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In which I continue to seek part time employment as the ruler of the world.

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Saturday April 22 2017

Indeed:

image

The history of this particular picture is that GodDaughter 2 and I were in Waterstones, Piccadilly, which is one of our favourite spots.  She loves all the books.  I like the books too, but I love the views that I can photo from the cafe at the top.  This is not very high up, but it is high enough up to see many interesting things, and familiar things from an unfamiliar angle, of which, perhaps or perhaps not, more later.

So, anyway, there we were in Waterstones, and we were making our way up the stairs to the top, rather than going up in the lift, because I needed the Gents and GD2 needed the Ladies.  All of which caused me to be waiting on the book floor nearest to the Ladies, and that was where I saw this book.  I had heard about it, via a TV show that Hockney did a few years back, and I did a little read of the bit that really interested me, which was about how very early photography intermingled with “Art”.  I wouldn’t have encountered the book itself had it not been for GD2 and I both liking Waterstones, and had it not been for nature demanding GD2’s attention.  So, this is another picture I owe to her, to add to this one.

The way Hockney and his art critic pal tell the story of how early photography and the Art of that time intermingled is: that all the other Art critics say that the Artists were zeroing in on a “photographic” looking style, through their own purely Artistic efforts.  Nonsense, say Hockney and pal.  The Artists were already using the early stages of photography, and if my recollection of that television show is right, that this had been going on for quite a while.  They were using photographic methods to project a scene onto a surface, and then painting it in by hand.  These paintings look photographic because, in a partial but crucial sense, they are photographic.  Later, the photo-techies worked out how to frieze that image permanently onto that surface, by chemical means rather than by hand copying.  Those Art critics want to say that the Artists lead the world towards photography, but the influence was more the other way around.  Photograhy was leading the Artists.

This fascinating historical episode, assuming (as I do) that Hockney and pal are not making this up, shows how complicated and additive a technology like photography is.  It didn’t erupt all at once.  It crept up on the world, step by step.  And of course it is still creeping forwards, a step at a time, in our own time.  Early photographers couldn’t shove their pictures up by telephone onto your television screen, the way I just did, if only because television screens didn’t happen for another century.

Meanwhile, the book trade is creeping forwards.  In the age of Amazon, am I the only one who sees an interesting book in a bookshop, looks at the price, says to himself: I can do much better than that on Amazon, and contents himself with taking a photo of the book’s cover?  Are we bad people?

For this book, the difference is thirty quid in the shop, but twenty quid or even less on Amazon.

In that talk I did about the impact of digital photography, one of the uses I found myself emphasising was using digital cameras for note-taking.  How much easier and more exact to make a picture of this book’s cover with one camera click, than to record its mere title with the laborious taking of a written note.

You may be interested in a Penn & Teller doco Tim’s Vermeer.
The Tim in it invents/develops a copying technique, which isn’t by camera obscura, to recreates his own Vermeer.
Fascinated me.

Posted by A Rob on 23 April 2017

I also recommend that you see Tim’s Vermeer.
The interesting part was just how mechanical the process was, very little painting ability was involved. Tim was essentially a biological camera sensor.

Posted by Friday Night Smoke on 24 April 2017
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