Tag Archives: technology

Blogging, D.B. Jackson, David B. Coe

Monday Musings: Old Dog, New Trick

It has long been said that canines of a certain age are incapable of mastering new tricks. As a proverbial long-in-the-tooth pooch myself, I thought it might be amusing to test the cliché. And, as it happens, I have a great excuse to do so, which I will explain in just a moment. So, this old dog is doing more than just chase his tail.

Not so very long from now, Nancy and I will be heading to Italy for a few weeks. There, we will spend time in Rome, Venice, Florence, and the Tuscan and Umbrian countrysides. This was a trip we had hoped to take to celebrate big birthdays that we both endured survived celebrated back in 2022/2023. Events intervened. But we are finally going this year, and we are very excited.

In preparation for the trip, we are both learning Italian on our phones using DuoLingo.

Okay, a few things. DuoLingo is hardly a rigorous way to approach learning a language. We know this. There are other ways we might have gone about learning Italian had we more time and fewer things on our collective plate. But I have a deadline, she has work to get done, and we wanted to make this fun, as well as useful. And fun it is.

I took years and years of French when I was in junior high and high school, and I was a competent if unspectacular student of the language. I never really mastered French, but I learned a lot, and could probably have stumbled my way through a simplistic and stilted conversation with a patient, generous native speaker of the language. Sadly, as it turns out, these are somewhat hard to find . . . .

More to the point, though, I never enjoyed French class. This was my own fault. I was lazy, and languages take work and patience and more work. My teachers were, all of them, good at their jobs, although there was one, who I had my sophomore year in high school, who merits detailed mention. I won’t give her name, but I will say this: Our class met right after lunch, and she was reputed to be a bit of a tippler who apparently built up quite a thirst during her morning classes. As a result, after imbibing enjoying her lunch, she would return to the classroom in an alcohol-induced temper, and with her accent rendered nearly impenetrable by her “meal.” For some reason, she liked me, which is good, because otherwise I would have gotten the grade I deserved . . . .

DuoLingo works for me because it gamifies the process. Like a hamster batting at a lever and being given little food pellets by way of reward, I do my language exercises, getting my little dopamine rush from the “ding-ding!”s of my phone and the treasure chests of virtual gems the app gives me periodically. Am I learning Italian? Um . . . sure. I’m picking up words that I might need in restaurants and bars and stores and hotels. I can say, “Salve! Piacere!” which means, “Hello! It’s nice to meet you!” I can say “thanks” and “your welcome,” “good morning” and “good evening,” “I’d like the chicken” and “I need the bathroom.”

No, that’s not much, but Nancy and I are still learning (she is ahead of me, having started earlier), and more to the point (and in all seriousness), we think part of the importance of this is making the effort, not being the infamous “ugly Americans,” who just show up in a country expecting everyone else to speak English to make them comfortable. We want to be able to show that we have cared enough to learn something about the country, including how to make ourselves understood there. Yes, we will absolutely need help from English-speakers in Italy, but we won’t be helpless, and we won’t be assuming it’s the job of every person there to accommodate us.

So that’s my new trick. Not bad, right? Not great, but not bad.

I will close with this story that my father used to love to tell. Years and years ago, he and my mom traveled to Italy, starting their trip in Rome, as Nancy and I will do. My father had picked up a few words of Italian somewhere. From a book? From someone he knew in New York City? From a TV show? Who can say? But he had convinced himself that he could fake his way through a conversation in the language. He and Mom were trying to find some tourist site — a museum or something — and he approached an Italian police officer on the street and asked the man how to find the museum, using his best broken Italian. The officer eyed him for a moment, and then said, in flawless English, “Three blocks down and make a right; you can’t miss it.”

My father and mother laughed. And so did the police officer. Which, ultimately, is the point.

Have a great week.

Blogging, D.B. Jackson, David B. Coe

Monday Musings: Digital Technology, Ansel Adams, and the Joy of Modern Photography

As I mentioned in a post last week, Nancy and I just spent a week and a half out in Colorado, seeing our girls, hiking, and unwinding. It was a good trip, and, as is my wont, I spent a fair amount of time capturing photo images. I shared some photos last week, but those were just the ones taken on my phone. This week, I share some of the images I captured with my big rig, my Canon 5D Mk IV, with a pair of truly excellent lenses — a 24-105mm f4 L and a 16-35mm f4 L. To most of you, the lens and camera info probably won’t mean much. That’s fine. I thought a few of you might be curious.

The Crags Trail, by David B. CoeI spent this past weekend going through my photos, processing the images, and selecting a few to put in a rotation of favorites that show up on my computer desktop and in my screensaver slide show. And as I work through these images, I have been thinking about photography in general and where the technology that is now available to photography hobbyists has taken us.

When I started getting serious about my photography, we were still in the film age. (Kids, ask your parents.) I would load a roll of film into my camera, take photos — usually thirty-six exposures per roll — and, upon reaching the end of the roll, would then rewind the film back into the little metal cylinder and remove it from the camera. At that point, my control over the image would reach its end. I would take the film to a local store, or perhaps send it directly to one of the Kodak or Fujifilm processing centers scattered around the country, and wait to see how my photos came out. The wait was frustrating, the cost pretty outrageous.

Florissant Fossil Beds NM, by David B. CoeSome stores and processing centers were willing to consider special instructions — “please over- (or under-) expose slightly” or some such. But to be honest, I wasn’t good enough at that point to know with confidence that ALL my images would need the same special treatment, and so I just sent my film in and hoped for the best. More often than not, I was disappointed.

Mueller State Park view, by David B. CoeKnowing what I do about the history of photography, I now understand how strange that consumer film process actually was. The old masters of photography — Edward Weston, Alfred Stieglitz, and most notably Ansel Adams did not leave it to Kodak or Fujifilm or any other commercial entity to develop their images. They held fast to every step of the creative process, from image capture to production of the final print. Photography as an art form was not limited to a mechanical blink of creative inspiration. Rather, it relied upon a complex and time-consuming manipulation of that initial capture, to turn the photo into exactly what the artist envisioned. Adams in particular used an approach he called “dodge and burn,” relying on a masterful understanding of darkroom tools and chemicals to darken certain parts of an image and brighten others. He and his contemporaries would never have dreamed of placing themselves at the mercy of film development labs.

The great irony of this lies in the freedom now granted to amateur photographers like me by digital dark room applications on our computers. My photography workflow may rely on digital technology, but in every other respect it is more similar to the experience of the old masters than it ever was in the age of film. Like Ansel Adams, I no longer have to hope that my images were perfectly exposed. I can make adjustments to the original images, balancing light and shadow, compensating for exposure issues in some quadrants of a capture while using the original lighting in others. I can, in other words, do a digital “dodge and burn.” (I used to use Adobe’s Lightroom, but I grew disenchanted with their subscription model of “ownership.” I now use DxO’s PhotoLab, which allows me to do everything Lightroom did, but at a lower cost.)

Florissant meadow, by David B. CoeMore, I no longer have to decide before going out in the field what sort of film to use. I can take an image that I know will work in color and follow it up immediately with one that I know I’ll prefer in black and white. Converting an image from color to grayscale is as simple as clicking a box. I love that freedom.

To be clear, I do all I can to avoid over-processing my photos. We have all seen photographs that look so “perfect” as to be unrealistic: hyper-detailed, garishly colored, lit with unconvincing evenness across shadow and sunlit feature. I have no desire to produce such images. Even with a digital darkroom at my disposal, I still wind up with many images that don’t work. The ones I add to my “favorites” constitute a tiny fraction of the images I take.

But I have control over the work I do. From image capture to production of the final image — either in the form of a print, or a computer image I can enjoy every day — I make the photograph exactly what I want it to be. And the truth is, the very best images I produce are pretty high quality. I would put my finest photos up against those of most professionals. That sounds like bragging, but it’s true.

Most important, I engage in a creative process that I enjoy, that I find challenging and deeply satisfying. My photography scratches a “creative itch” that is very, very different from the one I scratch with my writing. It is one of my great passions.

I hope you enjoy these images, and I wish you a great week.

Blogging, D.B. Jackson, David B. Coe, Writing

Monday Musings: AI Content Creation? No, Thanks

I’ll start by assuring you that this is not one of those posts. I’m not going to share my feelings regarding AI generated content and then reveal at the very end of the post that everything you’ve read was actually AI generated. It’s really me. I promise. How can you be sure? Well, the best evidence is this: I’m too cheap to purchase the AI generator I’ll be discussing . . . .

That I would even think it necessary to say as much . . . well, read on.

An email appeared in my inbox this past week. It came from a prominent maker of WordPress plugins and it advertised a new AI content generator for WordPress sites. “Our latest product [is] aimed at enriching your WordPress experience . . . This tool utilizes the potential of artificial intelligence, adding a formidable ally to your writing process.”

Already, I can hear the Skynet airships hovering overhead. [Sorry — Terminator reference.]

I’ll admit, I was horrified. Wanting to know more, I followed the link in the email and was taken to the product page where I could see the generator in action. “Write a blog post about X,” the app is told, and in a second or two content populates the screen. (I should add here that we are guided through the product tour by what is clearly an AI-generated voice. It’s kind of creepy, actually.) The wording produced by the plugin is clean and flowing, free of typos and grammatical errors. In fact, that’s one of the features the developer trumpets. No more typos. No more wording mistakes. God forbid writers should just learn to write and take the time to proofread their work.

The AI generator can also provide snappy titles for its posts as well as summaries of the content, and it can even adapt the tone of the piece to our mood and preference — among the possible choices are “formal,” “informal,” “optimistic,” “humorous” (humorous AI? Really?), “serious,” “skeptical,” “empathetic,” “confident,” “passionate,” and “provocative.” The tour shows the imagined user switching from “formal” to “passionate.” The differences in the resulting text are minimal.

I’m not naïve, and I’m also not blind to the benefits such a generator might bring to, say, a travel enterprise that specializes in tours of various parts of the world. Rather than write separate essays about each region, which could take hours, a webmaster could input the parameters for each essay and complete the work in mere moments. The resulting prose would be safe, error-free, and quite likely good enough for the company’s purposes.

It would also be anodyne, soulless, utterly lacking in anything remotely human.

Reading the text generated in the product tour, I was struck by a few things. First, for now at least, the AI’s vocabulary and writing style are both quite limited. It repeats words and sentence structure so that there is a sameness to each paragraph and the treatment of each new topic. Also — and this is predictable, I suppose — the generated text is as dry as dust. It is long on fact, on the sort of information one might find in an encyclopedia entry, but it lacks anything to which one might connect emotionally. And it also lacks rhetorical flourishes — simile, metaphor, analogy. It is, in short, boring.

“Say goodbye to writer’s block and hello to effortless content creation,” the product tour says, missing the point entirely. I have written about writer’s block before, and the last time I did, I hurt and offended a writer friend whom I care about and admire. I have said in the past that writer’s block doesn’t exist (and I’ll get to what I mean by that in a moment). The fact is, though, this is not true. Writer’s block does exist. It is a debilitating void, an inability to create that can last months, even years at a time. Writers who are afflicted with it, as my friend has been, suffer greatly.

But writer’s block as it is used commonly, as it is used here in this AI generator product tour, is not at all the same. It is the difference between clinical depression and saying one is “depressed” because a favorite sports team lost a close one.

What most people — including the app developer — mean when they speak of writer’s block is the inability to write something in a particular moment. This form of “writer’s block” presupposes that writing is easy, that creating new content should come without effort, without hesitation, without forethought and contemplation. What most call “writer’s block” I call writing. Because writing isn’t easy. Creating new content takes tremendous effort. It is messy and slow and frustrating. It is fits and starts. It is staring out the window for fifteen minutes at a time, wracking one’s brain for that perfect turn of phrase. It is re-writing the same graph six times until it shines just as we want it to.

And that’s what’s wrong with AI generated content. That struggle to create, that wrenching, ugly, glorious process is what infuses our writing with emotion and energy, individuality and the spark of humanity that makes writing and reading joyous. When we take away the work, the messiness, the false starts and numerous rewrites — in other words, when we make writing “effortless” — we also render it gutless and vapid.

Is there a use for AI generated writing? I guess. I mentioned a hypothetical travel business earlier; AI would probably save its owners a bit of time and money. At what cost, though? How much dumbing down is too much? And where does this slippery slope lead? At the risk of sounding idealistic and giving the lie to my early claim that I’m not naïve, I have to ask: Wouldn’t we be better served as a society if we put as much effort into teaching our children to write and think creatively as we do teaching computers to do stuff for us? The answer seems self-evident to me.

Have a great week.

Blogging, D.B. Jackson, David B. Coe

Creative Friday: My New Toy!

I have a new toy.

Sony RX10 Mk IVAnyone who has met me and/or read this blog knows I am an avid photographer. And I have a very nice camera, a digital SLR with several interchangeable lenses that I use for landscapes, portraits, macro, travel photography, and pretty much everything else. Pretty much.

The one thing I don’t do much with that camera, because I don’t have the appropriate lens, is bird photography. Now, the other thing readers of this blog know is that I am a dedicated (read: fanatical) birdwatcher and have been for most of my life. So I have long been frustrated with my inability to take good photos of birds.

In the past, I have balked at buying a big lens, capable of taking decent bird photos, for my DSLR. There have been several reasons for this. One, such lenses are expensive. Even the lens with the minimum focal length I would need (a zoom lens of 100-400mm) costs well over $2,000. There are off-brand versions that are decent but not great. These would run closer to $800.00. But they do not solve the second issue: Big lenses tend to be, well, big. They’re heavy and bulky, as is my DSLR, actually. Combine the big lens with the hefty camera, and you have something weighing about five pounds hanging around your neck or off your shoulder. I know myself well enough to question how often I would actually take such a rig out in the field.

So I have finally decided to go in a slightly different direction. I recently purchased a rather pricey new toy, the Sony RX10 Mk IV. This is a mirrorless “bridge” camera, meaning that it sort of straddles the line between a DSLR and a point and shoot camera. It weighs far less than my DSLR would with a telephoto lens. But it has a very good, very powerful, built-in lens, made by Zeiss, an excellent German optics company. This lens zooms from 24mm to 600mm, making it actually more powerful than the big, expensive lens I’d been considering. It also costs a good deal less.

The digital sensor in the camera is not as good as my DSLR, and I will likely never use this lens for landscapes. I am very picky about image quality, and am particularly uncompromising when it comes to my landscape photography. Birds, though, are tough to photograph to begin with, and I understand that I would likely get precious few razor sharp images with any camera and lens combination. And because this camera is so light and easy to carry, because it has a very strong stabilizing mechanism that keeps the image still and clear even when the camera is handheld, and because the sensor and lens are, while not perfect, very, very good, this is the perfect solution for me when it comes to birds. I take it with me on walks all the time, without hesitation. And I have gotten some very good photos already.

Below find some images I captured in Florida, around my birthday, when I was first learning to use the camera. As you can see, the quality of the images is quite good. They are sharp and the color is excellent. And I am having so much fun! I can finally take pictures of my feathered buddies, and I don’t have to carry the equivalent of an anchor around my neck. I’m very happy with my purchase. I do love my toys . . . .

Have a great weekend!

Least Bittern, by David B. Coe
Least Bittern, Wakodahatchee Wetlands, Florida, by David B. Coe
Pied-billed Grebe, by David B. Coe
Pied-billed Grebe, Wakodahatchee Wetlands, Florida, by David B. Coe
Green Heron, by David B. Coe
Green Heron, Wakodahatchee Wetlands, Florida, by David B. Coe
Red-shouldered Hawk, by David B. Coe
Red-shouldered Hawk, Green Cay Nature Center and Wetlands, Florida, by David B. Coe
Great Egret, by David B. Coe
Great Egret, Wakodahatchee Wetlands, Florida, by David B. Coe
Red-winged Blackbird, by David B. Coe
Red-winged Blackbird, Wakodahatchee Wetlands, Florida, by David B. Coe
Wood Duck Pair, by David B. Coe
Wood Ducks, Arthur R. Marshall Loxahatchee National Wildlife Refuge, Florida, by David B. Coe
Blogging, D.B. Jackson, David B. Coe, Not at all Writing Related

Monday Musings: Some Weird Occurrences Have Me Thinking About Technology

This past week, I had a couple of weird experiences that made me feel like I was an extra in Poltergeist or Enemy of the State. And I thought I would share them with you because if I’m freaked out, I feel strongly that you should be as well. You’re welcome.

Let’s start with the Enemy of the State incident. I think it was Tuesday night — we spoke with our younger daughter and, as always, covered a lot of topics. She has a birthday coming up, so one of those topics, of course, was what she might want from us as a gift. She mentioned something and I suggested a place she might shop for the item and then we would pay her back whatever it cost. This is not a brand of store at which I usually shop, but it specializes in what she wanted, so…

Again, this was a phone conversation. We weren’t texting or emailing. There was no physical or electronic record of our discussion.

And yet, the next day, advertisements for the store in question, suddenly and for the first time ever, began to show up in the browser on my phone. It was so creepy. I mean, someone or something is obviously “listening” to our phone conversations. I don’t imagine there are people with earphones and recording equipment in the walls, or anything like that. But the same algorithms that track our internet browsing and then recommend products and stores, must track phone conversations for recognizable brands and the like. That’s the only explanation that makes any sense to me. As I say, creepy.

Moving on to Poltergeist…

This actually happened the same night — which I suppose is a little freaky in its own right.

Nancy and I had made stuffed poblano peppers for dinner, and we finish our preparation of them by placing them under the broiler in our oven, to melt and brown the cheese. So we did that and sat down to eat. After a few minutes, the oven started beeping at us. It was getting too hot.

Nancy, thinking we had forgotten to turn off the broiler, got up to do that. But it was already off. She pressed off again, just to make sure. The broiler remained on. We turned the broiler on, waited a few moments, then turned it off again. It remained on.

At this point, I went to the circuit breaker and switched the oven off from there. After a few seconds, I threw the breaker back on. The clock had reset, of course, and everything else seemed normal. But the broiler came on again. I turned the oven off at the fuse box again and left it that way. At this point, we were afraid to sleep in the house, or leave the house, with the oven plugged in.

Now, sometimes electric appliances and such will reset if left disconnected from their power supply for long enough. So the next day, I switched the fuse again, just to see. And, yes, the broiler turned on immediately, even though it was turned off.

We’re replacing the oven, though with supply-chain issues and such, we won’t have a new one for a few weeks.

But this was creepy as well, not to mention scary. And Nancy reminded me that a few weeks ago she was baking a loaf of bread and somehow the broiler turned on during the bake and burned the top of the loaf. It was almost like our oven was already in the process of developing a mind of its own.

We (and I mean Nancy and me, but also the collective “we” — society at large) are so dependent on technology that it’s easy to take that dependence for granted. Because it’s more than just a reliance on the machines, appliances, and devices we use on a daily basis. It’s also the trust we place in them.

Sure, we understand that we sacrifice a bit of our privacy when we go on line (or walk down a crowded city street in the age of facial-recognition), but I assume — foolishly, it would seem — that my phone calls are private. Not so long ago, an organization I worked for last year asked for my social security number, so they could issue me a 1099 form. I didn’t feel comfortable sending that information via email, so I asked for a number to call. Now, after the conversation with our daughter and what happened next, I wonder if I wasted my time and that of the person on the other end of the call.

We expect some things to need periodic repairs. When our cars break down, for instance, we’re annoyed, but not entirely shocked. These are inconveniences that we factor in when making a decision to buy. Cars need service periodically. Appliances need replacement parts and will fail now and then. But our oven’s odd behavior could have put our home at risk. It could have cost us our lives if it started a fire at the wrong time.

The creepiness of these incidents is, on one level, fun to talk about. I have shared the stories a few times already, and always they’re good for a laugh and jokes about the rise of our automated overlords. The fact is, though, there is something decidedly unfunny about all of this. Like so many things, it’s funny until we really think about it. And then it’s just disturbing.

Have a good week.

Blogging, D.B. Jackson, David B. Coe, Not at all Writing Related

Monday Musings: A Paean to the “Shuffle” Command

Let’s begin with the obvious: Everything that’s old is great, and new stuff sucks. It’s important to get that out of the way before we move on. I mean who are we kidding? The way things were when we were young — well, not so much “we” as “I” — the way things were when I was young? That’s how it should all be now. Progress is bad. Innovation is bad. Technology ruins everything and the world was a better place before people invented all that stuff. By which I mean, anything that hadn’t yet been invented when I turned 21.

Sticky Fingers, by The Rolling StonesMusic isn’t meant to be sold song by song. We’re supposed to buy albums. We’re supposed to put up with the bad songs in order to enjoy the good ones. That makes the listening experience better. For every “Eleanor Rigby” and “For No One” we should have to endure a “Doctor Robert.” For every “Brown Sugar” and “Can’t You Hear Me Knockin’?” we should have to suffer through a “You Gotta Move.” It’s only fair. No one is entitled to a perfect listening experience, and songwriters deserve the chance to have their crappy songs heard alongside the good ones. This is America, damnit!

And don’t get me started on CDs versus LPs. What ever happened to the art of piecing together a two-sided album, of figuring out the proper song order so as to make those horrible, vinyl-wasting tunes that we hated as hard to avoid as possible? I mean sure LPs warped and skipped, and got scratched, making them all but unbearable after a year or two of solid use, but that’s a small price to pay for the inconvenience of having to interrupt a pot-induced haze to get up, walk to the stereo, and turn the record over.

Songs are meant to occur in a certain order. That’s how God intended it. And by God, I mean Mick Jagger. Or John Lennon. Or Joni Mitchell. Or David Crosby. Or Aretha Franklin. Or James Taylor. You know. God. As day follows night and spring follows winter, “You Can Call Me Al” is meant to come after “Diamonds on the Soles of Her Shoes.” Except not really, because that album came out after my twenty-first birthday. But never mind that.

The point is, albums set the order of songs and never shall they exist in any other configuration.

Except for mix tapes.

Okay, I confess. Back when I still listened to LPs (Kids, ask your parents. And get the hell off my lawn…) I made mix tapes all the time. I loved the idea of cutting out those songs I didn’t enjoy. I loved the idea of putting my favorite songs from any number of artists and any number of albums in one collection and being able to listen to all of them together. I loved listening to a new mix tape, of savoring the lingering surprise of the next tune from a completely different source.

Sadly, even in my pot-smoking days that surprise lasted for all of two or three listens. After that, the mix tapes became too familiar, taking on the wearisome predictability of the albums from which I’d culled the songs in the first place. As Rob Gordon (the John Cusack character in High Fidelity) says, “the making of a good compilation tape is a very subtle art.” But even the best made mix can’t save us from the fact that we remember and anticipate.

Enter the “shuffle” command on our phones and computers.

That stuff I said before, about everything new sucking? I didn’t mean this. And that part about all technology after the mid 1980s ruining the world? I might not have meant that, either. And the stuff I said about how great LPs were — that was total bullshit. Not that a case can’t be made. I mean, cell phones and computers and the constant presence of social media and “connectivity” in our daily lives — there’s a lot there to dislike.

But the shuffle command makes all of it worthwhile. Hitting “shuffle” is like putting in the ultimate mix tape. Every song is one we want to hear. Every transition is a surprise. Every listening experience is destined to be different.

Nirvana.

The state of being. Not the band. They definitely came on the scene after my twenty-first birthday…

The other night, Nancy and I were cooking dinner, and we had my iPhone on shuffle. (iPhones are okay. They were invented way before I turned 21. Really. I promise. Same with Bluetooth speakers like the one we were using. I swear.) And, quite seriously, I was struck that evening, after the fourth or fifth excellent song in a row, by the absurd amount of pleasure I derive from the shuffle feature. Ridiculous, I know. The world is in the midst of a pandemic. The planet is melting. American democracy is on life-support. But I can listen to a collection of Eagles tunes without fear of hearing “Chug All Night.”

It doesn’t get better than that.

Blogging, D.B. Jackson, David B. Coe, Writing

Professional Wednesday: Rethinking the Digital Revolution

I’m a dinosaur. I have been in this business for more than a quarter century. My first book was published during the Clinton Administration. I could list for you all the celebrities born since that first publication, but I’ve never heard of any of them…

To state the obvious, the business has changed in the time I’ve been a professional writer. Hell, the entire world has changed. Some of the transitions specific to publishing have been for the better, some have not. And, to make all of this a bit stranger, many of the biggest changes fall into both those categories.

Lately, I find myself thinking about the democratization of the arts facilitated by the digital revolution, trying to balance the good with the not-so-good.

Example 1: A dear friend of mine, one of my musical partners from college, has been recording and performing music for years. He does covers, he writes his own material. Prior to the pandemic, he performed regularly in the area around his home in the Northeast. Since the onset of COVID, he has done a series of online concerts and has also produced videos of himself playing — again, his own tunes and covers of songs by others. His music always — ALWAYS — sounds amazing. Not only is he incredibly talented, he has also mastered the technology at his disposal. The result is great music with astonishing production values.

Without digital technology, without the ability to turn his basement into both a recording studio and a performance space, he couldn’t manage to do any of this. Of course, he is hardly alone in this regard. Musicians around the world can now record and produce their own music, reaching audiences that they never would have found twenty years ago. And it is hard for me to look at this as anything but an unalloyed good. Major recording studios should not be the only arbiters of what you and I get to hear. Once upon a time, they were, but not anymore. As a musician myself, and as a fan of music in general, I’m pleased by this.

Example 2: As most of you know, I am an avid photographer. I specialize in nature photography — landscapes and close-up work — but I also have done a good deal of urban photography. I am, I believe, a very good photographer. I have also been, for years and years, a collector of photography books, and I have a small collection of photo prints by other artists, as well as many of my own enlarged images, framed, and hung on the walls of my home.

I have a high quality digital camera and I have several applications on my computer that allow me to process my photos to a fine degree. Once upon a time, when I first got into this hobby and was still shooting film, I was very much at the mercy of the photo labs that developed my pictures. I couldn’t control the production of each image the way, say, Ansel Adams did in his darkroom. Only with the advent of digital technology, have I gained access to the tools I need to develop my photos precisely as I wish to. At this point, I can produce professional quality images. My best photos, the ones on my walls as well as those in the one coffee table photography book I have created, can stand alongside the best images by some of my favorite professional photographers.

As with the musical example, given how much joy I derive from my photography and my ability to produce images with such quality results, I have a hard time seeing this as anything but a positive historical development.

Except…

Example 3: In my capacity as a writer, I have seen the impact of the digital revolution on my own profession. Yes, more and more authors can now reach readers. Authors who might otherwise have never had a chance to get past the gatekeepers at major publishing houses, can now put their stories within reach of audiences that crave what they offer. This means that unconventional, risk-taking stories can now be told and sold. It means that diverse voices now have an outlet for their work. Authors of any race, of any gender identity, of any sexual orientation, of any religious or cultural background, now have an easier time making themselves heard. I welcome all of these changes.

But those of us who are familiar with the publishing business also know that the democratization of publishing has not been an unalloyed good. Yes, eloquent voices who for too long were excluded from mainstream publishing are now reaching audiences. But there are also too many books being produced that require substantial editing, but aren’t getting any. There are too many authors now being published who weren’t excluded from the field because they were innovative or speaking from underrepresented groups — they were excluded because they had not yet mastered the rudiments of writing prose and creating narrative.

I know lots of young, talented authors — of different genders, races, cultural traditions — who are deserving of success in publishing, but who can’t make themselves heard in the new marketplace, because that market is already flooded with stories, many of them of questionable quality. Because I know the publishing world so well, I understand the nuances of these new dynamics, the good and the bad.

And I find myself reconsidering all that I said before about music and photography. I don’t know those industries the way I know the literary world, but I have to imagine that musicians and photographers face the same struggles and frustrations writers do. I do have a friend who is a professional photographer. He is successful, having worked for years for National Geographic and other prestigious publications. I know the fact that amateur photographers like me can now make our work look “professional” has made his business harder to maintain. I have no doubt that many professional musicians face similar challenges. So all the confidence I expressed earlier in this piece, about how the opening up of technologies in music and photography to everyone is nothing but good — that now strikes me as ill-considered, a reflection of my ignorance.

I have no answers. To be honest, I’m not entirely certain what questions I’m asking. I simply know that the artistic world has changed thanks to digital technology and the opening of artistic industries to everyone from the most advanced professional to the laziest weekend hobbyist. Lots of good has come of this. But for those who make their livings in the arts, these changes, taking place on a historic scale, present new and daunting challenges as well.

Blogging, D.B. Jackson, David B. Coe, Writing

Writing-Tip Wednesday: My Favorite Computer Applications

A few weeks ago, in response to another plea on my part for suggestions of things you all would like to see covered in these Writing-Tip Wednesday posts, someone mentioned that they would appreciate my take on various writer tools and resources. This reader had in mind computer applications and the like, and I will cover a few of those today. But I also thought of book resources that I draw upon regularly, and that will be the topic next week’s post.

For this week, let’s begin with a couple of basics. The app on my computer that I use the most – and I mean by a long shot; it’s not even close – is my word processing software. I have always hated Microsoft Word. Always, always, always. And my antipathy for the program goes far beyond my visceral disdain for Clippy. I simply don’t like the way Word looks, the way it works, the way it “feels” when I’m writing. Early on, back when computers still had a sheen of novelty, I used WordPerfect and loved it. Today, I use a word processing software that is, to my mind, the closest thing to WordPerfect that one can find. It’s called Nisus Writer Pro. It has all the things you’d want a word processing app to have – including a dictionary and thesaurus and all the formatting bells and whistles. It saves files in Rich Text Format, but can also save them as .docs to be Microsoft compatible, and exports them as .pdfs to facilitate document sharing. It has Track Changes and Comments and both features are fully compatible with Word, so you can edit with others across platforms.

“How much does it cost?” you ask. This is the amazing part. It’s $65.00 new. The one catch is, it’s only available for Mac users. Sorry. But if you are a Mac user interested in an affordable, professional-level word processing app, this is the one for you.

My other favorite writing app is Scrivener. Scrivener is made by Literature and Latte and it sells for $49. It started as a Mac-only program, but it now comes in a Windows version as well. Same price.

Scrivener is like that amazing Swiss Army Knife you have that has twenty-seven gadgets on it. Chances are, you might only use seven or eight of them, but it’s nice to know that they’re all there if you need them. I use Scrivener for a few things, but I am fully aware that I have barely scratched the surface as to its capabilities. I tend to use it as an organizational tool, a place in which to create and store character sketches, setting descriptions, and general documents that serve as my conceptual framework for each book. I store all of my research in Scrivener – the app allows me to import web pages so that I don’t have to go hunting for them once I’ve found them.

I don’t use the Scrivener word processing feature because I’m picky and I like the look and feel of Nisus Writer Pro. But with Scrivener you can outline your book, write it, and then export it into various formats, including .doc, .rtf, .pdf, OpenOffice, epub, and Kindle format. Better still, you can write the book as a single document, OR you can write each chapter, or even each scene as a separate file. The advantage of that approach is that Scrivener then allows you to shuffle files around until you have found the perfect structure for your project. Pretty cool.

I also use Pages, the word processing app that comes with Mac computers. I don’t think much of it as a straight word processor, but I use it for my newsletter because its graphic features are incredibly easy to use. That would probably be the one place where Nisus falls flat. I know there are fairly strong graphic features in Nisus Writer Pro, but I have never found them intuitive or easy to use. Pages is weak in other ways, but it does make a nice newsletter (or party invitation, or flyer, or… etc.). And it interfaces seamlessly with iPhoto, allowing me to import images of my photographs and book jackets with ease.

As a bonus addition to this post, I would like to recommend an app to the photographers out there. I shoot in RAW format and I used to process my photographs with Adobe Lightroom. Then Adobe went to its monthly subscription payment structure, which totally pissed me off. So I did some research and settled on a new RAW image processor: DxO PhotoLab. I could devote an entire post to describing all that this app does, and perhaps at some point I will. For now, suffice it to say that there is literally nothing I want to do with my photos that I can’t do with PhotoLab. DxO has a comprehensive library of profiles that enable the app to automatically make camera and lens specific adjustments to each image. It literally has a profile for every combination of camera and lens made currently or in the past by most major manufacturers. It is as powerful as Lightroom, and in many ways far better. (For instance, I found that Lightroom washed the color out of my RAW images, forcing me to push the vibrancy and saturation in processing more than I would have liked. PhotoLab does a much better job of preserving the true color of the captured image.) It is not expensive as these things go – $129 for the basic program. $189 for a suite that includes two other useful apps.

So there you go. These are the creative programs I use most. I hope you find them helpful, too. Next week, my favorite book resources for writers!

Keep writing!