Again: No Deleting

As I said in 2016: Today, I present to you an excerpt from my classes at Sheridan College and from my private classes. The subject: “Should I habitually delete my bad pictures?”

And the answer, my photographing friends, is a strong “no”. Deleting, whether “from the camera”, “afterward”, or “instead of formatting”, is always unwise!

So why is that? Let’s look at all three reasons in turn.

[A] Why not delete from your camera?


  • First of all, it is a waste of time. When you spend your time deleting images, that means that you are “chimping”, i.e. looking at the images instead of looking at the things you are photographing! You should use the time you have on location to be at that location.
  • Also, by all this looking you are wasting valuable battery power; power you may well need later on in the day.
  • And you are losing learning opportunities: why exactly were they bad? The EXIF data usually shows you why—and without the image you may never know.
  • It may be As Good As It Gets: The bad image of uncle Joe may be the last image you have of him.
  • You may be mistaken: Often, you cannot really tell how good or bad the image actually is.
  • And finally, when you make a habit of deleting, you will delete the wrong image soon enough. Guaranteed. Law of nature.

[B] OK. So why not delete afterward?

This too is simple once you think it over…

  • Statistics, is one reason. “How many pictures do you take with wide angle lenses? What proportion if your images is out of focus? How many photos has your camera taken? All these are questions you cannot answer if you have deleted bad images.
  • As before: maybe it’s the only picture you will ever get of this person, even if it is out of focus. I would love too have an out of focus or badly composed picture of Lee Harvey Oswald the day before he shot the president.
  • Processing techniques improve with every iteration of Lightroom/ACR. Maybe that terrible image will be usable 10 years from now.
  • They don’t matter. The drawback of “they get in the way and slow things down or make my photos hard to work with” no longer holds at all with modern image resource management tools like Adobe Lightroom.

So you use 1TB of your 8TB drive for bad stuff. Who cares! Storage is cheap today.

[C] OK then. But why not “delete the card when importing”, or “delete after use”?

  • Because formatting is much, much better than merely marking as deleted (that is all that happens when you “delete”) . It removes lost clusters, fragmentation, and all the other disk error that occur naturally over time on every disk, even virtual disks. Formatting fixes all these and is much safer. It actually deletes.
  • “Deleting when importing” is also unsafe because “what if the import fails”?

But remember, friends, do not format until you have made at least one backup of your images: one main copy, and one backup on other media. All hard drives fail—then question is when, not whether.

So my conclusion: there are lots of reasons to not delete your work. Leave all the bad images intact; format card after backup.

Trust me on this. You will be happy you listened, one day.

Next question.

Q: Should I format the memory card? And where?

A: Yes. After you copy the pictures to a computer and make a backup, and only then: put the card back into the camera and format it. Yes, in the camera, not in the computer. And every time. After your pictures are backed up.

‘Nuff said.



Lake Hayes with no Wind

Quadcopter Panorama

This was taken with the DJI Phantom. I believe it was four different photos that I stitched together. I’ve started doing this more and more. I wish the quad could take vertical (portrait) shots that I could stitch together. I don’t always like how wiiiiiide the final shot becomes when you stitch them together. Well, I take that back. I suppose it depends on the medium. A giant print of this on a wall would look pretty sweet, I think. But it doesn’t read well on a phone or a tablet in the vertical position. I guess I shouldn’t think about the medium of display so much… but it does cross my mind.

European Highlight Video!

Here’s, probably, one of my favorite videos we’ve made around here. Thanks again to Olya and the whole team for making this video and the European tour possible!

Daily Photo – Lake Hayes with no Wind

This is Lake Hayes in Arrowtown, New Zealand. I try to come here at least once a week to have a run around the lake. It’s 8KM around and a little bit hilly. It’s always gorgeous, as you can see. Maybe half the time, there is no wind at all, so you get this incredibly glassy reflection. This was taken in the middle of winter, where the colors are the blandest… but, as you can see, “bland” colors in New Zealand are pretty electric!

Lake Hayes with no Wind

Photo Information

  • Date Taken2017-06-27 04:05:00
  • CameraFC6310
  • Camera MakeDJI
  • Exposure Time1/400
  • Aperture5.6
  • ISO100
  • Focal Length8.8 mm
  • FlashNo flash function
  • Exposure ProgramProgram AE
  • Exposure Bias


Poem of the Day: Voyager

We’ve packed our bags, we’re set to fly
no one knows where, the maps won’t do.
We’re crossing the ocean’s nihilistic blue
with an unborn infant’s opal eye.
It has the clarity of earth and sky
seen from a spacecraft, once removed,
as through an amniotic lens, that groove-
lessness of space, the last star by.
We have set out to live and die
into the interstices of a new
nowhere to be or be returning to
(a little like an infant’s airborne cry).
We’ve set our sights on nothing left to lose
and made of loss itself a lullaby.

Source: Poetry June 2008

Todd Hearon

More poems by this author


Bilingual lettering

Bilingual Lettering” project is a series of Latin-Kanji pairing studies for use in bilingual lettering and logotype. Here documents 50+ pairing exercises as well as some thoughts and notes gained through the process.

These pairing examples are not solutions for developing systematic typefaces, but the results of customizing the word “TYPE (type)” and “字”(1). Since these two writing systems are traditionally written with different tools, and the character structures are also very different, in order to inject the same personality into these two scripts, sometimes flexibility is necessary. Every single pair bilingual lettering is a custom result, so there isn’t only one solution.

The lettering discussed here are those that both languages play equal roles in expressing brand personality rather than one plays the hero and the other as a supportive role.

The post Bilingual lettering appeared first on Typography Daily.


Francesco Novara – Astron [EP] brings evocative, comet-inspired music

On 8th September, Novaro will debut a downtempo album drawn from a single sonification of a comet, in collaboration with the European Space Agency.

After last year’s inaugural four releases, our label Establishment is back in a big way starting this fall. Opening our next season of releases is Italian composer Francesco Novara, with a unique, open Creative Commons-licensed project that was constructed almost entirely from a single sound.

We’ll have more to share about this music soon, as well as the commons-based collaboration with ESA that has made it possible (and how you can benefit from that, too). Stay tuned to CDM, of course.

Here’s a listen:

And you can preorder via Bandcamp (which helps support further open / Creative Commons-licensed projects!) …

Our full announcement:

Grooves From A Comet’s Song, As Franceso Novara Debuts ‘ASTRON’ EP

Out September 8th On Establishment
& In Conjunction With
The European Space Agency

Fresh wonders of space exploration continue to awe and inspire artists. In a fresh downtempo release, Italian composer Francesco Novara delivers an EP fabricated from just two sound samples of a European spacecraft that visited (and landed on) a comet. It marks a unique collaboration between record label Establishment and the multinational European Space Agency ESA.

Novara has honed silky-smooth virtuoso production craft on prolific work for TV and film. He shows off that prodigious talent by weaving every sound in the entire release from a single sample of sonified data from the spacecraft Rosetta. The raw materials for every pad, every drum sound, every melody in the album is derived from the oscillations in the magnetic field of the comet – a kind of comet song found by scientists reviewing the data.

But the music is far from academic. The resulting grooves have the cool, collected self-assurance you’d expect from an astronaut mission commander. The album tells the saga of a mission in four tracks, recalled in chilled out, precise electronic cinema. Far from the drugged-out or dystopian spaceflight music of the past, this is 21st century technology, efficient and dazzling.

Then, Novara delivers a surprise pop single in “Ready to Fly.”

The work also continues ESA’s commitment to Creative Commons, Open Access and Remixing. The original adaptation of the magnetic data from the comet into human audible-sounds was performed by German composer Manuel Senfft, then made available to the public under a Creative Commons license. Establishment’s partner music technology site CDM has been an open advocate of using this data for creative purposes, and label chief Peter Kirn has worked with ESA to deliver talks on the topic at ESA’s science and research center in the Netherlands and in Moscow.

By bringing Establishment, CDM and ESA together, Astron is a small step for sharing science and artistic output around spaceflight, one that heralds more giant leaps to come.

EP Title: Astron
Artist: Francesco Novara
Label: Establishment
Release Date: September 8th 2017
Formats: Digital

1. Ignition
2. S.O.S.
3. Sexy Astronaut
4. Back Home
5. Ready to Fly

Pre-Order: Bandcamp

The post Francesco Novara – Astron [EP] brings evocative, comet-inspired music appeared first on CDM Create Digital Music.


Here are some of our favorite MeeBlip triode synth jams

We say “play” music for a reason – synths are meant to be fun. So here are our favorite live jams from the MeeBlip community, with our triode synth.

And, of course, whether you’re a beginner or more advanced, this can give you some inspiration for how to set up a live rig – or give you some idea of what triode sounds like if you don’t know already. We picked just a few of our favorites, but if we missed you, let us know! (audio or video welcome!)

First, Olivier Ozoux has churned out some amazing jam sessions with the triode, from unboxing to studio. (He also disassembled our fully-assembled unit to show the innards.)

The amazing Gustavo Bravetti is always full of virtuosity playing live; here, that distinctive triode sound cuts through a table full of gear. Details:

Again ARTURIA’s Beat Step Pro in charge of randomness (accessory percussions and subtle TB303). Practically all sounds generated on the black boxes, thanks Elektron, and at last but no least MeeBlip’s [triode] as supporting melody synth. Advanced controls from Push and Launch Control using Performer , made with Max by Cycling ’74.

Here’s a triode with the Elektron Octatrack as sequencer, plus a Moog Minitaur and Elektron Analog RYTM. That user also walks through the wavetable sounds packed into the triode for extra sonic variety.

Novation’s Circuit and MeeBlip triode pair for an incredible, low power, low cost, ultra-portable, all-in-one rig. We get not one but two examples of that combo, thanks to Pete Mitchell Music and Ken Shorley. It’s like peanut butter and chocolate:

One nice thing about triode is, that sub oscillator can fatten up and round out the one oscillator of a 303. We teamed up with Roland’s Nick de Friez when the lovely little TB-03 came out to show how these two can work together. Just output the distinctive 303-style sequencer to triode’s MIDI in, and have some fun:

Here’s triode as the heart of a rig with KORG’s volca series (percussion) and Roland’s TB-03 (acid bass) – adding some extra bottom. Thank you, Steven Archer, for your hopeful machines:

Get yours:

The post Here are some of our favorite MeeBlip triode synth jams appeared first on CDM Create Digital Music.


Creative: August Self-Publishing Project, Chapter Nine

I’m inside out. Yesterday another unexpected day. The carefully conceived plans, gone. Just get in the Jeep and take in as much as possible. A new ranch. An incredible place, not that high but so vast and so empty all I could think about was disappearing into the hills. Antelope, elk, bobcat, mountain lion, hawk, eagle, rattlesnake, ground squirrel and two massive Bighorn’s cresting a hilltop a mile away. Spotting scope resting on the tailgate, trucks pulled over, engines off. Just observing.

They fear the eclipse here. Well, they fear the people coming for the eclipse. No matter what else happens, just know with absolute certainty, people from the city do not belong here. They never have and they never will. This place, and all others like it, are meant to be left alone, open, vast; strategically sparse to keep in rhythm with the mechanisms of The West. Interlopers like me with romantic visions have no real place. We are meant to keep moving. So are you.

I find myself holding a package of beef. “Who is cooking the burgers?” “You?” he asks. “Ahhhh.” “Goodbye,” he says laughing and walks off, so I man the grill, cooking meat for men and women who eat meat everyday. I’ve been married to a vegetarian for twenty-one years. I manage and there are no complaints, other than I didn’t cook enough.

The plains light is harsh, but still has that slight edge of contrast and saturation you only get at high altitudes. Minus 2/3 on the Fuji and forget about the rest. I get seconds of opportunity then spend most of the day in the backseat of the Rubicon. “Okay Squirt,” he says using my childhood nickname, “this one’s on you,” as we arrive at the first gate. It’s a test. Do I remember how to do it. One gate is stubborn but I use my shoulder like he taught me forty-years ago and we pass through. “It’s amazing how much you kids learned by those few months a year all those years ago,” he adds. “You remembered how to do it.”

There is water up top. Enough for grazing. Decisions are made, coded in terms of pasture size, landscape features and past inhabitants. The original, one-room schoolhouse still stands, protected now by the wire. Squatters cabins old corrals and irrigation tools slowly fading into the long grass and wind of this little altiplano.

They hassle me about my man bag until I tell them they selling price. Then they hassle me a bit more. A part of me feels bad even being here because I know our presence, sister and I, throws them from their natural routine. It would take years to even begin to blend in here, and I would be lumped in with a category of people I want no part of. The only way would be to come alone for long periods and ask for nothing, change nothing, influence nothing and just shut the Hell up and observe.

A topic that always rankles me, and them, is the concept of “people of money,” who come here and do what they do. F%$# things up. Money brings greed, arrogance and opinion, many of which are based on romantic notions of centuries past. It’s just plain ugly when people of money meet people of the land. Doesn’t matter where. I’m not sure I’ll ever get over this, and if even I ever have real money I will do everything I can to avoid infringing. Not that I’m worried about ever having real money.

Now we prep for the eclipse. Truthfully, I want no part of it, and we’ve spoken about getting up high and being alone even if it means we avoid the path of totality. Fine by me. Not sure I’m going to watch it anyway. Maybe we would be better off to consider it a moment to ponder what we are doing with our lives, our culture. A moment to think about everything but ourselves, but I fear it will become little more than media sensation and Instagram fodder for who can have the hippest experience. #blessed God I’m so sick of it all. One week here and the delusions of online life seem nothing beyond silly.

Flights are changed, backroads studied and now we wait.