle.

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On motivation

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“The great doesn’t happen through impulse alone, and is a succession of little things that are brought together.”
Vincent van Gogh.

Athletes know that motivation is easy to achieve, but difficult to sustain. This is true for any activity, which requires overcoming obstacles through practice. In particular, continuing motivation is essential for an artist. For me, van Gogh exemplifies this most of all. His life has been extensively studied and documented, but he himself also wrote about this in detail in his letters to his brother Theo. In fact, the letters are the primary reference for many studies of his life.

My wife and I are making travel plans for the next summer, and I am excited that one of the stops will be Amsterdam. Although my primary reason for going there is a conference on marine engineering, I am really looking forward to going once again to the van Gogh museum. There is something special about seeing the brushstrokes, about which so much has been written and debated over the years. This is my motivation to think about colors in my photography. Also, I find it fascinating how the cycle of mutual influence between Japanese and European art was completed by van Gogh, who applied his distinct technique to re-create the works of ukio-e masters, who themselves were influenced by Western painters.

This is how easy it is to achieve motivation. Check. Now, to the hard part – to carry this initial inspiration through and transform it into some meaningful images from the upcoming trip.

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Would Roman stoics take selfies?

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I am truly amazed how much a two-thoudsand-year-old text by Seneca called “On the Shortness of Life” resonates with the modern challenges of work-life balance. On one hand, it is comforting to know that we are not the first to come across these issues, but on the other hand, the fact that two millennia later we are still searching for a solution tells us that, most likely, there is no magic formula that works universally for everyone.

One interesting point that Seneca makes is about people’s relationship with the past. Basically, the past, unlike the present and the future, is “beyond the reach of all human mishaps, and removed from the dominion of Fortune”. He writes that it is true luxury to be able to “roam” into the past days of one’s life and access all of them at will. I think that there is an interesting implication about photography in this concept.

More photos here: http://ow.ly/BabJT

The process of taking a photograph, as everything in our lives, happens in the present, but the resulting image is a record of the past. If the image is “doctored”, it has a potential to change the reality of the past event for the viewer. However, regardless of whether a photo is a faithful depiction of reality or not, for me personally, looking through my own photos that were taken several years ago is what makes the “roaming” into the past vivid and enjoyable. The photos are much more than memory aids. They reflect what interested and bothered me at the time they were taken, my skill level as a photographer,  my level of patience and mental flexibility in going after the shot that I wanted to take.

The tough challenge, of course, is precisely what Seneca wrote about – not to lose all this insight into the past by being so “engrossed”, as he calls it, in trivial matters of the day, as not even being able to find time, mood or reason to slow down and look back. At this point, I have tens of thousands of photos that my wife and I took over the last ten years. I think that reviewingt them regularly, perhaps, just a few images at a time, would be at least as useful as shooting new projects.

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Overcoming self-imposed challenges

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“…difficulties of every sort [are] to be welcomed by those seeking fulfillment.”

Alain de Botton, “The Consolations of Philosophy”

I think that having ideal conditions for a photo shoot (models, location, equipment, time, etc.) can sometimes be counter-productive to creativity and developing photographic skills. Just as artists consciously limit their palette, it is stimulating for a photographer to work within constraints imposed by the available equipment, setting or lighting conditions.

For example, during my travels, I often don’t carry all my lenses, so when a photogenic moment presents itself, I might not have the “ideal” tool. Likewise, I often see the most interesting scenes in less-than-ideal lighting conditions. These situations force me to be creative, experiment with new angles, be less result-conscious and let go of micro-managing the shoot. This mental freedom from the fear of not producing the best possible image is essential for being present and not overly concentrated on my own preconceived ideas of how things should or should not happen.

When I practice kendo, I often choose to use only a limited set of techniques (waza) against a particular opponent in order to either work on my weak point or further develop my personal best technique (tokui waza). I use exactly the same approach when I photograph basketball or other sport. I often use a lens that is difficult to master in terms of achieving a perfect focus and framing, such as Canon EF 85mm f1.2L II USM Lens, which has an incredibly shallow depth of field and a fixed focal length. Having worked through these challenges makes the resulting even more meaningful.

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Photography in art and engineering

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“Beauty is the highest degree of appropriateness in nature”

Ivan Efremov, “Razor’s Edge”

My academic research in fluid mechanics heavily relies on experimental methods that are based on photography. At the same time, in my photography, I enjoy subjects that are related to my research: water, clouds, architecture, ships, airplanes, birds, etc. Although these two areas of interest benefit each other, and in some sense, both my photography and my research straddle the junction between art and engineering, I have not been engaged in hybrid research per se. I believe this is true of majority of colleagues, who work in the similar area. Engineers produce knowledge that is applicable to engineering projects, and artists produce objects of art that can communicate emotions directly, so the classification between the two is usually quite clear.

Philosophically speaking, the results of true hybrid research are not strictly art or engineering. In  fact, the status of such results and their function in the world is not clear. I am wondering if even Leonardo da Vinci, perhaps the most recognized “renaissance man”, produced works that were objects of both art and engineering at once, not one or the other.

On the other hand, it is clear that engineering advances can enable artistic creation (e.g. computer graphics). Likewise, artistic objects can be used to communicate complex scientific and engineering concepts to broad general audiences.

I believe there is definitely a close connection between art and engineering, and therefore a potential to make productive contributions to both fields through photography – a technique that is firmly established in both worlds. It would be interesting to apply photography to create objects and knowledge that would truly belong to both fields at once.

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Photographing water droplets: setup plan

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I am planning a research project that will focus on close-up photography of liquid drops and splashes. So far, I have no photos of my own to illustrate this post, but here is the equipment list for the setup that will be developed in the Fluids Lab:

  • Camera. I will use a Canon 5D Mark II or 5D Mark III, since it has higher resolution than a Canon EOS-1D X. The higher framing rate of the 1D X offer no advantage in this case, since the motion will be frozen by the flashes.
  • Lens. I will start with a Canon EF 100mm f/2.8 Macro USM Lens, but a Canon EF 180mm f3.5L Macro might be a better option for shooting from greater distance.
  • Shallow water tank (tray). I plan to ask the students to build a shallow water tank that would be quite long, so we could shoot along its length and avoid getting the front and back edges into the frame.
  • Studio flashes. Three Paul C. Buff’s “Einstein” lights will be triggered by dedicated radio triggers. Two of them will be positioned on the sides of the tank, and the third one will be placed behind a semi-transparent background.
  • Intervalometer. I will use a trigger for the camera and the valves that will release the drops. There are several options, including a Time Machine/Drip kit.

I am looking forward to this project (should it be called a still life, even though the droplets would be in motion?) and hope to post the updates with our first droplet images soon.

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Photo contests

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Whether participating in photo contests is useful for one’s development as a photographer or not, depends on the photographer, or rather, on what he/she takes away from the contest.

Some contests are judged by a panel of judges, while many online contests (in various Flickr groups, for example, such as Matchpoint Challenge or Flickr’s 100 Best) are adjudicated by the participants themselves. There are even popular sites dedicated to head-to-head photo “duels” (e.g. pixoto). Some sites, e.g. 500px, do not run contests per se, but give photographers bragging rights by ranking their photos and portfolios based on their popularity.

While no competition is objective, I personally value them for the feedback they provide regarding my photos. Incidentally, I found that off-line contests are largely useless from that perspective. Sometimes, the outcomes are surprising, in a sense that some of my personal favourite photos do not resonate with the audience, while others that I do not particularly care about (I would enter them because they fit the theme of a contest, for example) become hugely popular.

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It is also interesting to see that different audiences prefer different trends. For example, the 500px community, which consists mostly of photographers, favours more subtle, elaborate post-processing effects than the pixoto community. Pixoto is more representative of a general population, and the preference is given to brighter, more saturated colours and generally images that “pop” more.

Participating in contests gives focus to photography when otherwise might be no external motivation to go out and shoot or creatively process images. Doing this regularly is an important practice for developing one’s skills.

I think that just as it is important for improving my work, receiving criticism helps me develop thick skin regarding the opinion of other people about my work. It may sound counter-intuitive: why invite feedback if what you learn is to ignore it? But it is not ignoring the harsh comments that is valuable, but rather learning not to take them personally. Any artist consciously makes him/herself vulnerable by putting out his/her work out for the World to see and judge. Nevertheless, even though our work is an expression of ourselves (to a degree, this is true of any work, not just photography or art), it does not define ourselves. Developing this concept requires practice, and contests provide such opportunity.

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Taking great photos consistently

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A question of consistently making significant contributions to one’s field is continuously relevant in my main work, which is academic research in fluid mechanics. I believe that it is also important in photography.

No doubt, taking even a single amazing photo is not easy, but every now and then, even if you know nothing about photography and don’t have the best camera, you will take a great photo just by blind luck. Probably, most amateur photographers have had this experience. However, producing great, or even above-average, image consistently is much more difficult. It takes dedication of a professional to develop one’s skill to that level.

I have been thinking about what is required to make consistent significant contributions to a field (in this case, photography) and came up with the following list:

  • Knowledge about the techniques: how a camera works, principles of lighting, composition, image processing, etc.
  • Equipment that is capable of producing above-average results in variety of settings/conditions (read: expensive, pro-level camera(s), lenses and lights).
  • Learning about the work of other photographers/artists: regularly looking at great images. Thankfully, it is very easy these days with online resources like Flickr or 500px.
  • Learning directly from others. This includes working closely with other photographers, receiving feedback on your work and generally involving people in your projects.
  • Practice: shooting regularly, which directly contributes to developing the skills of framing the shot, focussing properly, smoothly releasing the shutter, etc.
  • Support from family/loved ones. Well, I suppose that if there is no one in your life, it is still quite possible to be a great photographer, but for me personally, my wife’s is involved in all aspects of our photo projects, from brainstorming the ideas to helping during the shoots (or taking care our daughter while I go shooting) to giving feedback on images, has been tremendously helpful. It is not an exaggeration that she simply enables my photography.

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