Week Notes 003 — W/E 23 April 2023

Work

  • Shot one small commercial job. Finished the edit over the weekend and just dispatched the grade [on Monday]. (I was battling spotlights throughout the shoot — they’re the bane of my photographic life.) I tweaked some of the shortcuts on my Loupedeck CT which really helped me speed up a few common processes.
  • Lots of progress on my new site — though it’s sadly invisible outside of my computer. I’ve created Lightroom folios to mirror the site folios, so that it’s easy to process new images for the site without hunting in my archive for images from individual projects. I’ve recreated the folios from the old site almost exactly to use in the short term. I’m going to refine them once the new site is live. There are so many updates to make that if I wait until I’ve finessed each sequence to ‘perfection’ before launch, it will take months. I’ve learned that it’s better to get things out of the door and then iterate and improve, rather than taking forever to create the canonical output (which is almost always outdated on release). In particular, a website is a garden to tend, not a sculpture that is fixed in its final form. I’ve added a film section too and need to populate it with embeds, thumbnails, and summaries.

Be prolific, not perfect

  • I’ve been posting at least a picture a day to this micro.blog and I’ve enjoyed diving into my archive to find an image that resonates. While I have to turn around most work shoots in 1-5 days, I’ve shot personal images that I haven’t seen since I downloaded them from the SD card. I feel like I’m discovering some of these pictures for the first time. I have a sense that if I continue to shoot more, without looking at the images that I’ve made in the past, I’ll be working blind. If I don’t revisit old work, I’m likely to miss themes and subjects that I’m drawn to subconsciously and won’t be able to strengthen my work by developing these hidden threads further. I want to set aside at least a few hours a week for editing personal work, to tie the pictures I’m making now to the images that came before.

AI

The speed at which AI is improving in different fields really hit me in a visceral way over the last couple of weeks. In photography, there was the first viral AI image mistaken for a photo, Pope in a Puffer; the AI ‘portrait’ that would have won a Sony photography prize if the creator hadn’t revealed its provenance, and the first AI ‘photo’ to fool me in the wild. I tapped on the latter in my Discover feed so that I could check out what seemed to be an excellent doc-style portrait of a young woman in a diner. It took reading the caption to recognise that it wasn’t made with a camera and that the woman and the diner don’t exist.

I’ve understood for a while that AI ‘photography’ would cannibalise the product, ecomm, stock, and maybe fashion spaces. But I thought genres like documentary or street photography, where authenticity is a cornerstone of their appeal, would be safe for a while. Perhaps that’s true philosophically, but soon it’s going to be nearly impossible to tell which bodies of work are real and which are synthetic. The ability to create consistent characters in believable environments is improving week on week.

Regarding music, I’d been predicting to friends that we would see an AI-generated hit within 1–3 years, maybe 5, but now I’m radically revising that down. I heard the pseudo-Drake x The Weeknd track Heart on my Sleeve last week. Not only does it sound like them, it’s also a solid commercial hip-hop track. I’d bet that it would be indistinguishable from tracks from the usual suspects in Spotify’s ‘Made For’ playlist. Instead of my previous ‘hmmm, cool trick’ response to most AI demos, hearing this was a definite oh shit moment.

I’ve known intellectually that AI would overtake all the drudge work, and then eventually all the aspirational occupations, but this is the first time I felt it emotionally. I want to get more hands-on experience with the key tools to gain a tacit understanding of what’s possible. Consuming breathless articles and podcasts about singularities, rapid takeoff scenarios, and the end of work, won’t actually ground me in their real-world applications or the best way to leverage them for their creative possibilities. I think that we’re in for an insane few years…

Food & Drink

Two great and new to me places this week:

  • The Pitted Olive — delicious and hearty Turkish lunch of gozleme and salads for £10 just south of St Pancras
  • Hakata — brilliant ramen joint a hundred meters or so from White Cube Bermondsey. Incredible vegan chocolate and coconut & lime ice cream too…

Recent discoveries added to the Want to Go list:

Art

Saw two shows on Saturday:

  • Af Klint & Mondrian at Tate Modern — I enjoyed this despite not being a huge fan of either artist. As always, it’s interesting to see how skilled many abstract painters are when painting representationally early in their careers. Mondrian in particular had a great eye and hand for rendering subtle lighting effects. I’m a sucker for botanical drawings and really enjoyed the wall of Klint’s intricate sketches of various flowers, grasses, and weeds. Such precision and delicacy. I preferred Mondrian’s work that he was making just before he found his way to the grids and primary colours that he is known for. The palette is softer and the compositions have a little more dynamism and structural looseness. The group of large-scale Klint’s in the final room were a powerful end to the show and included my two favourite pieces of hers. They were so large that the gallery recedes and you feel like you are inhabiting the paintings
  • Marguerite Humeau — meys at White Cube Bermondsey — a large dim room of sculptures that have organic forms, and seem to be made from natural materials, but on closer inspection bear the mark of computer-aided design and production techniques. I loved that the artist considered each sense in order to create an immersive experience. Sounds emanate from deep within some of the sculptures — knocks, clicks, drones — and they blend into an ambient soundscape that envelops the space, and covers the noise of the visitor’s movements. The smell of beeswax creeps up on you as you move past the structures that are made of discs, covered with hexagonal cells, piled up to make a larger form (reminiscent of fungus on the trunk of a tree). Lastly, there were curved seesaws of knobbly wood that you’re invited to lie on. They pose a fun contradiction — the rocking motion is relaxing, but the ridges and mounds on the surface made it impossible to find a comfortable position.

Tools

I’ve been fiddling with Raycast all week. As a long-time Alfred user, it’s been interesting to switch out my app launcher. Alfred still feels snappier, and I prefer its approach to snippets (having a dedicated shortcut to pull them up immediately), but otherwise, I’m really enjoying the change. I like that much of Raycast’s standard functionality e.g. natural language input for calculations and currency conversions, required slightly janky workflows in Alfred. I’m signed up for the Raycast AI beta, so we’ll see how I feel when/if it gives me automation superpowers. I have a lifetime license for Alfred, so there’s no pressure to make a choice yet. I’m going to keep dialling in my Raycast setup and will see what sticks.

I’ve been experimenting with Narrative Select for culling the crap from big shoots. It’s good at ditching the obviously bad pictures, those with funny expressions or blinks for example, but it’s hopeless at pushing good pictures to the fore. Unfortunately, sometimes the best pictures also get pulled into the ‘rejects’ stream if they’re very dynamic — people laughing or moving and so on. It would be great to have help with the initial cull before I finesse the edit and select hero images, particularly while on a tight deadline, but it’s nowhere near ready for prime time. Its best feature has nothing to do with AI — I love how snappy it feels when flicking between pictures. It’s the main reason that I often use it for my first run through the images, before shipping the one stars to (slow and bloated) Lightroom CC. See Craig Mod on Fast Software, the Best Software for a refined take on the pleasures of speed.

Music

Reading

I’m rawing near the end of The Creative Act by Rick Rubin. I’m going to do a write-up of my notes once I wrap it. About 40 pages left. I’m still reading The Path of Aliveness by Christian Dillo too…

Read a couple of good articles over the last few days:

…traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt.

The modernist critic thus has two alternatives: either to concede that neither the modern nor the premodern traditional architect is a pastiche artist, or to claim that both are, and hence that Greek, Roman, Renaissance, Baroque architecture – and potentially many others – should all be condemned as fake. The latter option is consistent but hard to take seriously. It is difficult to resist the conclusion that, however important an understanding of structure may be in our appreciation of certain buildings, structural honesty is no more necessary to good architecture than originality is.