Category Archives: Movies

Moving pictures for snappers

Shulman and Bosch

History repeats.

While I have not had TV service for some two decades now, I do subscribe to Amazon Prime and they make available a lot of content, including their ‘made for TV’ series as Amazon moves to become a major movie studio.

One which caught my eye recently is the Harry Bosch series of detective thrillers, set in Los Angeles. The cinematography here appeals immediately, capturing that sun bleached look of the poorer parts of a city I love. Bosch, a somewhat dour and jaded Hollywood homicide cop, lives in a magnificent stilt house in the Hollywood Hills. You know, one of those due to become an insurance claim receivable when the Big One hits, for these Hills homes are perched on uprights which will be the first to go when tectonic plates commence shifting.

The story line, for no straight cop could afford this place on his salary, is that Bosch participated in the making of a cop movie – there’s a poster on his wall testifying to this – which rewarded him richly, affording him the magnificent home (1870 Blue Heights Dr, Los Angeles, CA 90069) along with some really cool vintage tube hi-fi hardware. The latter, sadly, is wasted on his preference for jazz, which is so much noise in my book, but each to his own. Here’s Harry in his pad:

This image, used in several episodes, immediately harkens back to the greatest modern architectural photograph of a Neutra inspired home, that of the Stahl house, taken by Julius Shulman:

The Stahl House.

If you like your detectives hard bitten, cynical and rule bending, with more than a dash of Philip Marlowe (and some of the complexity) thrown into the mix along with fine acting and cinematography, Harry Bosch is your man. The intense and splendidly named Titus Welliver is Bosch.

Funny Face

Three minutes of absolute magic.

I pontificated on Essential Blu-Ray movies a while back and that short list remains valid today. These movies are essential not to the cinephile or auteur. Rather, they are key for any photographer.

None meets the definition of ‘essential’ better than Stanley Donen’s 1957 Funny Face with Fred Astaire, Audrey Hepburn and the powerhouse that was Kay Thompson. But the movie director had two special tools in his arsenal. One was the aristocratic couturier Hubert de Givenchy, recently deceased. No man more defined ‘elegant’ when it came to modern couture and in Audrey Hepburn – an actress of surpassingly bland acting talent – he found the perfect mannequin. The two would remain linked in the minds of the fashionistas for decades. The other was the ‘go to’ fashion photographer of the ’50s and ’60s, America’s own Richard Avedon, yet another Columbia dropout. When editor Diana Vreeland left Harper’s Bazaar for Vogue she took Avedon with her and the rest is history. A great collaboration defined fashion photography for two decades.

Avedon served as the expert photography adviser on ‘Funny Face’, as this wonderful image with Fred Astaire shows:

Just over half way through the movie the photography crew finally has the somewhat gauche Hepburn more or less beaten into modelling shape and what follows is three minutes of absolute magic. In those three minutes Astaire is shown crafting seven showstopper images as he directs Hepburn in various posing routines in magnificent Parisian locations.

Here he is getting ready for the first with the same giant plate camera in the Avedon image above:


In the Tuileries Gardens, outside The Louvre. The most perfect urban space on earth.

He uses a Rolleiflex as often as the plate camera, even adopting the tricky upside down orientation shown here:

Then the fun begins.



With the balloons at the petit Arc de Triomphe.


At Gare du Nord with the Flèche d’Or, the Paris to Calais train. Givenchy at his very best.


At the florist’s.


The Louvre.


Fishing in the Seine.


Not any doves. Parisian doves.


The Coup de Grace. Givenchy outdoes himself at the Paris Opéra.


7 images. 3 minutes. Absolute magic.

HAL is 50.

And his prophecies are coming true.

Science fiction is a genre for morons. It makes for bad writing and even worse movies. Plot lagging? No problem, throw in some shape shifting. Longueurs too long? Easy. A spot of time travel and disappearance is called for. SF is the poor writer’s opt out of doing the hard job of producing quality prose. SF is also a leading opiate for the masses with their endless taste for all those cretinous Star Wars movies. Hey, a fool and his money are easily parted.

This month Stanley Kubrick’s masterpiece, ‘2001: A Space Odyssey’ turns fifty. Many who did not pay attention, or who never watched it in the first place, describe it as a science fiction movie. It is nothing of the sort. It is about Artificial Intelligence and machine learning, and shows a world where the machine tries to control man. (It bears adding that the one time ‘2001’ goes seriously sci-fi – as opposed to AI – in the very last chapter, comprises the most frustrating and failed part of an otherwise great movie. Yes, needless to add, time travel is involved).

In the modern era that machine is, of course, Facebook, and Mark Zuckerberg is the lunatic Dr. Chandra of yore, the machine’s father. Only this latter day Dr. Chandra is far smarter. He has monetized his theft of your data and over 2 billion check-ins monthly to his odious platform testify to his genius.


HAL and Facebook are watching and listening. HAL lip reads the astronauts, now conspiring against him.

I cottoned on to the evil of Facebook early on. Obviously the revenue model (‘free’ to users) meant that the suckers were being played, their profiles sold to advertisers and politicians. Why does Facebook not adopt a revenue model where users pay and their data is not sold? Because no one would pay. So if you buy Zuckerberg’s promises to fix the security holes you are stunningly naïve. There is nothing to ‘fix’ so long as you, the user, are the product to be sold.

While the inherent evil of Facebook was clear to me from its creation, I also harken back to a sunny spring day in 2012 when I was walking my son home from his intermediate public school in the Bay Area. I noticed through the fence that every child in the playground was staring intently at the cellphone screen in his hand, tapping away with both thumbs. The surrounding basketball nets remained untroubled by balls. “What are they doing, Winnie?” I asked. “Oh! dad, don’t you know? They are all on Facebook sharing rumors and pictures of friends”.

So I flashed back to The Unfair Advantage I have always sought for my son. If these stupid kids were willing to sacrifice quality study or play time for obsessive use of a rumor system, and if their even dumber parents were willing to allow this, then the child opting not to use that system would automatically have an Unfair Advantage. His available time for productive pursuits would skyrocket.

But I decided to bide my time. I knew Winston used Facebook, albeit in moderation, but a catalyst was needed to get him to stop.

That catalyst appeared a couple of weeks ago when it was disclosed that Facebook data likely installed a traitor in the highest office of the land, with subsequent depradations and destruction of America’s international status to follow. Winston was well aware of this scandalous theft of data of fifty million (70 million? 100 million? 200 million? Take your best guess) Facebook-using morons, garnered through trickery and deceit, then resold for political gain.

I pounced.

Here’s the email:

The ‘THIS’ link is here.

Frankly, I did not fancy my chances of success yet, minutes later, this arrived.

HAL’s plaintive complaint “I can’t do that, Dave” has morphed into “Yes, I can” in my son’s courageous decision.

My son’s Unfair Advantage grows daily. As Stanley Kubrick once memorably put it, “Never get into a fair fight”.

Should you have your child delete Facebook? Please, no. I would rather my son had as little competition in life as possible.

Stanley Kubrick and author Arthur C Clarke set forth the evils of AI for all to hear and see fifty years ago. Now they are laid bare and the users are the victims. Just like Mission Commander Dave Bowman on that space mission and his fellow astronauts, all murdered by HAL in the emotionless pursuit of his mission.


Killing HAL. Keir Dullea as astronaut Dave Bowman guts the murderous HAL’s memory banks.

Given the above, my enjoyment of ‘2001’ has never been greater.

Follow-up – just one day later:

HAL must be spinning in his grave:


Duh! What did you thing they did with it, WaPo? Click the image.

Roger Deakins

Cinematographer.

Like the movie composer Ennio Morricone, Roger Deakins had to wait decades for his Oscar, beaten out by lesser talents unknown today. Ennio got it for a haunting score for Tarantino’s so-so ‘The Hateful Eight’, and Roger’s award came for a so-so movie with great cinematography – his.

For most movie goers I suspect the appeal is that of a particular star or, for the better informed, the work of a favorite director. For me, as often as not, it’s to see the art of the cinematographer and if you tell me that Roger Deakins did the work, I’m off to the theater, cash in hand.

I was reminded of this logic the other day when another huge Deakins fan suggested I watch ‘Sicario’, a movie about the nefarious bumblings of the CIA on the tunnel-ridden Mexican border with Texas and Arizona. You know, the one where we are making ladder and shovel manufacturers rich by building a wall. That fan was no other than my son and when I asked what prompted him to watch the movie his reply was simple: Roger Deakins.

Here are some favorite images from Roger Deakins’s movies. The lighting is invariably simple, the camera moves little, and in backlit scenes Deakins will often expose for the highlights, leaving the viewer straining to make out faces, to great effect:



The Hudsucker Proxy. Paul Newman and Tim Robbins yuck it up.


The chilling ‘Barton Fink’ gave Deakins free rein.


‘The Man Who Wasn’t There. A cinematographic masterpiece.


‘The Big Lebowski’. Julianne Moore and Jeff Bridges relive Busby Berkeley.


007 in ‘Skyfall. An awful movie saved by great lens work.


The chilling opening of ‘Fargo’.


Another from Fargo, towards the end. How do you improve on this?


‘The Assassination of Jesse James’. Forget whether you like Westerns. This is all about gorgeous imagery. Casey Affleck and Brad Pitt.


Deakins at his quietest and most terrifying. Javier Bardem won the Oscar thanks to the camera work in ‘No Country for Old Men’.


Another from ‘No Country’, and unforgettable at that. Lighting as simple as it gets, exposure for the highlights.


Tim Robbins again, in ‘The Shawshank Redemption’.


The cabin scene in ‘True Grit’. Jeff Bridges deserved the Oscar for this one, but had to wait a while longer.


‘Oh! Brother, Where Art Thou?’ Cop as demon. Deakins’s lens captures the fires of hell in the policeman’s glasses.


In ‘Sicario’ the CIA enters the drug smugglers’ tunnel. Exposure once again for the highlights.


Although sci-fi strikes me as a genre for two year-olds, ‘Blade Runner 2049’ finally earned Deakins the Oscar he so richly deserved.


Eight of the thirteen movies above were made by the Coen brothers. Quality attracts quality.

Try and catch a few of Roger Deakins’s movies if you care about great images. For a complete listing of the master’s work, click here.

Update May 10, 2023:

Unsurprisingly, Deakins is also an adept photographer, favoring the street photography genre. Click here for more.

Big small storage

2.5″ spinning hard drives.


Dual 2.5″ drive enclosure compared to 4 bay 3.5″ behemoths. As the yellow label discloses, this Mac Pro runs a speedy 3.33GHz CPU.

As my movie collection grows, not helped by the 25GB size of ripped BluRay discs (compared with but 4GB for regular DVDs), so does the need for storage space.

Heretofore I have used Mediasonic 4-bay 3.5″ drive enclosures at $100 for the 4-bay version, and they have performed flawlessly for over 5 years now, loaded with Western Digital Red 4TB hard drives. The drives now retail for $135, which is a lot more than I paid years ago. The blue tape on these which you can just make out in the picture is to blank off the obnoxiously bright flashing LEDs on the fascia.

With traditional spinning disk technology refusing to die, and SSD prices still far too high for bulk storage, the much more compact 2.5″ hard drives have made huge leaps. 4TB capacities are now readily available in the smaller drive size. Seagate makes 4TB 15mm thick drives for $130 and two of these fit an inexpensive $40 enclosure. There are many versions available; just make sure the one you order will accommodate 15mm drives, which are a good deal thicker than the typical notebook drive. So the cost per 4TB of 2.5″ storage figures to $150, compared with $160 for the older tech 3.5″ drives, with great savings in space and, as importantly, far lower power draw. The enclosure of choice used here supports USB3 (though USB2 is perfectly adequate for movies) and comes with both USB2 and USB3 cables, as well as a power supply. I have added USB3 – having run out of USB2 sockets – using an Inateck USB3 PCIe card; the Mac Pro comes with USB2 native ports only and I happened to have a spare card lying around. USB3 is not a requirement here. The price of this card appears to have more than doubled since I bought mine.

A 4TB drive (the second drive is a back-up clone) will store some 160 BluRay disks, so this big little addition should see me happy for another year or two. The cost of storage per movie, along with the backup clone, figures at just $1.88.