Photographs, Photographers and Photography

December 31, 2009

A revolutionary decade

Filed under: Photography — Thomas Pindelski @ 3:00 am

The 2000s will forever be the decade film died.

There’s a strong case to be made that photography experienced only one game changing technology in the 112 years leading to the end of the millennium, and that technology was the invention of roll film.

While dry plates were already in use when George Eastman introduced roll film in 1888, the change was revolutionary, taking the making of pictures – heretofore the province of an affluent few – from ‘artists’ and placing the enabling technology in the hands of everyman.

The first Kodak – 1888

I would go further and add that Kodak’s invention of Kodachrome – which did for color what the Brownie had done for monochrome – was a technological sea change of almost equal significance. Color was now available to anyone at modest cost with consistently assured results, thanks to Kodak’s outstanding quality control.

Kodachrome

Some might even argue that the invention of small cameras was as big a technological leap, one made possible by the existence of roll film. The Leica may not have been the first camera to bring high capacity exposure capability to photographers, but it brought an engineering standard that gave much the same guarantee of results as did Kodak’s roll films.

Thereafter much of what changed was simply variations on a theme. Rangefinders came and went. The pentaprism and flapping mirror (both on their last legs) – a mechanism surely invented by Rube Goldberg – prevailed for much of the last four decades of the twentieth century, but what lay underneath was still the same old roll film camera. There was still the agonizing wait while Rochester processed your Kodachrome, although always cured by the exciting arrival of the mail with that small yellow box of slides. I doubt that postmen have ever been as popular since.

There was, of course, one other technological breakthrough of enormous magnitude, but ultimately of little significance, and it too was the brainchild of one man. Edwin Land gave the affluent consumer instant results, first in black and white, later in color in the guise of Polaroid film. The process was rendered obsolete by the one hour lab which could deliver 36 beautifully printed snaps in one hour or less, making the extremely high cost of Polaroid film a thing of the past. Americans may be impatient, but they also know the value of a buck, and at a buck a shot compared to a buck for ten, the math did not solve for Polaroid.

But the first decade of the new millennium, which ends today, saw the first really significant change in mass market photographic technology since 1888, so you could argue that roll film is amongst the longest lived modern technologies known to man. Daguerrotypes, wax cylinders, shellac discs, vinyl LPs, CDs, DVDs, Cathode Ray Tubes, carburetors, propellers, drum brakes, magnetic tape, typewriters, recording tape, cassettes for film, movies and sound – all are dead or dying and none lasted more than a few decades.

That revolutionary change, of course, was the introduction of mass market digital technology and while I do not recall ever complaining that 36 exposures on a roll were too few, now a thousand or more on a postage stamp-sized memory card is viewed as the norm. And if that’s not enough, movie capability is taken for granted. In the short space of a decade, digital technology has largely equalled or exceeded anything available to its predecessors in quality, flexibility, size, price, speed, you name it.

Canon’s first DSLR – the D30 of 2000

You can read all about the first Canon-branded ’serious’ DSLR at DPReview which recommended it highly in August, 2000. Today even the cheapest point and shoot exceeds the D30’s specs at a fraction of the cost.

I, for one, embrace digital with open arms. Its democratizing features – everyone can press the button if few can actually take a good photograph – means there is much more noise in imagery today than ever, but for photographers seeking ever less interference between vision and result it would be quixotic to deny the superiority of digital over film in every respect. None of that denies that there remain a few superb craftsmen getting the very last iota of quality from traditional wet darkroom processes, but that’s largely a decision based in the love of process rather than in the love of results. There are still folks who use hand tools for woodwork and bamboo split cane rods for angling. For them it’s the tool not just the result.

What is startling is the rate of change. In a very short time the digital camera has gone from expensive plaything with poor image quality to dominating every image making sector from point-and-shoot to professional gear for billboard-sized images. Three things make it possible – the first two are the development of sensors and the invention of low energy display panels – plasma, LCD, whatever. Curiously, the latter have thrown photographers back to the very early days of the creative process where the image was viewed at some distance – albeit under a dark cloth – on a screen during the composition stage. But more importantly, those screens in large sizes – as big as your wallet permits – have obsoleted the wall print. While consumer ink jet printers are at a level of perfection seemingly hard to improve, they are about as obsolete as roll film. Who needs a printer when the TV screen beckons as the display medium of choice? Why spend huge sums on matting and framing when a $5 connecting cable works just as well? Sure, I’m a huge fan of big prints, but the cost makes little sense for most applications.

The third enabling technology is, of course, the personal computer and that too is reaching a development plateau. Prices are leveling off at a point so low it seems ridiculous. Reliability has never been better so that now one of the greatest challenges facing any hardware manufacturer must surely be the lengthening replacement cycle. Why get a new box when the old one works just fine? The operating systems and application software for home computing are now so cheap, reliable and capable that it seems hard to imagine revolutionary changes which will make photographers want to throw everything out and start again. While we will see more data storage move to the ‘cloud’, remote from the hardware, the core technologies are well developed, cheap and in place.

The computer for the rest of us – it just worked.

But then no one saw digital coming, certainly not Kodak or Fuji, both of whom have been broken by the change. So it’s foolish to say that things are as good as they can get and doubtless there is some new technology around the corner waiting to create the next seismic change. I just can’t see what it is. Within ten years upper end camera hardware will have shaken the silly prism and flapping mirror as surely as CDs shook off the stylus, but that’s evolutionary, not revolutionary. The sensors in the best gear are at a point where it’s pointless to demand more, and while things may get faster and quieter and maybe even cheaper, it’s hard to see what the next revolution will bring. I think it may take a while.

I believe that the next ten years will be the Decade of Broadband. Increasing bandwidth demand for delivery of content – movies, data, commerce of all sorts, art books (finally!), online storage – will see a dramatic increase in bandwidth to the business and home, while competition will see to it that prices continue to fall. AT&T got most of it right in its prescient 1993 advertisements titled “You Will” with a voiceover by Tom Selleck (remember him? Also obsolete). The only thing missing from making all of the telephone company’s ideas really practical is an absence of bandwidth and speed in our transmission systems. It will just take time and money – no technological breakthroughs are needed, just shovels to make trenches for all that optical fibre.

Meanwhile, thanks to the technological revolution of the first decade of this new millennium, there has simply never been a better time to be a photographer.

On a personal note, had you told me on January 1, 2000 that my Leica M2, Leica M3 and Rolleiflex 3.5F would all be disposed of and that I would be using two cameras from a home electronics manufacturer (the Panasonic G1 and LX1) for daily snaps and a Canon 5D for ‘medium format’ quality …. well, I would have pointed you to the local loony bin after suggesting you first sober up. Change or die.

December 30, 2009

Posts of the Year

Filed under: Photographers, Photographs, Photography — Thomas Pindelski @ 3:00 am

This has been a productive year for writing about Photographs, Photographers and Photography and I had a blast doing it. I hope you have been stimulated, inspired and, yes, angered from time to time. Without emotion there is no progress.

So, without further ado, here are my favorite posts of the year, in no particular order:

I am delighted to report that the revenue I have derived from this journal in 2009 was identical to that for 2008 and prior, meaning zero. I can assure you that will continue in 2010.

Happy New Year and thanks for dropping by.

Onward and upward:

December 29, 2009

Sisters under the Skin

Filed under: Book reviews — Thomas Pindelski @ 3:00 am

Another Parkinson for the library.

If I make mention of Norman Parkinson yet again it’s for the simple reason that my mother-in-law, a woman of fine taste, gave me her copy of Parkinson’s first book, Sisters under the Skin, for Christmas.

The sensationalist cover notwithstanding, the contents show Parkinson at his very best. Simply stated, Norman Parkinson is the Renoir of the camera and, mercifully, there is no recourse to black and white for its own sake. I increasingly think of black and white as an excuse sought out by photographers who are struggling with mediocre color material. When Parkinson uses monochrome it’s because it’s the right thing to do.

You see women in all their glory and infinite variety here. Iman with an impossibly long neck, a slutty/sultry Bianca Jagger, Elizabeth Taylor – never more beautiful, an equally lovely Lesley-Anne Down rendered in pastel tones, and a simply charming portrait of the Queen Mother, warm and tender. There’s Twiggy at the height of her fame, Princess Anne very much in charge of her (charging) steed, and that fabulous Van Dongen out-of-focus book cover you will see if you click the link above, from Parkinson’s book ‘Portraits in Fashion’.

This book is enhanced with short stories for most of the pictures, my favorite being the Marisa Berenson one where some crass git remarks “Goodness, your backside is collapsing like Mahtma Gandhi’s dhoti” to which the superb Marisa replies “Who’s she?”.

Wenda Rogerson (Mrs. Norman Parkinson) makes a spectacular appearance in perhaps the warmest photograph in a book suffused with warmth – you can also see her by clicking the link at the start of this piece and, yes, she hangs on my wall to this day. My, even Barbara Cartland looks half human in Parkinson’s hands, layers of make up or not. The only question which constantly comes to mind is how could an Englishman be, well, so Italian?

Very worthwhile searching out on the used market as it’s no longer available new.

December 28, 2009

Funky shutters

Filed under: Photographs — Thomas Pindelski @ 3:00 am

A neat G1 shutter experience

I confess that when I first saw this image, taken just before Christmas, I almost erased it. It’s another focusing on the theme of lone individuals in the big city – what I call my ‘Edward Hopper series’ after the great American painter.

The key element is the figure and is lost in gloom. But right before I hit the ‘Delete’ key I noticed something strange. The ‘up’ escalator is blurred whereas the ‘down’ one is sharp as can be. That’s an interesting little mystery, and it suddenly struck me that despite all it’s electronic magic, the Panasonic G1 which I used to snap this still uses a conventional focal plane shutter, with vertically traveling blinds. While it happens to default to an open state, thus permitting the sensor to receive and transmit the image to the electronic viewfinder (the camera has no prism or mirror) it’s conceptually identical to those used in some cameras a hundred years ago.

So I went ‘Sheldonian’ – meaning I decided to manipulate the image in the style that fine photographer Leigh Sheldon frequently adopts – and started messing with selective-this and slider-that in Lightroom, ending up with this:

Escalators and lone figure. G1, kit lens at 28mm, f/5.6, 1/30, ISO 320.

The camera’s shutter was moving with the down escalator and in the opposite direction to the up escalator, which accounts for the differential sharpness of the two.

Here’s a detail screenshot:

You can see what I’m rambling on about by checking this video, taken with a high frame rate video camera to show things in slow motion:

Perhaps the most famous example of funkiness from focal plane shutters is this picture by Jacques Henri Lartigue, where the wheel’s seeming elongation is the result of …. you guessed it, a vertically traveling focal plane shutter, the effect further magnified by the photographer’s panning with the motion:

Early focal plane shutter distortion. Taken in 1913.

Modern focal plane shutters travel too fast for this sort of extreme distortion which is a shame!

There really is little new under the sun, but the strange effect in my picture and a bit of manipulation make for an interesting snap. It seems that the 1/30th second used (excuse me, the 1/30th second the camera’s electronics chose, as I invariably use aperture priority exposure automation) was perfectly in sync with the speed of the down escalator.

December 27, 2009

Falling lives

Filed under: Cameras — Thomas Pindelski @ 3:00 am

Shorter and shorter.

I used my Leica M3 for some 35 years. It had everything I needed in a street snapper, being small, quiet, sharp and fast. Add a lens or two and you had enough to travel the world. I mostly used it with the 35mm Summaron with those ghastly viewfinder ’spectacles’.

My M3

My Rollei 3.5F made it through 10 years. Truth be told, I seldom did it justice, never getting comfortable with the reversed waist level image (you were always looking up at people’s chins) but the large negative was nice and the camera even quieter than the Leica.

My Rollei 3.5F

It’s successor was possibly the most accomplished medium format film camera ever, the Rollei 6003 Pro. The designers obviously took pictures and the choice of shutter or aperture priority automation was better executed than anything before or since. The lenses were to die for and the controls near perfect. Too bad it weighed several tons. Five years.

My Rollei 6003 Pro

One other attempt at medium format came and went in a year. The Pentax 6×7 was so loud that there was basically no environment in which I cared to use it.

It made the sound of a gun when the button was pressed

By contrast, the diminutive Pentax ME Super with its sweet 40mm Pancake lens was a dream and served me well on the streets of a tough New York during most of the decade of the 1980s when I lived there. It started as a ’steal me, I don’t care’ substitute for the Leica and ended up my daily snapper. I left it behind in New York when I moved to Los Angeles. Street snappers were safe there as no one walked.

ME Super with pancake in place – as good as 35mm SLRs got

But my all time favorite of the film years was my Leica M2, which I bought in very sad shape in 1993. I got a dozen very hard years out of it and it always made me regret having bought the M3 back in 1971 when I really should have got the M2. The 35/50/90mm viewfinder was just what the doctor ordered and no bespectacled bulky 35mm lenses were needed, just the wonderful 35mm and 90mm Asph Summicrons. Parting with that one really hurt when I sold it.

My Leica M2 with the 35mm Asph Summicron

My general drift here, however, is that there are no more 5, 10 or 15 year cameras. The rate of change in technology is so startlingly high right now that if you were to tell me that I would be using my Panasonic G1 as my “go to” tool of choice five years hence I would laugh myself silly.

No sooner do I write that, though, than I am given pause by the superb Canon 5D. I see no earthly reason to upgrade to the Mark II as the images seem every bit as perfect as anything from medium format film and maybe it will just enjoy a double digit anniversary here. Provided it doesn’t blow and die for lack of digispares. I have recycled a couple of the poorer lenses made by Canon for this body but the rest soldier on as sharp as the day I bought them and newer arrivals preserve backward compatibility so far.

Life’s too short for brand loyalty. I wonder what the Panasonic G2 will bring? Or the Samsung XYZ3? If it works for me you will find it around my neck or, more likely, in my pocket.

“Rich sod” I hear you thinking. Nothing could be further from the truth. My M3, bought in 1971, was the results of My years in retail. The Rollei 3.5F was a real beater which cost very little. Now, film Leicas and Rolleis are super collectible, of course. Pretty much everything else was from trading gear, and I never bought new until digital came along. The reasons are simple. ‘Used’ and ‘digital’ equals ‘obsolete’, as in parts are not available no matter how competent the camera, and repairing them makes little economic sense. Further, digital gear is so much cheaper than the machines of old that it has become very affordable. That $650 G1 would have cost some $100 in 1971 currency when I got that Leica M3. It never ceases to amuse me that the proceeds of my M2, M3 and a small handful of lenses paid for everything I use today. Like with investing, timing the exit right makes a big difference. And loyalty is for dog lovers.

December 26, 2009

iTablet/iSlate/iWhatever

Filed under: Computing — Thomas Pindelski @ 3:00 am

Any day now.

That P. T. Barnum of the digital age, Steve Jobs, knows how to milk free publicity. Before being fired from Apple in May, 1985, he joked that Apple was a ship that leaked from the top. He had not yet learned the power of silence.

Then, upon rejoining Apple just over ten years later, he knew better. The less you said the more they wrote and speculated about the next Great Thing, and while I have no idea how much this strategy garnered in free publicity for the iPhone, you can bet the amount was huge. I doubt there was a more anticipated introduction of a consumer gadget in the history of consumer gadgets.

The next Great Thing, the touchscreen iTablet, will likely be introduced on January 27, 2010 and there are so many indicia of the device’s imminent arrival that it’s hardly a long shot prediction.

iSlate/iTablet – artist’s rendering.

Books, magazines and newspapers getting readied, games being redesigned for larger screen resolution, components procured, a meeting hall booked for a January Apple special, leaks from parts suppliers in Taiwan and China and, most recently, disclosure that the iSlate.com domain has been registered in Apple’s name for a couple of years. iSlate sounds pretty neat to me. A nice throwback to the days of Moses delivering the Ten Commandments.

This device is unlikely to be as earth shattering as the iPhone because it will be perceived as costlier, for one. Consumers still naively believe that the iPhone costs $100-$200 when the all in 2 year contract cost is closer to $2,000. But it’s tempting to speculate what the iSlate will cost. My guess is that the $599 number bruited about is unrealistic. The iPhone, with its miniscule screen, would cost that at retail absent the telco’s subsidy.

If the iSlate really is to have a 7-10″ touchscreen in glorious color, 3G, wifi and a long life battery, $1300 is more like it, and that would dictate lower margins than Apple’s existing MacBook Pro. Still, Apple did mention at their last earnings call that they anticipate falling gross margins going forward and it’s unclear whether this reflects an attempt at increased market share (not consonant with their traditional thinking) or, maybe, a lower than usual margin on the iSlate. So I’m guessing $999. That will make it less than the blockbuster expected, the economies of the west still being in recovery from a brush with death, and the effect on the stock will not be a happy one.

This will, I believe, be a “buy the rumor, sell the news” type of investment opportunity.

But I think the device’s relevance to educated consumers (who constitute a small minority of cell phone users, let’s face it) will be great. It will become the news delivery tool of choice for those who prefer not to waste their time on the pap passing for news on the networks or on cable – I’m reminded of the old saying that the front page of any major newspaper has more news than a 30 minute network news broadcast. It will become a powerful marketing tool for those seeking to display pictures, models, sketches, ideas on the fly. Engineers, design professionals, doctors and investment gurus will love it. You will watch movies and play games on it. And it will be a wonderful tool for the display of photographs, maybe with limited processing tools included. Imagine using such a tool in the studio as a preview device connected to your DSLR in live view mode with an art director peering at the screen over your shoulder.

And for a company which never lets form take a back seat to function, you can bet that the iSlate/iTablet/iWhatever will look absolutely fabulous. I can’t wait to see what it’s all about. The introduction date is January 27, 2010.

Disclosure: I am long AAPL call options. If you think this blog is a source of investment advice, I can get you a deal on a bridge in Brooklyn.

December 25, 2009

Like the old days – not!

Filed under: Cameras — Thomas Pindelski @ 3:00 am

A body and two lenses.

You would sling the camera over your neck with the short lens on the body. The other lens, the medium length one, went in the shoulder bag. And that little outfit would be all you needed to go around the world.

Back in 1973 it consisted of a Leica, 35mm and 90mm lenses. Changing from one to the other was second nature and you never messed with the silliness of lens caps – just another impediment to a swift lens change.

And I found myself reliving that experience the other day only this time everything was automatic, the lenses were zooms covering 28mm through 400mm (!) and my camera could take 600+ RAW images at a sitting at a level of quality and capability which leaves that lovely Leica in the museum where it belongs.

Lost in thought.

Lonely guy.

Copper sunset.

All pictures on the Panasonic G1 with the 14-45mm and 45-200mm lenses.

In a year or two it will all be in an even smaller package and the results even less dependent on technical skill. That seems right to me. Anything that gets in the way of the picture is a bad thing. Which means automation is a good thing – for what I want to accomplish.

December 24, 2009

Angel’s World

Filed under: Book reviews — Thomas Pindelski @ 10:58 am

A driven man.

Angel Rizzuto lead a troubled life. Despite substantial wealth he spent the last years of his life in a seedy single room apartment in New York, whence, from 1952 through 1966, he emerged daily to record the city and its people. Returning, he would put up the window blind, get out his chemicals and process his pictures. Twelve pictures a day for fifteen years …. he had found his calling.

His legacy consisted of nearly 1,700 contact sheets, some 60,000 images in all, which he left to the Library of Congress along with $50,000. Michael Lesy has done an outstanding job reprising the life of this troubled man and his strange quest for immortality.

It’s hard to know how you decide which one hundred or so pictures to present from a lifetime’s output so huge, but the ones beautifully reproduced here are seldom happy. Troubled people on the street, mostly women, and recurring self portraits of the unsmiling photographer. There are occasional bursts of lyricism like the small girl with her poodle (p. 83) or the painter in Central Park (p. 63) but by and large this collection will make you frown rather than smile.

Imagine living and processing all your pictures in this:

Angel Rizzuto’s home and darkroom.

Simultaneously troubling and inspiring, a great tale of one photographer’s odyssey, this book is highly recommended.

December 23, 2009

A handy bag

Filed under: Cameras — Thomas Pindelski @ 3:00 am

Thanks to the US military

The US military may last have checked the ‘win’ column some 60-plus years ago, but not all is bad. This taxpayer got a bit of his own back by picking up a handy ex-military bag from the local Army & Navy surplus store. Have you ever wondered what happens to Air Force surplus, by the way?

The problem with most camera gear bags is that they scream ‘camera’, invariably being emblazoned ‘Tenba’, ‘Domke’, ‘Lowepro’ and the like – all brand labels beloved of the light fingered set. They are also invariably obscenely expensive – $75-150 for, let’s face it, some canvas and stitching, made in China. Neither issue arises here for this is an ex-Army canvas map bag, has no markings and costs …. wait for it, all of $12.

The three compartments hold the Panasonic G1 with either the kit lens or the 45-200mm, the other lens goes in the center divider and my mobile back-up drive goes in the front. If needed, the rear compartment will accommodate my netbook computer. In that case the camera with one lens goes in the middle and the other lens moves to a jacket pocket – the G1’s lenses are so small this is simply not an issue. The ‘ears’ keep the rain out and there’s even room for a sandwich and a bottle of water.

Check your local surplus store for any number of similar choices. I like that it looks so shabby and amateur (unlike our military), the last thing a thief would be interested in. It is also superbly effective (also unlike our military). Probably not made in China, which may well turn your crank, to boot. And you can always console yourself with the near certainty that the thing cost the US Army hundreds of dollars when originally procured from our patriotic military contractors.

December 22, 2009

Kevin and Tiger

Filed under: Cameras — Thomas Pindelski @ 3:00 am

Celebrity endorsement trash.

Why would anyone think that celebrity endorsements make sense?

Will I be able to drive like Schumacher by buying a Ferrari? Ride like Lance on a Trek? Play like Tiger with those clubs?

So I weep when I see a truly great actor like Kevin Spacey touting a camera in one of the most condescending ads made in recent memory.

Spacey touts the EP1

The one thing we do not see is Spacey’s pictures. Why not? I mean, he is advertising a camera, no?

The inverted snobbery (”Don’t be a tourist”), the denigration, the put downs – it’s all about as wrong as you can get. Tell me that the camera is sweet and elegant like almost everything Olympus makes, fits in your purse or pocket, encourages you to take it anywhere, makes for glorious pictures, and I am there. Tell me I have a shot at being the next Doisneau or Cartier-Bresson with it and my check book comes out. Tell me it’s what Bailey uses before making out with his latest discovery and I’ll buy two.

But where, pray, Mr. Spacey, are your pictures?

Frank Rich of the NYT writes eloquently about the credibility of another celebrity endorser:

“What’s striking instead is the exceptional, Enron-sized gap between this golfer’s public image as a paragon of businesslike discipline and focus and the maniacally reckless life we now know he led. What’s equally striking, if not shocking, is that the American establishment and news media — all of it, not just golf writers or celebrity tabloids — fell for the Woods myth as hard as any fan and actively helped sustain and enhance it.”

Why, then, should I buy a camera from you, Mr. Spacey? At least Tiger can play golf, but I haven’t the foggiest idea if you can take a photograph.

Olympus, you can do better. Start by paying someone who can take pictures. I don’t much care if he sleeps around – that’s his business, not mine.

December 21, 2009

Depression

Filed under: Photographs — Thomas Pindelski @ 3:00 am

It comes with the territory.

Churchill called it his Black Dog – the days where it seemed that all the effort and striving were for naught. No matter how you looked at things, all was lost.

Well, it comes naturally with Slavic blood. Like mine. Where else could Dostoyevsky be a best selling author other than in Eastern Europe? And his readers, like Winston, drink to excess, compounding their depression rather than helping it.

I have these Black Dog days frequently when looking at my pictures. The depression part, not the drinking, that is. While I now do my ’snap a day’ thing on my photoblog that’s not where I expect to find many of my best pictures. It’s a place to think aloud, experiment and cull for later publication. Those that make the cut I place on my more static web site and it’s that which causes the depression.

I mean, after all these years, I sometimes think there is absolutely nothing to show for the effort.

For example, I have always loved this picture, which says a lot about the England I adore – some people enjoying the park on a rare, sunny day with the lady standing in the way only an eccentric nation could understand, to get a better view of a passing parade. I remember taking that as if it was today and I knew it was fabulous. Or is it?

Green Park. London, 1973

Then this one has only improved with age, now that we live in a time where you cannot get within hundreds of yards of Britain’s center of power without all sorts of clearances. I loved it when I snapped it and I like it even more now. Or do I?

Outside Number Ten. London, 1974

I was especially happy with the next image – the light just so, the colors simple. Or am I mistaken?

Thinking of Hopper. San Diego, 1997

The next snap has everything I could think would make a perfect color picture – a sense of abstraction, a monochromatic palette and I love the composition. Or do I?

Sky. Bermuda, 1999

For an abundant sense of mystery, I adore this. Or do I despise it for its sheer ordinariness?

Penseur. Cayucos, 2005

Finally, I keep telling myself that my best is yet to come. That I still have ‘it’. That my sense of color and composition gets stronger with the passing years. Or is this simply self delusion passing for a defence mechanism?

Minuet in Green. San Francisco, 2009

Do you see where I’m coming from? Sometimes it just all seems hopeless. Maybe this whole photography thing is just a mindless time sink?

Well, I’m 58 today and that alone is sufficient cause for Depression.

December 20, 2009

Panasonic 45-200 mm lens for the G1 – Part II

Filed under: G1/G2 — Thomas Pindelski @ 3:00 am

A sweetheart in use.

I looked at the design of this lens in Part I. Nothing could more clearly illustrate the difference in size between a full frame 400mm and Panasonic’s 45-200mm:

The Panny is at 200 (=400mm on full frame), the Canon has no choice in the matter!
The hood on the Canon is not extended for fair comparison. Weight differences are just as impressive.

I took the Panny out for its first street trip today and found that it is a real sweetheart to use. Forget the dumb lens hood which makers it look gargantuan; without it no one would begin to think that so long a focal length is in use and while, I suppose, it’s great for clandestine stuff, that’s not my thing, so I just played about enjoying some architectural details in the old town of Burlingame, CA.

I used Lightroom 2.6 for processing with sharpness settings on import of 100/1.1/64 and ISO set at 320. I find that speed to be the sweetspot – grain is not objectionable in large prints and you have enough sensitivity that short shutter speeds are the norm. I mostly used full aperture as I have had such success with it on the 14-45mm kit lens.

A guilty confession. I popped the kit lens in my jacket pocket even though I resolved not to use it. So enamored am I of its quality and compactness that I thought I might need a quick fix, so better safe than sorry. In the event I managed to keep it off the G1 but dropping it in a jacket pocket took me way back to when I last did that with a lens – that would have been with Leica’s ne plus ultra 35mm Asph Summicron-M with its 90mm Asph brother mounted on the Leica M2. Nice glass, but hopelessly outmoded today with auto-nothing and if their optical quality is marginally better, Lightroom can fix that and the Panny lenses are one tenth of the cost. I’m tempted to say “throw away cheap” and while that sounds arrogant, that will likely be their fate when something better comes along in a few quarters.

For the pictures which follow, the focal length is stated at actual on the G1; double the number for the 35mm full frame equivalent.

While web reproductions cannot do the originals justice, the fringe here is to-die-for sharp:

At 128mm, f/6.3, 1/3200, ISO 320

No, not a test chart. Just some nice brickwork. At 61mm, f/4.1, 1/4000, ISO 320

No lack of detail in the textured stucco here. At 45mm, f/4, 1/4000, ISO 320

Nothing wrong with the detail in this lovely relief.
I especially like the eccentric alignment of the letters. At 124mm, f/5, 1/2000, ISO 320

At huge enlargement ratios the micro detail is lower than with the Canon, but the Panny is the one you take with you.
At 45mm, f/7.1, 1/500, ISO 320

At the local brew pub. At 91mm, f/10, 1/5th, ISO 320

I meant to set the lens to full aperture but somehow messed up and was awfully lucky to get away with this at 1/5th second exposure at a 35mm-equivalent of 182mm. Sometimes you get lucky. This pretty girl is the hostess at the local Steelhead Brewing Company restaurant which makes a nice selection of very decent beers right on the premises. They even serve them at something approximating the right temperature, meaning not ice cold. The staff seems to mostly consist of aspiring actors and actresses, judging by their looks. I was enjoying a Red Zeppelin at the time – who could turn down that name?

As is my usual approach, I used aperture priority and auto-everything (except ISO) for all of the above. It’s so nice not to have to worry about the technical mumbo jumbo and just take snaps. More of these at Snap! over the next few days.

On one or two very high contrast color transitions I noticed a touch of blue fringing, but nothing major. The software correction of aberrations is pretty thorough in Lightroom.

If you like baggy jackets with big pockets but lack big pockets for the exotic glass, this sweetheart of a lens is just what the doctor ordered. I’m keeping mine. Is the Canon better? Absolutely. But it can’t be very good when it’s at home, which is the likely result when you can choose between it and the Panny zoom.

Often photographers will find they are using zooms at maximum extension. No problem here – if you need a 400mm equivalent, the only thing currently available in micro-four-thirds size is this lens and you have a bunch of other useful focal lengths thrown into the bargain, at no additional cost.

When the next generation of sensors and EVFs comes along in a year or two I suspect we will all be wondering how we managed with those gargantuan clods of old. The only challenge will be for professionals, who will have a job convincing clients to take their G2 with its miniscule 20-200 f/2 lens seriously ….

Woof!. At 200mm. f/11, 1/250, ISO 320

December 19, 2009

Zishaan Hayath

Filed under: Photographs — Thomas Pindelski @ 3:00 am

Great minds think alike!

Since I first came across it in my earlier photoblogging days years ago, I have been following Zishaan Hayath’s photography at his blog Point and Shoot with great interest. I recommend you hop over there and take a look at his work, frequently distinguished by fine use of bold color with a strong focus on street photography.

The other day Zishaan dropped me an email pointing out the remarkable similarities between one of his pictures and one of mine, and here they are, compared with his permission.

Zishaan’s version – 5th Avenue, NYC 2007

My version – off Market Street, San Francisco, 2009

Remarkable, huh? Who knows, maybe some deep memory of his picture implanted itself in my brain – I have no recall of seeing it before – and triggered my right index finger at the magic moment?

Thanks, Zishaan.

December 18, 2009

Panasonic 45-200 mm lens for the G1 – Part I

Filed under: G1/G2 — Thomas Pindelski @ 3:00 am

A little bit of magic.

Santa came through again this year, this time in the guise of a Panasonic 45-200mm zoom for my G1. I had noodled on the idea of getting the 20mm f/1.7 but that lens’s lack of OIS meant that its f/1.7 was no faster than the f/3.5 of the 14-45mm kit zoom from a steadiness perspective. Further the saving in bulk was not that great – the camera is not pocketable with either. So while f/1.7 is appealing from the perspective of limited depth of field, the overlap with the range of the kit lens left me uninterested.

The miniscule 45-200mm mounted in a G1

When I was buying the G1 I wrote of the myriad adapters available for the body, but I have since realized that these offer far less than you might think. Unless you have some special bit of legacy glass that you absolutely must use, adapted lenses fail on many fronts. You have no aperture or focus automation, manual focus with the enlarged EVF image needs buttons to be pressed, taking away the G1’s immediacy of reponse, you lose OIS and you have no possibility of taking advantage of the wonderful distortion and color correction afforded by Lightroom when processing your RAW originals. Which is another way of saying that I sold all my costly Leica M rangefinder optics ages ago and I’m simply not going to go back in time. The operating speed of the G1 is a factor of major importance to the way I work and that would be lost with these kludgy adapters which are doubtless just fine for static work. Not my thing.

So what are the first reactions? Really much the same as with the G1 itself.

  • The lens is incredibly small and light when you realize it’s equivalent to a 90-400mm on a full frame body
  • OIS is built in
  • The zoom ring is smoother than on the kit lens but tightens up a bit at 160-200mm – no effect on use
  • Mine has those three magic words on the barrel – ‘Made in Japan’. Sorry Beijing!
  • The lens hood is huge – I didn’t even unpack it. No use to me.
  • The balance on the body is perfect
  • Focus is fast but not Canon 5D fast
  • Manual focusing brings up the magnified EVF image and is very accurate – surely this is the most perfect manual focusing system yet?
  • Minimum focus at 200mm is a mere 3.3 feet – like a 50mm lens on full frame at 5 inches!
  • The barrel extends maybe 3″ at 200mm and has very little side-to-side play.

While there are several digital point-and-shoot cameras available with fixed ‘mega zoom’ lenses, I suspect this is the smallest and lightest interchangeable DSLR lens which reaches out to 400mm (35mm equivalent). Panny’s own FZ35 spans no less than 27-486mm with apertures of f/2.8-4.4. Canon has the SX20 (28-560mm, f/2.8-5.7). Nikon the Coolpix P90 (26-624mm, f/2.8-5.0). All breathtaking stats. And while these may be compromised with lousy EVFs and very small and relatively noisy sensors, it’s very much where design is going. Before long we will likely have APS-C sensor fixed zoom DSLRs with comparable zoom ranges and low bulk.

This Panny zoom weighs in at just 13 ounces making it, from my perspective, the first lens with 400mm capability that you take with you without another thought.

Putting matters in perspective, the G1/45-200mm combination is no substitute for a Canon 5D equipped with Canon’s non-IS 400mm f/5.6, which I wrote about here or similar ‘pro’ equivalents from Nikon, Pentax, Sony and others. While the non-IS Canon lens is the bottom of their 400mm line, which sports no fewer than four models, the other three are all faster with IS; even so, the Canon f/5.6 I own is simply in a different league optically and mechanically from any 400mm lens I have owned. Even after a couple of years’ use it still takes my breath away with its autofocus speed and accuracy and its ability to capture micro-contrast and detail at full aperture. You can see some results here. This speed and quality come at a price, of course, meaning enormous bulk and weight. You do not just casually drop the Canon in your bag when making off to take pictures. It’s a considered decision because you are not going to be switching merrily from ultra-wides to 400mm unless you want to carry a lot of gear. Further, chances are you will be taking a monopod or tripod when using it.

A significant point is that the Canon will run you over $1,200 whereas the Panny comes in at just $300. Maybe not a fair comparison as the Canon covers a full 24 x 36mm frame and is in a different class build-wise, but money is money and few need the big print capability of the superior Canon optic.

The working style with the Panny optic could hardly differ more. First the lens has no tripod bush, so you tend to think about hand holding it. Second, IS adds two to three shutter speeds making handholding even more tempting. And third, it’s so light and small that …. heck, you end up hand holding it! A nice added feature is that the filter size, at 52mm, is identical to that of the 14-45mm kit lens – nice for me as I forgot to order a UV filter when I bought the lens!

The first thing I did on receiving the lens was to go to Panasonic’s site and download upgrades for the lens’s firmware. Yes, modern lenses are packed with code and Panny’s 14-45mm and 45-200mm lenses are now on version 1.2. Both mine were on 1.0, so I updated each – the downloaded installable files differ between the two. I neither much know or care what these downloads change but I prefer to be current. The G1 itself is now on body firmware version 1.4.

The next step was to bang away and try a few snaps at 1/125th or so at full extension. The claimed 3 shutter speed benefit of OIS seems largely realized as I was finding that two out of every three snaps were shake free and good enough for 13″ x 19″ prints. Further, these were taken at full aperture, which is f/4 at 45mm, dropping to f/5.6 at 200mm. I simply set the lens to f/4 at the wide end and that leaves it at maximum aperture throughout the zoom range. Having got into the habit of using the 14-45mm at full aperture and finding the results to be excellent, I went the same way with the 45-200mm and was not disappointed.

I processed the RAW images in Lightroom 2, because that’s what I ordinarily use and because Adobe has built in distortion and chromatic aberration specific to these lenses which is applied automatically. As a result, the pictures appear distortion free and I cannot see any significant color fringing anywhere in the zoom range. Quite why Adobe is not broadcasting this wonderful bit of application programming from the rooftops beats me, as independent reviews confirm that the native output of the lens exhibits significant distortion and chromatic aberration problems, whereas the Lightroom user sees none of these.

In Part II I will look more at practical use and results but can already say that this is an exciting addition to a very small camera outfit which, with two light and compact zooms, offers excellent image quality all the way from 28mm to 400mm (35mm full frame equivalents) in a camera which uses a reasonably sized, low noise sensor. Now if only Panny could be convinced to make a 10mm pancake, equivalent to an ultra-wide 20mm on full frame, this user would have everything needed in a superbly compact outfit with very light weight.

December 17, 2009

Snap!

Filed under: Photographs — Thomas Pindelski @ 3:17 am

My new photoblog.

I miss photoblogging.

I don’t miss the pressure of ‘one snap a day’, but I do miss the opportunity of presenting my work in a clean, uncluttered format. Just the pictures, without too much in the way of explanation. If a picture is worth so many words, it shouldn’t need many to explain it.

So a month ago I decided the time had come to cease publishing my own pictures here and, instead, decided to post them in a dedicated photoblog, designed to show photographs.

With much help from friends who pored interminably over draft designs and pretended to be interested, I got something which seems half decent. Thank you Gregg, Ed, Leigh, Rio and Roy for your constructive criticism, technical assistance, patience and corrections of my worst boo-boos.

So, without further ado, go to my new photoblog by simply clicking the picture below.

I have included a few dozen recent snaps to get things rolling, mostly ‘never published before’, as the saying has it. There’s an RSS feed if you want to use your feed reader to be automatically alerted of new posts.

December 16, 2009

My years in retail

Filed under: Photographers — Thomas Pindelski @ 3:00 am

A Christmas Carol.

As a kid growing up in London all I remember is that I wanted to do but one thing. Take pictures. OK, that and the awful climate.

In 1965, aged 13, London. The camera is my Olympus Pen F.

There were two obstacles to this noble desire of course and both involved money. Or, in my case, a distinct lack of it. One was the cost of hardware. Cameras and lenses. The other was the cost of software. Film, paper and chemicals.

You see, I had done a miserable job of choosing my parents. My father had decided to die when I was fourteen, though it made little difference to our economics. He was a dreamer who had not one iota of business sense, even though he had single handedly almost conquered the invading German hordes back in September, 1939. ‘Almost’ seemed to be the story of his life. Indeed, had you made the opposite of his choices, you would likely be very affluent indeed by now. Still, I’m glad he chose my mother.

My mother, who never ceased to tell me of her noble ancestry in far away Poland, never mentioned the fact that nobility doesn’t exactly set you up for a lifetime of steady income, especially when an invading enemy has made off with your lands and coin. Her nobility got her a job as a doctor’s secretary where, for some nineteen years, she managed to make ends meet, thereafter delegating the responsibility to me. Anyway, you can address me as Count Pindelski henceforth.

Thus I found myself oldveau pauvre where what I really neeeded was a spot of nouveau riche.

So I had to find some way of feeding my habit of photography and retail sales were about the only thing available in a nation of shopkeepers.

In its earliest gestation that role was at Harrods, the posh Knightsbridge department store, then still renowned as part of the House of Fraser years before one Mohamed al Fayed bought it. This is the same fellow who cannot seem to get English citizenship no matter his billions, and whose son famously went for a fatal car drive with the queen of the gossip columns. Middle Eastern trash meets White trash. His father proved that poor judgment ran in the family, convincing himself – but no one else – that Prince Philip had fixed the brakes on the car …. and he wonders he can’t get a British passport.

My first job at Harrods was in the Tube Room (Rube Room), an instrument of modern torture comparable only to the worst the Spanish Inquisition had to offer. In the cavernous underground city that is Harrods’ storage and supply repository, complete with streets and electric cars that purr away quietly under the main thoroughfare of Knightsbridge, the Tube Room was where a small fortune in copper tubing terminated. Each tube originated at a sales location in the giant store so when you entered the room it was like entering some Victorian hell, which of course it was, out of sight of the wealthy who under no circumstances should see change being made. Their cash proffered to the sales clerk, it would be stuffed in a small, tubular container with a sales receipt, and sped on its way by compressed air to Yours Truly in the Tube Room, where it would pop out with a gigantic whoosh of pressurized air, deafening all within a hundred yard radius. I had to make change, bank the cash and return the tube to the system so that the customer could walk away happy. And God help you if you confused the Food Hall tube with Ladies’ Furs. Servants shopped in the former, their mistresses in the latter.

Harrods

After a faultless week, for which I thank an educational system which used to teach arithmetic, I applied for a mercy transfer, having already set a new duration record for any Tube Room operator. The loony bins of England are full of chaps who served in the Tube Room. Once my hearing and nerves recovered, my battlefield promotion and shell shock saw me transferred to the Chief Cashier’s office, headed by one Mr. Shinn, a character straight out of Dickens. History fails to disclose whether there was an under Chief Cashier and given that Mr. Shinn was a raving pansy, I hate to think what the job involved. Mercifully, unlike the monks at my school, he did not like little boys.

My role in the Chief Cashier’s Office of this august institution, Hatmakers to HM Queen Elizabeth II (she bought her undies at Marks & Sparks), was to accompany a doddering eighty year old ‘security guard’ with a briefcase chained to his wrist. Twice daily we would empty all the cash registers in the store, the envelopes overflowing with HM’s likeness, signed and sealed at each location and stuffed through the slot in grandpa’s bag who, every now and then, would take a swig from his hip flask. I don’t think water was involved. Now counting other people’s money is hardly my idea of fun but I did get to hang out in the ladies’ Personal Accoutrements section a lot and established a fine friendship with the lovely young women serving the nobs (nobesses?) with the latest in personal garments. That was always my favorite stop where I loved to linger(ie).

After a couple of school holidays counting all that money – this was before credit cards ruled – I got tired of the commute to Knightsbridge and found another retail job at Kensington Cameras on Earl’s Court Road, right around the corner from our miserable fourth floor walk up flat (‘our’ being mum and me). There you would find me selling film and taking D&P orders from the locals, most of whom seemed to be itinerant Aussies complete with the obligatory backpacks covered with patches from various hell holes they had visited on their travels. ‘D&P’ was not some perverse practice, standing rather for ‘Develop and Print’, which got your roll back to you in strips with 36 black and white prints generally ill exposed and blurred to boot. The scratches on the film were no extra charge. Aussies couldn’t afford color and they certainly couldn’t take pictures, probably because they were mostly drunk. The only thing I recall of this miserable position is that we always had to check the job returned from the lab to make sure everything was suitably awful before handing it back to the customer. Whenever something saucy crossed the tape you could bet that one of the two proprietors – Bruce Waterman and David Geller – would make off to the back room to double check that all was well with the printing.

Earl’s Court Road

Actually, that’s not quite fair. The funniest thing that happened at Kensington Cameras was when a distraught customer came in complaining his camera was jammed. “No problem”, quoth I, “I’ll just get the changing bag out and fix it”, the ‘changing bag’ being a black cotton bag with two light proof sleeves which allowed you to manipulate things in broad daylight. “No, no” the customer protested. “I’ll do it”, whereupon he proceeded to open the camera in bright light on KC’s counter, his eyes resolutely closed as tight as can be ….

On to the big time. This is about 1966. I applied for a job at Dixons at 159-161 Kensington High Street (amazingly still there today – right next to the wonderfully named Adam and Eve Mews, beloved of straying husbands and their dolly birds) and because the manager was a Canadian who liked the English, was given the position and a nice raise. They only found out I was a dumb Polack later, when I completed the application form. Dixons was then a small chain of retail stores which consciously focused down market and pushed D&P and movie cameras, which is where the money was. They had a line of the most awful movie cameras, made of pure pot metal which gave plastic a bad name, sold under the name Prinz. Now and then a contest would be held for the best catchy one liner, the one I recall with fondness being ‘Zoom Day my Prinz will come’. The lady writing that one declined to disclose any other thoughts on manhood but was rewarded, nevertheless, with a roll of Kodak’s finest 8mm cine film, running time four minutes. I don’t think Dixons ever quite got the double entendre.

Dixon’s location in Kensington, London, W8.

Sadly, the charming Canadian who had hired me was promoted to Dixons Central soon after I started, to be replaced by a genuine boor named Des O’Connell. Des didn’t so much have a chip on his shoulder as a sequoia, and no matter how often I told him that I was born in Dublin of escaped Polish refugees, Des never got over the fact that I spoke the Queen’s English whereas he had majored in Bog Irish. Worst of all, he had skipped history lessons and insisted on wearing a Hitler-style mustache which was, on reflection, just what the doctor ordered. What I thought of as ingratiating myself with the boss, a shared land of birth and all, seemed only to increase his hatred for me. Ireland, which ranks first amongst England’s failed attempts at foreign rule, seems to engender especially strong feelings from its denizens toward its former opressors. Mercifully, Des hated just about everyone so I didn’t feel especially singled out. Truth be told, it would have been pretty worrying had he liked me.

I have but two memories of Des. His awful mangling of the mother tongue and his blast furnace breath, a delightful mixture of cheese and (Irish) beer, which seemed to radiate in all directions in a five foot radius about his person. This, of course, ensured everyone kept their distance, which he put down to English standoffishness. However he did teach me a valuable lesson. I have been vigorously denying that Dublin was my birthplace ever since.

I did however make some great friend at Dixons, where I worked every Saturday and during my school holidays. Stores were still closed on Sundays in honor of some ridiculous Puritan concept of not dirtying your hands with commerce on the Sabbath, unless that commerce involved handing over loot at the local palace of perversion, also known as the church. Empire building had been strictly a Monday through Friday affair in England for a few centuries and old habits die hard.

Gary Smith was the Assistant Manager for whom Des kept an especially malicious place in his heart. Des, having risen well above his level of competence, rewarded with suspicion and dread any who threatened his exalted position. A gentle giant of a man, Gary one day came into the store limping badly and somewhat the worse for wear, nursing a bruised set of knuckles. It transpired that a car had knocked him down at a local pedestrian crossing and Gary, full of the sense of fair play his ancestors had displayed on numerous battlefields for a millennium or so, had remonstrated with the driver only to be met with a hail of abuse. So he did the only rational thing a big bear with no enemies would do and smashed the driver’s side window. With his fist.

Irfan Haq became a close friend. A diminutive Pakistani with a wonderful wit, he was not only an ace salesman but a warm, friendly human being. Now you need to understand that the Pakistani and Indian populations in England were, at the time, a growing cause of concern amongst rabble rousing politicians. Having been roundly thrashed by a little guy in a loincloth and spinning wheel, the English were naturally not a bit miffed at the prospect of being overrun by the hordes from their former colonies and many hewed to the neo-Fascist rhetoric of one Enoch Powell, a barking-mad politician who pronounced that the free immigration of all these unwashed masses would result in a ‘River of Blood’ in the streets of London. Not much changes – they are called ‘conservatives’ in today’s America.

A little guy in a loincloth.

The United Kingdom, in its infinite wisdom, had made the boo-boo of granting citizenship to all in its colonies so, when the colonies refused to be colonial, those leaving them did so with English passports in hand. And their first port of call was, of course, England. Powell (another twit with a Hitler mustache – what is it with these guys?) could not have been more wrong, for all these poor immigrants wanted was a job and hot running water. They make the trains run to this day and do the jobs their former oppressors refuse. The colonists have been colonized.

Enoch Powell. A brilliant scholar and
genuine English loony.

Powell’s grandfather had been a coal miner, suggesting an unprecedented degree of social mobility by his descendants in a nation which frowns on the concept. From black lung to black heart in two generations.

But Irfan sloughed off all of this hatred and reveled in being British. Plus, like me, he loved that most cerebral of games, cricket. (To this day the single worst thing I can say about America, my adopted country, is that it doesn’t ‘get’ cricket.) India and Pakistan have returned the favor of colonialism by roundly thrashing England at their own noble game ever since. Never mess with a man’s googly.

One of the perks of working at Dixons was that we could borrow any piece of equipment of our choice over a weekend, so Irfan and I would generally get the best they had – meaning a Nikon or Pentax (we weren’t allowed to touch the Leicas!) – and would go off photographing London with free gear over our shoulders on Sundays, our day off.

My favorite Sunday ‘loaner’ from Dixons – the superb Nikon F

The friendship which was the most fun was with Anthony Harvey. Like me Tony was a victim of the best English schooling had to offer (unlike mine his parents had to pay whereas I got the guilt scholarship they awarded to those of ‘foreign extraction’ as it was charmingly put), which meant that our English diction was calculated to drive Des crazy, something we enjoyed doing at every possible occasion. Like Irfan, Tony was an ace salesman and, being somewhat older than I, was always assigned the gentry business. He was, after all, not only white but genuinely British and an old Harrovian to boot. As often as not a customer would announce that they were Lady this or Sir that, which played right into Tony’s sales talk, not least because he sounded like one of them and they felt that they were speaking to one of their own. Which they were, Tony being a drop out from a well-to-do aristocratic family. Never mind the fact that their checks, generally from the private bank of Coutts & Co., invariably bounced once or twice before clearing. An English gentleman had every right to bounce a check when, that is, he wasn’t bouncing his mistress.

When Tony learned that I was going on to study mechanical engineering at University College, London he decided we should try some of the principles of destructive testing on what Dixons claimed was the world’s best tripod, a German Linhof. This thing was massive – more steel than in a Krupp weapon of war. We never sold a single one though I have always suspected it was Lord Lucan’s weapon of choice when bludgeoning the household help. I explained to Tony that nothing was indestructible and that machines were routinely tested to failure to see what they could handle. Well, the wager was made, Tony on the side of the the master race, I on the British side, the one of imminent failure. We made a fine test rig. It was off to the stock room under the store where he grabbed two of the tripod’s legs and I the third, pulling in the opposite direction. The crack of brittle metal failure had the rest of the sales staff running down to the stock room to see who had been shot, only to find Tony and I lying on the ground hopelessly convulsed with laughter holding what was now a two piece tripod. “No problem”, quoth Tony cooly, “I’ll just return it and say it arrived broken” which he did and we never heard any more about the matter. Mercifully Des, he of the flamethrower halitosis, was out that day.

Tony later got the wrong girl pregnant (“She is so below me” he would lament, forgetting how much he had enjoyed her being below him a few months earlier, though it needs to be added that the girl was, indeed, a genuine scrubber) and moved to Oxford where he administered matters for the Oxford Farmers’ Union. Neither of us had any idea what this institution actually did, but he got free board and lodging in exchange for menial duties which gave him lots of time to pursue his new vocation of oil painting. I would take the train from London during my university days to spend time with him at weekends and have my picture painted. I recall his style was a sort of mixture of Soutine and Modigliani, but have sadly lost track of both the painter and of the painting which was actually half good.

As the kid on the block I was rarely allowed to deal with big sales, having yet to learn the meaning of the word ‘commission’, but did luck out once. Appropriately it was an American customer who saw me hit the sales leader board. Within seconds of coming in I was ‘Tom’, a familiarity I managed to survive while selling him a Nikkormat FTn with 24, 50 and 135mm Nikkor lenses. That was a nice camera with a somewhat fragile shutter speed-setting ring concentric with the lens mount. The Nikkors, still set in the scalloped metal mounts of old, were as good as they got and a lot better than this customer would ever be a photographer. He would come in from time to time, ask for ‘Tom’ and buy more gear which had absolutely no impact on the quality of his work. It remained awful.

Des, however, he of the gas mask breath, was eventually to get his revenge. One day in 1970 a nice looking, well spoken chap came in asking to look at a Pentax Spotmatic. This was the camera you bought if you were serious but couldn’t quite afford the Nikon F. Sensing a big sale I gladly acceded to his request to try it out on the street and, next thing I knew, Des and I were chasing him down Kensington High Street. I should have known better than to trust a chap in red trousers. I let Des take a strong lead, which was not easy given that I had been a competent runner at school and Des’s girth exceeded his height, but why tempt providence, I thought. The only thing I remember were my grandfather’s words “When in doubt, run away, so that you can come back to run away another day” coursing through my head. Given that Grandfather was a successful economist and banker I paid heed, and loped merrily along watching the Spotmatic recede even faster than Des, who was, I confess, giving spirited chase to one who was clearly an Olympic athlete. Des managed the first 100 yards in something approaching four times world record pace though even a casual observer would have to admit that his speed dropped off sharply thereafter. Well, this was the excuse he needed and I was summarily fired a week later when he had regained his bad breath and the cops had concluded that I was not in on the scam. All I recall during the firing are the crumbs of cheese on Des’s Hitler mustache and wondering how long it took him to trim the wretched thing every morning.

This was another important lesson in life. Quit before you are fired. I did a lot of quitting thereafter before I started working for a real ass years ago. At least he can’t fire me as I have been self-employed all those years.

During all these years in retail I had been squirreling away the pittance I was paid until, in 1971 I finally had enough to buy my dream camera – the one Dixons never let me borrow for the weekend.

The sales receipt for my Leica M3, bought used.

Every spare moment, typically after a day’s work at Dixons, was spent in the local Kensington Public Library poring over the works of the great photographers of the world. Now I could be one of them! And, in truth, it was like a duck taking to water for after being published (and paid!) many times in the photo press, three years later Photography Magazine named me its Photographer of the Year and gave me a bunch of gear to commemorate the occasion. This, of course, I immediately sold to fund film, paper and chemical needs.

Photographer of the Year, 1974. Sculpture by Reg Butler.

My life in retail had, however, come to an end and just three years later I was clutching a one way ticket to America, wearing the same £12 C&A suit from my retail years and headed for a new life. My accent went with me and I was now genuinely English, having had to emigrate to acquire that status. My fondest memory on leaving is of my boss, a fellow named W. G. Carter, whose parting words were “But Thomas, why would you want to go there? It’s full of Americans”. Three years later he was posted to Manchester which was full of the former colonials his ancestors had so abused.

Postscript: Having exploited my Englishness for many years after immigrating to the States in 1977, I was, inevitably, sent on business to London some ten years later. (”Gee, Tom, you can speak those guys’ language” was the analytical thinking). American corporations have always confused motion with action and without their obsessive belief in the value of movement for its own sake both Boeing and Airbus doubtless would not exist. Anyway, after the obligatory pressing of the flesh with my English mates in the office, I decided to put on my best tweed cap and jacket and furled my umbrella just so before visiting the local pub. An English gentleman’s umbrella, you should understand, is for ever to be furled in a land where it rains at least daily. Bellying up to the bar, I ordered a pint of Courage Director’s from the publican. As he handed the brew over he casually glanced at me, asking “Oh! yeah, mate, ‘ow long you over ‘ere for then?”. My accent had migrated west with Horace Greeley and I had been well and truly exposed.

December 15, 2009

Mannequin

Filed under: Photographs — Thomas Pindelski @ 3:15 am

Alone.

G1, kit lens.

In San Francisco’s Tenderloin district.

December 14, 2009

Staircase

Filed under: Photographs — Thomas Pindelski @ 3:14 am

In the Mission District.

G1, kit lens.

The Mission District in San Francisco is not only blessed with that city’s best climate, it also has much of visual interest.

December 13, 2009

Computer of the Year

Filed under: Computing — Thomas Pindelski @ 3:13 am

It’s the one you always have with you.

Forget Apple’s overpriced offerings, high heat output and poor reliability. Get a netbook for a fraction of the price and enjoy the matte screen with which it comes standard.

The netbook is my Computer of the Year for photographers and anyone whose life is data intensive. Mine is the MSI WInd but any netbook pretty much does the trick.

The MSI Wind U100

Your $330 gets you a 10″ screen, a 5 hour 6-cell battery, three USB2 and one Ethernet port, a webcam and microphone, wi-fi, VGA out, external speaker and headphone sockets and an SDHC card reader, together with a carrying case and weighing all of 2.8 lbs. It’s almost light enough to take anywhere. Doubtless next year’s model will be even lighter. And the hard plastic case absorbs knocks far better than a metal one, does not dent and wears exceptionally well. And you get a choice of colors. Mine is pearl white.

‘Experts’ – who never seem to use the devices they pontificate about – will tell you its garbage, falls apart in no time, has a lousy screen, is slow, etc. Let me correct all of that. I have 53 weeks of extremely hard use on mine as of the time of writing and, except that the logos above the status lights on the lower right of the palm rest have worn off, it works as perfectly as when it was new. The screen is simply outstanding, the near-full size keyboard almost as good, it runs very cool and the reliability has been faultless.

How abut the OS problem? The Wind, like most netbooks, comes with Windows XP, though you can get it with Ubuntu if Unix is your thing. If you must run OS X the Wind can be hacked with some effort. (How? It’s called Google.) If you want to make things even easier get a Dell Mini 10v and hack that – much simpler (I am assured by people far smarter than I in these things) and even cheaper at $279, postage paid from Dell. The Dell will even run wifi using Airport, without any need to change the wifi card. New netbooks are now sporting Windows 7 which has garnered good reviews – who knows, maybe Microsoft finally got it right?

What is the purpose of such a device? It’s quicker to say what it is not good for. Long Photoshop or Lightroom sessions or movie editing which dictate processing power and a properly profiled screen are not its forte. But as a truly portable device which will store any number of photos from your digital camera on the road and allow proper preview and culling of bad snaps it excels, using the built-in SDHC card reader. For CF cards from my 5D I use a small adapter which ran me a few dollars.

There is little justification in buying one of those small screen downloaders cum hard disk devices when you can have the 10″ widescreen a netbook offers. Best of all, its half the weight of a notebook computer and its low power consumption Intel Atom CPU puts out very little heat, meaning your lap does not fry after 10 minutes of use. With the Wind you can crank up the 1.6gHz Atom CPU to run at 2.0gHz at the touch of a button when connected to the mains. That’s a feature supported by Intel and does not void the warranty. And you can swap out the battery in a few seconds for a fresh one.

I use mine mostly for following news and stocks on the road and have lost track of the number of trades I have placed using this fine tool. And at $330 if you lose it who cares, as long as you use password protection for your accounts and data? By default it comes with a 160gB HDD but I swapped mine for a 500gB one from my MacBook and upped the standard memory from 1gB to 1.5gB – it will handle 2gB. Lightroom 2 runs fine if not super fast and I have even used CS2 on occasion. The speed of both applications is comparable to what I remember enjoying on my G5 iMac a few years ago.

MSI Wind running Lightroom 2 quite happily.

There are lots of choices in the netbook market at around the same price, and I have no axe to grind for MSI’s version (of which there seem to be many) other than to say that it works well, and that I sold my MacBook within one month of getting my Wind. Make of that what you will. I do not believe it makes sense to buy a costlier device as something better will come along in a year and you will have lost more than you should. Give it to your kids and buy the latest model in a year. The only aftermarket accessory I added to mine, after the HDD and RAM, was an international power brick which will work with non-US sockets – a few dollars on eBay.

Netbooks have no optical disk drive so if you must view movies on the road simply rip them to the HDD using your desktop computer. Place them on an 8gB $20 SDHC card which will hold several. Mine will play two full length uncompressed movies on a charge and delivers excellent sound quality using earphones. The screen is 1024×600 pixels which is identical in aspect ratio to the widescreen format adopted by most movies today. The on board speakers are worthless if good sound is required. An add-on drive is too power hungry and too bulky, defeating the point of a netbook – instant computing anywhere.

The built in camera won’t make you look like a supermodel but works fine for video chats.

The netbook computer has destroyed profit margins in the small computer business – the reason Apple refuses to make one – and I recommend it without reservation if you value utility over fashion and believe, as I do, that real computing is done at home using a big screen, not a laptop.

Note: This site is optimized – as best as possible – for viewing on a 1024 x 600 notebook screen. That’s a bit of a squeeze as my preferred picture size is 800 pixels on the long side – meaning I can just about get it all in with landscape snaps – but dictates some scrolling with portraits. If you turn off the status (bottom) and bookmark (top) bars in your browser it’s even better. Laptops are generally 1280 x 800 or so, and should pose no issues.

December 11, 2009

Software of the Year

Filed under: Software — Thomas Pindelski @ 3:11 am

For anyone suffering from data overload.

There’s that old saw which has it that two workers turn up at your house to build a new wooden staircase. One is from the old world, makes a big pitch about how he only uses hand tools and the crafts he learned from his grandfather and probably has a missing digit to prove it. The other asks where he can plug in his saw bench. Which do you hire?

The investment world’s version of this tale is the old line manager who consults the paper copy of the Wall Street Journal, gets the Financial Times delivered for world news and reminds you that’s how they used to do it on Wall Street when he was learning the trade from his dad. The new kid refuses to meet with you, stating his time is too precious, and sets up a videoconference instead, during which he constantly consults one of a half dozen monitors to see how things are going in the markets.

Well, the answer is the same in both cases. The old guy loses the job. Time is money and he will end up costing you too much of both. And the young guy’s work will not only be faster and much more accurate, he can correct three mistakes while the old boy is still sharpening his hand tools.

This preamble is perfectly in context of this year’s Software of the Year award which is for NetNewsWire.

NetNewsWire

No matter what your interest, NetNewsWire will leverage your time just as effectively as the electric saw leverages the carpenter’s.

A case in point is the increasing frequency with which camera and lens software is updated by manufacturers. New features are added and existing problems fixed. If you have NetNewsWire tuned in to any of the many web sites addressing these things, using an RSS feed you can be assured of not missing these important updates. For example, Panasonic and Canon – whose products I use – have released several camera and lens software updates this year alone. I may not need them all but it’s nice to know they are installed if I do. On a related topic, keen photographers read many web sites and can avoid wasting time checking for new articles through the simple process of using NetNewsWire and a site’s RSS feed. If the site lacks an RSS feed, why bother with it? Clearly, the author cares little whether you read it or not as he cannot be bothered to draw your attention to new content.

This year NetNewsWIre started using Google Reader as its feed engine and has, as a result, become much more reliable. In particular its syncing of feeds between multiple devices is greatly improved. Thus, when I read an article on, say, my netbook, I am assured that its ‘read’ status is updated on my desktop and iPhone. That’s worth a lot to me.

After a while you quickly filter your feeds, separating gold from dross. And if, like me, you manage money for a living, you are in seventh heaven, because that’s a business where dross is dominant.

NetNewsWire is a free download and is this photographer’s Software of the Year. It only runs on Macs but there are doubtless like products for users of other operating systems. Whether you are a photographer or a data fiend who values his time, this application deserves to be on your computer(s).

Once you have loaded NetNewsWire on your Mac, just click the RSS logo in the toolbar of your browser and the feed will be automatically added.

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