South Korea

I am returning to South Korea this October. The last time I was there was back in 2018. So it’s been four years since that visit.

For me, most of the places I end up visiting come through personal connections. I’ve met quite a few people over the years on my workshops and tours, and I like to try to go with the flow: if someone suggests or invites me somewhere, then I try to follow the lead. Call me a hippy, but I think that when an invitation comes, there is usually a door to new possibilities ahead. I trust it and I have found over the years that this has mostly been beneficial to my photography / creative growth.

Prior to going to South Korea, I had never considered the country. This I find fascinating, because now when I look at the images I made there, I know they could not have come about, had I not accepted my friend’s invitation.

These images are so part of me now, that to imagine that I might have declined his invitation and never gone, is unthinkable. Such is the wonderful surprise of future possibilities (In my view, opportunities and possibilities are being offered to us each day, but it’s up to us to recognise them and to run with them).

When I did get to South Korea, I must confess that I hastily made the assumption that I would not get any photographs. Initially I saw little promise. This is because the parts I visited were particularly urbanised, or affected by man in some way. I found that we drove long distances and often times, the landscape was not obvious.

All I remember about the end of the trip was saying to my friend ‘well, I shot 18 rolls of film, so I must have something’. Even though I could not put my finger on any particularly strong images that I had made at the time, I had still shot film. I never shoot film for the sake of it, I always only shoot because I’ve found something that I think might work.

What had originally been an invitation to a country I knew very little about, and had not even been drawn to thinking of its landscape much, turned out to be a very positive experience. If this has taught me anything, it is that one never really knows when the next set of images is coming from’. We just need to put ourselves out there for things to happen.

So I’m looking forward to returning to South Korea. It will be a different experience this time (because it always is), and I do not plan to set myself up with any expectations. Because no matter what I may envisage, photography always tends to offer up something I hadn’t expected. My photographs are never quite what I thought they might be.

This is what I find most inspiring about photography. An invitation, and the conviction to go someplace, can lead to images that you had never thought possible. Each day out there with a camera, is a chance to find new ground, and to create something that never existed before. But once it is here, feels as though it was always a part of you, and you have been carrying it along inside of you for all these years..

Radio Times 1974

Nothing much to report today. As I explained in my recent newsletter, I have not received my film processor as yet, so I have not been able to work through my backlog of images shot this year. I expect it will take me a few more months once I do get the processor to get up to speed with it.

Anyway, I found this image in my folder of things that I think might be worth putting on this very blog. I am going to avoid the politics of this, but I would like to say that this is the cover of a well known British institution magazine that is still going strong. The cover is from 1974, and I do indeed remember being told that an ice age wasn’t very far away.

I love the graphics. The ‘RadioTimes’ font has always been deliberately ‘retro’, perhaps a hark back to the early 1920’s? And the actual graphic of the earth is very nice also.

I’m just surprised that someone had the foresight to scan or archive a copy of this magazine, and in colour too.

Adventures in Abstraction & Analogue Volcanoes

I love it when someone decides to make their own photographic book. I’ve had a correspondence with Stephen Milner for many years now. He is an Englishman based in New Zealand, and he got in touch last year to tell me he was putting his first book together, and whether I would like to write a foreword for him, which I have done (it is reproduced below).

I can think of no better way to describe the book, than have Stephen discuss it here:

You can now buy the book here:

I wish Stephen all the very best with his project, and I encourage others to consider doing their own book. There is something extremely satisfying in putting your own book together.


Foreword: Adventures In Abstraction & Analogue Volcanoes 

If I were to say the word ‘volcano’ to you, I am confident that you would instantly ‘see’ a cone shape in your mind’s eye. The shape of any volcano is instantly recognisable to all of us. They have one of the most iconic shapes of our world.

 In Milner’s images, he has settled upon using this iconic shape to unify his imagery. He understands that using form in this way can strengthen the work. For when we break down any image at all, they are constructed of the same basic building blocks of form and tone. Regardless of what we think we see, all photographs are representations, made up of these parts.

 Milner has also chosen to make these images by using film. In an ever-increasing age of convenience over any other consideration, this is a hard feat to maintain. Firstly, the photographer does not have any immediate feedback. There is no way to review what he just shot. There is no way to check that the compositions or exposures are right. His only tool at his disposal is his intuition. Trust in one’s own abilities, and the knack of visualising what one is capturing is key. Learning to ‘let go’ and ‘move on’ rather than fixate on looking for assurances is the nature of the game.

 As a film photographer myself, I enjoy this process very much. Rather than thinking ‘volcano’, I am encouraged to think about whether the subject has a strong enough shape to act as a foundation for the composition. I am also encouraged to abstract the scene. Rather than thinking of ‘scenery’, I am left to think about how the shapes of all the subjects within the frame interact. I am forced to ask questions such as ‘do the constituent shapes build a pleasing story that sits comfortably when viewed as a whole?’ For great scenery does not guarantee a great photograph.

 Make no mistake, there is, and must be a leap of faith in one’s own judgement when shooting film. One must commit and accept that there is no undo.

 I bring up these points for one reason: all well executed work brings forth the illusion that it was effortless to produce. I know all too well that the work within this book took a lot of time, and a lot of love to create. Milner has been busy.  What he brings forth to us, is a cohesive set of images that just seem to flow as if they were an effortless effort.

 He has successfully abstracted the volcano. For we do not see the hard work. Instead we are left to wonder about the many adventures he surely had along the way.

Burnout

I’ve been following Christian Henson for the past several years on YouTube. He is a music composer and also the owner of a company who develop sample instruments for Audio.

I really enjoyed this video from him today, as he openly talks about his burnout, and his own problems dealing with work and stress.

Just in case you are wondering why I am posting this: I am NOT suffering from Burnout. But it has been something that I have experienced now around three times this past 12 years of running workshops.

For me on each occasion when I felt I was reaching burnout, the solution was easy: I restructured my workshop schedule so that I get time off to recuperate. I now take each summer off - that is roughly around three months.

These three months off, is often a time where I seem to turn into a couch potato, or I go out daily cycling. I also find myself sleeping an awful lot. I am convinced this is needed, and it benefits my creativity.

During this time off, I have very very little interest in doing anything photographically. Initially it worried me that the lack of interest was burnout, but I now realise that as the summer begins to end, I am looking forward to my trips back to Eigg or Iceland in September.

Having this three months off keeps me sane.

Much like Christian, I would say that my own personality is similar: I never know when to stop, and my hobbies usually tend to become all consuming passions that I seem to turn into something quite serious. I’ve had to learn to take the foot off the accelerator, and also, to not feel guilty when I am not working.

Making great photographs may be something we all want to do. But I have had a very strong opinion for a long time now that just going out every once in a while and hoping that you’re going to create great work isn’t enough. Great work seems to be a combination of talent, and going way beyond what most folks think is normal. In other words, in order to create work that stands out from others, usually something has to be sacrificed. I would argue that those whom you admire - musicians, book writers, actors, athletes, photographers, all ‘have a bit of a screw loose’. They are not normal people. They more than likely sacrifice other areas of their lives and they can’t help themselves push themselves forward.

Being a photographer that stands out from the crowd isn’t just something that you get to by doing photography in the evenings or weekends. You get there because you’re willing to sacrifice things that normal folks wouldn’t.

As I said at the beginning of this post: I am NOT suffering from burnout. But I have done in the past, and I was relieved that I found a way out of it. I love photography, I love being creative, but I have seen for a very long time that there has to be balance in one’s life, and sometimes it’s ok not to be creating.

I realise for most of my audience this isn’t the problem. It’s perhaps that you don’t get as much time as you’d like to be creative. But everyone has their limits. Everyone has that point where they may stop and say ‘shit, I really loved this, but now I’m hating it, and I don’t know why’. There is an expectation that it should always be fun (false expectation), or that spending all your free time doing it will make it better (another false assumption).

Take a step back sometimes. Put the camera away. Stop looking at other people’s work on the internet. Go do something else for a while. All creativity needs its own time. That means NOT doing it is just as important as the times when you are.

Be kind to your creativity, which is another way of saying ‘take care of yourself, and also, be kind to yourself’.

wild-man

I’m just home from the wilderness.

It was a research trip where I found that one particular day of trekking is where all the drama and action is.

I am now hatching plans to return. Now that I have narrowed down my focus to one particular area, I am looking to return next summer.

I won’t say where. All I will say right now is that where I was, was in the clouds. It was beautiful up there, but challenging to photograph. So much mist, so much moisture forming on my lens and filters, and so much steam also.

I’ll leave it at that. Hoping to return next year, and have started to make enquires as to how to get to where I want to go, without doing any serious hiking in. That is what I had to do this past week : 55km trek. Was fun, but it was really a certain 12k region that piqued my interests and I know I am not done yet.

With all the said, I am glad to be back home. Being a wild-man for a week, with no showers, no internet, basic facilities, makes one appreciate modern day comforts.

Assynt Portfolio Editing Review Class

I’m in the process of working on a video class about this set of six images.

Last year I produced a portfolio editing class whereby you could watch me choose and edit a set of images that made up my Bolivia set from 2019. With this class, the work is already complete, but I thought it would be good to go through the edits one by one, and break them down, show each of the editing decisions, and also go into more detail about the curve adjustment made for each of them.

I hope to publish this set later on this Autumn time, but it is work dependent as my workshop schedule will be taking off this September.

Artificial Inteligence 3

I asked Stephen if he could ask Midjourney to generate some AI photos based on the criteria ‘Bruce Percy Iceland’, and this is what it gave him:

Crazy shit!

I’m thinking ‘yep, that’s what I’d be looking for’. I asked Stephen if he could simplify further, so he typed in ‘minimalism’ and ‘reduced detail’, and got these:

AI simulation of ‘Bruce Percy Iceland Minimalism’

Spooky. First off, I feel as though I am looking at memories I don't remember having. Some of the motifs etc used in these generations remind me vaguely of some of my own work, and also, of some known places throughout Iceland. I am sure AI has used elements from real photos of Iceland as well as my own images to do this.

AI simulation of ‘Bruce Percy Iceland’

As someone looking at work that has been generated based upon their own work, I feel as though I am looking at a parallel world of sorts. There are just so many traits of what I do, and what I like to go looking for in these artificial generations, that they leave me feeling a bit odd. I can’t associate with them on an emotional level because I was never there to create them, yet they feel and look like parts of Iceland that I would be interested in shooting, and compositionally, mirror to a degree what I do.

AI simulation of ‘Bruce Percy Iceland Minimalism’

Artificial Intelligence 2

Yesterday I wrote about the AI program MidJourney generating images based upon the criteria ‘Bruce Percy Photography’.

I thought I would show some more, which were created by the criteria ‘Bruce Percy Photography Bolivia’.

I can definitely see elements of some of the places I have visited in Bolivia. The top left image in particular reminds me a lot of the mountains near the Dalí desert.

Tonight I’ve been thinking that this all reminds me of something. And I’ve just realised it reminds me of when HDR came out. Many thought it would be a fad. As much as I know that HDR work can be subtle, masterful, and invisible in the final image when in the hands of a skilled operator, it can also be extremely gaudy (to my tastes at least anyway) when used with much less regard for restraint and taste. Regardless of whether I approve or not, HDR is here to stay.

And so with the AI generated images from Midjourney, I think we are seeing the birth of something new here. There will be those that use AI image generation with sophistication, and those that don’t. We now live in a world where anyone can publish, and I often feel I have to curate what I spend my time looking at. There is an awful lot of derivative work out there, and to find the jewels of work that are being published, one has to work harder to find them.

So for me, as much as I’m fascinated by this new advancement in AI, perhaps more from a sociological perspective (jobs are going to be lost and also won, because this is a massive paradigm shift we are on the cusp of), I don’t see the algorithms at present giving you an option for the level of taste in the work. When I went onto MidJourney to look at other work, everything had a similar kind of saccharine look to it.

But I must warn that this is only temporary. If you are not up to speed on AI and where it is headed, then I can recommend this article on the Wait but Why website. In it, the writer explains that progress and developments in AI are exponential. The Google scientist Ray Kursweil has said that progress is always exponential, but we humans tend to project into the future in a linear fashion. It is a human failing. We tend to assume that what has happened before is an indication of what will happen in the future. If the first year we learn 10%, we assume the second year will be a further 10%. But the truth is, that 10% you’ve learned, contributes towards you learning 30% the second year. And so on. Progress is exponential.

One has to move with the times, because if you don’t, you’ll be left behind. I am curious to know whether ‘real art’ generated by ‘real people’ will have a reverence over AI generate work, or whether folks simply won’t care. I don’t think they will be able to notice the difference, but that is another matter entirely. Because we still discuss the merits of different cameras, and yet I doubt if anyone could look at most photos and confidently claim to know which camera they were made with. My own belief is that when it comes down to the bottom line, convenience always wins. So AI will win over work that has been created by a human.

Where does that leave us in the future? Artist have seldom made money from their art, unless they are extremely lucky. Same for musicians. And book writers, only if they have a best selling book. But what if AI can generate a JK Rowling like sequel, and it does it in a matter of seconds, as opposed to JK Rowling writing a book for 2 years? There is no contest.

I digress perhaps. But I must stress that I am not warning of the perils of AI, or even saying I don’t like it. I am just curious how it is going to affect us. Because rather than us shape it, it will shape us.

Artificial Intelligence

A friend emailed me today to tell me that he had joined Midjourney. If you don’t know what Midjourney is, it is an AI application that can generate images based on user input.

Steve decided to type in ‘Bruce Percy photography’, and this is what it generated.

Apart from it looking a bit dream-like (which by the way, is one of my own intentions when creating images), I can see parallels, and similarities, even though it is not exactly like my own work.

I can’t get the software to work right now, as I believe they have hit their subscription limit.

Anyway, here are some other variations:

The last set in particular remind me of my photographs of Stac Pollaidh, here in Scotland.

But I have to ask the questions:

1) how long will it be, before this starts to look so convincingly like real photography, rather than some weird dream?

and perhaps more specifically:

2) how long before we have photographers publishing work created in these AI programs? How long before we see work that is so convincing that we don’t know if it’s a real photograph or AI?

For anyone out there who has a USP with their art, it does make me wonder how long before everyone is not far away from creating work just like theirs? I’m not trying to be all ‘doom’ about this. I am fascinated by the boundaries. Will we be able to spot an AI generated piece of art from a human created one? And if so, what will be the tells? I think it will get to the point where it will be impossible to do so.

So where does this end? What about music? What about books and stories?

Will the ‘art’ in creating anything, be about how you work with AI and use it, rather than just letting it create itself?

Quite intriguing.

Then Steve noticed it has also generate some portraits as well based on ‘Bruce Percy photography’. In case you aren’t aware, I have made portrait photos in the past. I haven’t done much in a long while, but I do have some portraits on this site if you go check. But here are Midjourney’s interpretations of my portraiture work:

Quite dreamy. They sort of remind me of Susan Burnstine’s imagery. More in the focussing, and blur techniques applied.

In the last set of pictures, the one that comes extremely close to my own work is the bottom left image. It is almost a mirror copy of one of the lochs in the Scottish highlands that I have photographed many times.

micrometeorites

I was watching a movie by Werner Herzog called ‘Fireball’, which is on Apple TV right now. In it, he met up with a scientist in Oslo who was using the rooftop of a local stadium as a catchment area for meteorites. But these meteorites are micro-meteorites. Tiny ‘space dust’ particles that he is able to hoover up with some magnets due to their iron compounds.

They are so small, that you’d think there would be nothing remarkable about them, as you can see in the photo of the finger.

But the scientists who’ve been collecting these micro-meteorites have been using some very high resolution photography to study them.

I found the photographs of them extremely beautiful.

I have no affiliation with the website where I got these images from. But it appears that you can buy these meteorites ! Anyway, if you’d like to go and view some more micro meteorites and see how they were found, you can visit the website treasuresfromspace.com.

I would also thoroughly recommend Werner Herzog’s movie ‘Fireball’. It’s on AppleTV.