Setting up my Raspberry Pi. Experiences with crunchbang, ubunutu, bunsenlabs help, but in Raspbian some things still are slightly different, namely:
Academic publishing can sometimes be pretty much of a one way radio: You’re broadcasting but you never know whether or not someone is receiving
My NextGen gallery kept vanishing on my WordPress frontpage. It did not show as long as the page was set to front page, as soon as I picked a different front page, the images reappeared. Even when I changed the theme, the gallery disappeared.
I checked and rechecked the source code, but what I apparently missed was the gallery being wrapped in auto excerpt tags:
&lt;!-- Begin :: Generated by Easy Custom Auto Excerpt --&gt; &lt;div class="ecae"
In a possible world I would live in the old family farm by the forest. I’d have a wood fired oven, plenty of vegetables and fruit from the
This summer I noticed how the private environment in which the colours of a national flag are flown is usually unmatched by the pride it is meant to display. Hence, I started taking pictures of citizens who nail their colours to the flag post.
For several years now I have been taking pictures of a dying breed: telephone boxes. I managed to upload a few yesterday.
While some of the boxes have been upgraded to a non-box shape with huge screen and WiFi, many are in a sad state and some even stripped of their primary function. The variety of shapes and types of boxes and telephones even in a single country is astonishing and even the gutted ones continue to serve as advertising space, rain shelters, smoking rooms and toilets for dogs and humans alike.
Toilets, Camping »La Pinède, Calvi (Corsica), May 2017
Brother and sister, Calvi (Corsica), May 2017
Option 1: UPnP
Install from here http://www.subsonic.org/pages/installation.jsp
Costs $1/month to use pro features
Get started here
I started by going to the library one or two nights a week and, once a window of opportunity presented itself, went part time. When I saw that »corruption in German literature« should work well, in 2011/2012 I took a sabbatical in order to write a proposal that would get me funded.
After several applications and interviews in Vienna, Walferdange, Berlin and Munich I settled on Munich. So in June 2012 I began writing properly while commuting from Vienna to Munich every other week. My »office« was in the Arbeiterkammer library and the Ludwig-Wittgenstein-Lesesaal in the Austrian National library.
In October 2015 I was ready and submitted the thesis.
You should think there is a sensation of great relief when you finally hand the work of three plus years over to the officer, but somehow there wasn’t. My defense was going to be in February 2016, so I started preparing the three talks I had to give straight away.
Now, with the defense out of the way, there still was no sense of accomplishment, because you have to publish in order to close the process. So off we go to finding a publisher, setting up the text according to the publisher’s style guides, resetting tables and trees because they don’t fit on the smaller pages any more, brainstorming a cover image with Marianne Vlaschits, test printing and changing the cover three dozen times because the digital printer does not approve of the background color. Then seeing the table of contents in a friend’s brand new book and going back to my own because I absolutely wanted one like it. And on and on.
In the end, thanks to the knowledge, understanding and patience of the good people at UniPrint Siegen, there is a finished product that does make me happy – but still fails to deliver the wash of relief. Because now five books have to get to Munich university library, where the people are not happy. My books lack the title page the faculty requires. When that is adressed, I get told to contact the officer who received the first version in 2015 again in four to eight weeks for the certificate. Which I recieved two weeks ago. The End.
Here it is:
Jan Söhlke: »verderben, verführen, verwüsten, bestechen«. Literatur und Korruption um 1800. Siegen 2017, 284 pages.
Anyway, the whole setup was a true Linux afternoon, reminding me of my NDISwrapper-days, just like it was 2006 again.
First, It took me a while to get crunchbang to discover the device and connect  (Blueman works much better as a bluetooth manager). Then apparently I manually needed to let pulseaudio know where to send the audio . Atfer fiddling with some files, pulseaudio was broken, so I needed to reinstall . Finally, the sound was much poorer than via my phone. I don’t know if I overlooked it or if loading rtirq changed something , but in the volume control center of pulseaudio there is a tab called »configuration« where I had to choose »High Fidelity Playback (A2DP)« to get decent sound (instead of »Telephony Duplex (HSP/HFP)« or »off«). Now most of the times it changes to the Bluetooth-device automatically once I switch it on and back when I switch it off. Sometimes not. But hey.
The sources I used were these:
How to make pulseaudio bluetooth-ready: http://askubuntu.com/a/223203/80611
How to switch the sink in pulse audio: http://askubuntu.com/a/108882/80611
How to clean up after you screw up (which I did), i.e. reinstall pulseaudio: http://askubuntu.com/a/435221/80611
How to improve the sound once it works but reminds you of a telephone: http://askubuntu.com/a/520384/80611 and
KUNSTFORUM International 230 (2014), p 127.
A short while after my last portrait session with Marianne Vlaschits, KUNSTFORUM International did an interview with her and two fellow artists and she asked if it was ok to use one of my portraits to go with the interview.
One of my pictures published in KUNSTFORUM? Just what I needed to conclude the year.
Unfortunately photo credits were mistakenly omitted, which means that my first KUNSTFORUM publication is anonymous. But in the end this infringement also meant another four malnourished children treated or material for the safe birth of 10 babies or 250 people vaccinated against meningitis or 400 children vaccinated against Measles in the second installment of »Infringing for Médecins Sans Frontières«.
If you, too, want to make a donation, you can do so here.
When asked whether he wrote on a schedule or only when struck by inspiration, Somerset Maugham allegedly replied:
I write only when inspiration strikes.
Fortunately it strikes every morning at nine o’clock sharp.
Booked for: 9.30 h. Every day.
Earlier this year my dear friend Nic had asked if I would be interested in shooting a portrait of his family. Since they live some 1200 km away, the crucial question for me was not so much if but more when. Then, in early September, I was in the vicinity (meaning: only 400 km away), and spontaneously opted for the detour to pay a long overdue visit to Amsterdam – and also finally meet their daughter.
I did not have my gear with me and there only was an hour left in between the idea to go for the shoot and me having to be through the door for the train station, so in order to put the opportunity to good use we had to move fast and I had to borrow Marlene’s old Canon. Of course time was even scarcer after the usual displacement of furniture had taken place, and the combination of time pressure, borrowed equipment and a different camera maker resulted in a couple of technical blunders on my part, but we all had a fun time and in the end were pretty pleased with the results.
I wanted to try using a tilt/shift lens for a long time. I don’t particularly love the miniature effect, but I really like what Gregory Heisler is doing to the focal plane by tilting and I thought shifting would be great for architecture. So the other day I grabbed an old 50mm f/1.9, a body cap, black molton and a heated paper clip. I used the paper clip to cut the body cap open and the glue (obviously) to glue it all together.
To be honest, I was a bit stumped when, after my first test shots, I realised that I had also created a macro lens by considerably increasing the focal length. Thus, this now is my tilt-shit-lens.
With roaring, rumbling and growling yesterday’s thunderstorm evidently scared away the last fragile remains of summer. It left behind a few white clouds over the Gerhard-Hanappi-Stadion which as well will soon cease to be.
My friend and colleague Doc Babel not only taught me rudimentary Spanish, he and his wife also provided me with a home in Munich during the last few years, which made many things easier than they easily could have been.
And now that it’s their turn to look for a new home, they pack some aluminum boxes bound for South America and thought that some decent head shots would make their new start easier. I was of course more than happy to provide that part of their luggage.
Big thanks to Nemo Babelfish for hosting us in his fabulous »Toberaum«
Second time Hochschwab, second time no summit. This time better pictures, though. In late May, I started in Präbichl and, through considerable amounts of snow, made my way up to the Sonnschienhütte where I had the dorm all to myself. Unfortunately, I had my eyes at the wrong place at the wrong time and so I fell and injured my finger. Thus, instead of summiting the Hochschwab the next day, I went down to Tragöß (via Grüner See) – and straight into hospital where the trip ended with an »Eintrittsaufforderung«. Luckily nothing serious came to light in Koje 1, but damn you Hochschwab, next time I do want a summit. Please.
What I get when I come home is file names looking like this: _DSC1234.NEF. What I wanted instead was
- date-shot in YYYYMMDD-format plus
- a descriptive shoot-name plus
looking like this: 20140708_WeddingAdamAndEve_0001.NEF
There are a few issues with this:
ad 1. Date Shot: sometimes I can only copy and rename the files a few days after shooting, so the date should reflect the date the picture was taken, not the date it was copied. Getting date-shot from the file itself is difficult as there is no birth time recorded. The closest is mtime which is the time the file’s content has last been modified. However, creation date is stored in image file’s EXIF data.
ad 2: Name of Shoot: Ideally I wanted this to be a variable I could set as a parameter when calling the script.
ad 3. Number of Image: This should reflect the age of the image with the oldest one having the lowest number. The problem is that cameras usually restart numbering at 0000 once they hit 9999. So images n-9999 can potentially be older than 0000-n. I needed a solution that would cater for this special case.
# original solution by @Gilles (http://unix.stackexchange.com/questions/141138/) # set base
Last year in March I shot a portrait of Marianne Vlaschits for »Project 12 pt. II«, so we thought we’d do another one for the first anniversary. My original plan was to recreate her neon-pictures from the Blue Crystal Fire-series (see here), but what can I say? I completely and utterly failed. From white cardboard and stuff lying around on location I built what I deemed to be perfect neon light replacements, yet the effect was completely different at best and not at all visible most of the time.
Once again I learned that photography sometimes is like cooking: when you want to try something exciting for the first time, don’t do it in the presence of important guests. But I also learned that in Marianne’s presence, failing means that in the end it still is going to be an awesome afternoon resulting in pictures we both like – good to work with a professional. And just like Beckett writes: »Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.«
I am also happy about the three derivative works that came from the shoot: a portrait of the photographer by Marianne (seen in pictures 4 + 5); a Feiyue »Vlaschits Edition« by me (from slipping on paint) and »Painting the Artist« by Hyo Lee.
And despite my clumsiness (that not only led to Feiyue »Vlaschits« but also saw a falling SB 800 just miss Marianne’s head), the Comme des Garçons-robe Marianne’s neighbour and fashion designer Thomas van der Jeught gave us in his infinite trust stayed clean.
Next Monday (23.6.2014) at the Archiv für Gegenwart (Mühlfeldgasse 5, 1020 Wien) you have the opportunity to see Marianne Vlaschits – who by the way is also responsible for the highly acclaimed cover art of Hercules and Love Affair’s latest album The Feast of the Broken Heart.
- Liste der Mittelstandsgemeinschaft Foto-Marketing
- Rates at Der Spiegel
- Overview at Fotomonat.de
Several weeks ago I learned that Austrian newspaper Niederösterreichische Nachrichten without permission had printed a portrait I took of painter Christian Bazant-Hegemark – my first real copyright infringement case.
I pondered and wondered what to do – since I did not yet start a formal business as a photographer, I did not know whether or not I could just bill them – and if so: how much? Also, I feared the conundrum that would possibly result from it regarding my taxes: billing would once again give me a »world income«, additionally complicating matters by being employed as a researcher in Germany plus effectively becoming a self employed photographer in Austria. I figured I needed a lawyer, yet despite soon learning that the Rechtsanwaltskammer is offering free first advice, I did not find (= make) the time going there.
Then I read »Would You Die For The Photo?« by Chase Jarvis (warning: graphic images), it led me to war photographer James Nachtwey’s talk at TED where he mentions working with Médecins Sans Frontières. Their work and courage impress me a lot. I also remembered that whenever a corporation uses a Tom Waits song for advertising, he sues them to then donate all the money he receives.
I thought I should try the same thing (if on a much smaller scale) and posted a registered letter a week ago, requesting a donation of EUR 150,– to MSF in my name. And voilà, today I receive this:
According to MSF, 150 EUR buy food for 15 malnourished children for two weeks or treatment for 300 children with pneumonia or 6 weeks basic medical services for 400 refugees. Donations can be made here.
In March »Office« was the topic for our second portrait. We went scouting at Caritas Mall »Carla« (first three images). Thanks to the generosity of the employees there, we obtained permission to shoot there during the hour before they opened the doors to the masses.
Three days later, we showed up with enthusiasm, a general idea of what to shoot, loads of gear and little time. Once more: »don’t let good light ruin your picture«. When there is no time, one really only has two options: either everything needs to be checked and nailed down before the shoot or one has to KISS (keep it simple, stupid). Otherwise much of the positive energy is eaten by all the wrong things (an SB800 under a vow of silence for instance). Consequently, we picked a test shot as the final picture from when we were both still relaxed and hadn’t set up the light.
I liked how the twig changed depending on air versus water refraction.
This video introduces him:
Here you can see him work at his »American Dream« series:
In this clip about Madison (who was born weighing only 800g) he also uses his »time machine« for film:
Ian was a guest at Chase Jarvis Live (you can see what is going on inside the camera from 1h38m35s):
In January I went to Hanover. While my wife attended a conference, I took care of our daughter and walked around quite a bit, morning to night. I grew up in the area and always thought of Hanover as by far the ugliest potato in the bag of post-war architecture – Max Goldt once claimed that »every German city had something of Hanover«. The city suffered a lot from bombings and after the war people quickly rebuilt it, aesthetics clearly towards the end on the list of their priorities. Yet, this time I was surprised to discover some really pretty areas, both pre- and post-war. Here are a couple of b/w shots of pretty Hanover by night:
Last Wednesday the »Long Shadow of Chernobyl« exhibition opened at the Natural History Museum in Vienna. During several visits to Chernobyl, National Geographic photographer Gerd Ludwig documented the people, the remains of the plant and life in the exclusion zone (see a short video here and more content here).
Thanks to the generosity of NHM’s communication department, I was lucky enough to receive an invitation for the opening function/book presentation last Tuesday. Apart from recommending to go and see the exhibition (until September) I took away some food for thought from the opening talks.
Christian Köberl, the museum’s director, explained how the Natural History Museum – an institution that is widely associated with stuffed animals and a vast collection of rocks – came to host an exhibition covering a problem that is clearly man-made. He linked it to two other exhibitions currently on display: Trading in Death – the Final Mass Extinction? has the commercial interest and its impact on nature as a common denominator.
The »man with nothing to lose« asked for a portrait.
A slightly outdated version is in debian’s repositories, but if you want a newer one, go to »Kbyte’s Hideout«. Download .deb package and dpkg -i rawtherapee_<xxx>.deb
If there are unsolved dependencies: apt-get install -f and then dpkg -i rawtherapee_<xxx>.deb
It still is the most straightforward programme I know for editing, simple retouches and exporting smaller sizes. I’m not happy with wine, I’m not happy with a google tool, but I cannot and cannot find an alternative (see here). Hence:
before following the
Polypager’s strength clearly was in handling the database – it has foreign key capability and without the faintest complaint, Polly will display any mysql-database it is being fed. However, it was never built with serving images as a central part in mind. There is a gallery plugin in place, but my desires soon surpassed the capabilities.
Zenphoto in turn is fantastic in handling text and images (and video by the way, which surprisingly posed the biggest hurdle in wordpress – the other was 301, but in the end Tony McCreath’s redirect generator helped). The problem with zenphoto is more an aesthetic one as the available skins are limited and don’t really meet my expectations. The one I hacked together unfortunately »grew organically« over the years until recently it gracefully started falling apart.
Thus, today I make the move to WordPress and while I am at ease parting from Zenphoto, leaving Polly behind really hurts. So, thanks Nic for developing it and having me aboard, because in the process, I learned many a thing about distinguishing sensible feature requests from the other ones, about version management using svn and git, and also, in 2008, about how it feels to be at the receiving end of a proper hack.
The (rather late) October portrait for »Project 12« was taken in January and finally edited only a few days ago. It is of Julia, who is not only a close friend, proper hiking buddy and HR professional but – and this points to the root of the lag – godmother to my daughter, who was born in November. Julia recently moved into a new flat and redecorated it, so we decided it was an suitable setting.
On new year’s eve she at one point donned a turban, looked stunning and someone took with a camera phone – and as we had the gear in place anyway we thought it was worth recreating the opportunity. At the end of our 5 hour session we were both pretty happy but also pretty knackered (and one of us still needed a haircut – desperately).
As the vote was paired with that one the considerable raise the MPs allowed themselves, I have the impression it somehow did not receive that much media coverage:
- Transparency International has some details and they also explain,
In 2014 »Project 12« gets a slightly different spin and is now »Project 12R«. The plan is to take 12 pictures of Rosina. Starting in February, we shoot one photo a month that derives its theme from the events of her preceding weeks.
The first installment involved a poster for a party that was stuck onto many distribution boxes. We narrowed it down to two location options that were close to each other: one spacious and quiet, the other at a busy tram stop in the middle of an equally busy crossroads. We decided to opt against comfort and for better looks, which unfortunately meant I had to shoot from the tracks with trains rattling in from three different directions by the minute. Thus, I was constantly shifting my light and tripod and Daniel, who was kind enough to act as assistant, not only patiently braved wind and coldness but in addition held on to the contraption for the black background with cars whooshing past very close by – thanks a lot Daniel!
First of all, Rosina is a designer by profession and it was as interesting as instructive to take a picture of someone who is both meticulous and knowledgeable when it comes to composition, colours, set design and furniture. I enjoyed it tremendously as it allowed me to concentrate on the lighting.
Secondly, it was the first time I shot tethered, which meant we continuously discussed all changes, thus the final images really feel like a joint effort.
And finally (probably also a result from second), the approach was very methodical. Usually I move around quite a bit while shooting, but this time we first looked for a frame that worked, then nailed the tripod to the floor. Then moved furniture in and out, tried a bunch of clothes to match the environment etc. So in the end, we settled with just two shots: her favourite (first) and mine (second).
I spent New Year’s Eve with magician, architect and fellow photographer Sven Wuttej. Going through his images from the last day at Wien Südbahnhof reminded me of the pictures I took of the monumental old landmark when I still lived right across the road from the train station. Somehow I quite liked the architecture, and was hence rather sad to see it go. So here are a couple of images from the transition of the hood: »Wien Süd« to »Quartier Belvedere«.
The first few pictures, where the train station (if already partly demolished) is still busy are from August 2009. The ones of the gutted building I took in February 2010 and the last two, where nothing remains of the old glory, are from September 2010 (you can see the very last one with just a flat stretch of sand where the station once was in full size).