Art

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I shoot a lot of pictures. Most are from altitude (such as the above). But lots are of people and places, for example, here are a few I shot at DWebCamp last summer with my new Sony A7 IV camera (to which I migrated last year after many years shooting Canon):

Importing and curating photos is the only organized thing I do in life. Let me explain.

Under each of those photos is the name of the file. These are the actual file names, not ones stored in the library of some app and remembered at the meta-level. None are called DSCN0401.JPG, IMG_4523.JPG, or IMG_1874.PNG. I’ve given all of them meaningful names, all by the same convention: YYYY_MM_DD_name-of-event. Every file in every folder has the same name as the folder, with a number appended to it. The numbers are chronological. Each event’s folder goes into a month folder, each of those goes into a year folder, and all years go into a folder called pix-by-year. That folder has years going back to 1869. (The earliest are scans, such as this one.)

I organize and name all my photos with a piece of software originally called iView Media Pro, then Expression Media 2 (after Microsoft bought it), and finally Phase One Media Pro (after Microsoft abandoned it). I like the second version best, so that’s what I use.

Here is a short and partial list of all the things Expression Media 2 can do:

  1. Rename files in the Finder, very selectively, alone, or in batches (much more smoothly and easily than can be done with Adobe Bridge or Apple’s Shortcuts or Automator).
  2. Search for any variable, or combination of variables
  3. Sort by up to 24 variables (file name, size, date created, date modified…)
  4. Resize selectively
  5. Open any files with any other app
  6. Bring multiple photos (files) from multiple directories into a single catalog, to organize any way I want. Also to export, rename, or whatever, including—
  7. Run a slide show, with many choices of presentation (much more than with Apple’s Photos), and save shows as movies
  8. Open any file or collection of files in any other app (for me that’s usually Photoshop 2021)
  9. Basic image edits
  10. Rotate, flip, zoom in and out
  11. See and edit EXIF data for every shot
  12. Find missing and duplicate items
  13. Show or hide any file or combinations of files
  14. Move files in the Finder
  15. Operate in lieu of the finder when dragging or dropping into a Web page or another app
  16. Arrange or tile photos by hand or by sort
  17. Log and show actions
  18. Place images on a map
  19. Make a .pdf of any image or collection of them
  20. Turn galleries into pages in .html
  21. Import and export to and from .xml

I don’t do all that stuff, but I list it because I want to remember what I know I will lose when I move from this 2017 MacBook Pro running Mojave to my new 16″ 2023 M2 Max MacBook Pro. That will happen later today after I upgrade both machines to the latest version of Ventura. When that happens, Expressions Media 2, a 32-bit program last updated in 2013, will be kaput. And I will need to find another workflow.

Maybe Expression Media 2 will survive through emulation or something. Or maybe Phase One Media Pro (also last updated in 2013) will work.

Or maybe one of ya’ll has a better way to manage workflow than I’m using now. I’m open.

Meanwhile, here goes…

[Later (May 10, 2023)…] I am now working with my new M2 Macbook Pro, and I feel like I am missing limbs. The only prostheses I have are the limited choices that come with Apple’s Finder and Adobe Bridge. So again, help is welcome. Thanks.


Addendum: If you’re wondering why I’m not running my life on Linux and free and/or open-source software, the main reasons are Photoshop and Lightroom. I’ve tried Gimp and it doesn’t cut it. Photoshop knows the camera and lenses I’m using, and its tools, such as dehaze, are extremely useful. See the photos here? Thank dehaze for making the detail pop out. (Yes, Gimp de-hazes, but not easily.) I hate being trapped in Apple’s castle as much as the next serf, but shooting as much as I do requires tools I can use quickly and easily.

Let’s say you want to improve the Wikipedia page for Clayton Indiana with an aerial photograph. Feel free to use the one above. That’s why I shot it, posted it, and licensed it permissively. It’s also why I put a helpful caption under it, and some call-outs in mouse-overs.

It’s also why I did the same with Danville, Indiana:

Also Brownsville, Indiana, featuring the Brickyard VORTAC station (a navigational beacon used by aircraft):

Eagle Creek Park, the largest in Indianapolis, and its Reservoir:

The district of Indianapolis charmlessly called Park 100:

The White River, winding through Indianapolis:

Where the White River joins and the Wabash, which divides Southern Indiana from Southern Illinois (which is on the far side here, along with Mt. Carmel):

Among other places.

These were shot on the second leg of a United flight from Seattle to Indianapolis by way of Houston. I do this kind of thing on every flight I take. Partly it’s because I’m obsessed with geography, geology, weather, culture, industry, infrastructure, and other natural things. And partly it’s to provide a useful service.

I don’t do it for the art, though sometimes art happens. For example, with this shot of salt ponds at the south end of San Francisco Bay:

Airplane windows are not optically ideal for photography. On the contrary, they tend to be scratched, smudged, distorted, dirty, and worse. Most of the photos above were shot through a window that got frosty and gray at altitude and didn’t clear until we were close to landing. The air was also hazy. For cutting through that I can credit the dehaze slider in Adobe Photoshop 2021. I can also thank Photoshop for pulling out color and doing other things that make bad photos useful, if not good in the artsy sense. They fit my purpose, which is other people’s purposes.

In addition to Adobe, I also want to tip my hat toward Sony, for making the outstanding a7iv mirrorless camera and the 24-105mm f/4 FE G OSS lens I used on this flight. Also Flickr, which makes it easy to upload, organize, caption, tag, and annotate boundless quantities of full- (and other-) size photos—and to give them Creative Commons licenses. I’ve been using Flickr since it started in 2005, and remain a happy customer with two accounts: my main one, and another focused on infrastructure.

While they are no longer in a position to care, I also want to thank the makers of iView MediaPro, Microsoft Expressions and PhaseOne MediaPro for providing the best workflow software in the world, at least for me. Alas, all are now abandonware, and I don’t expect any of them to work on a 64-bit operating system, which is why, for photographic purposes, I’m still sitting on MacOS Mojave 10.14.6.

I’m hoping that I can find some kind of substitute when I get a new laptop, which will inevitably come with an OS that won’t run the oldware I depend on. But I’ll save that challenge for a future post.

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Hollywood Park Racetrack, 1938

Hollywood Park Racetrack, 1938

Hollywood Park Racetrack is gone. In its place is SoFi Stadium, the 77,000-seat home of Los Angeles’ two pro football teams and much else, including the 6,000-seat YouTube Theater. There’s also more to come in the surrounding vastness of Hollywood Park, named after the racetrack. Wikipedia says the park—

consists of over 8.5 million square feet (790,000 m2) that will be used for office space and condominiums, a 12-screen Cinepolis movie theaterballrooms, outdoor spaces for community programming, retail, a fitness center, a luxury hotel, a brewery, up-scale restaurants and an open-air shopping and entertainment complex.

The picture above (via this Martin Turnbull story) is an aerial view of the racetrack in 1938, shortly after it opened. Note the parking lot: immense and almost completely filled with cars. Perhaps this was the day Seabiscuit won his inaugural Gold Cup. Whether or not, few alive today remember when only baseball was more popular than horse racing in the U.S.

What interests me about this change is that I’ve enjoyed a bird’s-eye view of it, while approaching Los Angeles International Airport on commercial passenger planes. I’ve also photographed that change over the course of seventeen years, through those same windows. Between 2005 and 2022, I shot many dozens of photos of the racetrack site (along with the adjacent Hollywood Park Casino) from its last working days as a racetrack to the completion of SoFi Stadium (with the casino’s relocation to a corner of what had been the Racetrack’s parking lot).

In this album on Flickr are 91 photos of that change. Here I tell the story on one page. We’ll start in January 2005:

At this time the racetrack was long past its prime but still functioning along with the casino. (Look closely and you’ll see the word CASINO in red on the roof of the nearest grandstand. The casino itself is the gray building to its left.) In the distance, you can see the skyline of the West Wilshire region and the Hollywood Hills, topped by the HOLLYWOOD sign. (Hollywood Park is actually in Inglewood.)

This same year, Churchill Downs Incorporated sold the track to the Bay Meadows Land Company, owned by Stockbridge Capital Group, for $260 million in cash. This was good for the private capital business, but doom for the track. Bay Meadows, an equally famous racetrack just south of San Francisco, was also doomed.

This shot was taken seven months later, this time looking south:

Note the fountains in the ponds and the pavilion for members and special guests. Also, notice the separate grandstand for the Casino. The cars in the lots are almost certainly extras for LAX’s car rental companies, leasing unused parking spaces. But you can still see in the racetrack what (it says here) was “once described as too beautiful for words.”

The next photo is from April 2007:

Everything still appears operative. You can even see horses practicing on the dirt track. Also note The Forum across the street on the north side. Now the Kia Forum, its roof at various times also bore Great Western and Chase brand images. It was built in 1966 and is still going strong. During its prime, the Lakers in their Showtime era played there. (The team moved downtown to Staples Center in 1999.)

Next is this view, three months later in July 2007, looking south from the north side:

Note the stables between the racetrack and the practice track on the left. Also, note how the inner track, which had turned from dark brown to blue in prior photos, is now a light brown. It will later be green as well.

(Studying this a bit, I’ve learned that good horse race tracks are very deep flat-topped trenches filled with layers of special dirt that require constant grooming, much of which is devoted to making sure the surface is to some degree wet. In arid Los Angeles, this is a steep requirement. For more on how this works, this Wired story will help.)

Two months later, in September 2007, this view looking north takes in most of the Hollywood Park property, plus The Forum, Inglewood Cemetery, Baldwin Hills (beyond the cemetery and to the left or west):

The Hollywood Hills, with its white sign, is below the clouds, in the top middle, and the downtown Los Angeles skyline is in the top right.

Here on the Hollywood Park property, the casino will be rebuilt on the near edge of the property, along South Stadium Drive.

Here, a few months later, in February 2008, the inner track is once again blue:

This time take note of the empty areas of the parking lot, and how some regions are partitioned off. Ahead we’ll see these spaces variously occupied.

A few seconds after the shot above, I took this shot of the casino and club grounds:

The next shot comes a year and a half later, in September 2009:

Here the inner track has returned to green grass. In the far corner of the parking lot, across from The Forum, a partitioned section has activity involving at least six tents, plus other structures.

Almost three years passed before I got another view, in May 2102, this time looking south from the north side:

Here we get a nice view of the stables and the practice track. On the far side of both is a shopping center anchored by Home Depot and Target. (The white roofs are left and right.) Look in the coming shots at how those will change. Also, note the keystone-shaped fencing inside the practice track.

Here is the same scene one month later, in June 2012:

The keystone shape in the practice track is oddly green now, watered while the rest of the ground inside the track is not. A few seconds later I shot this:

Here the main change is the black-on-orange Belfair logo on the roof of the main grandstand. The paint job is new, but in fact, the racetrack became the Betfair Hollywood Park back in March, of this year.

In December begins California’s short rainy season, which we see here in my last view of the racetrack in 2012:

It’s a bit hard to see that the main track is the outer one in dark brown. We also see that the inner track, which had been blue and then green, is now brown: dirt instead of grass. This is my last view before the racetrack got its death sentence. Wikipedia:

On May 9, 2013 in a letter to employees, Hollywood Park president F. Jack Liebau announced that the track would be closing at the end of their fall racing season in 2013. In the letter, Liebau stated that the 260 acres on which the track sits “now simply has a higher and better use”, and that “in the absence of a favorable change in racing’s business model, the ultimate development of the Hollywood property was inevitable”. It was expected that the track would be demolished and replaced by housing units, park land and an entertainment complex, while the casino would be renovated.

My next pass over the property was on June 16, 2013:

The racetrack here is still verdant and irrigated, as you can see from the sprays onto the inner track, which is grass again. The last race here would come six months later, and demolition would begin shortly after that.

One year later, in June 2014, we can see the practice track and the stables absent of any use or care, condemned:

Farther west we see the casino is still operative, with cars in the parking lot:

Racing is done, but some of the ponds are still filled.

Three months later, in September 2014, demolition has begun:

Half the stables are gone, and the whole racetrack area has been bulldozed flat. Two things to note here. First is the row of red trees on the slope at the near end of the track. I believe these are red maples, which turn color in Fall even this far away from their native range. They were a nice touch. Second is the pond at the far end of the track. This is where they will start to dig a vast bowl—a crater—that will become the playing field inside the new SoFi Stadium.

Two months later, in November 2014, all the stables are completely gone, and there is a road across a dirt pile that bridges the old outer track:

This shot looks northeast toward the downtown Los Angeles skyline, and you can see the Hollywood sign on the dark ridge at the left edge of the frame, below a bit of the plane’s wing. The blur at the bottom, across the parking lot, is from the plane’s engine exhaust. (One reason I prefer my windows forward of the wing.)

This next shot is another two months later, in January 2015:

The casino is still happening, but the grandstand is ready for demolition and the racetrack area is getting prepared for SoFi.

One month after that, in February 2015, we see how winter rains have turned some untouched areas green:

Only two of the red trees remain (or so it appears), and the grandstands are still there, along with an operative casino.

This next shot is eight months later, in October, 2015:

Now the grandstand is gone. It was demolished in May. Here is a KNBC/4 report on that, with a video. And here is a longer hand-held amateur video that also gets the whole thing with stereo sound. New construction is also happening on the left, next to the old casino. This is for the new casino and its parking garage.

The next shot is almost a year later, in September, 2016:

It was a gloomy and overcast day, but you can see the biggest changes starting to take shape. The new casino and its parking garage are all but done, digging of the crater that will become the SoFi stadium has started, and landscaping is also starting to take shape, with hills of dirt in the middle of what had been the racetrack.

Ten months later, in July 2017, the SoFi crater is dug, structural pieces are starting to stand up, the new casino is operating and the old casino is gone:

Here is a close-up of work in and around the SoFi crater, shot a few seconds earlier:

The cranes in the pale gray area stand where a pond will go in. It will be called Rivers Lake.

This shot a few seconds later shows the whole west end of what will become the Hollywood Park complex:

The area in the foreground will become a retail center. The buildings on the left (west) side of the site are temporary ones for the construction project. On the right is the one completed permanent structure: the casino and its parking garage. Buildings on the left or west edge are temporary ones for the construction project.

Three months later, in January 2018, I flew over the site at night and got this one good shot (at 1/40th of a second moving at 200+mph):

Now they’re working day and night raising the SoFi structure in the crater. I share this to show how fast this work is going. You can see progress in this photo taken one month later, in February 2018, again at night:

More than a year went by before I passed over again. That was in August 2019. Here is my first shot on that pass:

Here you SoFi’s superstructure is mostly framed up, and some of the seating is put in place. Here is a wider view shot two seconds later, after I zoomed out a bit:

In both photos you see the word FORUM on The Forum’s roof. (It had previously said “Great Western” and “Chase.” It is now the Kia Forum.) You can also see the two ponds in full shape. The left one will be called Rivers Lake. The right one will pour into it over a waterfall. Cranes on the left stand in the outline of what will become an eight-story office building.

Three months later, in November 2019, the outside surfaces of the stadium are about halfway up:

We also see Rivers Lake lined, with its gray slopes and white bottom.

After this the Covid pandemic hit. I didn’t travel by air (or much at all) for almost two years, and most sporting events were canceled or delayed. So the next time I passed over the site in a position to shoot it was April 2022, when SoFi Stadium was fully operational, and the area around it mostly complete:

Here we see the shopping center in the foreground, now with the Target store showing its logo to the sky. The old practice track and stables have been replaced by parking. A few seconds later I zoomed in on the completed stadium:

We see Rivers Lake, the office building, and its parking structure are also done, as are the parking lots around the stadium. You can also see “SoFi Stadium” in raised lettering on the roof.

And that completes the series, for now.

There are a total of thirty-one photos above. All the links in the photos above will take you to a larger collection. Those in turn are a fraction among the hundreds I shot of the site. And those hundreds are among many thousands I’ve shot of ground and sky from passenger planes. So far I’ve posted over 42,000 photos tagged aerial or windowseat in my two Flickr accounts:

Hundreds of those photos have also found their ways into Wikipedia, because I license nearly all my photos online to encourage cost-free re-use. So, when people with an interest in a topic search for usable pictures they’d like to see in Wikipedia, they often find some of mine and park them at Wikimedia Commons, which is Wikipedia’s library of available images. Of the hundreds you’ll find there in a search for “aerial” plus my name, one is the top photo in the Wikipedia article on Hollywood Park Racetrack. I didn’t put it there or in Wikimedia Commons. Randos did.

My purpose in putting up this post is to encourage documentation of many things: infrastructure changes, geological formations, and any other subject that tends to get overlooked. In other words, to be useful.

A friend yesterday said, “as soon as something becomes infrastructure, it becomes uninteresting.” But not unimportant. That’s one reason I hope readers will amplify or correct what I’ve written here. Blogging is good for that.

For the curious, the cameras I used (which Flickr will tell you if you go there), were:

  1. Nikon Coolpix E5700 with a built-in zoom (2005)
  2. Canon 30D with an 18-200 Tamron zoom (2005-2009)
  3. Canon 5D with Canon 24-70mm, 24-85mm, and EF24-105mm f/4L zooms (2012-2015)
  4. Canon 5D Mark III with the same EF24-105mm f/4L zoom (2016-2019)
  5. Sony a7R with a Sony FE 24-105mm F4 G OSS zoom (2022)

I’m not a big spender, and photography is a sideline for me, so I tend to buy used gear and rent the good stuff. On that list, the only items I bought new were the Nikon Coolpix and the two 24-105 zooms. The Canon 5D cameras were workhorses, and so was the 24-105 f4L Canon zoom. The Sony a7R was an outgrown but loved gift from a friend, a fine art photographer who had moved on to newer (and also loved) Sony gear. Experience with that camera (which has since died) led me this June to buy a new Sony a7iv, which is a marvel. Though it has a few fewer pixels than the a7R, it still has 33 million of them, which is enough for most purposes. Like the a7R, it’s mirrorless, so what you see in the viewfinder or the display on the back is what you get. It also has a fully articulated rear display, which is great for shooting out the plane windows I can’t put my face in (and there are many of those). It’s like a periscope. So expect to see more and better shots from planes soon.

And, again, give me corrections and improvements on anything I’ve posted here.

 

Just learned Wayne Thiebaud died, at 101. I didn’t know he was still alive. But I did know he had a lot of influence, most famously on pop art. Least famously, on me.

Many of Thiebaud’s landscapes were from aerial perspectives. For example, this—

—and this:

In me, those influenced this—

—and this—

—and this—

—and this—

—and this—

—and this—

—and this—

—and even this:

Like Thiebaud, I love the high angle on the easily overlooked, and opportunity for revelations not obtainable from the ground, or in the midst.

Example. Can you guess where these mountains are?

Try Los Angeles. I shot that, as I did the others in this album, during the approach to LAX on a flight from Houston.

Here’s another shot in that series:

That’s 10,068-foot Mt. San Antonio, aka Old Baldy, highest of the San Gabriel Mountains. These are Los Angeles’ own Alps, which wall the north side of the L.A. basin, thwarting sprawl in that direction. The view is up San Antonio Canyon, below which lays a suburb-free delta of rocks and gravel spreading outward from canyon’s mouth. Across that mouth, and in a series of of similar ones below is a dam. These are for slowing “debris flows” coming out of the mountains after heavy rains, and sorting the flows’ contents into boulders, rocks, and gravel. Businesses that trade in these geological goods are also sited there. Imagine a business selling fresh lava from the base of a volcano, and you have some idea of how rapidly the geology changes here.

Anyway, while there is Thiebaud-informed art to that shot, there is also a purpose: I want people to see how these mountains are alive and dangerous in ways unlike no others flanking a city.

My main influence toward that purpose is John McPhee, the best nonfiction writer ever to walk the Earth—and report on it. Dig Los Angeles Against the Mountains. Doesn’t get better than that.

McPhee is 90 now. I dread losing him.

It seems fitting that among old medical records I found this portrait of Doctor Dave, my comic persona on radio and in print back in North Carolina, forty-five years ago. The artist is Alex Funk, whose nickname at the time was Czuko (pronounced “Chuck-o”). Alex is an artist, techie and (now literally) old friend of high excellence on all counts.

And, even though I no longer have much hair on my head, and appear to be in my second trimester, my wife and son just said “Oh yeah, that’s you” when I showed this to them. “Totally in character,” said my wife.

I guess so. As Dave says (and does!), I’m still diggin’.

In the spirit of that, I thought this would be worth sharing with the rest of ya’ll.

 

Source: NASA, ESA, and the Hubble Heritage Team (STScI/AURA)

Pillars of Creation” is a live view of stars forming in a neighboring region of the Milky Way. (Inside the Eagle Nebula, 5,400 to 6,100 light years away.)

The Solar System, formed 4.6 billion years ago. Earth became a planet .46 billion years later. That was 9.247 billion years after the Big Bang, which happened 13.787 billion years ago, meaning that our solar system is more than a third of the age of the Universe. (By the giant impact hypothesis, Earth was enlarged 4.5 billion years ago when it mooshed together with another planet about the size of Mars. That ex-planet is now called Theia, and the leftover material it scattered into space is now the Moon. Another gift to Earth, says the theory, is our water.)

Hydrogen, helium, and other light elements formed with the Big Bang, but the heavy elements were cooked up at various times in the 8 billion year span before our solar system was formed. Some, perhaps, are still cooking.

Life appeared on earth at least 3.5 billion years ago.* Oxygenation sufficient to support life as we know it happened at the start of proterozoic era, about 2.5 billion years ago. The phanerozoic eon, characterized by an abundance of plants and animals, began 0.541 billion years ago and will continue until the Sun gets so large and hot that photosynthesis as we know it becomes impossible. A rough consensus within science is that this will likely happen in just 600 million years, meaning we’re about 80% of our way through the time window for life on Earth.

More perspective: the primary rock formation on which most of Manhattan’s ranking skyscrapers repose—Manhattan Schist—is itself about a half billion years old. (My ass is three floors above some right now.)

In another 4.5 billion years, our galaxy, the Milky Way, will become one with Andromeda, which is currently 2.5 million light-years distant but headed our way on a collision course, looking for now like a thrown frisbee, four moons wide. (It’s actually much larger.) The two will begin merging (not colliding, because nearly all stars are too far apart for that) around 4 billion years from now, and in about 7 billion years will complete a new galaxy resembling an elliptical haze. Here is a video simulation of that future. And here are still panels for the same:

Our Sun will likely be around for all of that future, though by the end it will have become a red giant with a diameter wider than Earth’s orbit, or perhaps will have gone nova, surviving as a white dwarf. (Also—I’m adding this later—Andromeda is weird and scary.)

When that’s done, the Universe will be about 16 billion years old. Or young. In TIME WITHOUT END: PHYSICS AND BIOLOGY IN AN OPEN UNIVERSE, Freeman Dyson gives these estimates for the future age of the Universe:

TABLE I. Summary of time scales.

Closed Universe
Total duration 10^11 yr

Open Universe
Low-mass stars cool off 10^14 yr
Planets detached from stars 10^15 yr
Stars detached from galaxies 10^19 yr
Decay of orbits by gravitational radiation 10^20 yr
Decay of black holes by Hawking process 10^64 yr
Matter liquid at zero temperature 10^65 yr
All matter decays to iron 10^1500 yr
Collapse of ordinary matter to black hole
[alternative (ii)] 10^(10^26) yr
Collapse of stars to neutron stars
or black holes [alternative (iv)] 10^(10^76) yr

So the best guess here is that Universe is about 1% into its lifespan, which has a great many zeros in its number of birthdays. In biological terms, that means it’s not even a baby, or a fetus. It’s more like a zygote, or a blastula.

So maybe… just maybe… the forms of life we know on Earth are just early prototypes of what’s to come in the fullness of time, space, and evolving existence.

Bonus link: Katie Mack, who has forgotten more about all this than I’ll ever know.

[Later…] *Make that 4.1 billion years ago.

[Later again…] Then there is this.

docdaveMy given name is David. Family members still call me that. Everybody else calls me Doc. Since people often ask me where that nickname came from, and since apparently I haven’t answered it anywhere I can now find online, here’s the story.

Thousands of years ago, in the mid-1970s, I worked at a little radio station owned by Duke University called WDBS. A nice history of the station survives, in instant-loading 1st generation html, here. ‘DBS veterans, who are many, owe a giant hat tip to Bob Chapman for talking Duke into buying the station in 1971, when he was still a student there. (Try doing that, average undergrad.)

As signals went, WDBS was a shrub in grove of redwoods: strong in Duke’s corner of Durham, a bit weak in Chapel Hill, and barely audible in Raleigh—the three corners of North Carolina’s Research Triangle. (One of those redwoods, WRAL, was audible, their slogan bragged, “from Hatteras to Hickory,” a circle 350 miles wide.)

As a commercial station, WDBS had to sell advertising. This proved so difficult that we made up ads for stuff that didn’t exist. That, in addition to selling ads, was my job. The announcer’s name I used for many of our fake ads ads, plus other humorous features, was Doctor Dave. It wasn’t a name I chose. Bob Conroy did that. I also had a humorous column under the same name for the station’s monthly arts guide, with the image above at the top of the page. That image was created by Ray Simone.

After leaving the station (but while still writing and performing as Doctor Dave, Ray, David Hodskins (both devoted WDBS listeners) and I started Hodskins Simone & Searls, an advertising agency. Since two out of us three were named David, and Hodskins was especially insistent on using that name (even though his given first name, I learned years later, was Paul), so everybody at the agency called me Doctor Dave, which wore down to just Doc. Since my social network in business far exceeded all my other ones, the name stuck.

I did see a chance to change it back to David when I left the home office of the agency to prospect for business in Silicon Valley. So I market-tested the two names when I attended my first trade show in the West: Comdex in Las Vegas. There I had two badges made, one with Doc Searls and the other with David Searls, and wore each on two of my four days there. Afterward, nobody remembered David and everybody remembered Doc. So there we were. And still are.

bigbust

Emanuele Orazio Fenzi, better known as Francesco Franceschi (1843-1924), was an Italian horticulturist responsible for vastly increasing the botanical variety of Santa Barbara (introducing more than 900 species). He was also for awhile the primary landowner on the Riviera, a loaf-shaped hill overlooking the city’s downtown. Most of that hill is now covered with houses, but a large part that isn’t is what remains of the Franceschi estate: 18 acres called Franceschi Park, featuring a crumbling mansion and the bust above, carved into the top of a boulder on the property.

The city doesn’t have much to say about Franceschi, with a website devoted to the park that goes one paragraph deep. This makes sense, because the state of neglect in the park is extreme. I won’t go into details, because they’re well presented all these stories:

Wikipedia, at the top link above, goes deep too. So does this 2002 Pacific Horticulture story, which suggests with this photo—

2002_jas-chamberlin-001-660x896

—that the bust above isn’t a bad likeness.

But that boulder and Franceschi’s head are going to be shards on the road soon if the city, or somebody, doesn’t save it. Simply put, the ground under it is giving way. Take a look. Here’s the bust, on its boulder, a few feet above the ground that has fallen down to Mission Ridge Road below:

fail1

And here you can see the failing slope, and the rubble that has fallen from within it onto the road:

fail2

I shot that a couple days ago, in a break between this winter’s record breaking rainstorms. And here’s a closer look at the slo-mo landslide happening immediately below the sculpture:

fail3Saving Franceschi’s bust is surely an easier job than saving his house. What I’m hoping here is that publishing this blog post will stir up some interest.

Loving Leonard

leonard

I was as deeply affected by learning Leonard Cohen died as I was by the election results. Maybe more. I can’t name an artist whose songs mean more to me than his. Not Dylan, not (I’m thinking…) anybody. (Here’s how he lifted me one time when I was sick a few years ago.)

Through the soundtrack of my life, nobody else taught more about how to be a man, a lover, and a human being with one foot in the temporary world and the other in eternity.

A couple weeks ago, I was driving to the Peets on Upper State Street in Santa Barbara when some station on the radio played the title song of Leonard’s new album, You Want It Darker.

I didn’t make it all the way. Had to pull over. There was no way I could listen and keep driving. It was too deep, too right. I had never heard it before, and it demanded full attention. Still does. The lyric begins,

If you are the dealer, I’m out of the game
If you are the healer, it means I’m broken and lame
If thine is the glory then mine must be the shame
You want it darker
We kill the flame

Magnified, sanctified, be thy holy name
Vilified, crucified, in the human frame
A million candles burning for the help that never came
You want it darker

Hineni, hineni
I’m ready, my lord

And he was.

I heard today, somewhere in the links below, that he recorded that final album in his Los Angeles apartment, on what turned out to be his death bed.

Please listen to audio links. Leonard’s voice was so deep and worn; and his humor was, if anything, sharper than ever, right to the end.

Having so much of his music in my life makes me miss him more, not less.

Etc:::

Save

Save

Save

A photo readers find among the most interesting among the 13,000+ aerial photos I've put on Flickr

This photo of the San Juan River in Utah is among dozens of thousands I’ve put on Flickr. it might be collateral damage if Yahoo dies or fails to sell the service to a worthy buyer.

Flickr is far from perfect, but it is also by far the best online service for serious photographers. At a time when the center of photographic gravity is drifting form arts & archives to selfies & social, Flickr remains both retro and contemporary in the best possible ways: a museum-grade treasure it would hurt terribly to lose.

Alas, it is owned by Yahoo, which is, despite Marissa Mayer’s best efforts, circling the drain.

Flickr was created and lovingly nurtured by Stewart Butterfield and Caterina Fake, from its creation in 2004 through its acquisition by Yahoo in 2005 and until their departure in 2008. Since then it’s had ups and downs. The latest down was the departure of Bernardo Hernandez in 2015.

I don’t even know who, if anybody, runs it now. It’s sinking in the ratings. According to Petapixel, it’s probably up for sale. Writes Michael Zhang, “In the hands of a good owner, Flickr could thrive and live on as a dominant photo sharing option. In the hands of a bad one, it could go the way of MySpace and other once-powerful Internet services that have withered away from neglect and lack of innovation.”

Naturally, the natives are restless. (Me too. I currently have 62,527 photos parked and curated there. They’ve had over ten million views and run about 5,000 views per day. I suppose it’s possible that nobody is more exposed in this thing than I am.)

So I’m hoping a big and successful photography-loving company will pick it up. I volunteer Adobe. It has the photo editing tools most used by Flickr contributors, and I expect it would do a better job of taking care of both the service and its customers than would Apple, Facebook, Google, Microsoft or other possible candidates.

Less likely, but more desirable, is some kind of community ownership. Anybody up for a kickstarter?

[Later…] I’m trying out 500px. Seems better than Flickr in some respects so far. Hmm… Is it possible to suck every one of my photos, including metadata, out of Flickr by its API and bring it over to 500px?

I also like Thomas Hawk‘s excellent defense of Flickr, here.

 

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