I haven't written much about work at NVIDIA recently, mostly because the developer web site contains plenty of publicity information and technical information about what I've been doing, as occasionally does the gamer co-site nZone the company already does a great job of P.R. without my little blogging contribution. Still, I wanted to hype some of the work the Demo Group has been doing. Among their many creations have been the two NVIDIA signature characters, Nalu the mermaid and Dawn the fairy (and her "evil twin" Dusk).
Recently Dawn and Dusk leapt out of their regular roles as PR models for NVIDIA and have taken on a new role working with the band Evanescence over at MTV as the featured players in what I think is the best-ever clip from MTV's show Video Mods. Click here and look for "Bring Me To Life" to see the video. Go ahead, compare it to the rest this is the immediate future of realtime entertainment.
Dawn is also now in the running for Miss Digital World, over in Italy. Check out the contest and vote for her....
Saturday morning will see me off again, this time to Sweden followed by a zigzagging journey to Copenhagen via Oslo, a day of meetings in Copenhagen, then back to SFO at dinner time via London with a fourteen hour layover at LHR. Total travel time there and back: five days, including the 40 hours or so of flying and the infamous long night-time layover. Almost half of the time in airplanes and airports, heh.
There's not much time for anything other than meetings when on the ground, though I should have a small slice of daylight on Tuesday in Stockholm. Sun up at close to 9AM, setting at 3PM (just in time to high-tail it to Arlanda for the next flight leg). My inclination is to do some photo wandering, but the time is tight and the weather likely to be continuously below freezing. I had thought about bringing the TLR but I doubt it now just the digi, it will all be a rushed blur anyway.
When I first started this journal, I did a fair amount of searching for blogs and photoblogs that were involved with wet-darkroom photography, using searches on google amd photoblogs.org for matches to things like darkroom or film rangefinder. But while there were lots of matches for search terms, as often as not the first post on the found blog would said something like "I've sold off my film-based rangerfinders and darkroom equipment to pay for a D100 so I can post blog pictures every single day..."
So there were very few analog sites (and mostly of the nostalgic variety), though with some high-profile exceptions like Todd Gross's Quarlo. In the past couple of years they've multiplied, though still not in great numbers. Here are a few found this week, owned by APUG members (what's wrong with this picture?), a list based on this thread:
These are separate from the APUG-specific Member Journals, which tend to be owned by some of the more conservative, photoshop-averse members.
Stopped by the city library to quickly look for a book (Wright Morris's Time Pieces, for the sake of a single reference for an article on PhotoPermit), stepped into the "Friends of the Library" store and walked out with a spotlessly mint copy of the Lustrum/Ralph Gibson SX-70 Art, hard to find and currently listing used on Amazon at $75. Heh. My expense: one crumpled U.S. dollar.
Tonight I'm brewing up a five-liter batch of Xtol for a couple of rolls shot a few nights back while watching Death Cab for Cutie at the Warfield. The exposure was all guesstimated so something with a longer curve than Rodinal is in order.
I have to admit that in general, I'm deeply disinterested in concert photography. Not only does it seem completely inappropriate for the core material a musical performance to be locked down into a motionless silent rectangle, but the creative options feel near-nil, you're stuck with the light the designer gives you, the constrained persectives. During the DCFC show there was a fellow lurking just offstage and between the Marshall stacks, snapping and winding his Leica. Looked like he was using a 50mm or 35mm, never closer than ten feet from anyone in the band. No doubt his shots would be technically polished but ultimately impersonal. As I expect mine will be.
They Might Be Giants had some sense John Linnell kept snapping away himself during their last San Francisco show, grabbing a compact digi between songs. At least he put the camera on stage, among the band, where there's some hope of getting something other than another blue and red blurred tele shot of some sweaty guy with a guitar.
This afternoon I saw a wall full of generic and awkward color concert snaps posted on the wall of a café, along with a sign advertising the shooter's services for hire. I'm sure the phone is ringing off the hook.
It's been many days again since I've written here (though I have written a few short entries for PhotoPermit.Org), a good chunk of them consumed by reading. I feel like I've had some growth and change in the way I approach picture books. And that's separate from doing a perhaps nutty thing with photo books: trying to view them through a camera viewfinder, to get a better grasp on what might have been seen by the original shooter (something worth doing once, but if it's persistent, call a doctor).
No, but I think my new plateau comes from a similar leap of imagination, of having a stronger sense of what was in the maker's mind for each image: where to stand with the camera, when to press the shutter; how to lay down the colors broadly and then to refine them with each successive stroke of the brush. The reading is slower but the enjoyment deeper.
Since Red Color News Soldier, which I'd written about earlier, I've managed to make it through these books:
Picture Books most new, and a few old friends from the bookshelf:
|Black and White Things||Robert Frank|
|New York to Nova Scotia||Robert Frank|
|U.S. Camera Annual 1958||contained an insert of proto-Americans Robert Frank|
|Americans, We||Eugene Richards|
|Phaidon 55||Eugene Richards|
|A Storybook Life||Philip Lorca-Dicorcia|
|A Kind of Rapture||Robert Bergman|
|Tete á Tete||Henri Cartier-Bresson|
|Photographs 1934-1975||W. Eugene Smith|
|Radiant Identities||Jock Sturges|
|People in the Environment||Jonathan Hilton|
|Revelations||Diane Arbus et al|
|Emotions Revealed||Paul Ekman|
|The Creative Habit||Twyla Tharp|
and the Critical Judgement of Pictures
|Henry Rankin Poore|
|Between the Eyes||David Levi Strauss|
|The Five Love Languages||Gary Chapman|
|Avedon at Work in the American West||Laura Wilson|
|The Crisis of the Real||Andy Grundberg|
|Stepfamilies||Dr. James H. Bray & John Kelly|
|Ways of Seeing||John Berger|
And many others I'm trying to get traction on, reading a page here or there at a time:
|Stop Staring||Jason Osipa|
|Maya Character Animation||Jae-Jin Choi|
|Golive Classroom in a Book||Adobe|
|A Man with a Camera||Nestor Alemendros|
|Last half of the Journal||Eugene Delacroix|
...plus the usual array of photo magazines, computer rags, Game Developer, ornery web forum postings, travel to Las Vegas and Seattle, and a big batch of work to push forward at the office, including multiple tradeshows and an upcoming journey to Europe plus writing on the next book, GPU Gems 2, and most-recently a good number of hours spent judging a contest for DeviantArt. Oh yeah, and an election.