Yonkers, I’m sure, gets a bad rap. It’s just north of New York City and in Westchester County but it isn’t the Westchester most think of. I don’t know the city other than having done one shoot there a few years ago. The kids I worked with then were great.
Beyond that Yonkers is the right angle you make going from the Sawmill River Parkway to the Cross County or vice versa. You are not really seeing Yonkers at that point but if you are moving south and driving at night, you come over a large hill and voilà - there is a valley in front of you, the near side of the ridge which overlooks the Hudson, and a multitude of lights spread before you. I don’t know how long we have been doing it but SOP as you come over the hill is to say, “Yonkers, city of lights,” knowing full well it’s no Paris.
Monday night, with a layover between two legs of an architecture assignment and a sunrise call for leg two, it made sense to spend the night. So, Yonkers it was – at a new hotel on top of the ridge, in one of those bizarre office parks which can’t seem to pick an identity.
View from my room. Yonkers, NY, August 16, 2010.
It was impossible to miss this tower at the top of the hill. Seeing it with the gas station at its feet I immediately thought of George Tice’s photo, Petit’s Mobil Station. Not wanting to copy that but drawn to the tower like Richard Dreyfuss in Close Encounters I began to plot my move. A thunderstorm then rolled in, the window in my hotel room would not open more than 4″, so I made the best of it.
I don’t know if that’s a water tower. I don’t know if the cabling is to pull up a modesty cloth so it can be painted in peace. The cabling made it reminiscent of the Parachute Jump in Coney Island. Maybe the tower, like the office park, still needs to pick an identity.
The majority of blogs have few comments but, as with all things Internet, that doesn’t mean they are not receiving lots of messages. The bulk of them are coming in the form of spam.
I have spam filters for my blog and they catch most everything. Occasionally, some will slip through and get deposited in comment purgatory, awaiting my judgment, approved or spam.
Many are not legible, most are just annoying and do not warrant a second thought, but it is the rare one which can be funny or elicit a smile.
I received my iPhone 4 last Wednesday, one of the group to get them a day early from Apple.
Initial thoughts:
Overall, it is speedy but no hugely speedy over the iPhone 3Gs. I’d rate it at about 25% faster and that seems to be confirmed by a recent Ars Technica review.
The immediate tactile impression is that it feels like a block of glass. Very well made, very solid, quite refined, but I found myself not wanting to put it down knowing that it would be resting on the glass back. In fact, I felt a bit nervous until I found a case for it – a simple Incipio NGP case, already in stock at a local AT&T store. This is a great soft case if you are looking for something discreet which doesn’t add bulk and still offers some protection.
Once you turn the iPhone 4 on it’s all about the screen. The screen is drop dead gorgeous. For images and text I never felt the previous iPhone screens were bad (maybe off color a bit, etc.) but once you see the new screen there is no going back. The color is very accurate but more so photos on the iPhone 4 have a depth and level of detail that makes your draw drop. It’s rivaling what you get with a calibrated high-end desktop monitor. The experience with text is similar and it is, as Apple says, more print-like because it is so sharp and clear.
Call quality has jumped up a notch or two with crystal clear clarity on the phone end. In terms of signal robustness, I have had one dropped call in the six days I’ve had the phone. I was also able to listen to streaming internet radio via an app for much of a 3.5 hour drive from Washington, DC north this past weekend. I would rate this similar to my experience with the 3Gs.
The camera has been updated on the new phone. Still images are more detailed and sharper. Video takes a big leap forward, moving up to HD. My main video camera is a seven year old Panasonic which uses mini-DV tapes. It is not HD and I love the camera but it has sat on a shelf since getting video in the 3Gs. I don’t want to deal with tapes and, yes, I know that this is comparing apples and oranges (cel phone vs. dedicated video camera) but for me convenience has been winning out.
I was looking forward to seeing if the HD capability on the iPhone 4 will negate the need for a Flip camera or similar for simple video. It will. If it does for you will depend upon what your standards and needs are – but again if convenience is the determinant then the video on the iPhone 4 can fit the bill. The biggest drawbacks to it are that the camera is so light it can make getting steady video a challenge, the iPhone 4 video does exhibit some rubberyness in the image if the camera or the subject moves too quickly, and some greater control over color, exposure, and focus would be nice.
This was shot and edited on the iPhone. The edit was made using Apple’s new iMovie app.
An HD version of the movie can be found here (for a limited time due to bandwidth.)
We had a brief shower followed by a balmy sunset with colors that felt more Pacific than New Jersey. I walked the dog along the same route where we had already been twice today and everyday.
Bats flitted about overhead. The dog, overdue for a haircut, was grateful for the tiny respite from the heat. There were pictures everywhere. I tried to capture the Magritte’ian feel of the light, street lamps and house lights versus the sky, but it was too much for my little point and shoot.
Darkness fell, the green glow of the street lamps took over. It was time to go home.
You have to think that at some point in the past man stood on the shore and looked out across the water. Behind him was the land he knew, in front of him the water, the horizon, and the sky. Not having the ability to go to the sky, nor having the ability to travel under the water beyond one breath, he thought, I need to go across there. I need to visit the land off in the distance. I need to discover the land I cannot see. Then, having done that, having ventured across oceans and returned, the next realms were above and below.
To go to outer space, to work one mile down beneath the surface of the water, both are inhospitable environments which test the limits of our technology. Complicate each with additional risk factors, going to space with a reusable rocket like the Space Shuttle, or not only venturing one mile down but actually working there via robots and drilling for oil, and you have situations which demand great respect for planning and fail-safe backups.
The New York Times had an article recently exploring the parallels between the current Gulf situation and Melville’s Moby Dick. What has struck me though is how the oil spill in the Gulf reminds me of the two Space Shuttle disasters. Obviously, the goals in each are wildly different, science and exploration versus profit. But in each case, it was technology which brought us to the forefront of what was possible and it was human planning and decisions which determined whether it could be done safely and smartly.
The Challenger and Columbia Shuttle missions both revealed instances where corners were cut when better backup systems could have been incorporated. For Challenger, ejector seats and pressurized suits were foregone even though they had been included in test flights. For Columbia, the mission brought front and center the issues of designing a re-usable spacecraft without including a method of checking the integrity of the ship before re-entry and of not providing a way to repair simple exterior issues while in flight.
Similarly, in the Gulf of Mexico BP cut corners in its quest to turn a profit quickly and the government was lax its oversight. One would think that to drill for oil without the utmost in safeguards would be a deal breaker. While a business person might argue that the cost of that is too high, it inhibits exploration and production, what we are seeing is that the cost of notdoing that is even greater.
The leading edge of technology may make things possible but it’s the human element which will always be the mitigating factor.
One of the new features in Aperture 3 is the ability to create exportable slideshows. Images included can be still or moving and multiple soundtracks are supported. When you are ready to output you can choose the aspect ratio and export to different formats via presets (low res. to 1080p HD) or create your own.
It’s helpful to take a look in Aperture’s help file first to learn the lay of the land. Once done, it’s very easy. I tested this out creating a video for my daughter’s bat mitzvah, exporting it in 720p HD, and then running the video from my laptop direct into the hall’s HD projection system. It worked perfectly.
As with all things Aperture you can work from raws, tiffs, jpegs, or Photoshop format image files. Video included is similar but the controls are limited. You can trim a clip from within Aperture and that’s about it.
The video I created spans the past thirteen years. So, it covers the transition from film to digital. Still images in it run the gamut from scanned prints and scanned negatives (Nikon & Leica 35mm, Mamiya RZ) to Point & Shoot Digital (Olympus 2500L, Canon S2-Canon G10, iPhone) to DSLR (Nikon D1 & D1x, Canon 1Ds Mark I, II, & III). About half of the images are direct from raw files. There are three video clips included, the first from a Canon S2 and the last two from the iPhone 3Gs.
I used Aperture to do my edit, first gathering images already in the database into an album. I added the new scans and video clips. Then I started editing and ranking the images via the color tags (the 1-5 star based rankings were already in use and I didn’t want to disturb those settings.) I was able to quickly pare down the take from 369 images to 122 plus the three video clips.
Some of the preset export formats are *.m4v, Apple’s iTunes video format. If that’s the case and you want to use a more universal format you can open the file in Quicktime and re-save it. This will save it as *.mov.
All of the export options are video files. They can be sent automatically to iTunes and/or Apple TV, they can be shared online, or run via a computer to another device. They can also be burned to playable DVD but not within Aperture. To do that you need to open iDVD and add the movie file to a project within it.
