Friday, June 19, 2015

Off Topic: How bad neighbors degrade quality of life. Or---the project that never ends.

We are fortunate enough to live in one of the nicest and most sought after areas in Austin, Texas, itself one of the most alluring cities in the U.S. just now. We bought our house nearly 20 years ago when property and houses were much less costly --- by a long shot. When we first moved into the neighborhood it was a sleepy, quiet place and the big excitement of the week was when the garbage trucks would roll in to pick up the trash. It stayed that way for a long time.

It was heaven for a writer/photographer working from a studio on the same property as the house. The professional people who lived around us took off for work in downtown Austin in the morning and rolled back in the evening. I could look out into a wall of trees and write quietly for hours.

Then we became a city on the fast track to something else and our neighborhood became the "must live" area because our schools were rated (academically) #1 in Texas and #7 in the country. About seven years ago people started buying perfectly good houses and tearing them down to the dirt in order to build much bigger and more expensive houses. Huge houses. Most of this was happening a block or two away from our street so it only impacted me when I walked Studio Dog.

But the frenzy continued and the prices continued to skyrocket so that now, whether or not there is a house on the lot, the price is nearly $1 million per. Crazy money.  House after house has gone down only to be replaced by someone's wet dream of a perfect house. Most with all the good taste of an Atlantic City casino.

About 18 months ago the long time neighbors in the six bedroom, rambling house next door sold their place to a couple whose business seems to be flipping properties. And they've left a trail of neighbors in various parts of the area who seem to uniformly dislike them because of the way they work.

They allegedly cut corners. They try to get away with bending the rules. And they use the most sinister looking subs they can find. The biggest problem though is that they seem to do stuff in fits and starts so the construction of new work goes in stops and and starts. It's unpredictable.

It all started when the enormous, industrial dumpster arrived at 6:30am in their driveway. The unloading of this Moby Dick sized dumpster could have been mistaken for a small earthquake. Over the course of the next three months we enjoyed the dulcet tones of jackhammers, air chisels and sledgehammers as they dismantled the existing house. In true Texas "entrepreneurial" fashion they left enough of the foundation and one wall. For permitting purposes, presumably.

In addition to the symphony of power tools and front end loaders we were privileged to hear the portable radios of all the sub contractors belting out  whatever droll country and western crap was currently on the airwaves. No open windows at our house in what would have been a very pleasant Spring...  Nearly every day I would walk up my driveway to the street and try to explain to contractors in giant pick-up trucks why they could not park directly across my private driveway. Sometimes I got to do this many times a day. For months at a time.

Occasionally the jackhammering would stop to make way for the cement trucks which came accompanied by the cement pumping trucks and they would pound away slurping cement via hoses to almost inaccessible parts of the new construction.

At each point of completion we'd relax a bit, thinking the endless ordeal was over, only to be woken up a week later by some new early, loud ritual of construction. When I complained to the new owner about the city noise ordinances he made all the right gestures and nods which led me to believe he understood what I was saying only to be treated to 6 am Sunday morning recitals of Jackhammer suites. Sometimes solo and sometimes accompanied by rock saws.

Finally the house was complete and the new neighbors/owners moved into the house. This was less than six months ago, more than a year after the start of the project. We thought we were done with the endless  sonic and logistic abuse. But no. The next thing up on the agenda was the demolition of an old swimming pool and the construction of a new, three level, much more ornate pool. Cue the jackhammers. Cue the rock cutters. Cue the cement trucks.

Two weeks ago a sub-contractor's crew showed up to do the rock work and within a day our cars and the side of our house were covered by white rock dust. The creation of which comes with it's own piercing soundtrack. Seems that there are OSHA rules that mandate dust control when cutting materials containing silica but the pool contractor didn't think the safety rules applied to his crew. And especially not in Texas. I spoke with an OSHA agent who sent me the right written materials about the federal rules and we quickly shared them with the contractor.  That seemed to have worked for a while.

But just before the pool work started the new neighbors moved out, which required three moving trucks and two days of frenetic activity. Now the house is empty and I've been told that it had been sold. See tax statutes about inhabiting a residence for 18 months to prevent the payment of capital gains taxes....

This new wrinkle has accelerated pool construction and seems to have engendered a whole new jackhammering project on the driveway, which is adjacent to ours. The first pick up trucks arrive around 7 am and the jackhammering commences shortly afterwards. The noise is such that even with Led Zeppelin playing through my Stax headphones I can't quit shut it out.

My wife advises that I "let it go" when I complain but she gets to leave the neighborhood in the morning, work in a cushy office, in a downtown high rise, and then return just as the last of a never ending rotation of anonymous and highly scruffy workers drives off.

I don't know how much longer I will be able to take the noise before I crack and become completely  irrational and unable to work. Whether intentionally or just as a by product of their avarice the buyers (now sellers) are quickly making the enjoyment of my own property nearly impossible during daylight hours. My only hope is that the new buyers will like everything about their new purchase just the way it is and are not buying this multi-million dollar property as another in an escalating series of "premium tear downs" where they drop major cash and then spend another 18 months re-doing everything all over again,  in their own "unique vision."

Do I write this just to complain? No, I write it by way of explanation and as excuse for any shortcomings in my writing performance you may be perceiving here on the blog. I blame all typos, all grammatical imperfections and all poorly thought out blog posts on the intellect reducing effects of construction noise. The lack of continuity of thought I blame on having to walk up the driveway in sporadic intervals to move errant vehicles from our right of way.

I have learned some valuable lessons (again): Things change. Economic booms have unwanted consequences. Many people have no empathy for their neighbors. It's hard to be creative when you can't hear yourself think. Construction is a shitty business. Tax laws need to be changed. Police do a poor job enforcing noise ordinances. Perth Australia looks like a fun place to live.

We've talked about all this at home, at length. If the house on the other side of us goes up for sale we're renting out our property for the duration of the inevitable sacking and re-building, and living somewhere quiet and interesting. Somewhere without the traffic. Somewhere without the rampant sense of entitlement that leads people to build 2,000 square feet of house per family member. Someplace where early morning jackhammers and rock saws with no silica dust abatement are illegal.

And to keep this rant remotely tangential to photography, after listening to the jackhammers everyday for a week I sympathize with the users of that first generation of Sony A7 and A7R cameras. #shutternoise?

Thursday, June 18, 2015

Euripides.


Slow down and savor what's all around you. Why the rush to get through life? Look once and then look again. Be late for work but early for a good sunrise.

Looking back over centuries.

From the Battle Collection at the Blanton Museum. 

My interpretation of a timeless sculpture.

I think it's good to have a favorite artwork in each museum you go to. The work that most engages you gives you a reason to go back and see more.


This image is my favorite painting at the Blanton Museum. I like it a lot and I never visit the museum without going upstairs to this quiet gallery dedicated to religious paintings and looking. I'll sit down and absorb the painting for fifteen or twenty minutes before I move on and when I do leave the room I take some of it with me in a certain way that's unexplainable.

There are a number of works of art that get me in exactly the same way, even though they are completely different. I would fly to Rome just to see the Bernini sculpture, "Apollo and Daphne" at the Borghese Galleria even if it's the only work of art I got to see before heading right back to the airport and coming right back home. It's that incredibly powerful to me.

The Bernini sculpture, "The Ecstasy of St. Theresa" located above the altar of the Cornaro Chapel in Rome's Santa Maria della Vittoria, is stunning. Just riveting. 

Upstairs in the Louvre Museum is another favorite sculpture by Antonio Canova, called, "Psyche Revived by Cupid's Kiss" that is the most romantic (and sensual) work of art in the entire city of Paris. I have been haunted by it since I first laid eyes on it in 1978.


I was surprised to see the Leonardo Da Vinci painting, "Madonna Litta", in the Hermitage Museum in St. Petersburg. It's wonderful painting and equal to the combined inventory of the Chagall gallery in the same museum. There's so much amazing art in the world and it's all there all the time for us to see and reference and learn from. It's just amazing. 


We can't create well in a vacuum. We either reinvent a lesser wheel or we lose the thread that ties everything together.  We as photographers and artists are part of a continuum. Our value is in our understanding of whose shoulders we stand upon and how we can reach up and forward instead of making narcissistic work that doesn't let your voice out in an honest way.  Um....go look at art. You'll get it.

Looking at Art on a quiet Thursday. Another trip to the Blanton Museum.


click on the photos to make em bigger.

There is a new show of paintings at the Blanton Museum. I didn't have much to do today so after walking with Studio Dog, and giving a very stinky Studio Dog a bath, I headed over to the UT campus to visit the Art. The show is a retrospective of Caribbean artist, Francisco Oller. The show is entitled "Impressionism and the Caribbean" and it contains some wonderful work by contemporaries of Oller like Monet and Pissaro. It's a fun show. I'll go back again and soak it up next week, if I have an open schedule. 

After I see the new shows on the first floor I like to go up to the second floor and see what's shaking. I amble around and look at my favorite stuff. Today, for instance, I was drawn to the Andy Warhol painting of Farrah Fawcett. It's so much fun and if you look closely you can see the screen pattern from the silkscreen. Nice. 

There's also a Ben Shahn painting in the permanent collection called, "From That Day On", which deals with the atomic bomb attack on Japan. I like to see it and also "Oil Field Girls, 1940" by Jerry Bywater. The painting collection is an eclectic selection of work from the renaissance to now. It's interrupted here and there by interesting sculpture by people like Louise Nevelson.

Sometimes I just like the concept of looking into a gallery from another gallery. Seeing how a sense sees the division of space. Like the images above and below. Both feel like I am actually looking into the room instead of being a flat piece of art. 

I carry a different camera most visits. Today I was in a 50mm mood. I wasn't looking for stretch or compression; I was looking for verisimilitude in the first order. The feeling of seeing something with human point of view and perspective. I shot with the Nikon D610 and the 50mm Sigma Art lens. 

That lens is engaging in a way that most optics aren't. Don't care about the numbers but love the way it creates photographs. I'd use it for everything if I could. 

Long story short: Go see art. It will effect the way you see and the way you shoot. Mostly for the better. 


A few "between the real shots" shots from yesterday's restaurant shoot at Cantine. The 40 megapixel files are wonderful. So are the 16s.

EM5.2+ Sigma 60mm f2.8

The look of the Hi-Res, 40 megapixel files is different than the look of the regular 16 megapixel files. I can't put my finger on it exactly but it may have to do with the color purity. The actual color is more accurately sampled in this method and that may lead to fewer things that trigger my subconscious assessment of the photographs. The smoothness of the surface of the coffee cup seems so different...

On another note, I love working in restaurants like Cantine. While we're shooting we can always get a really, really good espresso. And the snacking while shooting is first rate.

EM5.2+ Sigma 60mm f2.8

I was photographing a salad in the little sweet spot of light we'd selected when I looked over and saw the way the light was hitting our plate of salmon and blistered tomatoes. I turned the tripod and shot the angle above. I think the color purity of the tomatoes is stunning. The Sigma 60mm lens is obviously doing a good job.


                                                              EM5.2+ Sigma 60mm f2.8

Even the aftermath of dining can be interesting in the right light. 

This one is a Nikon 610+105mm f2.5 shot. I brought this combo along for BTS shoots. 
I used it for fun extras.

EM5.2+ Sigma 60mm f2.8

I have to hand it to Olympus on the quality of the regular files out of the camera. They have a wonderful balance of colors and tonalities. I would give credit to the camera for the clever white balance but I was using one of the presets so that hardly counts....

EM5.2+ Sigma 60mm f2.8

We wanted to shoot some video of a wine pour but I couldn't resist getting a few still shots on our second version. My video partner, James Webb was doing a great job covering the handheld video work so I had the freedom to just play around a bit. Love the look of glasses illuminated by big windows. And I love what the wide open 60mm lens is doing with the stuff in the background. I am not a "bokeh" expert but the out of focus bottles in the background look gentle and kind.

Another random D610+105 shot. It's fun too.

This wraps up my week of Olympus commercial shooting stories. The cameras work very well and as we use them more and more either we or they are getting more efficient in overall battery use. We both had plenty of reserve at the end of the shoot. I had done still life in the morning and then the food and pour shots in the afternoon with the same camera and battery combination. Next time I won't bring the little Pelican mini case with the seven extra batteries. I'll just stick one in my pocket to be safe....







Olympus OMD EM-5.2 makes good images of servers. This is part two of yesterday's Hi-Res Mode saga.



Yesterday I wrote about using the Olympus EM5-2 on two jobs but I only showed the salad we shot at Cantine on the second job of the day. I wanted to come back and show one of the products we shot in the morning for our tech client, Salient Systems. I love the fire engine red front bezels for their server units. They look really cool all stacked up in a rack mount configuration.  

I didn't have time yesterday to do the post processing I needed to do on the job before I wrote yesterday's blog (a consequence of being a one man band) but I did finish up clipping paths and dust spotting around midnight last night so I thought I'd show this example while it the whole topic was still fresh in my mind. 

The server was shot in the company's conference room. I brought a short roll of white seamless paper and rolled it out from a set of background stands across the end of a big, conference room table. The room has a wall of windows that were covered by shades but the shades were not completely opaque; in fact, the sun through the shade material lit the room beautifully. I used three Fotodiox 312AS LED panels to light the server from different sides. In a departure from my usual practice I used the three lights without any modifiers other than the plastic diffusers that come with the lights. I also used a Fotodiox 508AS as my main light; again without additional modifiers. 

The OMD EM5-2 was outfitted with a 12-35mm Panasonic X lens set at f8.0. I started out by doing a customer white balance, setting my ISO at 200 and going into the camera's Hi-Res mode. I hadn't checked to see if the latest rev of PhotoShop CC had a converter for the raw version of this mode so I set the camera to the finest Jpeg setting. I focused in manual so I could more accurately distribute focus across the product. 

When shooting at 7296 x 5472 pixels you get to see all the specks of dust you really can't see with your naked eye unless you are twelve inches away from the product. My post production consisted of creating a clipping path around the product so the client can "lift" the image and put it into different layouts, and a more or less