May 27, 2011

george carlin and the gay pejorative

I observed an interesting conversation the other day in an IRC channel for photography I hang out in. Well, okay, it wasn't very interesting, but it spurred an interesting line of thought in me. Someone in the room dropped the word "gay" in typical pejorative adjective context: "criticism is gay", I think it was. Someone else chimed in with the obligatory scolding that you ought not use the word "gay" as a pejorative. The person in question defended his usage with the (rather tired) evolution of language defense, and then went the extra step of citing George Carlin as an authority that he was right. Now, I'm a big fan of Carlin, so I was a little irritated at this.

Obviously, he's referring to George Carlin's expansive career-long fight against the tyranny of euphemism and political correctness. Carlin was outspoken on this topic, frequently condemning society's constant redefinition and creation of new labels to replace old ones that were deemed offensive. His routine on the word "nigger" is fairly notorious, as was his stance on the term "crippled" and other such labels, new and old. I'm a big fan of Carlin in many ways, including his take on the fallacy of obscenity, but I think he may have been a little myopic or generous in his "they're just words" stance regarding euphemism (and, possibly, epithets). The line between them isn't always so easily drawn. Curious, I did a bit of research to find out if Carlin ever explicitly spoke about the use of "gay" as an adjective/pejorative. I couldn't find anything, so to my knowledge he never addressed it directly (though he was an early and vocal supporter of gay rights long before it was even a particularly hot topic). What I did find, though, was a startling number of arguments similar to the above conversation, where Carlin's "it's just words" stances on obscenity and/or euphemism were used to justify or dismiss criticisms of using "gay" in this way. "Don't be so uptight", the line goes, "it's just a word.. allow me to quote George Carlin on obscenity, blah blah". This troubled me, because I don't think that's what Carlin really intended at all.

In his bit on the reviled N-word, he contends that it's okay when Richard Pryor uses it, because he's black -- it's all the racist assholes out there that are the problem. "It's the context that counts," he said. Carlin's choice of Pryor as an example proved slightly ironic, as Pryor notoriously stopped using the word in a very public and orchestrated bid to get people to stop using it. Probably because Pryor realized something that Carlin may have missed (or that he's simply misunderstood about, I'm not sure): that words have power.

Carlin is right that context matters, but context is a tricky and subtle thing. There are labels that are slightly benign, but carry an unfavorably negative connotation (e.g. "crippled", or "disabled"). Then there are labels that perhaps simply harken to a less tolerant time, and thus are viewed negatively ("colored", "negro", or even "black"). There are also labels that serve no other purpose than to dehumanize and demean ("nigger"). There are also, though, cases of labels like "gay" being used as an adjective to explicitly imply a negative connotation. "That's gay" == "That's bad." This isn't as simple as a case of "just words", because in this case, "gay" isn't being used merely to refer to a gay person. It's literally being used to correlate homosexuality with badness. So while it might be a little silly to get your feathers ruffled over someone using "disabled" or "black" to refer to a person, it's slightly different when the use of the word literally implies negativity. When a "racist asshole", as Carlin put it, uses the word "nigger", that's a bad thing. When someone uses the word "gay" to imply negativity, that's a bad thing.

Sure, I know: the evolution of language will invariably result in situations like these. A word may evolve over time and become entrenched to the point that the person using it may not even be consciously associating the word with its negative origin. And so it doesn't make someone a bad person if they use the word in this way, but it doesn't make it innocuous, either. Whether it was intended or not, subtlely, and subconsciously, the association between "gay" and "bad" is being maintained in our cultural lexicon nonetheless.

This isn't a call for authoritarian censorship of the words, of course. I'm simply advocating a little awareness. Obviously, I can't speak for George Carlin, and regrettably, he's no longer around to let us know what he thinks. But euphemism and pejorative are not the same thing, and I think it's a misappropriation of Carlin's legacy to use his stance against the former to defend the egregious use of the latter.

lightning tips

Filed under:, , , — cwage @ 1:35 pm

lightning

I had someone ask me for tips regarding lightning photography and it got long enough I figured I may as well post it here and just link to it. These are just some random things I've had success with. Your mileage may vary:

The general idea for capturing lightning is to take longer exposures in which you happen to catch the bolts in the frame. I usually use anywhere from 5 seconds to 30 seconds, depending on how much lightning there is and what effect I desire -- a 30 second exposure will have much more blurred/fluid cloud movement as opposed to a 5 second exposure which would have more cloud definition)..

Either way, a longer exposure is necessary, as no human has the reflexes to catch a lightning bolt. However, a long exposure of a scene metered normally may be blown out subsequently if you get a really brilliant lightning flash, so you may have to underexpose severely so that when you do get lightning, it's not blown out..

So, a few tips:

  • Use Av or Tv to meter the scene and get a feel for a 'normal' exposure of foreground and sky..
  • Switch to Manual to use those settings to dial in a proper exposure for the lightning (probably a bit underexposed, but it depends on the lighting situation) so that it will not be overexposed. From there you can quickly adjust what you want specifically to respond to what you want or changing conditions. (You'd be surprised how often the lighting in a storm changes depending on whether there are high clouds or low-hanging clouds reflecting city light moving in, etc). Whether and how much you underexpose will vary depending on conditions. If the storm and the lightning are far away, you can probably get away with just metering normally, because the distant bolts will not cause much ambient reflection that might blow out the scene. If the storm is right on top of you, though, you may have to underexpose more, because a large nearby brilliant flash is going to be very bright.
  • If your camera has Long Exposure Noise Reduction (most modern DSLRs do), turn it off -- in Canon cameras, it's in Custom Functions. I do this because when you are trying to get lightning, murphy's law will dictate that you *will* see the most spectacular bolts while you are doing something else -- or waiting for your camera before taking another exposure. When the camera notices you are doing a long exposure, it immediately takes a dark frame exposure right afterwards and subtracts it in order to eliminate noise. This is a great feature, but it means if you take a 30 second exposure, your camera will spend another 30 seconds taking the dark frame, and during this time I guarantee you will see all the most spectacular stuff. So, I turn that off and just snap away over and over. The unfortunate consequence is that your resulting pictures will have a lot more defects: noise, in the form of "stuck" or dead pixels from your sensor that will need to be fixed in post-processing. It's tedious, but not that hard to do in GIMP or Photoshop. The newer the camera you have, the less this will be an issue. (It takes me forever with my ancient 5D)
  • Once you have the metering situation sorted out, you get to the boring part: sitting there pressing the shutter button over and over until it starts to rain. Don't bother spending much time reviewing your pictures to see what you've got -- you'll miss something spectacular while you're peering at the LCD. Let it be a surprise when you get home.
  • Lightning is unpredictable, naturally, so a wider angle lens can be helpful to guarantee you get lightning in the frame. You can get different/cooler results using a tighter lens focused on a particular part of the sky, but obviously this requires a lot more patience and luck.
  • Composites (combinations of multiple shots) are your friend. Sometimes you get a few bolts here and there that are unremarkable alone, but can look pretty cool when combined into one exposure. It's a lie, but so is all photography. Compositing is not trivial, but it's not terribly difficult. Look up tools like Hugin's "enfuse" for a starting point on how to accomplish this. The above shot is a composite of a bunch of photos from an oncoming storm.
  • Try not to get hit by lightning, as I understand it really sucks.

takahiro, “i know you”

Filed under:, , , — cwage @ 1:19 am

Years ago in the dalnet #ween channel (nerdalert), an MP3 made the rounds there, called simply "takahiro - i know you.mp3".

It's a breathtaking performance that literally had me in tears when I first listened to it. I was kindof amazed that I couldn't find any mention or reference to it on the internet, as such. So, here it is, ladies and gents: Takahiro - I Know You.

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Takahiro, wherever you are: thank you for baring your soul to us.

May 5, 2011

how to get featured

Filed under:, , , — cwage @ 6:40 am

How to get featured on Verve Photo's Documentary Photography blog in 3 easy steps:

  1. Buy a plane ticket to a third-world country or an urban slum.
  2. Take a portrait of a destitute resident in their modest home lit by sunlight through the one window.
  3. Write some bullshit artists' statement about socioeconomic disparity or religious tension or something that has nothing to do with your photo of some lady in her hovel, really, but plays well in the art community.

Exhibits:

  1. One
  2. Two
  3. Three
  4. Four
  5. Five
  6. Six
  7. Seven

I could go on, but anyways. Don't get me wrong: most of the stuff they feature is awesome, but they seem to have a hardon for this cliche that seems long since expired. They could all maybe work as part of one collection -- you know, some crap about people in living spaces, or something (which has been done and done over again) -- but as individual photos by all these different artists, it doesn't work at all. What do these photos tell us about their inhabitants, really? Very little, except some sort of very puerile "garsh, there are poor|indigent|foreign|different folks?!" lesson of disparity. It's getting to be as bad as homeless photography. It's time to retire this formula. Thus I have spake.