After taking these and discovering that the phone camera isn’t half bad, I wondered how much the pain-in-the-arse AI has anything to do with it. It’s a Samsung A22 – but the 4G version, which has the better camera than the 5G – so it’s been around a while, yet I expect there are some pretty advanced software tweaks going on in there to bring out the night shots. Totally different process than film, of course, where in this case the image is entirely created by software. So, yes, software is making it happen.
Then I wondered if the new full-blown see-ya-later-human-talent AI phones that comprise the market today and which distort everything you want at a touch, or probably even if you don’t want, and whether the resulting photo is acceptable to my grumpy self. Is it excused for making night shots better? Have to say I softened a bit.
Anyway, I like these especially because the gold and blue is all JMW Turner to me. Superb in combination.
Change the orientation, totally different. Way cool:
See how the architect has broken the severe “block” look of the building on the right hand side – which otherwise would impose itself on the street resulting in an unattractive and unpleasant effect on the people – by use of colours? The eye jumps from one colour to the next, as part of the design, thus reducing the building’s blockiness. This design device is used elsewhere in the complex.
Wonderful above, also, photographically, is the natural free-flowing form of the tree situated in a squared angular human-built environment. This tree does a lot of work here, and on its own saves the day. It would be a dismal and desolate environment without it.
Stately:
Frantic:
Below we have more squares, rectangles and lines. These are made interesting by the plays of light.
Same again, but this time with a curve at the bottom which makes all the difference. Interesting also is how one letter, as though out of Sesame Street, means so much to the human being – because the human being is in a car and has to put the car somewhere to utilize the complex. In a satirical, playful world, such as in a Luke Rhinehart novel, that letter would change randomly.
Below is a big bash of wall and big bash of light. Hard lines of the road and footpath being absolutely definitive of what you as a human must do and can only do. Whereas the buildings elsewhere in this complex are thoughtful and engaging, considerate to the human, this has a touch of the “jail” about it. Instead of supplicant patients and caring doctors and nurses, behind the wall on the right could be crims and wardens.
You can, however, escape, from this dictatorial scene, down the circular manhole.
More lines this way and that, rectangles and squares, and types of light. A hive of activity even without a human being present. A car, which creeps along also in a photo below, looks like it’s out of a Raymond Chandler novel.
Two cars out of the novel, actually. The plot thickens:
Lying in wait. When ready, you can follow an arrow and drive straight into the gutter and then the grass and trees, if you want.
Which way?
I’m done! Get me out!