OK, OK- I Take It Back...

You know, the part where I go on and on about how much I hate that tiny, dark, next to worthless screen on my new camera. Well...

Photo: © S. Banos

There I was in the middle of the street in the midst of some truly gorgeous light, slowly inching my way forward till I stood right before this guy as he was looking every which way with my thing camera hanging out in front of me for all the world to see. Of course, I knew he would eventually catch on and charge me in a hail of cussing and commotion, but inch on I did, angling and framing best I could, since a posed portrait would have likely lost all life and spontaneity. Nevertheless, I was readying contingency Plan B on the first forward step, "Excuse me sir, I was wondering if I could take your..." And in the midst of all my frettin' and a fussin'- it dawned on me that I had already, instinctively fired the shutter. The deed was done! A veritable impossibility with an all too conspicuous SLR had been successfully realized and accomplished with relative ease! Up until that instant, I had looked upon the lowly LCD screen as little more than a barely tolerable hindrance; now I realized how that minuscule screen complemented the GR's overall stealth, also making it... very much the asset.

GR Update...

Yellow & White-  Photo: © S. Banos

No color, no photo; also like how the shadow partly obscures his face.

After my initial, short lived brush with beginner's luck, I immediately became both anxious and apprehensive- was the GR going to be just a simple snapshot vehicle for small curiosities (as with the two photos in previous posts), with only the rare out of character shot of something striving for more? Or was it going to be an instrument with which one could take consistently "serious" images as well? The only way to find out, of course, was to keep shooting...

Been a coupla weeks now, and it's been predictably frustrating at times, bust mostly quite productive and... fun! This analog dog is shooting in a completely foreign manner (ie- phone style), with a very foreign device (a digital recording mechanism), utilizing a very foreign medium. And I've also discovered I was wrong on several fronts. 

Valentine-  Photo: © S. Banos

"You a cop?" "Do I look like one? This was the much needed 2nd shot that confirmed the GR was indeed a serious imaging device.

First, size does matter; it is considerably easier to shoot on the street with a smaller, less conspicuous camera- particularly one that resembles the same basic size and dimensions of today's average, common place cell phone. I am now getting images that I wouldn't have with my SLR- does that mean that photographers haven't been getting similar images with say... analog rangefinders? Course not. Just saying that I am now getting images that I wouldn't have previously with my old Nikons. Part of that is also because I am now shooting with a 28mm (e), and (more importantly) I no longer have to manually focus (or even prefocus), or set exposure as before. That (to a large extent) frees one to concentrate on composing on that ridiculously small and dim viewing screen- which despite the difficulty (and my age addled eyes), can be achieved with regular practice and consistency.

Black Sweater-  Photo: © S. Banos

The sound of an SLR shutter directly behind her, and she would have been up and screaming bloody stalker, pervert galore!!!

Setbacks I've encountered include sometimes forgetting to set the proper shutter speed or ISO (don't wish to go full auto)- and sometimes my general disdain for said viewing screen makes me want to forgo the concentration necessary to ensure proper composition (when not shooting from the hip). But if I respect this wonderfully minuscule and capable device, it often rewards me with some pleasingly surprising results. The less than FF sensor still allows for crisp images and shadow detail, and the greater DOF is handy on the street. The lens performs even wide open and I'm enjoying shooting color for the first time in decades... Easily securing it in your jacket pocket sure beats lugging an SLR around on your shoulder- and it's near weightless within the confines of a camera bag. Now I'm scared they'll stop making the damn things, or make them bigger, or they'll be bought off by Hasselblad and sold for 3 grand a piece with giant, hand carved, wooden hand grips...

Shepard of Market St.-  Photo: © S. Banos

It's A GReat World

The Ricoh GR is incredibly, almost unbelievably compact- well built, like some kind of rare, precious object, and the quality one can squeeze from this diminutive operator is near legendary. It certainly doesn't supply the classic camera, tactile satisfaction, but being the rather unique creature it truly is, it nicely creates its own individual user aura. And because of that nearly non existent environmental signature- you want to (and can) take it everywhere!.

Photo: © S. Banos

Frankly, I detested the very thought of having to compose on a tiny 3 inch screen; it's hard enough trying to make sense of 'em in the best of light with glasses on- what chance does one possibly have in real world circumstances!?!? Easy it ain't; that still doesn't mean it can't be done... and the photo up top proves it.

I was left eyed all my life- until ten years ago when I developed floaters in that eye. It made focusing difficult- easier to change what side you bat from, what hand you throw and write with! Nevertheless, I was forced to adapt, and adapt I did. It certainly wasn't overnight, but with time and practice- I've been a right eyed shooter for several years now with no ill consequence.

Likewise, I was always a manual exposure, full control kinda guy; with the GR, I set the shutter speed and let the autofocus and other bells and whistles that I configured do what they do, while I concentrate fully on somehow trying to position that 3 inch rectangle. Problem solved? Yes and no. Not perfect by any means, but that selfie photo was done on the quick, in very BRIGHT light and is every bit as well composed as if I had done it on my F3. Beginner's luck? Believe it!!! I was damn lucky to get that shot on the second day with the camera, shooting in a completely foreign manner- and I'm sure there'll be many a cussing shit fit yet to come on many another occasion... Right now though, it seems almost magical that despite the odds- sharp, colorful, well exposed images manage to regularly pop up.

The GR opens some doors, while making you you jiggle the lock on others- you accommodate to it, learn its strengths and let it "free" you, or spend your time wallowing in its shortcomings. Why am I so much more forgiving of the GR than the full featured XT-1? Because: A) This was never meant to be a "do everything" camera, and B) It's near supernatural portability is, in fact, it's greatest technological feature and asset. Also, unlike the XT-1, where I was shooting similarly to my analog SLR (except with a crappy EVF that made shooting outside less satisfactory in every way), the GR forces one to use the LCD screen (a la Avedon shooting with his 8X10), or shoot from the hip- you can't condemn it for what it wasn't made to do; either way, people are less threatened by it since it shoots and looks as much phone as camera. Some photographers can't handle the 28mm coverage (too wide), I've been married to a 20, so it's a change for me as well, if from the other direction. But shooting in color with a 28mm isn't that bad for me, being that color adds so much more information- and that combo kinda worked out well for that Eggleston fellow as I recall...

Photo: © S. Banos

Must say, the add-on (3rd party) OVF makes it! Accurate? Hell, that cheap ass piece o'plastic'll give ya a goddamn headache if ya even think of looking through it!

This time round, I'm not particularly looking to make B&W files from digital, and although I've read the GR renders B&W well- when I specifically want B&W, I'll make certain to pack the Tri-X. One thing's for damn sure though, it takes well under a half an hour to process most color files! Having devoted myself to B&W most my life, I'm not at all well versed with color temperature, hues, etc, and am very happy to even go full, all out, auto color correction in Elements (again, see above). That's the other real world of difference, equal if not more so than the actual shooting experience- minutes for color in post vs days for (getting the tonal values just so in) B&W. That is truly miraculous!

Curing My Digital Impotence- Take II

Thought I was done with the very thought of digital for quite some time when I bought, and then rather quickly sold, my XT-1 last year. An ill fated love affair, I was done, cured, free of digital's ominous curse, and back in the analog arms of my one true love. And then something happened this winter that turned my head in an unforeseen direction...

The picture that started it all (over again)... Photo: Lisa Wood (aka- The Wife)

On my way to get a beer in the kitchen I noticed a small cute footprint on our living room table top. It was a very light and powdered print (probably made by the cat's litter residue), not easily seen. When I pointed it out to my wife she immediately reached for her iphone as I told her to wait until I turned the light on. As I took the two steps to do just that, she had already taken the picture, applied the proper "filter," and was posting it on Instagram.

Here I was, the alleged photographer of the household, and she had taken pretty much the exact picture I had imagined- while all I could do was think how long it would take me to: get the tripod, set up lights, look for close up filters... All to get as good a shot as the one above- now that set me to thinking...

What I really need is not the digital do everything (and more) equivalent of my current analog kit- I need a digital tool that will supply certain options... A camera that will allow me to: extend the winter light, get me the occasional square format photo, the occasional color photo, the occasional shot from the hip, etc. A tool (don't say iphone- just don't) that will help me do what I can't already do- at least not very easily. And on budget (of course), say... under $500!

Now I had several (used) options to consider: a Sony Nex 6, a Lumix GX1, a Nikon Coolpix A, a Ricoh GR (amongst others); all having their pluses and minuses. The Sony is fairly attractive, but the GX1 is a lovely little thing, and at $150 for a VG Cond body, ever the more attractive! You can get get inexpensive quality 28 and 40(e) lenses for it, and even an optional EVF- this started to look the winner. A refurbished Coolpix A (a formerly $1,000 camera) could be gotten for a cool $300, and then there was the GR, despite the cult raves- it doesn't even look the camera, not really. Time to think some more...

The Sony compact kit lens sucks incredibly bad at the wide end where I'd use it most, and their 28mm(e) pancake is no winner either. The price of the Coolpix A was tempting indeed- but no 4:3, 1:1 aspect ratio options! Did Nikon do that strictly out of spite? The GX1 seemed the hands down winner: good looking, interchangeable lenses, versatile- even an optional EVF! And that's when I really got to thinking...

This wasn't about a versatile digital replacement, already been down that road. And already learned that focusing and composing on an EVF is not my cup o' tea; could using an LCD be any worse? Maybe, probably- but this after all is going to be my emergency supplement camera, not my main squeeze. And that's when the Ricoh GR, the camera I had dismissed as some kind of cult freak toy really started to come unto its own as the most viable option. Here was a functional, bring anywhere tool that could fit my emergency needs as well as my pocket (literally and figuratively) quite nicely. When I saw a very minty version for $450, I bit.

Its actual usage remains to be seen, and I'm anxious to find out- but it's supernatural portability seems to guarantee it's longevity (even if the wife says I'll sell it within a month)...

The Analog Seasonal Blues!!!

“One of the things we’re sad about today is that Photographers don’t walk around with a camera all the time and photograph without a project.”          -Richard Benson

Ain't that the truth...

Which brings me to the point, that every year at this time... I flat out freakin' panic! Like many a serious amateur, I'm fairly religious (yes, I'm usually packin', except at night, when I'm happy to say- fuck it!). Consummate weekend warrior, I also try to finagle whatever lunch and break period one can during the live long, work a day week. But November thru February are the pits. Go home from work in the dark, wake up "late" on weekends at 9, have a lazy breakfast on the computer, household chores for a few minutes, and its 2 'oclock- 2 hrs before it's dark, and considerably less should you happen to engage in an errand or two....

This is when I grow desperately jealous of my digital brethren, all they need do is raise their ISO setting- easy peasy! So my analog only will frays and goes fickle, my eyes start to stray and wander as to what it would be like to own a brand spanking new X70, or (considerably more feasible) how about a used GR?!? Just point them things anywhere, anytime- don't even have to look! Every winter solstice I persevere through this, and even after purchasing a top of the line XT1 last summer (and selling it within a month), I still wonder if I could better endure these dark seasonal passages if only I had a little digital something, something- anything to raise my hopes and ISO...

Honestly, not much going in the winter months unless you're into winter sports or snowy scenics. People don dark formless clothing, moving about from one indoor place to another; the photo ops they help create in the casual summer months are noticeably absent- how many all time, memorable photographs can you remember with knee high, pee stained snow banks in the background?

So why sweat it at all? Soon the light returns...

This baby still looks like what a digital 21st century camera (from the future) should look like!

It's Personal...

I'm in absolute love with this camera. Previously, I kinda liked this camera. I like the camera above much more for it's dials and retro styling- it looks like a classic, cool, hands on camera (essentially, they're pretty much the same). The thing is, with either one, I imagine myself surreptitiously walking about effortlessly taking the most incredible street photographs with every step I take! There'd be nothing to stop me, I wouldn't know what to do with all the great photographs I'd take- if only I had one of those damn cameras!

There's only one small problem... the one called reality. Years ago when I lived in NYC, I tried to be that incredible, quintessential street photographer- and pretty much, flat out failed. That's not to say that I didn't succeed in getting the occasional  worthy shot, it's just that I eventually realized that it just wasn't really my thing and had little to do with the camera. And although I continue to photograph on the street to this very day, I don't (as would many a self professed hard core street aficionado) consider myself a true "street" photographer. I think I'm what is now referred to as a "flaneur,'" which sounds very much like some kind of lackadaisical French pervert in a flannel shirt.

But this new digital wonder changes everything! It doesn't matter that I actually held the GR in my hands last year and realized that with my close up vision now comprised by age, that tiny screen was rendered pretty much useless w/o also donning my reading glasses (in addition to being useless in the sun). With this gorgeously compact and totally inspirational X70, it just wouldn't matter that I would either have to compose completely on the fly, through a guesstimate OVF add on, or take five times longer figuring out a way to flip the screen in some magical direction for a shot which had long ago passed... I would just be that much better is all.

Truthfully, either one of those cameras would probably get me the occasional, serendipitous photo here or there from the hip. Would either be worth the money I don't have- most likely not. But a guy can always dream...

PS- What I really would have bought is an X100 with a 28mm(e) and a 21mm(e) converter. That's-no-lie.

Glass Key In A Modern Landscape

Recently dropped by Glass Key Photo here on the Lower Haight in San Francisco and was both happy and relieved to see that they very much appear to be thriving. This is a small "mom and pop" type affair (ie- not your usual corporate, conglomerate retail photo enterprise) that consists of a small but well stocked, second hand, film camera store complete with various format bodies and lenses in good cond and at very reasonable prices, along with paper, chemicals, film and other accessories... in addition to housing a rather nice gallery space.

Consummate gear hound that I am (needed a body cap), I came upon a small crowd ogling, handling and yes, purchasing a variety of bodies, lenses, etc- and these were majority twenty somethings. Make all the hipster remarks you want, but if these are the people to keep film alive well into the coming decades- more power to them, cuz us geezers only have so many years left. Anyway, it was nice to see things coming along- not to mention catch the exhibit by Marissa Rocke.

Raccoon, Washington Township, Pennsylvania by Marissa Rocke from Modern Landscape

Modern Landscape offers an unsentimental though touching view of various road kill portraits taken on Ms. Rocke's travels. While some appear blissfully asleep, others are obviously in various degrees of decay and disarray- but curiously manage to retain some semblance of beauty, grace and dignity. And having a quality show to look at definitely makes for a complete experience!

Fantasy, Reality & A Few Bits In Between...

 A little levity for the masses...

Yes, things have been pretty quiet 'round these parts; ya know what they say- no news is good news. I was recently saddened to hear the ongoings at B&H, I had done business with them for decades and it was heartening to see a multi hued, multi ethnic sea of faces whenever I visited. Sadly, it does not appear all is at it seems... Cheap prices, come at a price and it's always interesting to hear how many people just don't give a rat's ass as long as they get a few bucks off their L lenses (and don't have to work in their far from public view warehouses). Not gonna rehash everything I said there, but the issues raised accurately encapsulate modern economics, prejudice and society as a whole.

Elsewhere, elephants continue to be slaughtered- forget the solitary big game assholes, I'm talking the wholesale slaughter for the continuing Asian market in ivory. And forget the glaciers, the tundra is now melting as we continue to mindlessly plunge this earth headfirst into the abyss, blissfully ignoring we seal our own fate as we do so...

Whatever photographs do survive into the next century will serve as bleak testament to a memory of how people happily carried on as the signs of the planet's demise danced all about them. They will view them with curiosity, longing, and utterly justifiable rage.

(Way!) Long Overdue Tech!

Bet people would have been salivating just to stand in line for a chance to buy this simple piece of low budget, common sense tech back in the day. Don't have the need to use one anytime soon myself- only question is... Why'd it take so freakin' long!?!?

My Not So Torrid, Middle Aged, Digital Fling

After decades of rigorously maintained analog self control and moderation, the very first chance I got a little extra change in my pocket, I immediately made a play for the young hot bod housed in the petite looker known as the Fujifilm XT-1 (complete w/14mm). The mere sight of her drove me crazy with desire- all those buttons and dials to press and caress amidst her tight young curves... OK- Enuf.

  

Love those muted greens.   All Photos: © S. Banos

Yes, the XT-1 can deliver the goods, it has also driven me half crazy getting to know it. The first few days were absolutely maddening- pressing every wrong button for every wrong reason (purposely and accidentally). We're a tad more acquainted now, starting to respect each other's space and preferences. Still, there is a very palpable tension between us...

The main drawback remains the EVF which may be the best out there, but still looks like a vintage era color TV from the '60s if you ask me. It's especially annoying in changing, contrasty light, as well as sunlight, where seeing what's in the shadows is particularly difficult- particularly ironic since one thing this camera can do is render shadow detail extraordinary well! The body is superbly compact but that also causes one to push things one doesn't want to- at least I'm getting familiar with how to undo it. 

Did notice slight shutter lag for high speed action shots.

I came back from my initial real life, field test (see results) fully prepared to put it up for sale on eBay. It hadn't been a fun experience, and had really missed my Nikon analogs. If there's no joy in the actual experience- what is there? Case closed. But before I got to actually packaging the camera away, I decided to take a look at said photos, and... First, there were the colors (and you must understand that except for a literal handful of SX-70 shots, I have not shot color since 1978), some lovely reds and muted greens- Wow! And it complemented the compositions, it wasn't just filler. OK, fine- but back to reality, I still wanted to know how it performed as a tool for B&W. I completed my first B&W conversion, and it came out... OK. Amazingly, while the color corrections took mere minutes, it was still a slow drive getting the local tonalities in B&W down pat (although selections were easier). But in the end, it still had that plasticky digital look- it needed.... grain. It had to have grain to feel "real." Fake grain for authenticity, Stan? Really? Yes, it's one slippery slope...

The self professed "King of  Pain." Yes, that is a taser. Yes, that is a (very) sensitive area.

I had read how grain software was pretty awful at best, but reluctantly went ahead and... I've been looking at 35mm Tri-X grain for decades, and this fake shit looked looked pretty damn good to me. Scanning B&W negs somewhat exaggerates grain, so I didn't pump it up as much (the grain software can be infinitely massaged or intensified) as it appears on my scans, gave it more a Plus-X feel- but it was enough to soothe the craving, and rid the image of its digital curse. It had achieved the look and feel of B&W film.

Relationships- they need constant work and attention.

So is everything copacetic? Not really, I may still sell it. Or I may sell all my analog film stuff to finance 28 and 40mm equivalents. I honestly don't know right now, but I can't afford to keep both. The film cameras are fun, simplicity and ease in the field- they can also last me a lifetime. The digital is more a working tool with various perks, like getting color & B&W (and a 1:1 crop) on demand. It's definitely not a one night stand, I just don't know if we're ready to commit just yet.

Japan Camera Hunter- In My Bag

Always been a big fan of the In Your Bag section (live vicariously!) of Japan Camera Hunter, yesterday I was honored to be featured...

Important Analog Firmware Update!

Least, that's what I call... Daylight Savings Time! For those of us still operating with a set ISO, one that does not extend into six figures, that extra hour of daylight is one helluva glorious thing... Welcome back!!!

G.A.S. By Increment

Lately, I've been thinking of getting one of these: incredible image quality, compact as hell, and on sale! Actually, if I still lived in NYC, I probably would have pulled the trigger just to try out on the street- even though it provides absolute zero in the way of: physical, tactile, aesthetic connection. But Stan, for just a couple hundred more, you could pick up one of these: just a tad bigger with the same basic profile, but a whole lot better looking, an EVF, and interchangeable lenses. Hhmmm... But hell, if it's a system you're gonna go for, might as well just spend a few hundred more and go all out for the camera you really want with the money you don't have!

The NY Report...

Well, the Climate March in NYC on 9/21 got 350,000+ people, considerably more than expected (approx 100,000). And what was especially good to see was that it wasn't just the usual gang of aging White hippies out there- it was multi-generational, multi-ethnic and multi-racial. And it's a damn good thing we protested on the streets of midtown (not to mention the sit down event the following day near Wall St.), because they weren't letting anyone anywhere near the UN building on the the day of the actual conference on the 23rd. One of the coolest things of the whole event was when the march stopped dead at 42 St. between Broadway and Seventh and had a moment of silence for Mother Earth- never did hear Times Square quite so eerily silent in all my years...

Sadly, the protest is merely an exclamation point, one desperate all out plea for a reality check that will not arrive anytime soon; the real progress occurs behind the scenes, and suffice to say, I really don't think any real action(s) of consequence will occur until the tsunamis are licking at the doors of those in power in real time. Of course, by then, it will already have been far too late...

The Daily Show
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Meanwhile, NYC has managed to cram yet another several million people unto its streets since I visited last year, and it was while I was promenading through Bryant Park that I spotted the oddest looking tour bus ever, in which people are seated in rows, theater style, all facing one side of the sidewalk, with pedestrians literally on stage and on display- a much more unsettling experience than even the bizarre scenario below alludes to, I assure you!

Photo: Marc Bryan-Brown

Also couldn't help but notice that there were considerably more photographers of color out taking fashion and wedding photos (a good thing), more people of color in the NYPD (good if their diversity impacts the police force- and not vice versa, as is usually the case), and MOST surprisingly of all... more people of color in the dancing, chanting Hare Krishnas- talk about... unsettling!

Naturally, I went to play with all the new cameras at B&H, and I'm happy to report that there wasn't one I was truly excited about save for the Fujifilm XT-1; happy because there's no way I can afford one of those along with a couple of lenses, happy because I'll no longer be tempted by anything else, happy to remain happy with what I got.... And I'm also bizarrely happy, confused and perplexed to report that I didn't see one single book at Dashwood, MOMA or Strands that I absolutely, positively had to have- not a one. And lord knows I have enough relatively recent acquisitions that I have yet to pay adequate homage and attention to.

Couldn't get to a lotta shows since I had familial obligations to attend to (my 91 year old father was officially diagnosed with Alzheimer's), but did see Matt Black at Anastasia Gallery, and did manage to make it to Photoville on its last day. The latter was a bit overwhelming to do in just one day, even without attending any workshops/conferences; there was just so much there in all those assorted shipping containers- good, bad and indifferent, that in the end made for quite an impressive showing nonetheless. One was dedicated solely to James Nachtwey's work- always fascinating to see how he remains just one notch above everyone else's work in that particular "genre."

Gorged myself on Two Boots Pizza and donuts at the appropriately named Donut Pub on W14 St, but was disheartened to find that St. Mark's Books is no longer with us- that particular book store was to The East Village what CBGB's was to its music scene- RIP.

Meanwhile, Governor Cuomo of NY created a commission to examine corruption- only to disband it when it began to examine the festerings in his own backyard. And speaking of cover ups.... new mayor of NYC Bill de Blasio dropped the groundhog presented to him on Groundhog Day, which later died of internal injuries. The zoo however reports that the precipitous fall from the good mayor's arms had nothing to do with its demise. Why this came out in September, when it occurred in February...

Favorite T-shirt (particularly in these times when people my age are contemplating their own mortality while dealing with that of their elders): Too Old To Die Young (almost as good as the one I saw earlier this year- Don't Bro Me If Ya Don't Know Me).

Got four rolls to process and edit (a helluva lot for me), hopefully something to show for in the upcoming weeks, and will also be posting on my favorite new photographer spotted at Photoville. Oh, and one last thing- put my Tri-X naked into a clear baggie, asked for hand inspection, and request granted no ifs, ands, or buts... least at SFO and JFK!

Those Shooting Film...

Those of you us still shooting film should shoot a look at Aaron Brethorst's appropriately titled... I Shoot Film. Dissatisfied with The Massive Development Chart data, he set about compiling his own comprehensive film data chart-  in addition to the ultimate photo processing lab directory in these semi United States...

Guys With Cameras

A Whole Freakin' Caboodle's Worth...

Radioactive!

For the past several years I've felt very safe going on the occasional flight with film safely wrapped in my heavy duty, double laminated lead film bag designed to protect film up to ISO 1600. I was invincible, invulnerable, very much on the order of an aging analog demigod. But I recently read that all security has to do is ramp up their X-ray machines until they can see inside that sucker. Who knew!?!? Now, I really don't know what to think. Have they been double dosing their radiation all along to peek inside- or have they just quietly been giving me the pass? I have no clue... Actually, my film did go through a scanner unprotected when I visited the WTC memorial a couple of years back (the cops weren't making any exceptions). I somehow managed to keep both mouth and emotion in check- fortunately, no dire results; but no one wants to have their film X-rayed, voluntarily or otherwise- and sweat to see what does or doesn't happen...

Current wisdom says to just put the film naked in a transparent plastic bag and kindly ask security to hand inspect. For good measure, it's also said one should throw in a roll or two of 1600 ISO film, since 400 ISO is officially touted as the magic cut off point of the scanner safety limit- the high ISO presence would hopefully provide the needed incentive for them to grudgingly acquiesce and hand inspect.

So the question remains... this Sept. when I'm off visiting the folks in NYC, do I continue with the "if it ain't broke, don't fix it" approach, or do I dispense with the supposed facade of (non)protection altogether, and accept the possibility that I've just been flying lucky all along???

Algorithm Madness!

It's bad enough that photos look different on each and every monitor in existence (and at every possible screen angle) as far as exposure and contrast is concerned, but what really drives me crazy is that after I struggle to get the contrast just right in Photoshop Elements, the contrast goes several grades down when viewed on Windows Organizer, back up when posted on Flickr, and of late- Blogger seems to soak up contrast like some kinda freakin' sponge (which was never the case before); needless to say- all on my home monitor. I've learned that how it appears on my organizer is how it most closely appears in print, but the rest of it is sheer, utter madness...

Close (but still no cigar)...

As far as buying my first breakthrough digital camera that is. If I had the $$$, I'd buy the Fujifilm XT-1 with 20, 28 & 40mm equivalents- case closed, set for life; but I don't, so I won't... 

Considered a Sony a7- can use all my Nikon glass on a super compact FF body! Except the bulky adapters would throw off the whole balance and size thing! Might as well go for the Nikon D610 and get a real OVF and complete manual controls- but I'll honor my oath to abstain from bulbous DSLR's.

The Olympus E-M10- cute as a button, but no real WA primes beyond 28mm equivalents; the Olympus 12mm is soft and expensive, and the WA zooms are way too horrifying to contemplate with their telescoping, penile proboscises. Those zooming protrusions put such a royal hurtin' on my eyes and sensibilities, I couldn't care how good they are. But Stan, they're just tools- it's stupid to buy things just on looks. No, not just looks. Cars are transportation tools; most new cars do their thing well (like most new cameras)- and while we can't all afford the most pleasing to our eye, we at least settle for... the least offensive. So why is insisting on photographic tools that do not assault our overall aesthetics any more crazy (unless you need a very specific tool for a very specific reason)? Meanwhile, third party lens offerings are bulkier and tend to defeat the size advantage of the m4/3 format, and the Panasonic (non telescoping) WA zoom is too expensive, with an engorged front element that simply begs you to scratch it and watch you cry. Yes, I really have thought this out.

Fact is, I'm not that prodigious a shooter, and fortunately, I'm still having fun with my F3 and FM3A. We'll see what happens in a coupla years when the organic sensors kick in, I should have won the Lotto by then, or at least have bought a ticket.

Anyway, lots of very interesting things heading down our way- and I still continue to throw wayward glances at this lovely lady...

Faster, Bigger, Smaller, Better....

I'm always amazed at the plethora of internet camera buyers. Every time they add a number, reverse the number, add a letter, a megapixel- they're out there buyin' anew. Must admit, I too felt really insecure by the digital juggernaut at the turn of this century. I had looked down on it all along, until one day I noticed it was all around and looking down on me. My mistake. So I went about relearning the wheel best I could, and there are still a lotta spaces between the spokes. But at least I'm now at the point where I don't feel a complete outcast, despite what others may think. And to them...

Anyway, up until now I really didn't even feel the urge to switch. I was happy with film, still am, but recently I've had palpable pangs of envy now that there are digital cameras that I would actually like to own, use, or at least try. Slowly, I'm starting to get over this recent lust, and looking at digital B&W over the internets again helps a long way- their sensors handle subjects in open shade remarkably well, more contrasty lighting though can look questionable, even downright nasty... Think I'll stick to the original game plan of waiting for the organic sensors to debut with there alleged promise of increased dynamic range with more "natural" tonal values- and hopefully, I'll have won the Lotto by then to afford one, presuming, of course, that I start playing. In the meantime...

This guy gives me hope, he don' need no stinkin' digital...

Photo: Thomas Alleman