I am faced with something of a dilemma. It is not a serious matter; there are no dire consequences no matter which direction I choose to travel. It’s more a matter of expectations and anticipation versus patience and perseverance. In the first place, I have been working very hard toward a goal that has proven to be elusive for many years. Due to a great deal of patience and perseverance, I am almost there. However, my expectation was to be there just a little bit sooner. Through planning, followed by the work necessary to realize my goal, I anticipated graduating at the end of this semester.
Graduations, like so many other ceremonious events, entail not just the pomp and circumstance of the moment of commencement, but all that the ceremony celebrates. The accomplishment and the time, the work and the sacrifice, all of the component parts that represent the completion of a bachelor’s degree. The document means much more than a cap and gown. It represents that a specified course of education has been satisfactorily completed.
It is not uncommon for some loose ends to be left at the tail end of a college career. Many graduating seniors still have an odd requirement left to complete. Perhaps it was overlooked, maybe there wasn’t time or availability was such that it couldn’t be scheduled before the commencement ceremony. It happens all the time. At Sacramento State, if a student is within six units (usually one or two classes) of completing his or her degree, he or she is permitted to participate in the graduation ceremony. Due to an oversight, I am six units short.
When I discovered this “error,” I was more than just a little disappointed. I have been chipping away at this college thing for more than two decades and diligently for the past four years. I thought I was done. After spending three or four days investigating causes, options and effects, I found a place of acceptance. Although I might have been able to lobby/coerce/manipulate the system into awarding my degree this semester, I didn’t go there. I want to know, for myself, that I met every requirement - even if that means returning for two classes in the fall.
Besides, I still get to “graduate” in the spring, right? The rules state very clearly that I can participate in the commencement ceremony as I originally planned. I don’t even need to rationalize or justify my reasoning, the rules allow for it and a large number of graduates this coming spring will not yet have actually graduated. When I say that there is nothing wrong with that, I mean it and I believe it. It’s just not for me. As much as I have been looking forward to this ceremony and despite the ability to legitimately participate when I originally planned, I need to wait.
There is one other teensy-weensy factor that comes into play as well. As a matter of fact, it was the straw that tipped the scale in favor of a fall graduation. My grade point average is currently 3.72. (UPDATE: After 15 more units at 4.0, my GPA is now 3.8) If I were to finish with that GPA, I would be graduating with honors - cum laude. But for those who have not yet finished, honors cannot be awarded at the commencement ceremony. Honors are awarded when the degree is, but not with any ceremonial recognition. If I can increase my GPA by just .03, I’ll graduate with even higher honors - magna cum laude. With just four weeks to go this semester, I am carrying a 4.0. I can get there; I know it.
There are other reasons, mostly personal, that I want to wait. Once I accepted that I screwed up and that the screw up would cost me six months, I consoled myself with the party that would still be on. However, the more I thought about it, the more hollow it felt. I don’t want to cheapen the experience knowing I haven’t yet completed my degree. I want to walk with honors. I don’t want to be handed an empty envelope. When I graduate, I want to be a graduate.
Monday, April 09, 2007
Tuesday, March 27, 2007
Objectivity
Blog author's note: This post originally appeared briefly on The 25 Year Plan, but was taken down for reasons that are no longer applicable.
Upon deciding to write a story that dealt with objectively examining the changes in photography, ushered in by the digital revolution, I was somewhat surprised to find that I had two conflicting biases. My story, however, was written based on the research I have done, not some preconceived notion, however subliminal it might have been. Furthermore, it should come as no surprise that reporters often have a particular mindset when going into a story. The good ones, however, won’t let it influence how the story is written. Judith Miller I am not.
I wanted to be able to write about how photography will always, at its core, be about film. I wanted to report that the purity of the traditional photographic techniques would always keep film’s quality at least just beyond what digital could deliver. I was willing to grant that the advantages of digital far outweigh film in every area save one: Purity (read “quality”). At worst, I wanted to concede that it would be many, many years before digital would overtake film in this isolated, albeit significant area.
But I can’t. I can report about the heart-felt passions of a few traditional photographers and that aficionados of “artistic” photography say so, but much to my dismay, I cannot defend the medium in light of what I have learned. However, I am only slightly disappointed, for as much as I have a tendency towards nostalgia, so too do I have one towards technology. This story has touched both interests and to some extent has satisfied both - and neither.
As technology evolves, it changes the way we do things. I have not worked out a long-division problem - armed with my trusty pencil - in a very long time. Yet I can remember when solving mathematical problems in this manner was the norm. Hand-held (and smaller) calculators have changed the way we do math. The ubiquitous personal computer, cable and satellite TV, robotics and any number of recent technological innovations have changed the world in much more profound ways than just as it applies directly to a specific industry.
“Professional” photographic technology is now available to the masses. Whether using automatic settings or fiddling around with the manual modes, these digital wonders allow the everyday person to do the things only the pros using professional equipment were able to do in days gone by. Furthermore, with instantly available results, trial and error is far more cost effective. Wait; allow me to rephrase that… it’s free. No processing cost or waiting for the results only to correlate the settings used to the frames on a negative. Today, it’s all about right here, right now.
And all that access sounds good. Indeed it is - but. What about the ability to frame and compose the shot… to be able to “see” the image before it is rendered - digitally or otherwise? How many trials and errors does it take? Professional photographer and Professor of Photography at California State University, Sacramento, Nigel Poor laments that the ease of taking literally hundreds of shots “takes the preciousness out of it.” The “art” of photography appears to be among the casualties of the digital revolution. Of course, it is not the only one.
However, classic photography will likely never completely die. It is said that portrait painters viewed the new technology of photography well over 100 years ago with the same trepidation as film photographers view digital imagery today. And although it is safe to say that the vast majority of portraits are photographed (now digitally), portrait painters are still painting portraits. Many in the world of art photography claim that black and white film photography has a quality that has eluded digital thus far. It is a very subjective assessment, but like other “ancient” technologies, traditional photography will still have a place in the world. Art always has had a staying power that transcends technology.
My story, therefore, tells the story of film obsolescence, but not its death knell. Indeed, the industry of film photography will likely continue to atrophy, but it will never completely die. And the fundamentals are still the same. Light still behaves as it always has and the physics that determines how it interacts with lenses, exposures, apertures, and the like is pretty much set in stone. These fundamentals still need to be mastered if one wishes to succeed in the business of photography.
Freelance news photographer Michael Kirby said simply, “I think every teacher should teach the fundamentals. There seems to be this attitude that says, ‘It doesn’t matter how it looks, I’ll fix it later with Photoshop.’ I think it’s a crime.” And he shoots almost entirely digitally. The last holdouts in the world of film photography, large format and motion picture film are fast losing their market. The major consumer roadblock of cost doesn’t have as much impact in the professional ranks. Digital large format and cinematic equipment is a reality - it’s expensive, but it’s here and it has a market.
It is heartening to know that the art of traditional photography will likely never die - that there will remain enough interest to keep some manufacturers in business and enough still practicing the art to pass it on to future generations. However, it will never enjoy the prominence it did. It is equally encouraging to realize that with the technology advancing at the rate it is, there will be greater access and consequently greater production of imagery. In that respect, everybody wins.
Upon deciding to write a story that dealt with objectively examining the changes in photography, ushered in by the digital revolution, I was somewhat surprised to find that I had two conflicting biases. My story, however, was written based on the research I have done, not some preconceived notion, however subliminal it might have been. Furthermore, it should come as no surprise that reporters often have a particular mindset when going into a story. The good ones, however, won’t let it influence how the story is written. Judith Miller I am not.
I wanted to be able to write about how photography will always, at its core, be about film. I wanted to report that the purity of the traditional photographic techniques would always keep film’s quality at least just beyond what digital could deliver. I was willing to grant that the advantages of digital far outweigh film in every area save one: Purity (read “quality”). At worst, I wanted to concede that it would be many, many years before digital would overtake film in this isolated, albeit significant area.
But I can’t. I can report about the heart-felt passions of a few traditional photographers and that aficionados of “artistic” photography say so, but much to my dismay, I cannot defend the medium in light of what I have learned. However, I am only slightly disappointed, for as much as I have a tendency towards nostalgia, so too do I have one towards technology. This story has touched both interests and to some extent has satisfied both - and neither.
As technology evolves, it changes the way we do things. I have not worked out a long-division problem - armed with my trusty pencil - in a very long time. Yet I can remember when solving mathematical problems in this manner was the norm. Hand-held (and smaller) calculators have changed the way we do math. The ubiquitous personal computer, cable and satellite TV, robotics and any number of recent technological innovations have changed the world in much more profound ways than just as it applies directly to a specific industry.
“Professional” photographic technology is now available to the masses. Whether using automatic settings or fiddling around with the manual modes, these digital wonders allow the everyday person to do the things only the pros using professional equipment were able to do in days gone by. Furthermore, with instantly available results, trial and error is far more cost effective. Wait; allow me to rephrase that… it’s free. No processing cost or waiting for the results only to correlate the settings used to the frames on a negative. Today, it’s all about right here, right now.
And all that access sounds good. Indeed it is - but. What about the ability to frame and compose the shot… to be able to “see” the image before it is rendered - digitally or otherwise? How many trials and errors does it take? Professional photographer and Professor of Photography at California State University, Sacramento, Nigel Poor laments that the ease of taking literally hundreds of shots “takes the preciousness out of it.” The “art” of photography appears to be among the casualties of the digital revolution. Of course, it is not the only one.
However, classic photography will likely never completely die. It is said that portrait painters viewed the new technology of photography well over 100 years ago with the same trepidation as film photographers view digital imagery today. And although it is safe to say that the vast majority of portraits are photographed (now digitally), portrait painters are still painting portraits. Many in the world of art photography claim that black and white film photography has a quality that has eluded digital thus far. It is a very subjective assessment, but like other “ancient” technologies, traditional photography will still have a place in the world. Art always has had a staying power that transcends technology.
My story, therefore, tells the story of film obsolescence, but not its death knell. Indeed, the industry of film photography will likely continue to atrophy, but it will never completely die. And the fundamentals are still the same. Light still behaves as it always has and the physics that determines how it interacts with lenses, exposures, apertures, and the like is pretty much set in stone. These fundamentals still need to be mastered if one wishes to succeed in the business of photography.
Freelance news photographer Michael Kirby said simply, “I think every teacher should teach the fundamentals. There seems to be this attitude that says, ‘It doesn’t matter how it looks, I’ll fix it later with Photoshop.’ I think it’s a crime.” And he shoots almost entirely digitally. The last holdouts in the world of film photography, large format and motion picture film are fast losing their market. The major consumer roadblock of cost doesn’t have as much impact in the professional ranks. Digital large format and cinematic equipment is a reality - it’s expensive, but it’s here and it has a market.
It is heartening to know that the art of traditional photography will likely never die - that there will remain enough interest to keep some manufacturers in business and enough still practicing the art to pass it on to future generations. However, it will never enjoy the prominence it did. It is equally encouraging to realize that with the technology advancing at the rate it is, there will be greater access and consequently greater production of imagery. In that respect, everybody wins.
Monday, January 15, 2007
My Favorite Sentence
... But when you have seen vicious mobs lynch your mothers and fathers at will and drown your sisters and brothers at whim; when you have seen hate-filled policemen curse, kick and even kill your black brothers and sisters; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society; when you suddenly find your tongue twisted and your speech stammering as you seek to explain to your six-year-old daughter why she can't go to the public amusement park that has just been advertised on television, and see tears welling up in her eyes when she is told that Funtown is closed to colored children, and see ominous clouds of inferiority beginning to form in her little mental sky, and see her beginning to distort her personality by developing an unconscious bitterness toward white people; when you have to concoct an answer for a five-year-old son who is asking: "Daddy, why do white people treat colored people so mean?"; when you take a cross-county drive and find it necessary to sleep night after night in the uncomfortable corners of your automobile because no motel will accept you; when you are humiliated day in and day out by nagging signs reading "white" and "colored"; when your first name becomes "nigger," your middle name becomes "boy" (however old you are) and your last name becomes "John," and your wife and mother are never given the respected title "Mrs."; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never quite knowing what to expect next, and are plagued with inner fears and outer resentments; when you no forever fighting a degenerating sense of "nobodiness" then you will understand why we find it difficult to wait.
Excerpted from "Letter from Birmingham Jail"
April 16, 1963
Martin Luther King, Jr.
Excerpted from "Letter from Birmingham Jail"
April 16, 1963
Martin Luther King, Jr.
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