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My photos on the HTTP 500 Internal Server error page

I made a custom Internal Server Error page for the Thripp.com network, with all the photos from my portfolio. Error pages are fun again. :smile:

I put a lot of ads there too, so I can monetize the outages. Plus, the links are to the photos on my jpgmag.com gallery, and all the thumbnails are on Photobucket, so the page is light-weight, won’t chew up bandwidth, and makes my photos accessible when the database is down. It’s only 10KB!

I posted this to digg too:

Check out this HTTP 500 page; instead of being rudely interrupted with a cryptic error message and an accusation that you broke the server, on Thripp.com, you’re greeted by beautiful photography (and plenty of ads to boot).

Enjoy. :cool:

Photo: Barbie’s Day Out

Barbie's Day Out — a beheaded doll

I spotted this doll’s head on the top of the grate of a storm drain. Didn’t even have to stage it. Great ideas just find me sometimes. :xx:

Canon PowerShot A620, 1/60, F2.8, 7.3mm, ISO50, 2006-10-06T17:31:41-04, 2006-10-06_17h31m41

Location: Nelson Ave., Ormond Beach, FL  32174

Download the high-res JPEG.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Photo: Fatality

Fatality — a dead cockroach

Photo of an American Cockroach, which I found on the floor in our house (we see these pretty often). I hit it a few times with a fly swatter, but then thought to put it on the counter and take a picture of it, with some food and food-related items in the background, plus the fly swatter, to make it more disturbing. On a technicality, he was still alive when I took this photo (moving his legs around a bit), but I didn’t want to hit him anymore so as not to crush him. Luckily he stayed still through the exposure, though you can see in the photo he has one of his legs up. Afterwards he had to be killed, of course. You’d think this’d be distasteful, but it just isn’t for some reason. :sunglasses:

[sniplet 4×6-lustre]

Fujifilm FinePix A360, 1/5, F2.81, 5.8mm, ISO100, 2006-04-29T23:40:33-04, 2006-04-29_23h40m33

Location: Thripp Residence, Ormond Beach, FL  32174-7227

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Being a Free Photographer

break away

I run into a lot of photography purists, but I don’t believe any of it myself. Photography is nothing but a series of manipulations. You’re manipulating the scene by composing it any differently than a non-photographer. You manipulate the appearance of the scene by zooming in or out. You manipulate your viewers’ outlooks by composing to exclude unsightly objects. Motion blur, shallow depth of field, under or over exposing… these are all creative manipulations on your part. You may not have as much creative control as with painting, but you can still be quite expressive. But creativity isn’t “pure.” If we can define any solid definition for “pure” photography, they’re going to be dull, boring snapshots that no one wants to look at. Don’t do pure photography. Anyone can do pure photography; it takes a real master to do impure photography.

The great thing is, when you embrace impure photography, a whole world of creativity opens to you. Pure photographers are constantly wasting time with ethical debates: is it okay to make the world look purplish in Photoshop, or only through the white balance setting in-camera? Can I crop my photos, or is that misrepresenting the scene? Can I add contrast to a scene that obviously needs it, or do I need to stick to my limiting philosophy? Impure photographers have no such shackles. The “code of ethics” is: do whatever is right to make the photo beautiful. No one cares if you change the white balance. Adding contrast is great. Brightening teeth? Spot-editing blemishes? Sure. It makes people look like they should. It isn’t a question of keeping the image true to the camera sensor; the goal is to produce an image true to the vision in your head. Creative photographs come from people, not computers.

Ironically, as an impure photographer, you’re always making the world look like it’s supposed to. Sunsets are supposed to be beautiful, bright, breath-taking, colorful. Raindrops are supposed to be frozen still, black and white, shiny, and contrasty. And darn it, flowers and people are supposed to be bright and animated with nicely blurred, defocused backgrounds. If you’ve ever debated F1.2 as impure for not showing the world like our eyes see it, you’re really steeped in the dogma. Let it go. You’re on to a grand world of free photography.

In truth, the only way to be a photographer is to be a free photographer. As a creative photographer, your task is to create an idealistic reality that is also a realistic ideal. If that means desaturating backgrounds on roses, removing specks of dirt, and burning in corners, then so be it. If it means adding a glow effect, filters, and sunrays to a sunset, it’s all good. Your tool is your camera, but your real power is your mind. It’s like painting, where you get to pick all the colors for the scene, but without all the heavy lifting. You can create so much more because there’s no need to build everything from scratch. You start out with a solid base (the world), and then you take away or alter the elements that need changing, be it by composition, post-processing, or any other method. As a photographer, you unlock your creative mind and become a more free person, because you’re set free from the grunt work of other artistic mediums and can instead work on the big picture. It’s like moving from assembly code to a high-level programming language.

As a free photographer, you will refuse to support film where digital surpasses it in quality and efficiency. There is no purism; hard work does not contribute to the creative value of a piece. It makes no difference if I took 100 shots of the falling droplets on my digital camera, picked the best, then edited out the ugly bits, rather than wasting 100 expensive frames of film and 15 prints in the darkroom getting my exposure and burning right. Even if I do that with the film, it’s not going to be as good, because I’m not good with film. If you’re not good with film, so what? Use digital then. It’s the wave of the future. The finished product is what counts. If it took you three days in the darkroom or thirty minutes in Photoshop, it makes no difference and each medium is as valid as the other, as long as what you do looks good. Your photos have to be inspiring, beautiful, challenging, creative, and fresh, all at once. That’s what counts.

If you’re in any sort of camera clubs or photography classes, your friends won’t like what I’m writing. They’ll spout some spiel about how photography is a time-honored and labor-intensive craft, and it must remain so. It’s not your job to change or influence the world; you’re just a recorder. If you edit your work, you are cheating your viewers. Your taking away from all the good photographers who put the work in (a.k.a. luck) and create one-tenth the beautiful images because of their fear-based orthodoxy. That’s what you’ll be told. Don’t listen to it. It’s not your friends who are talking. Their true thoughts have been stolen by the prevailing spirit of oppression and negativity. It is not your job to change them. Just go into the world pushing forward with your art, and if you are being a free photographer, other people will take note, because you’ll be producing fantastic work. And they’ll start switching over too. We can start a revolution.

A note on “camera clubs”: don’t join one. I’d never join a camera club. If I want to be with my people, I’ll join a photography club–not a camera club. Just like if I want to read, I’ll join a reading club, not a book club. It’s not so bad with book clubs, though. The unfortunate thing that happens with camera clubs, is that people get caught up in the science of photography and forget about the art. And even then, they’re not focusing on the science so much as their own notions: limit-based notions that keep them from pursuing their art form for want of some technical limitation. But there are no technical limitations. Sure, this is all relative. You can’t do much with a cheap disposable camera, and there are just things our cameras can’t capture, like huge ranges of light or certain shades of purple. But the difference between what our cameras can do, and what the camera club participants pretend they can do is quite vast. If you have a Canon PowerShot A590 or anything like it, you can do anything. Practically anything. In fact, by the time you get near the do anything level, you’ll be four cameras up. It won’t even matter. Start creating your best work now, not ten years from now.

I remember when I started getting serious about my creative photography in 2005, and all I had was a Fujifilm FinePix A360. And there were some things that I just could not take pictures of, or they were really hard to take pictures of. I could never get a good shot of lightning, despite numerous attempts, because I had no control over the ISO speed or shutter speed. With the cheap cameras, many things are automatic-only, like the settings on mine were. I wanted a good shot of falling raindrops, and after much perseverance, I got Raindrops. Unlike with my Canon Rebel XTi and fast lens, the only way to do it with the FinePix A360 was in the bright sunlight, so it had to be raining in the sunshine, but that happened because I kept watching. Then I had the necessary light to freeze the rain in motion.

You’ll run into all sorts of limitations like this in your photography. Perhaps you have the Canon Rebel XTi, and you’re finding the kit lens is too slow for indoor low-light portraits (I did). Or you’re filling up the burst buffer too quickly with your rapid shooting on the football field. The limitations can be anything, but the free photographer’s way is to embrace and work with them, at least till you can afford the expensive gear that attacks them directly. Learn how to be still to avoid camera shake with a bad lens, accept grainier photos with a higher light sensitivity setting, or just take three shots for every one so you’ll be bound to get one right. Switch from RAW to JPEG for quicker burst shooting, or buy a faster memory card to compensate (rather than a faster camera, which is much more expensive). Whatever you do, don’t give up saying that good photography is impossible with your current setup. That’s the coward’s way out.

Free photography, as much as it is about embracing all formats, methods, and editing as equal and valid, it is about not making excuses for anyone but yourself. If you miss the moment when the lightning struck the ground, don’t blame your camera, or your lens, or your lack of a college education. If you can’t produce a beautiful image because your source image needs work and that work isn’t permitted by your oppressive photography religion, don’t accept it as fate. Don’t blame anyone or anything else for shortcomings in your work. Have the courage to accept that anything you’ve failed to do or any photo opportunity you’ve missed is your own fault. The reason you can’t create beautiful photographs isn’t because you never see anything interesting. There are plenty of interesting things in your house, in your yard, and around your neighborhood. Or there are dull things which can become interesting when you shoot them in a new light or from a new angle. The “I never see anything / go anywhere interesting” excuse is your own way to excuse yourself from the guilt of not following your artistic passion. But you can stop it, right now. Instead of saying “there’s nothing interesting,” say “I don’t put enough effort in.” Once you rephrase your thoughts and words to put the keys in your hand, you’ll be on your way to putting more effort in, or making whatever change you need for your art form. It’s the first step. No more excuses.

I’ve used the “I never see anything interesting” excuse myself, once or twice. But if all I’ve written hasn’t appealed to you, I have one more piece of advice. Go somewhere interesting. It’s not that hard. Millions of other people do it every day. Go for a walk, visit the park, climb to the top of some high building. If you’re not seeing interesting subjects, it’s your responsibility to change that. It’s all part of being free and empowered, rather than a slave of fate.

Enjoy your life as a free photographer. You’ve just made a huge step above 99% of the other people in your field. I hope to be with you too.

Photo: The Pool at Night

The Pool at Night — light and reflections near the bright house

This is what the pool looks like… at night. Got up at 4 A.M. to shoot this during my vacation; I set the camera on the edge near the pool, dialed in a 30-second exposure, set the timer, and then waited. There were some lights on in the house on the left, which gave nice light. You can see the trees are blurred from the wind, as is the water in the pool. Ready for a swim?

Canon Rebel XTi, EFS 18-55mm, 30″, F3.5, 18mm, ISO800, 2008-06-29T03:50:44-04, 20080629-075044rxt

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Photo: The Florida Lifestyle

The Florida Lifestyle — an orange smoothie in a tropical paradise

I’ve been wondering what the Florida lifestyle I’ve been hearing so much about is, but I’ve found it here. You may not know it, but the Florida lifestyle involves lots of bugs. There were plenty of flies flying around as flies sometimes do, but I shooed them away to snap this shot of an orange smoothie by the pool. I went with a blue border for this photo. Never done that before, but it fits the image so well.

I added contrast, removed specks of dirt from the glass, and touched up the color on the orange slice.

Canon Rebel XTi, EF 50mm 1:1.4, 1/2500, F3.2, 50mm, ISO100, 2008-06-28T14:16:13-04, 20080628-181613rxt

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Photo: Eyes

Eyes — a melancholic dog stares at the camera

Through the eyes of a dog. This is my aunt’s dog named Joseph; I set the camera on the carpet and snapped this of him staring at it. I was lucky to get his eyes in focus. He looks sad and thoughtful.

I edited some dirt away from his eyes, darkened the corners, and added contrast.

Canon Rebel XTi, EF 50mm 1:1.4, 1/25, F2.5, 50mm, ISO400, 2008-06-26T15:37:03-04, 20080626-193703rxt

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Photo: Cars at Night

Cars at Night — a slick road reflecting the headlights of cars

Cars on a slick highway in the evening. I was liking how the lights were reflecting off the pavement, so I grabbed my camera to snap this from the car. 5 minutes after Ominesence, and 20 minutes before Flash in the Night.

Canon Rebel XTi, EF 50mm 1:1.4, 1/200, F2.2, 50mm, ISO400, 2008-06-26T17:49:53-04, 20080626-214953rxt

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Photo: Ominesence

Ominesence — a stormy, ominous sky over the sea and city

Ominesence: the state or quality of being ominous. The real word is ominousness, but I made up this alternate. This is a river and city with dark clouds overhead. The right side is bright light and good weather, though it too is broached by darkness. I took this in a moving car crossing a bridge; you can see the railing at the bottom. Used a 1/250 second shutter speed to freeze the scene, though I had to go up to ISO800 because it was so dark out.

I added contrast, darkened the dark clouds and corners, and removed a lot of noise. There were lots of markers and pylons in the river which were bugging me. I cloned all of them out. Now it looks like it should.

Canon Rebel XTi, EF 50mm 1:1.4, 1/250, F1.8, 50mm, ISO800, 2008-06-26T17:44:30-04, 20080626-214430rxt

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

Photo: Flash in the Night

Flash in the Night — a bolt of lightning brightens the dark sky

A bolt of lightning flashes through the dark sky. This was from the storm during my vacation. My grandmother forbade me from going outside ( :neutral: ), so I shot this through the screen window. You can see the pattern of the window on the sky, though it’s out of focus. The blurred spots may have been water drops on the window. I snapped fifty photos, and was lucky enough to get this one as the lightning struck. I put some of my tips from Torrential Rain to good use.

I closed down all the way to F22 in aperture priority mode, yielding a 1.6 second shutter speed. I braced the camera against the window, and fired away. Before this, I set the exposure compensation to -2, so the lightning would not be too bright.

The source image looks brighter than it should. I purposely underexposed when shooting, so the lightning would not be too bright when it popped up. I shifted the colors to be more bluish, removed some dust spots, burned in the corners, and darkened a bit. That’s all the lightning needed!

Canon Rebel XTi, EF 50mm 1:1.4, 1.6″, F22, 50mm, ISO100, 2008-06-26T18:08:28-04, 20080626-220828rxt

Download the high-res JPEG or download the source image.

This work is licensed under a Creative Commons Attribution 3.0 License. Credit me as Richard X. Thripp and link here.

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