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Archive for January, 2010

To Istanbul by Magic

29 Jan

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A week ago, I was in Hamilton, Montana. By tomorrow evening, I’ll be in Istanbul. Total actual travel time: less than twenty hours. I move with my fellow international airport zombies, coffee-fueled and laden with carryon luggage. I stand in line, I show my passport, I sit in a soft seat and watch a few movies, and then, like magic, I am on the other side of the world.

A week ago, I was in Hamilton, Montana. Today, I am in Istanbul. Total actual travel time: less than twenty hours. I move with my fellow international airport zombies, coffee-fueled and laden with carryon luggage. I stand in line, I show my passport, I sit in a soft seat and watch a few movies, and then, like magic, I am on the other side of the world.

Surely this must be magic. Certainly this ease with which we move around our planet is unprecedented. A hundred years ago, the same journey would have taken months, or even longer. As I waited for my flight in the Missula airport, I imagined an alternate self, living in 1910, attempting to make the same journey.

In 2010, it was a cold and cloudy day when I drove up the Bitterroot valley to the nearest airport, in Missoula, some fifty miles away. I went through security and waited for around an hour before boarding my flight to Denver; two hours in the air and I was there, waiting for my connection to DC.

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In 1910, Hamilton was a little town and seat of the county thanks to funding from a local copper baron by the name of Marcus Daly. It had dirt roads for its main streets, and a mile down river, a big lumber mill rumbled in operation. Four years before Henry Ford began production on the famous Model T, cars were still rare, especially in this part of the world, and most of the journey would have taken place by train. The Northern Pacific railroad had been in Missoula for three decades by then, and that would have been my first stop: then steaming west out of the Rocky mountains and across the still-empty great plains to St. Paul, Minnesota. Then on to Chicago, then alive and uproarious with the great surges of immigration, the meat-packing plants, and the corrupt underground organizations that would coalesce into Capone’s empire with the prohibition.

In 2010, I flew from Denver to Washington, D.C. in four or five hours, sleeping part of the way, and disembarked in Dulles to the light rain of a warm front coming off the Atlantic. I stayed at my apartment in northern Virginia for just under a week, packing my things and preparing for trip to Istanbul.

In 1910, I would have traveled by railroad from Chicago to New York City. The cities that had surrounded Manhattan island were well into the process of consolidation, and the city was awash with seemingly unlimited potential. It was also one of the most multicultural cities on Earth at the time, one of the main entry points for the United States’ “melting pot” approach to immigration–just under a million immigrants a year were being processed through Ellis Island, and to walk a few cities blocks from one immigrant community to another was like stepping into a whole new country.

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Still two years before the famous sinking of the Titanic, this was the golden age of passenger liners across the Atlantic. One of the most famous of these, the Lusitania, was capable of making the crossing in under a week. The first class quarters and common areas aboard the Lusitania were luxurious to a point unimaginable just a few decades earlier, and, in comparison to other available sea berths at the time, even the second and third class areas were considered very comfortable. I would no doubt have made the crossing in second or third class, assuming I wasn’t able to work my way across on a freight or livestock ship.

In 2010, the second leg of my voyage began with a drive back to Dulles, twenty minutes going through security, and a coffee while waiting for my flight. My transatlantic crossing, from D.C. to Paris, took less than eight hours. I watched a film, read a bit, and slept.

In 1910, I would have arrived in Liverpool, in the east of England. Another major destination for European immigration, Liverpool had much of the same rough-and-tumble, multicultural feel I would have had in New York. The city also had a heavy Irish influence thanks to immigration a few decades earlier during the great potato famine, and as I walked its streets I would have seen a number of pubs on the Irish model, fiddle music drifting out through old wooden doors to the tapping of the patron’s feet.

eiffelThe train would have taken me from Liverpool to London for a night or two–then the largest city on the Planet–and on to Dover, for a ferry crossing of the English Channel. At Calais I would have entered France and continued to Paris. Home to the Universal Expositions of the late 19th and early 20th centuries, Paris was then, even more than now, a world capital of technology, philosophy, sophistication, and culture. The Exposition of 1889 had resulted in an architectural “demonstration” that resulted in the tallest building–the Eiffel tower, a construction foreigners like myself would  (and still do) gawk at until our necks ached.

On the city walls around the train station, I would have seen posters with the names of strange places and the crescent and star of the Ottoman Turkish empire. And under these, two words: Orient Express.

In 2010, I disembarked at Charles de Gaul international airport and walked to the next terminal, where, only an hour later, I caught my final flight to Istanbul. The flight to Paris had been in a larger plane, full of passengers with western sensibilities who stayed seated and rarely talked, reading magazines or books or working on their computers. The flight from Paris to Istanbul was something else; it was full of Turks, and Turks are a much more sociable breed. As soon as the seatbelt lights were turned off, at least half of the passengers were unbuckling and walking up and down their aisles, leaning on seat backs and engaging in lively conversation, where they remained for the rest of the flight, while partaking liberally in the free beer and wine available courtesy of Air France.

in 1910, I would have boarded the Orient Express train in Paris that would have taken me flying across the French countryside and into Germany, through the cities of Strasbourg, Munich, and then to Vienna. After Vienna all of the cultures I would have been familiar with would have begun to fade as I entered eastern Europe, then tense with the just-beneath-the-surface conflicts that would in a few years spark the first world war. Budapest, Bucharest, and then the final curving line down along the western shores of the Black Sea until the land narrowed and, ahead in the darkness, the burning lights of Istanbul.

Istanbul Train Station

And this is where our two stories, of 1910 and 2010, converge: though means of transportation may change, I suspect that the feeling of wonder that comes upon you when you see a new place, especially a place with as much character, history, and sheer mass as Istanbul, is the same no matter what time you see it in. I left the airport by city bus and came into the city along the Bosphorus, the massive stonemasonry of the Byzantine sea-wall rising on my left, the glittering lights of the ships in the harbor on my right. Across the straits, the lights of Taksim rose into a low mist, Galata tower high above the rest, and along the expansive shores to the left, the spires of mosques towered into the night.

I was back.

Istanbul street scene

Fishermen on the Galata Bridge

The Blue Mosque

 
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Posted in Travel

 

Against Innocence

18 Jan

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Sit down sometime, and watch a child playing. Assuming the child’s innate creativity hasn’t been burnt out of it by the drugs and television prescribed by our modern seers, you’ll notice something interesting. The child’s imaginary world is very different than the one he actually lives in. In the imaginary world, animals talk, kings and queens live in high castles, cars and trucks move at his command, and, of course, dinosaurs rule the Earth.

Adults do this too, though perhaps not so consciously. We, too old for playing with plastic dinosaurs (or so we think), enter the imaginary worlds of others: we are riding through an unspoiled and expansive Old West desert; we are normal-seeming citizens with great hidden powers; we are lone survivors struggling heroically against a dangerous and visceral world; we are kissing in the rain; we are Jack’s burning rage against the system. Why are the Harry Potter books so popular among adults if not to let us think that just on the other side of a mundane normalcy is a world full of magic, strange creatures, and life-and-death battles? What are our design mock-ups and finance reports, after all, when compared to War with Evil?

On a more practical level, those imaginary worlds also cause us to make changes in the real world. The imaginations of an ordinary mind, of a bigger paycheck or a new romance, might lead us to apply for a job or talk to a woman. The imaginations of a great mind can and do change the world.

But with that power of imagination comes a near-universal inability to accept the world we actually have. It can’t have always been this way, we think; even if the grass isn’t greener in our neighbor’s yard, surely it was in his grandfather’s. America, say the old, was better off sixty years ago when people still had morals and young people respected their elders. America, say the young, was better off six hundred years ago, when white people were still stuck in Europe and the Native American lived at one with nature, likely spontaneously bursting into song when confronted with fluffy woodland creatures.

And at the dawn of time, Eden. Perfection, or so the Christians tell us. Man without sin, without want, at peace and innocent. In that garden there was only one rule: to not eat of the tree of the knowledge of good and evil. Eve, being somewhat naive (not outright rebellious like her predecessor), believed Satan’s claim that the knowledge would make her like God, and ate. Adam, being a good husband, did what his wife told him too and ate likewise and, rather than becoming gods, the couple was cast out of Eden and cursed to mortality and the working of the ground.

Compare this to another creation myth: that of Prometheus and Pandora. In the Greek version, Prometheus gives humanity the gift of fire. Their eyes follow the smoke from the ground up toward the stars, and they become separate from the animals; they are mortal, but possess the fire of the gods. Zeus punishes Prometheus for his gift, and to punish the humans, he sends them Pandora: a woman, like Eve, who touches something she shouldn’t and thus brings evil, pain, and torment to the entire future of the human race.

At the beginning of both of these myths, humanity exists in a state of the innocence. Like the animals, they lack knowledge, and thus can only act according to their nature; the only sin they can commit is to seek to become like gods. In Eden, humans are immortal within the garden; in the Greek myths, humans are eternally cyclical, as there can be no names, stories, or remembrance of death.

But then the humans reach out and take something forbidden: the knowledge of the gods. With that knowledge, they become self-aware, symbolized in the Greek myth by looking at the stars, and in the Eden myth by the realization of nakedness. To be like the gods, though, is not free. In both cases, the knowledge grants to humans the ability to choose, a free will that can knowingly take a good path or an evil one. This awareness of self, perhaps brought on in actual history by the development of language, gave humans a concept of evil and good, and the awareness through experience that one day they would surely die.

gustave_dore_bibel_adam_and_eve_driven_out_of_edenWith knowledge came the potential for evil. Sin enters into the Christian’s world, Pandora opens her box, and, (lament the storytellers) man is doomed to a life of work, a struggle towards an impossible perfection, and responsibility for his actions. An angel is set at the gates of Eden, and Prometheus is chained to a rock for the rest of eternity.

The Greek empire and its accompanying mythos are now long since gone, but the concept of Eden and the fall of man is still very present in the western world. We yearn for lost perfection, for peace, for security, for the assurance that we will never die. We are like infants newly born, bawling for the comfort of the womb.

But let us ask ourselves: is the fire of the gods worth the evils of Pandora’s box? It is interesting to note that the name “Pandora” in the Greek means “all-giving”, and that the forbidden fruit contained the knowledge of good as well as of evil. Prometheus and Eden are not stories of the birth of evil; they are stories of the birth of self-awareness and the responsibility that comes with it.

We cry out for Eden because we can’t see past the blisters on our hands and the gravestones at the end of our lives. Like little children with bruised knees, we run to the divine, crying for safety, for perfection, for a world where everything will be all right, where daddy will take care of everything.

Enough childishness. Bruised knees and blisters are part of growth. Sooner or later we have to dry our tears, grit our teeth, and shoulder the responsibility we have been given. And, as we sweat out our Earthly toil, we may begin to realize the gifts we have been given. There is no value in accomplishment without struggle, no value in possession without sacrifice, no value in love without loss, and no value in good without evil. Our metaphorical exile from Eden was no more a curse than the a young bird’s first push from its nest.

We have wept for far too long. It’s time to grow up.

 
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Posted in Philosophy

 

Photoshop Tutorial: Making it Rain

11 Jan

These days, “the means of production” we proles are constantly striving for are as much digital as they are material. With that poor (and slightly Marxist) excuse, I now present you with my first Photoshop tutorial: how to digitally manipulate the weather in a photograph.

Original

Here’s the image I started with: a photo of Big Ben. It was a cloudy day, which will help us in manipulating the sky. Generally, a monochrome sky (blue or gray) background will make this process easier, though it is still possible with a sky with cloud shapes.

1. First, you should modify the image you’re starting with to create a more “stormy” feel. Use the Hue/Saturation tool to decrease saturation to -26 to remove some of the warm tones of the summer day the photo was taken. Then, use Brightness/Contrast to darken the image and increase the contrast (-60 brightness, +36 contrast) until you get the darker, starker image you’re looking for.

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2. Use the Curves tool to do some more specific modifications. Look at the following screenshot:

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Notice how there are two peaks on the histogram chart. You can use these as a guidelines to darken the shadows and blacks in the image, while lightening the highlights. Your curves chart will look different depending on your image and the effect you’re trying to achieve. Here’s the result:

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3. Next, create a sky mask. This will allow you to edit only the sky without obscuring the foreground. In this image, it’s fairly easy–a few clicks of the Wand tool will achieve the desired selection. Note: if you turn off the “contiguous” checkbox, you’ll be able to select all values in the image which match the one you click on, which works especially well for complex architecture, trees, or other objects where many small sections of sky show through the foreground. Once you’ve selected it, create a new layer and fill your selection with black. Then invert the selection and fill with white. Hide the layer–this will be used to easily select the sky for future modifications.

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4. Now put in the clouds. There are a number of great free Photoshop brush sites out there. I got the ones I used for this tutorial from Brusheezy, which is an invaluable resource for all regular users of Photoshop. Create a new layer, select the sky again (using the mask you created) and, with a black cloud brush, begin painting dark stormclouds onto the sky. It won’t look great right now–don’t worry about that. Set the layer to “Darken”, and tone down the opacity. You may have to fiddle a bit with the edges around your foregrounds, but when you’re done you’ll have a sky full of dark stormclouds. Fiddle with your hue, saturation, brightness and contrast on both clouds and background layers until they match up fairly well.

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5. Now it’s time for the rain. Create the dark “background” rain first: create a new layer, and fill it with black. Add a mask, and fill it with black:

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With the mask selected, add noise to it. I add quite a bit; use less if you want the rain to look less torrential. The black layer and the mask work together to give you a blotchy collection of black noise across your image. Add a motion blur to the mask, at an angle, varying the length to achieve the effect you’re looking for.

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This is your dark rain layer. Set the layer to “Darken.”

6. In an image, depth can be created by varying shades of dark and light. So, we’re also going to create some light-colored rain. Create another layer, but this time fill it with white. Use the same process in step 5: black mask, add noise, add motion blur. You’ll have an overlaid layer of white rain against the dark one you created before. Your image will still look a little flat, so now it’s time to pull out the eraser tool. Making sure the layer (not the mask) is selected, erase bits and pieces of the light rain layer. You might want to use your cloud brush again to do this. Then, use a few grayscale colors and some black to shade different areas of the light rain layer. Remember, the eye is drawn to areas of high contrast in an image, so whatever areas of white you leave will have the effect of highlighting that part of the picture. If you scroll down to see the final image, you’ll notice that I used the light rain to highlight the right side of Big Ben.

7. Now erase a few areas in the dark rain layer. Go easier on this one, as you want more background dark rain than light foreground rain.

8. Finally, create a new layer called “highlight” and set it to “Soft Light.” Select the foreground using the mask layer and use a brush to paint highlights onto the foreground. This will serve to pull out images foreground and highlight the image’s centerpiece (Big Ben’s right side, in this case). Then, deselect and use brush and eraser to touch up the highlights.

9. Fiddle with contrasts, values, and saturation on various layers until they match.

Voila:

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And that’s it–I hope you enjoyed it!

 
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Posted in Skill

 

The New Year and New Destinations

02 Jan

2010

So. We’ve made it. We’ve completed the first decade of the third millenium–ladies and gentlemen, welcome to the future.

Anyway. I’ve yet to make any New Year’s resolutions, as I generally tend to forget them within a few weeks, so instead I’ll give the present, some plans, and some possibilities.

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The present: I’m still in Montana, and it’s been a surprisingly mild stay so far. I’d attribute it to global warming, except I know that it was 8 below zero here in early October and got down to -20 before the weather kindly warmed up to 10 or so for my arrival. We don’t have much snow, but there is snow on the mountains, and the pine trees up in the canyons are frosted white against the gray and black rock. I took a hike with a friend of mine up one of these canyons last Monday, and we walked up to some falls a few miles back. The falls were covered in thick white ice, and when you stood still next to them, you could hear the water grumbling underneath it all, like an underground river just below the surface. The cliffs were towering as high as I remembered them–one thing I definitely miss when living out east–and there were frozen masses of ice affixed to the rock where the mountain springs come down into the canyon. It was very quiet, with little moving except the low noise of the creek under the ice and the occasional woodpecker.

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I fly back to Virginia on Friday: that is where the planning begins. The first major item on the calendar is another month-long trip to Turkey and Georgia at the end of January, where I’ll be collecting gold and silver jewelry and other small works of craftsmanship for import and sale back in the United States. I’ll be flying into Istanbul and spending most of my time in eastern Turkey and Tbilisi, Georgia, so you can expect pictures and accounts of Istanbul in the wintertime, the abandoned Armenian capital of Ani, and the snowbound passes of the land border into Georgia.

Ice formation at Mill Creek Falls

Then, back to Virginia at the end of February. Possibilities: I don’t plan on staying in Virginia for very long, likely not past spring. So, sometime in April or May I’ll take my laptop and iPhone development jobs on the road. I’ll either buy a car and spend a year or so bumming around North America and getting to know my own continent better, or accept a volunteer job overseas in exchange for room and board. Currently I have a request in with a tourist service in Wadi Rum, Jordan, where I would be–wait for it–doing web design for a faux Bedouin camp. Cheesy? Yes. Awesome? Most definitely. I have yet to hear back for certain, however, so we will see what we will see.

Either way, looks like it’s going to be an interesting year. So, best wishes to all, and have a great 2010.

Looking out of Mill Creek Canyon

 
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Posted in Travel