This waterfall picture is a combination of two different pictures. One was taken with a short shutter speed, so that the water appears frozen. The other was taken with a long shutter speed, so that the water appears as a silky flow. There are people who prefer both; there is no “right” way to photograph a waterfall because each of the two techniques illustrates something different.
(You can see the two original pictures below; click on the pictures to see larger versions.)
This photograph of a flower was taken in a local rose garden. Like many such photos, it’s been enhanced to show aspects of the flower that, although they were subtle, still jumped out at me enough to want to share them. The very subtle colors of an ostensibly white flower, the overall form and symmetry, the water droplets speaking of a cool, damp, fall morning. All these things were there in the original view, but not as clear.
Click or tap on the picture, and you will see a version of the picture with no distractions around it. Then click or tap again and it will become an interactive picture that lets you look around and see the whole location where the picture was taken.
Swipe to pan around, and pinch to zoom in and out. Find the flower and tap it again to return to the original picture.
An earlier post presented the idea of “Local Wonder” as a starting point for a sort of vision for my photography. In that case, the focus was on looking closely at things to see their wonderful aspects. In addition to giving a focus for some photography, the hope is that it could also teach me to be more aware in general.
There is another aspect to being more aware that, ironically, didn’t occur to me at first, but was the first focus for my 360 photography – that it is also important to look around.
This is an updated version of a previous post of the interior of United Presbyterian Church in Albany, Oregon.
When photographs are printed and hung on a wall, they often have a frame and a matte. Sometimes though, photographers, like other visual artists, choose to display their pictures without a frame – so-called “frameless” mounting. The picture here is an example of that.
This example does have a solid side, but sometimes frameless mounts don’t even have that – they may be mounted flat on the wall, or have a small hidden mount behind the picture so that it appears to be floating in front of the wall. In any case, the point is that there is nothing in the same plane as the picture itself.
This is a picture of a dandelion, taken along a small lake at a local state park. I’m not sure why it caught my eye. After all, it’s just a weed, something that is generally not thought about much except as a problem, or perhaps occasionally for making tea. For whatever reason, I took this picture.
The picture ended up being surprising in how beautiful this simple little flower appeared. Some enhancements were done in post processing, but only to enhance the colors and shapes already there, and also to deemphasize the background.
When I first published this picture, I described it as “The process of change”. Very simply, it was because that captured the process of the leaves changing from green to red. At the time, I didn’t have any particular ideas of what it illustrated about change, but I think one can see various possibilities in the picture.
We all have biases that affect how we see the world. As a photographer, one of the things I strive to learn is to see beauty in the world even when it’s not obvious. For example, my bias may be to see the obviously ugly, natural appearance of something, but I will choose to seek to see what else is there. This is perhaps a sort of deliberate bias, but it often reveals unexpected beauty.
Take, for example, this photograph. To me, it looks like a picture of deep space, with glowing gas clouds, fields of stars, and layers of detail that recede into infinity.
In reality, however, this is simply a rusting metal plate. I looked for and found a different aesthetic by refusing to limit myself to what I thought rust should look like and chose to see it a different way. Of course, it did take some processing to make it look like this, but the point is that I was deliberately trying to look beyond my bias of ugliness to find some beauty, and this resulted.
This tendency goes beyond photography, of course, and applies to pretty much all our perceptions, the ways in which we see the world around us. It even applies to scientists who are deliberately trying to extend knowledge beyond current understanding, especially in fields with high uncertainty. It’s common for individuals to start with a proposed answer and attempt to find supporting proof, rather than start with an array of options to narrow down. It’s even less common for people to deliberately try to disprove their preferred understanding.
An example of a scientific domain that reflects this challenge is research into the nature of consciousness. Consciousness is so poorly understood and is such a different phenomenon that it challenges existing views of physicalism (the idea that reality consists of only physical entities). As such, scientific research into it is subject to biased thinking because some approaches to explain it, even though not based on any religious ideas, sound religious to some people and so get immediately rejected.
I’ve written before about how consciousness is a challenging topic and how photography may help. Perhaps one specific possibility is that it can be used to address bias by helping us learn to see beyond our initial perspectives, as I did in the picture above. Sometimes, simply picturing something in a new way can yield helpful insights.
The trick is to apply this sort of thing to thinking critically about consciousness. In this case, it might look like creating metaphors that represent some aspect being studied. Metaphors may help us think about the topic in ways that don’t automatically trigger our biases. Thus, this could help us avoid biases against certain types of solutions, and truly seek whatever the science reveals.
It often seems as if science has explained the basics of how the world works, and the remaining mysteries are interesting details that aren’t directly related to daily life. Questions about the very beginning of the universe or what’s going on in black holes may be interesting and fundamental to an ultimate theory of everything, but it’s hard to believe they have practical application.
However, history shows that solving such mysteries can change our understanding in such profound ways that it cascades through our lives in unexpected ways. So, we need to be careful with the still limited understanding we have of reality and be aware of places where we still have things to learn. Some mysteries, because they are at the edge of science, may benefit from other modes of thinking, even if only to make sure the right questions are being asked.
An example of this sort of limited knowledge is the challenge of understanding consciousness, and in particular, how it relates to material reality. In other words, is consciousness strictly a result of physical, material processes, or does it result from something outside of these?
At one time this might have been considered a somewhat abstract question, with application to only a few, narrow places in medicine. However, with the advent of AI, these questions may become fundamental influences in the future of our species.
In the previous essay, I discussed the possibility that the brain is necessary to consciousness, but that it is not sufficient. In other words, there seems to be something needed beyond just material structures. We explored these ideas by considering the metaphor of a stained glass window, illustrating the possibility that we need to continue looking beyond strictly material solutions.
However, history shows that science has often been challenged with such paradigm shifts. Thus, it may be helpful to use non-science tools to explore these ideas while science is still far from conclusive answers. For example, sometimes metaphors can help us see beyond biases and preconceptions. As an example, in this essay we’ll consider the stained glass picture some more, and develop a picture that may illustrate why consciousness is so unique and why it’s too early to start closing off options for explaining it.
Imagine standing inside a church that is full of stained glass windows. These windows have a strikingly beautiful appearance, largely due to their glowing nature. If we were naive about their construction, we might wonder how they came to have such a striking appearance. Where does the extra light come from?