Estate Find XXVI

Kind of a repeat on this one, but I still wanted to feature it to show what a full-grown adult looks like (the one on the right, I mean.) It’s been hotter than hell here the past couple of weeks, making even being outside uncomfortable and actually a bit risky, thus I had fewer opportunities to snag something of interest. So we have this little girl (I think, anyway):

author holding large specimen of eastern kingsnake Lampropeltis getula, by The Girlfriend
That’s an adult eastern kingsnake (Lampropeltis getula,) of which we’ve seen a quite small juvenile before. The Girlfriend was the one that spotted it, though she’s not fond of snakes at all and gave the barest description as she maintained a safe distance, at least until it was in hand, and then agreed to get the photos – she’s fine with a close approach as long as I’m in control of the snake. This one was quite impressive, likely 1.5 meters or so in length, and behaved herself remarkably well; The Girlfriend told me that the snake’s tail was vibrating in typical warning fashion as I picked her up, but I was barely restraining her, only keeping her supported as she tried moving along, so the warning signal ceased after only a few seconds, and she never made the slightest attempt to bite.

author holding large specimen of eastern kingsnake Lampropeltis getula as the tail grips his elbow, by The Girlfriend
I’m saying “she” because the snake displayed a trait that often denotes female: the sudden tapering of the body girth at the tail after it passes the vent/cloaca, vaguely visible here at the point of my elbow. The males usually display a uniform taper all the way along, though these traits aren’t dependable ways to sex a snake; that requires a specific reptile probe, which should be of an appropriate size for the specimen so an entire set is recommended, and I don’t handle enough snakes nor have the need to accurately determine sex, so I’ve never bothered. The Girlfriend wanted to show how the snake’s tail was gripping my elbow for leverage, and this image shows the back coloration (in contrast to the belly in the previous pic,) so it works for me. But then I took the camera from her for some detailed portraits.

large specimen of eastern kingsnake Lampropeltis getula in author's hand
They really are gorgeous snakes and I’m always pleased to see them, but more so when they’re this size. I held her long enough to get adequate photos, and then released her back where she’d been found. She made another appearance a few days later, slinking alongside the house near the kitchen window, so she’s apparently staying in the area. We’ll see if any newborns turn up in a few weeks (or if I stumble across the eggs someplace.)

My kind of summer weather

So, really last night now, we were receiving warnings of dire storms to pass through the area, with conflicting time frames, but I was ready for them regardless. I’m fine with sunny clear weather, and even lightly overcast days, because each has their own light quality for different subjects, but when the weather itself is a subject, good bracing storms are a lot more fun. Not too long before sunset, the sky was uniformly overcast but throwing out multi-level clouds with some nice shapes.

low-level cumulus clouds below overcast deck
This is facing east-northeast, the sun largely behind me, and you can see that the sun isn’t having much of an effect. I went inside for a short while, and we have only one window that faces west with any kind of view; as I passed it just a little later on, I saw the sky in that direction was suddenly brilliant orange. The neighborhood pond is a few minutes away, so even though I scampered right out with the camera, I could see the color fading even as I tried to get clear of all the trees in the neighborhood to have a nice view. It was fading as I got there, but not so much that all hope was lost.

stormy sunset colors over pond
Somewhere over the horizon, the sun had found a break in the clouds even as it was setting, and the North Carolina skies in this area (who I’m convinced are at least semi-sentient) had done their damnedest to try and clear completely before sunset, as is their wont, but the approaching storm was stronger. As the light changed, the clouds were also twisting and shifting at a pretty good clip, betraying that the high-altitude winds were much more active than the dead air down where I was. I played with some frames of opportunity.

twisted colorful sunset clouds surrounding pine branches
The fit was pretty good, really – how could I pass this up? Yet while the sky was so dramatic, it wasn’t really evidence of an active front yet, and the lightning tracker app indicated that electrical activity was still a ways off. I did a few photos of opportunity, but it was incredibly muggy out and I decided not to wait for the storm, which might still be another hour.

I kept an eye on the online tracker, and was back out just shy of an hour later, when the sky had gotten properly dark. It was certainly active then.

lightning stretching across sky
This is just faintly out of focus, and I think it’s because of the peculiarities of the Canon 18-135 STM lens, but I’m not going to go into technical stuff right now – suffice to say that I’d switched to manual focus because there was no light for autofocus, but manual focus is not entirely manual for that lens. Later images are fine, though.

There were three active cells within a 90° arc from my position, and it was tough trying to determine where I should be aiming, much like trying to decide which lane is fastest at the supermarket (and entirely unlike trying to decide which lane is fastest in a traffic jam because they are all averaging the same speed you morons.) I certainly missed a couple of good electrical discharges, but I got enough to make the effort more than worthwhile regardless. Even if they looked a little weird.

star pattern lightning display over house on pond
This is fairly wide angle and cropped only slightly, evidence of a multiple-bolt discharge centered on that one point. Also evidence that I can’t level the camera after all these years, but c’mon, it was dark (we’re going to conveniently ignore the fact that the 7D has a simple built-in leveling function that takes two button presses to activate.)

fanlike lightning pattern over trees
This was the second cell, and has been cropped to vertical to enhance that fan pattern from the lightning arms. It would have looked good on video, perhaps, because they spread across the sky like roots, but I knew that video would be largely grainy without any of the sky definition that time exposures provide. Most of these are about 20 second exposures, by the way.

convoluted clouds illuminated by lightning
This was the third cell, and you could almost stitch these above three images together into one complete panoramic, with this one being the rightmost. It produced a lot of bright flashes, but they were mostly hidden by trees from my vantage; had I moved to see this one better, the others would have been obscured. As it was, this lightning in this cell seemed mostly hidden within clouds anyway, though it did define those well for this frame at least.

The storms were getting closer, and while few ground strikes were in evidence, the activity was stretching more overhead, and I’ve had experience with that before; it was getting time to pack it up. I waited out one last decent strike, as long as it happened within two minutes, and I wasn’t disappointed.

lightning stretching across entire wide-0angle frame
This was the very last frame, which is a lot more cooperative than many storms that I’ve pursued. I’ve said it before, but I’ve missed a lot more lightning photos than I’ve gotten, because electrical storms are tricky and unpredictable, and even getting to a scenic locale when one threatens is very hit-or-miss – I’m lucky to have the pond so close by. Ideally, however, I want a very tall tower with a view to all sides, preferably where the mountains reach the sea at the edge of a tropical rainforest – with, of course, convenient shopping nearby that I could get to in my Lotus Esprit. All of this comes from people paying an appropriate amount of money for my images, of course…

Topspin

In table tennis (at least,) there’s a common technique where, when you return a volley, you snap the paddle laterally and introduce spin to the ball, which causes it to bounce erratically when it hits the table on your opponent’s side, hopefully causing them to miss the return. Topspin generally means the bounce will be very low and the ball even accelerates; usually, the only way to be ready for this is to recognize the paddle motion that causes it in the first place, to know how the ball will behave. This is about as sportsy as I get, and I’m sure others out there are bouncing around in their seats to correct me, whereupon I will simply delete their comments.

But all this is so you know what I mean when I say that today is Return with Topspin Day, when we either celebrate the best examples that we’ve seen, or try to produce one of our own. Of course, this can be figurative, referring only to an unexpected return volley for which there is no effective counter – we don’t have to be playing or even watching table tennis.

In that vein, I present a clip from, I dunno, forty-some years ago? From The Carol Burnett Show, a classic of sketch comedy with a fantastic cast, virtually always more entertaining than Saturday Night Live, not that this is a grand accomplishment. It is, however, one of the best moments of television.

A bit of setup. Tim Conway is the guy in the cap, recounting his experiences with elephants; Carol Burnett is the brunette to the right, a southern matriarch; Vicki Lawrence is the white-haired woman further right, Carol’s “mama” despite being the youngest of the cast (mid-twenties at this point, if I recall;) and Dick Van Dyke is at the far end of the couch. Tim, an inveterate ad-libber, had to finish his story before the skit could continue, which is exactly the kind of thing he preyed upon – no one knew what his story was going to be. Watch his impeccable timing.

I’ve heard two different stories regarding this clip. The first is that the director knew they were running long and urged them to keep things moving. The second was that Carol herself was adamant that people not break character or lose composure. We see how well both of these worked out.


I remember seeing this when it first aired (or at least a rerun within a couple of years,) and Vicki’s ultimate line was partially bleeped out, so it was decades before I knew she said, “Are you sure that little asshole’s through?” And as deadly as Tim’s story was, it was Vicki’s riposte that finished the game. I mean, no matter how much spin you put on a table tennis ball, you can only score one point, but Vicki’s return was fatal.

From what I’ve heard, that became a defining moment for this new character, enough so that a spinoff called Mama’s Family resulted a little later on; a short search will show you several clips where Vicki herself, a master of remaining straight-faced, defied her co-stars to remain in character.

Even though I have this clip saved on my harddrive, thanks to Miss Cellania for reminding me of it again.

On composition, part 28: The story

It’s been a while since the last composition post – I think I’ve covered nearly everything now ;-). But at the risk of talking out of my ass, I’m going to tackle an aspect of composition that’s often very important to get a good feel for, and I say this because I’m not as accomplished at it as I should be, and nowhere near as accomplished as many others. There are definitely some genres of photography that benefit more from having a story within the image itself (rather than, as my weekly posts have it, a backstory told orally,) but almost every genre can benefit from the ability to express one – it feeds that thing inside us that’s interpreting the image, not as a collection of colors and contrast, but as a scene, or idea, or yes indeed, a story. Yet, in many cases, it can be exceptionally tricky to pull off.

staged photojournalist illustrationThe first part that I’ll talk about is perhaps the easiest, which is illustration. Just about every photographer ends up tackling such a thing at one time or another; some of us do it routinely. But even product photography requires a certain skill to portray the product in the best manner possible – sometimes this is angle and lighting, sometimes this is the right setting or background, and sometimes this is elaborate staging. When we’re trying to show something in particular, it’s important to give the correct impression to the viewer, and the first step is knowing what this should be in the first place. Following close behind is detaching ourselves from the sense of place that we have, just being there, and recognizing whether or not the viewer can get the same sense (or, even better, an entirely different one that we nonetheless express, falsely as it were.) That might be a bit confusing in the abstract, so let me provide an example. We know, from simply being there, that we’re at the beach, or someplace late at night, or whatever, but the image doesn’t necessarily express this unless we include the necessary details therein. Conversely, many of my macro shots, while done in broad daylight, still look like they were done at night, because the aperture and shutter speed reduce the ambient light so far that it doesn’t expose the image very well, while the flash unit provides the main lighting for the subject, yet fails to reach the background. But even showing someone at their profession or hobby takes having an adequate representation of those within the frame. For an artist, it’s not enough to show them drawing on a canvas; we should have a variety of artistic tools visible as well. If we think of an image illustrating a pilot, we ask, what kind of pilot? Commercial, military, bush, glider? Only the knowledgeable viewer would be able to tell these from a glimpse of controls and gauges, so we need to provide more details to inform all of the viewers of what they need to know. Even the subject’s basic appearance and expression counts for a lot – a portrait of a nurse is likely to require an entirely different expression from a portrait of a judge, to give the impression that we want to give. And of course, knowing how to evoke these from a subject, especially so they look natural and not forced, is a huge skillset all its own.

black ant pyrrhic victory
[By the way, there are a couple of websites dedicated to bad stock photos, where the photographer put together several elements that they thought would express a particular idea while having no clue themselves how these elements were actually used – labware for scientists, for instance. Some kind of blue water always appears in a beaker or testtube somewhere, because chemicals are blue, right? There’s this curious balance point in such instances, because the photographer wants to adequately express the idea of the laboratory scientist, even to the uninitiated, while the reality isn’t very expressive in itself – yet if the sale is aimed at anything actually scientific, like a journal or textbook, the image becomes ludicrous. And we really want to see people’s eyes – it’s just our nature – but they’re not visible when a microscope is being used correctly, and that image probably wouldn’t sell. It’s fun.]

tourists trapped by snoozing Amercian alligator Alligator mississippiensisMuch harder is the genre of photojournalism, which is what most people think of when we talk about an image with a story. In most cases, we have no ability to stage any portion of the shot, or even mess with lighting, so we have to take it as it is and still get the message across. This means framing and timing become the most important aspects to control, sometimes the only things we have control over. Many times, it means anticipating some particular aspect – action or expression, mostly – and firing off the shutter the moment it happens. An acute awareness of everything in the photo is often necessary. I often tell my students about my wedding photography days, when I was after the ‘first dance’ of the newlyweds. There is actually a very narrow timeframe when the elements tend to come together, because if the guests are in the shot, you want them all looking at the happy couple with delight or warm expressions – one guest looking away, or bored, or eating, is going to spoil the mood of the shot, and this becomes more likely as the seconds pass. Meanwhile, try to find a shooting angle which shows both faces of a couple that are facing one another. And a decent background. And good lighting. These are the kind of things that beginning wedding photographers rarely realize are the skills they never thought to develop. Which is why I say that you save money on a photographer at your own risk.

[If you’re noticing that I’m not illustrating this post with many people shots, the primary reason is that I don’t post people without express permission, unless they’re unrecognizable or in a public place – but I also don’t photograph many people anyway.]

ruby-throated hummingbirds Archilochus colubris squabblingWe read the expressions of any given animate subject (and some inanimate ones,) and nearly every photo can benefit from having something more expressive, more emotional, than simply a straightforward shot. Sometimes it’s simply a matter of observation, and finding the right angle, but most often it takes timing and anticipation. It’s easier with people of course, because they express the emotions that we’re familiar with and we often know when they’re due to arrive. With animals it’s usually very different – most times it doesn’t occur unless the animal is relaxed and acting normally, which is much trickier for wildlife, but can even be a chore when the family pet knows we’re up to something. But for most species, they don’t actually express the emotions we recognize, and when we get something that appears expressive, this is more often than not simply a mistaken impression – which still works just fine, we just can’t anticipate or even provoke it.

And then there’s the scenes, the happy accidents that tell us something just from the details, the items in the image that have their own meaning or mood. A flower lying on the concrete can be simply trash, or it can have its own story (strictly imaginary, but that’s okay too,) depending on how we approach it – angle, lighting, and surroundings. We might wait for someone to walk past the flower, and shoot them receding in the middle distance from a low angle – in reality, the factors are unrelated, but the viewer puts them together and forms the story of the rejected lover or whatever. In such cases, we need to be alert for the possibilities and the moods that any given element might provide, and exploit them as needed. Remember that lighting plays an important role here, setting mood or even hiding distracting details, so knowing how to manipulate this to our advantage is a useful skill. Referring back to the macro comments above, know that you can underexpose an image intentionally and use a flash unit to provide specific light onto a subject or portion of the frame, rendering the whole thing shadowed with attention (the brighter light) drawn to just one region; the same thing in reverse can be done by strategically blocking the ambient light where needed.

The more of an emotional response we can provoke from the viewer, the more memorable our photos will be – for good or bad, it must be noted. Being able to evoke those ‘thousand words’ from our images can add a lot to the impact that we have.

The author's promotional self-portrait - now you know why he's not doing as well as he'd like
I’m throwing this in here, even though it falls more into the line of ‘career portraiture’ than ‘story,’ but as I said, I don’t do enough stories myself. Realizing about ten years ago that I had no images of myself that I wanted to use on the site, I set about to take one. The setting was pretty carefully chosen to reflect ‘nature photographer,’ using the little splash of fall colors that I had available. The light was muted, which kept the shadows under control, and from the right angle to do just enough shaping of my lumpy forehead. The branch in the foreground conveys a sense of discretion, of hiding in the foliage a little, as does the color of my shirt; the leaves actually fall into good positions for framing without blocking or interfering with anything. And while I liked this pose and used it, my arm is actually blocking the camera itself – that could be a spotting scope on the tripod. It would also have worked better to have a little light hitting the lens to give a bit of color in there. Had I been viewing this as the photographer, however (you know what I mean,) I would have changed some aspects: how the shirt was hanging, chin higher, left arm, things like that. But for this version I at least dubbed out the damned pine straw hanging on the foreground branch…

Monday color. And monochrome

sharp red pond lily
We’re going to go beyond a simple color post with this one, because it’s more interesting that way. I started off with a macro shot of a small (as yet unidentified) pond lily, which loses a little bit when displayed at this size because the contrast in focus is distinctive at a larger scale, but so be it. The contrast in color is distinctive too, and it’s images like this that make me start playing around in the photo editor to see what becomes of them in monochrome.

same image in red, green, and blue channelsI’ve mentioned this before, but reducing an image down to just one (of the three) color channels can produce quite interesting effects in monochrome; in this case, all three of them had their positive points. Digital images are made up of three primary colors, and even the monitor you’re viewing this upon is breaking the image down into those. Every color displayed is a mix of red, green, and blue pixels, which is what “RGB” even means. And for some images, removing two of the colors (usually called “channels” in editing programs) can produce a marked difference in contrast and rendition. From top, this is the same image in the red channel, then the green, then the blue – the blue is the most surprising, since it’s often the muddiest when doing this. So what you’re seeing is the relative strength of the red ‘light’ in the first of the three here, rendered as monochrome – in other words, only light levels, and counting only the red light. So the purplish-pink blossom becomes almost white, because it has a lot of red in it. And since purple is a mix of blue and red, when we go down to the blue channel at bottom, we find the blossom is fairly bright there, too.

But what about the leaves themselves? Why are they even showing up in the red channel when they’re green? But this shows us some of our bias, the simplifications of our color names, as well as a trait of RGB colors. The pads are actually more chartreuse, or yellowish-green. And a curious aspect of RGB coloration is that yellow is a combination of the red and green pixels – seems counterintuitive, but you can see it for yourself right here. Now, note the pad leaf directly underneath the blossom’s shadow. It appears the greenest in the full-color version, and it’s noticeably darker in the red channel, but almost indistinguishable from the others in the green channel; same amount of green, but less red, which (when combined) means less yellow. Simple, right?

If that’s not confusing enough, the leaves in the blue channel are darkest, because yellow (or red-green if you like) is the opposite of blue. For color editing, if you increase yellow, you’re reducing blue. Or just look at it as if you’re increasing red and green while leaving blue alone – same thing, really. But overall, each channel provides a different rendition and ‘mood,’ if you will, to the monochrome image; each might have its own application depending on what you want to accomplish with the photo. The red channel really highlights the difference between the blossom and its shadow, while the blue channel makes the blossom itself stand out against everything else. Just something to play with.

Now let’s take a look at using the ‘Curves’ function in Adobe Photoshop to tweak your images more to your liking; now that anyone can use Photoshop online for free, it’s easy for me to show techniques within the program without feeling guilty that not everyone will invest in a ridiculously overpriced (for well over a decade) piece of software. In Curves, you can change the brightness of all three channels, or just one channel at a time, very selectively. Let’s say you want to increase the difference in certain colors, but only in the brightest parts of the image, or even in a very narrow band of brightnesses – say, in a sunset sky. Take a look at the original straight from the camera:

Sunset over pond with subtle colors
Not an award-winner, but it was the sunset I had to work with that evening. You can see how the reflection of the sky in the water produces more definition in the colors than the sky itself, which got washed out a little bit – this is easy to do with sunsets, because there’s a huge difference in light levels between the sky and virtually anything else, and the camera can only capture a certain range, less than our eyes can see. Now here’s a tweaked version:

sunset over pond, enhanced contrast
There are only two changes: the light levels in the brightest portion of the sky right in the middle (where most people want to look anyway,) and the shadows down at the bottom. Now the contrast in colors stands out a little better, while the darker bottom gives slightly more sense of being under the canopy of trees. Never get too heavy-handed when doing Curves adjustments, because subtlety looks more natural.

Here’s what the actual Curve plot looked like:

sunset enhancement showing Adobe Photoshop  Curves plot
The black wavy line across the middle of that X-Y graph is the controller for the light levels from darkest (bottom left) to brightest (top right,) and always starts as a diagonal line, seen in ‘shadow’ behind it. Meanwhile, that spiky grey area in the background, running mostly along the bottom, presents the actual light levels captured in the image – a lot along the left side, meaning most of the image is black and dark grey, but a little all the way across (meaning the image has a range of light from pure black to pure white) with a few spikes at the bright end along the right, which is those sky colors that are almost washed out in the original. Think of it as counting all of the pixels and assigning a brightness to each; there are more dark pixels, so more in the bar graph to the left. When you click on that solid line with the mouse, you produce a point on the line that you can then drag up or down to make brighter or darker than the original – you can see I darkened the entire line a bit (deepening the shadows towards the bottom of the image where the colors got darkest) and did a lot of playing around at the upper end of the line, which made the contrast between very narrow areas of the brightest part of the image enhanced to a greater degree. It can take some experimenting to see what works best, but it’s my favorite method by far of tweaking an image towards the effect I prefer. Try it out on your own.

Remember, too, that you can do this for each of the three color channels, selectively enhancing the blues for instance while leaving the reds and greens alone. This is a good way of counteracting the color cast that might come with different light conditions.

And then, because I was once again on a monochrome kick that day, I converted the entire image to greyscale. In this particular case, no color channel by itself provided a decent effect, so I just went with monochroming (it is too a word) the whole image.

sunset over pond in enhanced monochrome grayscale greyscale
Monochrome is all about producing the best contrast, since that’s all the image has, so it benefits from tweaking the Curves much more often than color images. And in this case, the Curves got a greater kick because the contrast between the pink and blue portions of the sky became more subtle (or nonexistent) when the color went away. So, this:

Sunset in monochrome showing Photoshop Curves function
So much for subtlety, eh? But since the contrast between colors is no longer a factor, the contrast between light levels may need to be enhanced, and thus the wilder curves in the graph – it didn’t seem to become unsubtle in the image, did it?

Again, very little change in the darker portions of the image, because reflections from water are always darker than what they’re actually reflecting (polarized, too) and so they didn’t need much changing – always be careful not to make reflections the same brightness or brighter than what they’re reflecting, because it won’t look right.

This is all illustrative, because I wasn’t terribly happy with the originals in the first place (I’ve done better, in other words,) and the sky wasn’t ideal; for one thing, some of the clouds that were even catching the sunset colors were actually jet contrails, and too straight – you can see this along the left side, both top and bottom. I positioned myself among the trees solely to try and disguise this as much as I could, so you’re actually seeing fewer contrails than existed at the time. But there’s another artifact of tweaking the Curves that popped up, and you may have already noticed it. Look at the larger leaves near the top, just right of center – see the halos? Since they were out of focus in the original image, and thus forming a full spectrum along their edges between the blackness of shadow and the bright sky beyond, the selective contrast tweak became very unnatural right there (it appears, far more subtly, in the tiny leaves against the water right near center, too.) The History Brush, which reverts the image back to an original state only where you ‘paint’ it, might have helped, or just blurring the edges a tiny bit with the Smudge tool with a very small setting could have worked. I left it in because it shows how little telltales can sneak in and look weird during editing, so keep an eye out.

Experiment, get a feel for what works best for you, and have fun with it!

On capital punishment

Capital punishment yet remains a contentious topic, even while we’ve found comfortable positions on many of the moral issues we struggled with for centuries – slavery and racism, women’s rights, legal adulthood, and so on. Perhaps the biggest reason behind this is, there are too many factors that motivate a response, most of them emotional, and most of those have been bred into us for centuries. I’m going to take pains not to portray any stance on the topic, which hopefully shouldn’t be too hard, because I’m undecided on it myself.

First off, we have the justice system in the US, which has the goal of preventing crime, especially further crimes, and to do this, it has three primary facets:

1. Rehabilitate convicted criminals so that they may re-enter society in a functional, acceptable way;

2. Impress any potential criminals with the consequences of their actions;

3. Prevent incorrigible criminals from continuing to commit crimes.

Unfortunately, too many people don’t feel facet 1 is even viable, and in practice, it’s not demonstrating a very good track record, at least in the US. But also in here is the hidden motivation held by a lot of people, which is vindictiveness. This is kind of an emotional version of facet 2, in that it often qualifies the criminal offense beyond legal definitions, sometimes in the manner of who the victim is, sometimes in recognition of how closely we feel the crime. Someone who lives next door to a child who was killed is far more likely to demand a death penalty than someone who lives across the country. And there are, in fact, very good reasons for this. No, let me rephrase that: there are viable explanations for this, but these explanations deserve no value judgment. They are neither good nor bad, they just explain.

Our moral, social structure is something evolved into us over millions of years; natural selection guided us towards reactions that would create the strongest drive towards reproduction – doesn’t seem to connect in any way, does it? But reproduction relies on both survival and a strong tribe, among other things, and so we have a finely developed sense of what’s acceptable behavior within the tribe, and what’s not. Children are naturally our genetic future, breeding (literally) a stronger sense of protection over them, and our ‘neighbors’ – or immediate tribal members – are more likely to both carry similar genes, and cooperate with us in maintaining a strong tribe. So yes, from an evolutionary standpoint, the death of a neighbor child is worse than the death of an adult far away. But of course, this means that criminal acts can become too subjective, relying on the qualification from individuals as to how severe they might be; laws are a recognition of this problem, a fixed value of severity to attempt to rule out subjectivity. This only works if we realize why they are this way, and how variable it can be to rely on our bare emotional reactions.

Our developed sense of fairness comes into play, often with a simple comparison: how come a criminal, who has taken the life/lives of someone else, is allowed to retain their own life? Often it seems a shame we can only kill someone once, and in times past, capital punishment was occasionally carried out in gruesome ways. It is now usually considered bloodlust or barbarism, but we cannot ignore the basic idea that someone who has killed a lot of people can only themselves die once – the scales could not effectively be balanced with a simple execution. At least, if we consider “life” a measuring stick.

A variation of this might be our concept of “future.” We tend to be optimistic about the future, at least from a personal standpoint – we will be making more money, we will travel to that exotic location, we will finish that book we’ve been working on. But when it comes to the worst criminals, we don’t like contemplating the idea that anything beneficial might happen to them.

And then there’s simple fear. To a certain extent, the belief is that a severe criminal cannot be rehabilitated, and continually poses a threat to us as long as they remain present – this is exacerbated by the parole system, where criminals can often be released without even completing the term of their original sentence. This rarely happens in any capital case, the ones where execution would be considered a potential sentence, but this distinction isn’t recognized by enough people. Influencing this is the peculiar genre of horror movies, where the villain continually, almost supernaturally, returns from apparent death to wreak more harm before being dispatched in some spectacular way – this has never happened in real life (even Rasputin’s demise was less dramatic and possibly exaggerated,) but again, this distinction remains vague.

There are a few other factors, such as the belief that life sentences mean a criminal is languishing in prison with free cable TV and no bills or worries, not exactly an accurate idea. Or that the costs of their continued existence, paid for with taxpayer money, would be eradicated with a death sentence – in reality, executions cost many times more than a life sentence, through the exorbitant price of our legal system and the statutory appeals process. This far outweighs the cost of incarceration, which is considerably less expensive than living independently in any community. Too many of the factors upon which many people form their opinions are not accurate or realistic.

The rational argument often comes into play: there is nothing that can be done to reverse the crimes or ever make them ‘acceptable’ in some way – the families will forever feel the loss and anguish. From that viewpoint, the bare prevention of repeated crimes is the sole function, especially among those who recognize that capital punishment has never been shown to be an effective deterrent. In like vein (okay that was inexcusable, I admit it,) comes the argument that killing criminals makes society no better than those it wants to eradicate. Countering this, however, is the argument that it is not the action necessarily, but the reasoning behind it; consider that we celebrate Veterans’ Day here, essentially glorifying death as long as it’s “for our country.” Criminals, however, may act from a sense of selfish entitlement, unbridled rage, or even dysfunctional empathy, while capital punishment is intended to address how unacceptable this is within our society, as well as preventing it from happening again. If someone on the street stabs me in the bicep, this is a hell of a lot less damage and risk to my system than a surgeon removing my appendix; we have to be careful with how we’re measuring or viewing these topics, and why.

All of these, and likely a lot which I haven’t enumerated, crash together into the debate, everyone involved having their own personal recipe of motivations and considerations. Lately I’ve been considering an additional point, one that I haven’t seen mentioned yet I suspect more than a few people feel, at least subconsciously: capital punishment is not just for the criminal, but for the victims and families as well. It may be seen as demonstrating that we do hold the victims in higher regard, something that can often be lost when we see how oddly our justice system treats the matter. The accused are often guaranteed more benefits than the average citizen, from healthcare to attorney’s fees, concerns over humane conditions and even quick, painless deaths, while the families of such victims have to initiate their own legal actions (often at their own expense) just to obtain funeral costs or adequate compensation for the loss of a provider. There are also the rare cases when the accused is considered a victim themselves, suffering from mental illness, functionally incompetent, or (again, not often in capital offenses) a product of social failings. These – again, rare – cases may be taken well out of context, but more importantly, the problems with our legal system have no relation to what we argue for in regards to capital crimes, even when they’re intertwined.

Or, do they? There’s the perspective of a guilty person escaping “justice” (whatever that is,) but also the perspective of an innocent person being punished – this is where the failure of a justice system has a much bigger toll, and one that isn’t considered often enough. Very often, law enforcement personnel find fulfillment of their job duties in convictions, and elected officials will even run on their record of such. Yet convictions are not the key; accurate convictions are, and there is no worthwhile method of measuring these yet; perhaps there never will be. Juries can be biased over whether someone simply looks guilty, and we’re all familiar with the idea that an arrest means, “they got the guy” – before a fair trial has even taken place. This says nothing of the myriad issues with eyewitness testimony and the glossed-over weaknesses of various forms of evidence, ignored because they weaken the case (and thus the record) of prosecuting attorneys. Our legal system is not a game, but you couldn’t tell that from the attitudes and actions of most of those involved, who feel that a case can be won. The human element is a remarkably weak aspect in the whole affair, emotional and improperly focused and unable to wield, or even fathom, complete objectivity. We cannot even determine guilt, the truth of what occurred; all we can do is decide on what we believe occurred.

There is likely no easy answer to all of this, but to even guide us towards viable options, we have to agree on what we’re trying to accomplish, something that has yet to happen. Going back to the three goals of the justice system, we usually rule out rehabilitation as having any potential at all; that’s why capital punishment is even considered. Consequences are still often believed to be of some importance, even though this is most likely a kneejerk reaction; capital punishment does not demonstrate any deterrent effects, especially when those who we find most deserving are often socially dysfunctional anyway (that’s why they can commit such crimes in the first place – we’re usually not talking about the average member of the public and their social mores.) And when it comes to preventing further crimes for the individual, capital punishment and life sentences are equally effective.

But that’s not enough, is it? We want more, and I’m comfortable saying that this is because we have a drive to maintain a strong society; we want to weed out the bad elements, both by direct action and indirect threat (consequences.) We want to define our lives as being protected, mutually cooperative, and precious. There’s nothing wrong with this – we wouldn’t have survived without it, I’m betting. But how do these drives translate into an effective reaction to major crimes? Is it possible that we are driven, in part, towards execution for our own peace of mind rather than because it serves a specific function?

Most especially, is there a balance point between having a working justice system and believing it is performing as usefully as possible? It’s safe to say there is no perfect society on the horizon, no way that all such crimes will be forever eradicated, no matter what. But can we find something that a majority of people will agree is an adequate response to capital crimes? We easily recognize there is a debt, if you will, that can never be repaid. Or, is there? Is a portion of the problem solely in our perspectives?

Someone who loses a loved one over cancer may be motivated towards eradicating cancer, but overall, the loss is largely accepted as being something that just happened. Auto accidents are sometimes viewed much the same way, or sometimes seen as evidence that we are not accepting high enough standards for vehicular safety. But a murder usually becomes personal, and for far more people than the immediate family – this isn’t something that happens, but the actions that someone performed, deliberate and intentional; the more intentional and the more vicious, the stronger the demand for retribution. This is, again, those functions long bred into us for a cooperative society – we want to shape acceptable behavior for the tribe, and we can’t do this for cancer or random events, so these are viewed differently. But of course, beyond a certain point we can’t do this for people either; we just rarely recognize the futility of the emotional drive. Not to be too weird, but consider the woman who murders her husband for the insurance money; chances are, it’s not going to happen again, so the prospect of anyone else being in danger is not really an issue. Does that make it better? Yeah, didn’t think so.

Then there’s this little aspect that I don’t even have a decent name for, and forgive me for using this case example. It takes no effort whatsoever, at least in the US, to find those who have a strong opinion on the OJ Simpson trials, most especially the first; very often, you can find those who are quite sure what the verdict should have been. Curiously, none of the people I’ve ever spoken with about the verdict can enumerate the evidence presented and how it affected their decision – yet they’re perfectly willing to pronounce how the trials should have gone, and the flaws within. It’s not like the functions and purpose of our justice system are unknown or poorly illustrated, nor is it unclear why this is in place. But it’s disturbing just how few people accept this. From the incredibly ignorant practice of ‘trial by media’ to the fatuous argument, “Who else would have done it?”, our species is incredibly incapable of grasping the simple concept of, “Let’s see the evidence before coming to a conclusion.” These are the same people who make up juries. Is it even viable to believe we are capable of deciding fairly who lives and who dies? If and when a mistake is made, what do we decide to do in response to that? Are the same people who feel that wrongful death is punishable by death ready to step forward and strap themselves onto the table to atone for their incorrect verdict?

There are numerous contributions from our culture that affect our judgment as well. The phrase, “an eye for an eye,” is scriptural and extremely old, mixed in with passages about subjugating women and avoiding shellfish, but we can still hear it now, and a lot of decisions are based on a variation of it. Closely related is the idea of the ‘scales of justice,’ and how a punishment must fit the crime; this is nonsense on two levels. The first is, what purpose does this serve, and who stands to benefit? And the second is, we often don’t believe it anyway – employers routinely check into criminal records, and there are even laws requiring convicted child molesters to notify their neighbors, both of which demonstrating quite clearly that we don’t actually believe in either the ‘scales’ or rehabilitation (again, at least as practiced, or abjectly avoided, by the US legal system.) And then we have the peculiar currency of ‘life,’ often considering death the worst thing that can happen – yet when we’re dead, we’re not feeling anything at all, as opposed to any form of ongoing punishment. There are lots of ways to make people regret their actions, none of which will take place after death – and many of which impinge into the realm of barbarism. Once again we get into subjective ideas of what’s appropriate.

What if we ignored all of the aspects of punishment and revenge and deterrence, and instead simply focused on balance from a functional standpoint? There is no way, of course, to bring back someone who was killed, but what about seeing that the person responsible provides a positive contribution? Put them to work on projects that improve the community, or any community. No concerns over the cost of incarceration, no worries about criminals lounging around with free cable TV – and even a wrongful conviction doesn’t seem quite as bad then. This is actually practiced now, but to a very limited extent and, to the best of my knowledge, never with capital offenses. It isn’t exactly rehabilitation, but then again, neither is anything else currently in place for capital crimes, and in this manner there is a greater benefit than nothing at all.

Again, I’m not leading towards a conclusion; the entire point is to illustrate how many factors compete for attention, many of them emotional, some of those poorly applicable to the issue at hand. Like so much of human interaction, there is a broad emphasis on reacting rather than considering goals or functionality, usually without any realization that this is taking place. What we feel should be done is probably not as useful as establishing a goal and determining the most effective way to reach it – and this applies to a hell of a lot more than simply capital punishment, or any aspect of our legal system. But to go out on a limb here, I’m going to say that if we have a strong and immediate answer, it probably wasn’t reached by careful and objective consideration.