31:Tb30,md`
### 1. READ: Recently I have been doing a lot of analog photography and have spent a lot of time in the darkroom printing. When I was reading Vera Molnar's Article, I cannot stop myself comparing my own wroking style and experience to the way she works. She first mentioned that she like the combination of shape that cannot be found in nature. This is interesting to me because I often heard people say they inspired by nature and try to capture or recreate the natural scene, shapes or lighting in their work, etc... When I am thinking of my own photography work, I also like the idea of not thinking it as taking photo of the reality. Instead, I like to think of it as image making, which not nessicerily reflects the nature. She later mentioned that she want to find some principle of aesthetic that most people can agree on. I often feel that many people are trying to generalize artworks. While I tend to try to values some very subtle details and spirits that lies in the culture and traditions that makes the work special and inreplaceable. Her goals seems to be contradictory to my ideology from the surface. However, she mentioned that she is not trying to over simplify things and be arbitrary. Her sincere words and systematic and logical approach of testing and experimenting convinced me that what she is trying to find makes a lot of sense. She later established her way of working - Making a series of pictures that are alike except for the variation of one parameter is not uncommon. She demonstrate how she use computer to create similar image by changing only one parameter once in a time. This comparison method reminds me of what I do in the darkroom. She change the one parameter on computer each time and draw out by the plotter is very similar to test strip making in darkroom printing. Only changing exposure time, or only changing the contract setting on the light to project on multigrade paper. With mass and fast produced test print done, I can later compare the difference to get close to the wanted results bit by bit. The two disadventages that Vera mentioned also applies to darkroom printing. A good an efficient comparison workflow required good experience and proficiency of the craft to do it quick and precise. Also time is limited, I cannot print out all the combination and simply choose from it. Overall I think the article is inspiring. It gives me some concepts that I haven't thought about, gaves me some different perspective to what I think in terms of the way we view aesthetic, and it makes me reflect on my own process of image making.

testing strip making in Darkroom
from: https://www.35mmc.com/20/04/2020/cat-and-mouse-with-exposure-and-contrast-darkroom-technique-part-3-by-sroyon-mukherjee/

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\n

\n
\nIn a square canvas, there is a 19*19 grid of irraegular hexagons align with each other, with each hexagon takes up similar amount of space, like a puzzle. The left and right side of each hexagon connects with other hexagons are relatively vertical, which left two sides on both top and bottom, also connects with other hexagons. The top and botton sides can be either concave or convex kind, assigned randomly.\n\nThe hexagons' color are assigned randomly from five blue/green color:\nrgb(0,124,182),
\nrgb(0,126,139),
\nrgb(0,125,161),
\nrgb(0,72,208),
\nand rgb(0,50,169).
\nThe background color is rgb(245,243,238)\n\n`","pinned":false,"hidden":false,"mode":"ojs"},{"id":60,"value":"md`\n### 3. RECREATE:\n[p5.js page](https://editor.p5js.org/yangren72/sketches/MM_D8-xtK)\n

\n`","pinned":false,"hidden":false,"mode":"ojs"},{"id":65,"value":"md`\n### 4. ACTIVATE:\n[p5.js page](https://editor.p5js.org/yangren72/sketches/VLE_ya3u0)\n\n
\n`","pinned":false,"hidden":false,"mode":"ojs"}],"files":"$W32","stdlib":"1","titling":"auto"}