A few weeks ago I made a very quick Instagram Reel in my darkroom.  I enjoyed it a great deal as I can share with family and friends.  The subject is the same, each Reel of mine is a different print I am making. I go through showing the same basic steps and the final product.  It only takes me about 2 minutes longer to make a reel when making a print so all things considered it is rather quick. 

I have absolutely no goal beyond sharing what is making me happy. I pick the music rather quickly and don't do any fancy post processing. But it is a fun way to share with family and friends....and it makes me happy.

Man creates technology to solve a problem. The adaptability of man requires them to adjust to the change of circumstance. So, in the end, we are changing our world to adjust to the new technology that was designed to solve a problem in our world. It is the classic definition of the tail wagging the dog.

But this is nothing new. Man has been doing this sine our arrival and will continue to do so. Some might even argue that we must continue to do this if we are to survive. Once Pandora's box was opened, and all the evil escaped, man committed atrocities to try to contain evil again.

In 1930, Sheldon Cheney wrote a book titled "The New World Architecture" and he included the following prediction of the future.

​"There will ultimately be machine-developed energy to solve all men's work problems...the elements themselves will be tamed, weather tempered, transportation become effortless, cleanliness universal.  The worlds of the intellect and of the artistic faculties will be transported instantaneously to all. Living will be speeded, concentrated, regulated, as never before...[and] you may turn around and find a gloriously clean, austere, and liberated art rising up out of the machines themselves."

Is his prediction astonishingly accurate? Can this man, writing before the jet plane, before WWII, writing before man made it to the moon, before television became universal actually be contemplating what we are today struggling with? 

The machines themselves providing clean austere and liberated art...sounds like AI. But are we there yet?  AI algorithms, such as Generative Adversarial Networks (GAN's) can create original artworks, music compositions and even literature. So I won't dive into how they work because...I can't. But essentially it is running two Machine Learning programs at the same time, pushing one against the other (hence the word Adversarial).  So take an AI program written to detect fakes and put it against one that is made to guess what is not there. So a picture with a gap can be filled in but the fake detection program forces it to become better. The can make images where there was none.

So, photographers around the world start to get nervous...similar to how painters felt in 1860's when photography began to replace the hired painted portrait. Time moves on and our approach to art has always changed with it. So can humans collaborate with AI to make art? Sure...kind of like how photographers started the pictorial movement where they would alter the negative by hand to make the photograph more "human". Where did that leave us? Directly to the world of straight photography where we acknowledged that the camera can be used to capture art without painting the negative.

Can AI replace photographers? Absolutely. Will they? Well I am unsure however there is an argument that having a human take the picture, we have at least one human confirmation of what the scene was like. AI can create one that never existed. But anyone who follows the sage of Steve McCurry can testify that we are already doing this.

But can AI do other things for us?  Why not consider Art Restoration and AI? So much of what we try to restore has to have human intervention, but AI might allow us more accurate restorations of these things.

Here is a great one...How about Art curation? The toughest job a photographer has is selecting which of his work to show. We are emotionally connected with the picture and even friends find it difficult to tell us the hard truth. I personally would love AI to step in and help me select the more powerful pictures...

Art Education, conservation, accessibility, and protecting the market from fake works of art all seem reasonable. Now can we be entering into a world where a computer is telling us what art should be? Why not...we have been listening to art elites tell us this for a very long time...maybe it is time for a change?

I see three unavoidable results from AI creation...a genie that we cannot put back in the bottle.

1. AI will increasingly alter how we create, interpret and value art.
2. People will rebel against the "cleanliness and austere" art that is created, so AI will adjust and make art that is unclean and less austere.
3. People will value art made by human hands more than they do today. Proof of items being purely man made will become important and there will be an entire genre that will just be focused on man-made art.

So don't give up on that darkroom...it just might start coming back into Vogue.  

I thought I would spend the next few weeks considering how different photographers approached photography.  I am focusing on the past tense because living photographers are still adapting their art (or should be) so it would be difficult to pull this sort of post mortem analysis from a living photographer. My goal, as with everything on this site, is to see what more I can learn about photography.

The first photographer I would like to discuss is Julia Margaret Cameron who is a fascinating photographer of the Victorian period. Just as photography was growing, Julia received a camera as a gift from her family and went to work changing how the world sees. But what of her approach makes her so unique? 

Let me lead with that. Her focusing technique. Aside from all the amazing art she created, the one aspect that keeps pulling me back in is her use of focus. While most photographers (including myself) focus on an image until the object is as clear as possible, Margaret would focus "until the image is beautiful". Wow...just....wow.

And there, twenty or so lines into this post you have what took me days of consideration to understand. What draws me to her art is the absolute adherence to the beauty of an image and a willingness to break any "rules" to get there. And the result....well she achieves it.

I learned of Julia Margaret Cameron when I first began digging into the masters of this art that so intrigues me. Her work did not speak to me immediately as I was naturally drawn to "straight" photography with sharp, angular shapes and strong contrast. Her work was too subtle for me to understand at that point. I bought a book to come back to later and left her and her work alone. I was not yet ready for it.

I recently went on a trip to San Diego where I was fortunate to see a exhibit of her work. This time, with a bit more photography maturity behind me, I looked at her work from a very different perspective and began to "fall into" her photography.  I say that because it is how I felt...I felt as if I was falling into her photographs. I went and stood before each of her works that was on exhibit (no Iago was not one of them) and allowed myself to fall into it. I started with the details, then the facial expression and then I would allow myself to let go and...fall.  

Side by side we can see the differences. Note the movement of Mary in the image on the right. Perhaps this is why Julis printed the one on the left. She was already controversial for her use of out of focus shots and maybe she felt the movement was a bit much. But the distortion of Mary is minimal and it captures a look beyond the lilies...the thousand yard stare and some have called it. But with either image you have the subtle beauty that for years I was ill prepared to recognize.

The very first image in this post, is on of "Iago" was a paid model (some debate as to which model exists but let's move beyond that) and the image is a classic portrait of Julia's. Contrasting background, soft focus, filling the frame and amazing use of light. He does not look at the camera, he is looking down. The model is playing an evil character, a great manipulator in Shakespeare's Othello.  Perhaps he is ashamed, perhaps he is just pausing before his next manipulation or perhaps he has been caught and the image is the instant before the fall...this was not a candid shot...this was a carefully prepared, choreographed shot and it comes across amazingly well. 

But what of these elements makes it a memory of something I have never seen? That careful departure from the technical perfectionism and embracing or allowing the imperfections to aide the beauty of the image and her innate ability to capture emotion. But that soft focus, really pulls you in and then you realize that this is how you remember your dreams. They are not sharp in focus, they are soft, wiggly and imperfect but the convey our fears, anxieties and loves. Julia Margaret Cameron managed to capture images as we remember our dreams. 

Photography has changed since 1827 with Niépce. Consider that the art form has gone through plate photography, film photography and now is in digital photography. But beyond the technology used to capture an image, the styles of photography have changed and so have the photographers. 
George Eastman made great strides to turn a pastime of the elite into an adventure of the common man. While film photography was never cheap, he made it accessible to many more people. This changed the person behind the lens and their journey, and the art they created was different.
For an example consider Henri Lartigue, a young man who was born into the upper class of France in 1894. He was given his camera by a father whose belief was that his children would never have to work a day in their lives so they should enjoy life. And enjoy life they did and fortunately (for us anyway) Henri Lartigue was given a camera and he rarely put it down.

Both photographers created art. Both were true to their convictions. Both are master photographers that I admire. But their journey's were very different from one another and as we can see from the art they created, the journey really does matter.  

I am reading Edward Weston's Daybooks which is an interesting glimpse into his daily life. There is a bit on life in the 1920's, a bit on convention, photography and technology in there to enjoy. But one concept he brings forward is the evolution of an artist. He speaks to Diego Rivera's work and is initially enthralled by his work.  But over the years he does not see Diego evolving. He sees him merely mimicking previous success while other, less known artists, kept evolving making better and better art.

This got me thinking about the journey that Lartigue and Hine had and how this impacted their art. I also began looking to see how their work evolved over time. And an interesting thing struck me, the vast majority of the masters of photography evolved in their work. Their journey took them to different paths and new ways of seeing the world. And this impacted their art.

We are all going on a journey and it is influenced by everything we have around us. Social media has made a massive impact on the journey and by its nature, the outcome as well.

If I look at my photographic journey so far, I would note that I was first drawn to photography because of a need to take pictures of my growing family and out international lifestyle. I became fascinated by the physics and mechanics of the equipment and I pushed to learn more.

I quickly found the internet to be a very powerful tool to learn photography. We had been transferred to Saudi Arabia and photography was frowned upon back then. So I could not take my camera out, so I made up for it by studying and learning. I found photography forums and began posting and learning. It was wonderful to take still life's in the house and then get the critique back. I tried HDR photography, and made all sorts of wild photographs that were clearly impossible to actually exist. Every element I tried I felt would be it for me. It became my photographic world until the next gimmick was found.

This then took me to look for on-line classes and I found Kelby Training. Wonderful videos on demand to teach you all kinds of photography related concepts. I kept trying to understand how to build an image worth looking at. Snapshots were not good enough I wanted to image that grabs the viewer. In one of the video classes I was told to try some photography tours, which I did. In all the places we visited I found a local photographer who would be willing to take me along on a day trip. I watched them work, I learned.

My next step was to look at the masters of old. I found a YouTube channel where Ted Forbes introduced me to a bunch of master photographers. He began speaking about their motivation, inspiration and their evolution. I began to buy photography books and I began to look through them. Every Sunday morning, while the family was asleep, I had my coffee and I went on a journey with one of these master photographers. Paul Strand, Edward Weston, Alfred Stieglitz, Richard Avedon, Henri Cartier-Bresson, Brassai, Robert Frank, Helen Levitt, Sally Mann and so many others. Some alive, most dead.

Now my journey is still evolving. I am in the darkroom making chemical prints and I am pick up my camera based on the type of photography I want to shoot. I stopped carrying so much gear and lenses and stick to the basics. I now shoot based on shared memory. I believe we all have a memory of a simpler time, of simple objects and simple pleasures. Tapping into this shared memory is what fascinates me at the moment. I rarely get it right but I am trying and having a great deal of fun with it.

Now I am making prints of simpler things and then going back to the print to improve on them. Not only am I going on a journey so are my photographs. They are not done until they are put in a frame and few get that honor and even fewer stay in their frames. My tastes are changing, my photography is changing but much as Lartigue did, I shoot what makes me happy.

I bought my first digital Leica back in 2016 in London. I got a good price from it with very few actuations and in perfect cosmetic shape. It is the Leica ME.  For those unfamiliar, Leica decided to make a "more affordable" digital camera and created the Leica ME. It is essentially a Leica M9 with a few software changes, a different color paint but still the same Leica quality (both good and bad but that is a story for another time). 

I knew a bit about the Leica sensor issue, but since (at the time) Leica was replacing the sensor free of charge I did not worry too much.  I never needed the sensor changed and after a recent check have seen that mine was built with one of the newer sensors but still CCD.  There are some differences between the CCD and CMOS sensor, some positive and some negative but as with most photography related things, it is a subjective discussion.

A few years ago I purchased a Leica M10 but cannot seem to allow myself to sell the Leica ME and the reason is that little CCD sensor.  It produces a color that I cannot get from another camera. So I carry a heavy, old camera with a horrible back display screen and suffer through slow reaction times and horrible low light performance. All this for a color treatment I cannot seem to replicate. 

Couple the Leica ME with a Zeiss Planar 50mm f/2 lens and you have a magical combination. Open it wide open and watch the background detail fall away, and the colors just seem to fall into place.

Even with the technological advances this camera lacks, it is still a powerful artistic tool. Compared to the film cameras I like to use, this camera has a great deal of technology wizardry. So even today, in 2023 with a Leica M10 available, when color counts I reach for this relic.  With 18Mp it has enough for me to enlarge to any size I like, and plenty of detail to salivate over. Just keep it to the lower ISO and you have an amazing tool to use. 

Starting a photo project can be a creative and fulfilling endeavor. Here are some steps to help you get started:
Define Your Idea: Decide on the theme or concept for your photo project. It could be anything that interests you, such as nature, street photography, portraits, or a specific location. Consider that your project might be an exploration into something you do not know well. One, often overlooked recommendation is to consider how you will share your work (see more on this below) as the method of sharing could have significant impact on the ideation process. You might want to consider what you hope to learn from the process. Think about what you want to convey through your project and what message or story you want to tell with your photos.
Research and Plan: Once you have a clear idea, do some research to gather inspiration and ideas. Look for other photographers who have done similar projects and study their work. Consider the equipment, settings, and techniques you will need to achieve your vision. Create a plan that outlines the goals, timeline, and logistics of your project, including locations, models (if applicable), and any necessary permits.
Gather Your Equipment: Make sure you have the necessary camera gear and accessories for your project. This may include a camera body, lenses, tripod, filters, and lighting equipment. Ensure that your equipment is in good condition and ready to use. Take a moment to consider your safety when executing the project. Will you be on the street with expensive equipment, will you work at heights, what can go wrong that might hurt you or someone else. No project is worth risking your life or someone else's. 
Scout Locations: If your project involves shooting on location, scout the locations beforehand to familiarize yourself with the environment and find the best angles and compositions. Take note of lighting conditions, weather patterns, and any potential challenges you may encounter.
Capture Your Images: Start shooting! Use your creative eye and technical skills to capture the images that align with your project's concept and vision. Experiment with different angles, compositions, and lighting to create visually compelling photos that tell your story.
Edit and Curate: Once you have captured a substantial number of images, review and select the best ones for your project. Edit your photos in the darkroom to create a repeatable aesthetic. Toning consistency, development consistency along with obvious paper and display consistency is important to enhance their visual impact. Consider the sequence and flow of the images to create a cohesive story or visual narrative. To quote William Faulkner "Kill your darlings".  This is the hardest part...an image can be perfect but it might not fit well with your project....kill it. The photo might have been very difficult to capture but does not represent the best you could do....kill it.  
Share Your Work: After completing your photo project, share your work with others. This can be done through exhibitions, galleries, online platforms, or social media. If you are looking at a film photography project, then the tangible feel of a print might be important to you. If so, consider how you will share this.  I have had some great success with a thin box to hold the images so long as you are consistent with the boarder of the image. It is a nice way to show the images, unbound but still held together so they won't become lost.
Reflect and Learn: Reflect on your experience and what you have learned throughout the process. Evaluate the success of your project based on your original goals and feedback from others. Use this knowledge to further refine your skills and plan future photo projects.
Remember, starting a photo project requires creativity, passion, and dedication. Embrace the process, be open to experimentation, and enjoy the journey as you bring your vision to life through your photographs.

This image that I captured on a Digital Leica M9 taught me a great deal about art. At the time I was living in Surry England and a few minutes drive from my home was the Windsor Great Park.  For a photographer, having such an amazing place a stone's throw from my front door was paradise. I loved living in England...hated the taxes but loved the place.

Back to my image....I went to Windsor Great Park one grey day (most days are indeed grey there) and managed to work my way to some ancient Roman ruins, originally from Libya that were gifted to England and ended up being placed in this park.  While looking for a new angle it began to rain.

As you can see in the picture below, there is a tunnel at one end of the ruins where I ducked into, so as to avoid the rain. Then I waiting with a group of like minded, rain avoiding, people.  You can see in the image above the soaked ground that surrounded us. Then I saw this lady walking with a bright red umbrella and I was amazed at what an amazing image it could make.

I grabbed my camera and began shooting.  The problem was that it was not perfect. You see the umbrella, while a wonderful red color, had some propaganda on it in bright white letters. The lady was not alone, she had her son with her.  So the moody picture that could have been was ruined by media print and with an even number of subjects. 

I quickly got home, and used Photoshop to create the image that I really wanted to have taken. I wanted color, I wanted the lady to be alone and I needed all that white lettering removed from the umbrella. So I manufactured the shot below.  It is a composite of two images that I took, I removed the kid, I removed the lettering and voila I had the image I had pictured in my mind....I had ART!

I hated the image.  Each time I looked at it I saw my Photoshop skills.  I remembered the frustration that I felt that day as the world would not give me what I wanted.  I spent a great deal of time thinking of this image.  I then realized that the image was far too perfect and became a poor imitation of the scene.  

As with most creative pursuits, we assume that we are traveling a unique journey but we are not. What we have learned has been learned and taught be others before us. We can learn allot by lifting our heads and asking the questions that bother us. Had I done this I would have learned allot more, allot faster.  But I had to pursue my own journey and it was only years later, that I heard of Wabi-sabi.  

Wikipedia: 
In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is "imperfect, impermanent, and incomplete" in nature. It is prevalent in many forms of Japanese art.

Since this shot, I have tried to limit my intervention in the image. I add contrast, I darken and lighten as needed, and will crop an image to improve composition.  I don't have a list of hard rules but have instead taken a moment, before editing, to ask why.  And take the time to see the image for the beauty that is there.

Below is an interesting example. The first image is the one I wanted to capture. You can see where the bike rider is, this is the first shot in the series. I cropped out some action that was happening on the right of the man with an umbrella.

This is the image I wanted to have. The man is looking straight at me, he is separated from the bike rider, and no one else is on the street.  He is caught in mid stride as he walks towards me. The classic house int he background, wet pavement and confident gait of a young man is what I wanted to capture.  Below is taken a second later without cropping...

Clearly he is no longer alone, his gait is now changed, the bike rider is farther along.  There is a story in either image. My search for what I wanted to capture is in the first. In the second I captured what was there.  

The understanding I have thus far come to is the following.  Edit as little as possible.  Find the beauty that is there instead of manufacturing your own. The world is an amazing place all you need to do is see it.  

Just uploaded a quick and dirty review of the Analyser Pro.  This is a wonderful little exposure computer for the modern darkroom.  It is built like a tank and saves me headache and paper!  Give it a read and let me know what you think!

If you want to see it go to the top of the menus and select "Darkroom Lessons" and select Analyser Pro (English spelling).  Or click HERE.