People behave in somewhat disheartening ways, sometimes. Okay: most of the time.
That's kind of a problem when your main interest is human nature. On the plus side: there's no shortage of subjects to make a film about.
I've been posting over on San Francisco Portraits a bit. It's amazing, if a cliche, how fast the weather changes in this city. Above: after one outbreak of sunshine and before the next.
You may be wondering where the heck I am.
I've been posting on another blog. Don't worry, I'll still be posting here.
I know: you weren't wondering, and weren't worried. In any case, here's a link to help you catch you up:
Los Angeles Portraits
Above: an iPhone snapshot from the Mission Inn, in Riverside, California.
Today is a snow day -- no teaching in The Bronx -- so I'm trying to catch up on several projects.
One decision I wanted to note, however: after three years of participating in the International Documentary Challenge I won't be part of it this year. The timing just wasn't going to work out, and while we will be making a film with one of the subjects we met in planning for the event, we won't get the excitement of trying to make a documentary in five days. Good luck to everyone who participates. Maybe next year.
Above: Old Yankee Stadium yesterday, as seen from the 4 train.
Finished grading about 3 a.m. last night, as the snow started to fall. Today: it's pretty. Until the wind drives it, like tiny flying shurikens, directly into your eyes.
A little pre-term session today.
Those little color-coded-keyboards? I don't like them.
For one: no little fingerbumps on the "f" and "j" keys.
Secondly, if the idea is that I'm going to look down at the keys, find the right color and the right symbol, click it, then look back up at my screen ... then I'm going to work much much slower than by getting used to thinking in terms of letters and working by touch. I mean, I think "tap j" and -- since I know how to type -- I don't look down.
The other reason: if you moved to a station with a normal keyboard you'd be lost. Maybe you could bring highlighters, and color code it yourself?
Looking ahead to 2010, I'm considering participating in both the International Documentary Challenge in March and the 48 Hour Film Project -- which I think will hit New York in June.
I've been in the Doc Challenge three times, making it to the finals twice. I think I can give it another try, though I'm aware it makes for a tough five days.
I'm thinking I might enjoy playing a role with a narrative film project for the 48HFP, also, maybe as editor. I'll need to form a team, though. Know anyone?
Above: an iPhone snap of a poster in the subway. Taken with the camera not exactly parallel to the poster.
My students are cutting a scene from a cancelled TV show. It's straightforward: a character walks into an office, talks to two other characters, is introduced to a guest, delivers a few key lines. It's shot in "single-camera" style, meaning the camera is generally on one character in one framing while all the characters run the scene. Next framing, repeat.
So the idea is fairly clear: assemble meaning from shots that are generally ready to cut together, but watch out for the inevitable small problems. Then find ways to keep the scene flowing nicely, to have it hit its key emotional points, and -- in this case -- to make the editing essentially invisible.
They seem to be enjoying it.
Above: my students are amused that I photograph banal details, like the floor.
On my other blog, some ranting about the news.
Above: a much less unpleasant snapshot from a subway station. You guess which one.
Sure, my neighborhood has one or two unsavory characters in it, like anywhere else. And questionable newcomers move in from time to time. That's fine.
Despite the downsides, you can't beat the tulips on Park Avenue when Spring decides to show up.
Above: iPhone snap from yesterday, taken while walking over to teach a photography class.
This may be -- technically -- the worst photograph I've ever made. Just pulled out my iPhone and snapped. Still, it's of a famous person and in focus, which Warhol said was enough.
I did not get to see the 6 p.m. showing of Inside Edition so I'm not sure if I'm on it or not. But note the otherworldly rectangle at the bottom of this snapshot: it baffles even the most confirmed skeptic.
Another snapshot over at New York Portraits.
