Yearly Archives: 2007

Go where the money is

Software

Economics 101 and Photoshop CS3

Well, the glowing reviews are coming in from the big magazines extolling the genius of Photoshop CS3.

So, what are you going to do? Trash your biggest advertiser? I don’t think so.

Heads up, class, for Dr. Pindelski’s Three Rules of Economics:

  • All control drives up price
  • A fool and his money are easily parted
  • When wondering about decision making, always go where the money is

I have been using Photoshop CS3 in beta form for some four months now so let me write in clear, unconflicted language.

This remains the hardest to use, worst user interface, clunkiest photography software available. Rather than improve on previous versions it just gets worse. The menu structure is so poorly organized we now have new options like “Show all menu items” in drop down lists of umpteen selections! Just try to find something basic like Image->Contrast/Brightness without this option.

Increasingly, real world photographers – those who prefer to take pictures rather than process them – are adopting user friendly products like Aperture and Lightroom. For the average person who does not need a zillion variables applied to his snaps, CS3 is simply God’s way of telling you that you have too much money, time or both.

About the Snap: The Painter

About the Snap

The Painter.


Date: 1982
Place: Broadway on Manhattan’s Upper West Side
Modus operandi: More intent on grocery shoppng than photography.
Weather: Outdoors overcast.
Time: 3pm
Gear: Leica M3, 50mm Summicron
Medium: Kodachrome 64.
Me: Looking forward to the smell of all those cheeses at Zabar’s.
My age: 31

The Story: Few who are familiar with New York City’s west side would deny that amongst the greatest cultural attractions to be found there are the Julliard, Carnegie Hall, and the Carnegie Deli. And let’s not forget the greatest deli grocery store in the world, Zabar’s, up the road a few blocks on Broadway.

Now Broadway holds many precious memories, not least of them being this snap.

Once, lazily catching a Broadway bus rather than walk the few blocks home from 80th Street to 56th and Eighth, I sat transfixed opposite none other than the gorgeous Lauren Hutton, and found myself getting out on the opposite side of town, having missed my stop. On that same Broadway I lost my seemingly nuclear war-proof doorman’s umbrella, double struts and all, in a blast of wind when coming out of the Met with my mum in 1986. The umbrella died magnificently, sacrificing itself under a massive Checker cab. Every Thanksgiving you would have found me during the years 1980-86, cheering the Macy’s Parade on Broadway. And every winter, there I was on Broadway at Columbus Circle, watching the marathoners come home.

Now Zabar’s is far more than a European grocery store. It’s a place to meet, to argue, to debate. Art, politics, food, music, ballet, it makes no matter. A place where I sometimes went to gaze at the arcane cooking instruments, trying to work out their uses. A sure cure for depression. Add a pumpernickel bread my Polish forbears would have died for and a selection of coffees unparalleled in the Western hemisphere, and you have a special place.

So intent was I that Autumn day to get my provisions that I shot right by this amusing scene. Nothing gets between a hungry polack and his food. My mind’s eye caught this little piece of drama, however, and a few seconds later, disregarding the urgent messages from my tummy, I was retracing my steps. The tableau was still to be had!

After that, I was on autopilot.

Saul Leiter

Book reviews, Photographers

Book review

Recent comments by reader Giovanni Maggiora in response to a couple of journal entries here (1 and 2) saw recommendations for the color work of Saul Leiter, a photographer I had never heard of.


Paso Robles hot rod show, 2007. Canon 5D, 24-105.

So I hopped over to Amazon and a few days later Early Color by Leiter was in my hands. You will understand the level of trust I place in my readers when I admit to having blown $45 on this small volume, which is some sort of record given that I ordinarily only buy remaindered photography books. A remaindered Brassai is a cheap Brassai, after all.

Leiter’s work uses color sparingly in these pictures, taken during 1948-60; frequently, the colors are faded. The style is somewhere between Ralph Gibson (Leiter’s work being far more approachable) and Andre Kertesz, which is funny when you recall how much Kertesz denigrated color photography. As much as I (mostly) denigrate monochrome today. Stated differently, the style is street photography, but has nothing to do with the Decisive Moment school. People often feature in Leiter’s streetscapes, but as an architectural adjunct, seldom as a subject. As the text suggests, he would have done more color but couldn’t afford it. Boy, do I know how he felt.

I found the work wonderfully fresh and inspiring to look at, not least because my own style of street snap is very reminiscent of Leiter’s work. I say that unselfconsciously, having never heard of him until now. So while I can honestly report that Leiter’s work did not influence me one bit, the similarities are striking.

I make some disclosures below about the copyright aspects of reproducing Leiter’s work here; bottom line, I make no money from it and, hopefully, he will when you buy his book. Additionally, I have added an imprint on his pictures to make things clear. Then, compare his work with some of my color street snaps over the ages:


Madison Avenue, NYC 1982. Leica M3, 35mm Summaron. Kodachrome 64


Leiter’s version, 1960


Stanford University campus, 2002. Olympus C-5050 digital


Leiter’s version, 1956


Union Square, San Francisco, 1999. Leica M2, 90mm Asph Summicron, Kodak Gold 100.


Leiter’s version, 1954


Chinatown, San Francisco, 2000. Leica M2, 35mm Asph Summicron. Kodak Gold 100.


Leiter’s version, 1956


Eiffel Tower, 1977. Leica M3, 35mm Summaron. GAF Ansco 500


Leiter’s version, 1959

If this “street/color” genre appeals to you, do take a look at Leiter’s book. And thank you, Giovanni, for putting me on to Saul Leiter’s work.

Update:

Leiter passed away, aged 89, on November 26, 2013. The New Yorker has a thoughtful obituary here.