Also, I’m on my sixth gallery software install since I first put images up on this site some six years ago.  It works ok, but it uses Flash which annoys me and the fallback (primarily) for iOS doesn’t work well, which doesn’t annoy me.  I’ve decided to leave it for now, but I realize the best option to do an HTML5 gallery, probably from scratch or at least with pasted together code.  There’s plenty of nice things (and much overlap with my Facebook fan page, so it can wait.  Weiter.

I decided that rough is better than none, so I posted a preliminary write up of the Hasselblad 2000 FCW. Fortunately, I can cut and paste much of that V body’s review into other pages, so hopfully it will speed up the 500 ELX and 500 C(/M) reviews.

Also, I found I tend to repeat the same damn pearls of wisdom in one too many conversations, so I figured I’d make a running list and expand on each one of them in a blog post. I don’t think there is any particular order for them, but we’ll see. It might even get me to write more.

Again, we’ll see.

[2/22/12 7pm]

I went back and forth about posting this. I could have written about the things that happened two months ago at that time. But once it went beyond me, I no longer felt “in person” conversations were sufficient. It also occurred to me that I had recommended Jimmy to others, in addition to pro/serious amateur/artist friends who drop serious money there, and I had an obligation to them, especially the first group.

I want to make it clear that I am writing about my experiences as factually as I can – while holding back names of people who have done nothing but be supportive – and on my own feelings. The one thing I won’t do is suggest a course of action for anyone. That includes both Adorama management and customers. While I really would like to recommend certain other salespeople there, I think it’s reckless because I haven’t worked with every person there, and others deserve chances. I wil make those recommendations, as I have in the past – because I do like to help those I think care and provide service – but only on a direct basis and not in “broadcast” form.

I went into the NYC store on 2/21, to mention the post to managerial staff and certain involved parties, to make sure they had a chance to deal with the situation or to object to any facts presented. Of course, they are dealing with the situation and have been in touch with me. I do not know what they are doing at this time; frankly, it’s an internal matter and I won’t offer an opinion. All businesses make missteps with customers, the point is to do right when they are in the wrong. I have a long history shopping at Adorama – some time ago I found a grey card I bought there in 1996 – and in the past, we have managed to solve any problematic issues. I am and remain a fan.

——
[2/21/12 4am]

You know, I spend a lot of money at Adorama.  I can wallpaper a room with my receipts.

Those receipts add up to a car, and not a cheap one.

I spend a good amount of time there and recommend the store to my personal students. With an exception or two, the sales people are nice, if varied in their level of techinical familiarity, and honest given their knowledge and the profit model of consumer electronics.  Unfortunately, this is about an exception.  One they are aware of and not dealing with.

So I write this story regretfully – it was going to be private initally, has been told in confidence to some of my friends, some of the highest-end, most accomplished photographers in the city, some with university teaching positions.  But since the story extends beyond me, since the conduct was observed by others at the store, done brazenly across the sales floor, I suppose there is no issue continuing the public trend.  Moreover, in this economy, captial expenditures are a major choice and a risk.  I think people should know whom they are dealing with, their character, when people make business choices that can make or break them.

One evening [EDIT: 8 Feb 2012, 6pm], a few weeks ago I had an issue with a used item I bought.  Mistakes happen, the rating system is more about cosmetics than function, I know this and life goes on.  I was standing at the used desk, chatting with Andy, who really is one of the nicest, fairest people you will meet.  He loves cameras as objects, as a craft, and has decades of experience to draw upon, and really works to treat people selling their camera equipment in the most honest fashion in the city – and I have dealt with just about everyone.  In any case, I moved on to looking at some used piece.   From across the floor, Jimmy Newmark, my former usual salesman, shouts out to Andy about pricing a Leica M9P and some lens, a $15,000 package.  Nothing unusal about that, except for decorum, perhaps.

Now, for the next five minutes, across the width of the floor, say 25 feet, a three, well, four way conversation is held.  Apparently, the guy was selling some equipment as well.  He was calling from his car and had his wife with him, but she was unhappy with the prices he was getting on his trade-in and was pushing for him to sell privately.  This continues for a bit and the call ends.  From his sales station, he recaps the situation as above, mentioning that he is a rich S-Y (Jewish slang for a Syrian Jew) and that he makes a fortune, real estate I believe it was, and that his wife was a pain.

A few minutes later, the call resumed, and some sort of deal is reached. Or it wasn’t. I stopped paying attention. Call ends.  Jimmy then left his station and came to talk loudly – standing next to me, initially – at Andy and other staff at the used desk.  I say “talking at,” because this wasn’t a conversation, it was a monologue, a rant. In short, he stated that the he’s a big guy, the guy drops $15K every year on a whim, but his wife is such a bitch, it’s not worth the hassle.  Nobody acknowledged him in any way; they just looked at him and walked off when he was done.

And it was a performance for my benefit.

Why do I say that?  Why am I so sure?  Am I just an egomaniac?  Well, no.  This conduct is expected of him – he routinely harrasses coworkers, and even a department head – not his though – acknowledged “it’s a problem.”  See, since May 2010, I’ve probably spent, well, I won’t say, but far more than $15,000.  Not an order of magnitude, but enough to make that purchase look cheap.    Most of that business went through Jimmy Newmark.  He does hard sell, which annoys me, but selling is his job.  Sometimes it grated on me, the childish humor; but sometimes it went way over the line : one example -

- he once convinced another sales rep that I returned a used piece just to rebuy it from him so that I would make sure he got the comission.  I was appalled at that.  Fortunately, I was asked “please don’t do that” by the rep. I say fortunate, because, having manners, they were hesistant to even bring up the matter, which was done commendably delicately.  I  asked the sales person to check my recent orders and show me the purchase.  When nothing was shown as bought/returned/bought the rep realized Jimmy was lying just to boast and makes them feel, well, bad.  I was ready to pull my business from him then and there, but as I said, the floor staff are decent people with an exception or two (obviously) and though it would mean more sales for them, asked me not to mention it or change my purchasing.  Though I was furious at the suggestion that I would undermine comissions -some of my close family draws their income that way- I did as they asked, because frankly, they have to be there and I understand the annoyance of tension in the workplace.

Later on, perhaps enamoured by some of my cuter friends that sometimes tag along or need to buy something for themselves, he sent me a friend request on Facebook.  I was hesitant, but I accepted.  This is not such a mistake.  I have former collegues that have remained friends years after I left a job.  Additionally, and more relevant, I have many friends who have an interest in photography – at all levels from those just starting to take interest to those whose commerical interests stretch the definition of “small business.”

I do a few things to avoid stepping on toes.  My friend list is private.  I don’t want a 22 year old who just picked up a camera to start messaging someone because they saw a piece of theirs in a gallery or museum.  Obscenity is controlled – I’m blunt and brazen,  but I don’t aim to hurt.  Bad technical advice is removed because it leads to silly forum type arguments and it confuses some of the beginners I tutor.  And certainly, no one is allowed to solicit sales on my Wall.  These very  accomplished people have allowed me to maintain some sort of nominal relationship with them – not on the basis of my reputation, because I’ve stayed invisible until recently – but on the basis of my work, or my approach, or knowledge of obscure equipment they too love, or the interesting camera slung over my shoulder.  It doesn’t matter.  I have little to offer them in business at this point and consider my relationships with them to be a privilege.  No sales pitches.  No spam.  Basic respect.

In the past, I have reposted something I consider a great deal from a link on Adorama’s page, or a direct link to the site for something I found.  Once, commenting on such a link, he asked something along the lines of “why didnt I say come to Jimmy?”  I let that stand, but told him personally the next day that while I have sent people to him, he cannot make comments like that on my page.  The reasons were explained to him.  He did it again.  I removed it and told him again, reminding him that this was the second time I had to explain a simple rule.  I rarely use privacy controls among my Friends, because I expect people I publically associate with to have some basic courtesy and decorum.

Then a third time, being a bored Jew on Christmas, I did some online shopping.  Aimlessly tweeted  about wanting a particular lens and a particular camera.  I’ve made this post public so you can see the rest.  In short, he immediately posted “I can sell you one.”  I was pissed.  Funny thing. Adorama is actually advertising the lens at about $400 over MSRP – and not disclosing that – thus violating NYC law.  He suggested “caveat emptor” applies to customers (it doesn’t, thus the basis of contract law), but then half backtracked after getting in an extended discussion.  He closed with a lone “Happy Festivus”  knowing full well that I’m Jewish, speak Hebrew, and don’t celebrate Christmas -not even going to parties- or anything not Jewish (American patriotic holidays excepted, of course).

December 26, I walk in, go to the used desk and while waiting to see something in the used display, he yells across the floor, “how’s it going, Adam.”  I merely reply, “you really do love to do things in public.”  Some time later, I find out that after I left the store that day he was publically saying (to the effect) that “I don’t need Adam anymore, he doesn’t even buy all that much any more.”  At this point I retell the story (in short) to several people at the store, including a department head and manager.  They know of the problem – not mine specifically – but with the employee. The next day, out of the blue, an “apology” appears privately, to the effect that I “misunderstood,” “he was only joking,” and “doesn’t speak for the store.”  Right.  The next day, a salesrep mentions that there was a huge staff meeting on the subject.  Three weeks ago, at dinner with a photographer friend, a NYFA selectee as it so happens, tells me about a huge meeting about a month before where his usual rep tells me someone nearly got fired.  I laughed and told him the story; he had the same reaction as every other photographer – annoyance with the idea of that happening and finding the “just a joke” excuse, well, a joke. Well, I guess the lesson has a four week expiry.

And a final note – the reason I haven’t spent so much lately?  [EDIT: "not so much" means a few thousand dollars.] Well, mostly because I’m forming an LLC to sell work (yes, finally) allocating money for lawyers and waiting for tax exemption before buying things more editing monitors, a spectrophotometer or two, inks ($1000 just to fill my damn 4900), and assuming all goes well, a Hasselblad X5 (one of those “if you have to ask…” purchases).  Two  months ago I was certain where I’d buy.  I haven’t stopped buying there, but I’ve noticed my purchases have been diversified a little more.  And I will say there are many wonderful people there -nearly all- people I love to deal with. But apparently tens of thousands of dollars isn’t enough, let alone fifteen, for customers to be assured of basic respect and not be talked about behind their back on a public sales floor.  So where will the next fifty and up go? We’ll see.

I will say this again-

There is no “too technical,” only “not artistic enough.”

So last year, this site more than doubled in traffic. Not a bad result from flirting reluctantly with self promotion – handing out maybe 200 business cards since the end of October 2010. This year, goals are explicit, higher and pursued with intent. My public presence now includes:

• This site with formal collections of finished artwork.  The visual component will be fairly static.   Text, in the form of blog posts and information pages, will be frequent and more importantly, useful.  Expect equipment and technique reviews from my unique standpoint, and I plan to add a good bibliography in the next few days.
• My new, public Facebook page will have my most up to date work, often in a raw, lightly edited state.  What was once accessible to a select group of artists and friends will be public.  Please hit “like” and “share” it with your friends, too.
• My work will be represented on one more site, but that’s a bit down the line and somewhat hush hush.
• My twitter feed collects much of the above and serves as an overall RSS feed.  I still need to figure out a proper flow for these microblog links – I want to inform, not spam.  It should be manageable, but if you find a flood, let me know.

And that pretty much covers the online stuff only.  Other things are in the works – and that doesn’t include the real work : the art.

2011 was a mixed bag – everything about it could be described as half-hearted – and yet, still a success.  Let’s see what happens with some intent behind it.

However, my 2nd selection aside, I couldn’t really bear using such an old piece – I’ve gotten better since the age of 19, but I had my reasons for doing what I did. Since the judging and additional curating is done, I uploaded what was going to be my submission for this year to my profile; Quiptych. It also forms the centerpiece of my “cohesive” printed art portfolio, arrange just so to use the problem of vertical pieces in an horziontal presentation book to my advantage.

Now, finally, to get some real writing done.

In any case,  here’s my entry for this year.  Now I’m always reluctant to use something “old” when choosing a piece “that best represents you as an artist.”  In this case, I feel that it’s an exception – this piece is just as much 2011 as 1997 being reconstructed off three partial (and somewhat soft) 5×7 test prints using HDR techniques, free transforms, curves, and grain simulation.   In effect spending the time to rebuild this image is not simply a reflection on the 10 year anniversary of 9/11, but directly reflects an aesthetic that preoccupies me these days.

As far as my chances for being selected, well, I’m not concerned about the selection per se.  I do think there is a chance that on the one hand it might seem pandering given the subject, the location of the program, and the date – and the other hand, the notes that went along with it may well seem extreme in callousness; stressing the unimportance of the image of a now revered building. So I’m not too bullish on my chances.

At the risk of impinging on the range of interpretations people will (hopefully) have, I’ll write more about this – specifically about divorcing form from content – later.

I have a penchant for asides, but given the writeups ahead of me, I have to get this out now.  I may have even written a line or two about it before. Don’t care.  It bears repeating. 

Analog photography.  Analogue Photography.  Analog/ue Film Photography.  Spare me.  First of all, cameras are pretty much the same.  Yeah, there are sciencey differences at the image plane which actually have ramifications in the act of photography, but spare me.  Light doesn’t come in digital or analog.  I mean, analog film photography – I get it, analog corresponds to the “photo-” while “film” is obviously the -graphy, so analog film photography treats light as a wave only; it must be that photons are for digital pixel geeks only.  Right.

I suppose if you were doing “analog” photography where you used both film and glass plate, you’d have a point.  And I’d shut up.  And I’d apologize.  And I’d tell you to keep on rockin’ in the free world.

You’re not doing glass plate work.

A friend once described them as the same but different – digital is dry and film is wet photography.  I assure you, this man is well aware of wet plate photography and was making a poiginant historical reference.  If you do wet plate, please don’t be offended.  We love you and your tintypes.  No one is trying to steal your name.  I still haven’t had the chance, but I promise, as soon as budget and space allows.

But please, if you don’t know what a dark slide is, what ortho film is, what shoulder and toe has to do with any of this – I’m glad you’re interested.  Please keep learning.  I hope your interest can keep the remaining film stocks alive (Astia, please don’t go).  But know that it’s nothing special to shoot film, especially roll film.  Enjoy it, learn it.  But analogue film photography sounds like you’re trying to hammer home how different you are.  If you can buy film at Urban Outfitters (i.e. 120 and 35mm) you aren’t.

And finally, stop protesting technology changes and refinements in photography.  Stop for a minute and think how stupid that is, especially in comparison to visual arts which go back millenia.  Digital doesn’t have soul.  It’s not supposed to have it.  You are. (Maybe.)

Film photography. 
Better yet, Medium Format.  Or Large Format.  Or 35mm. 
Best, “I like 6×9.  645 feels like half frame.”  Or “4×5 is great for versatility, but you need to be at 5×7 or better to make a decent contact print.”

The first tells me what you don’t do.  The second tells me what you do. The third tells me you might actually know what you’re doing.
Analogue Film Photography tells me that you don’t.

The rest, however, are not so lucky.  I have a bit of an upload going on; “retrospeculum” (formerly, “Start Here”) will be changing a bit.  Too much overlap with other sections.  “Destilled” will be getting, well, destilled, as soon as I figure out what belongs there.  I know there are things that don’t belong there right now, and they will go.

Oh, the bio, which was boring and stupid was rewritten.  A lot fewer details and a lot more informative.  I did remove my ICQ account listing.  It kills me.  It was six digits, and I had the thing since (cringe) high school.

Moving along, that stuff will sort itself out.  More important is what is coming to this section.  Since my trip to Miami this past March, I’ve been shooting a fair amount of film, mostly MF (6×7 and 6×9 in particular), but also a little 4×5 and 35mm.  I just took possession of – god help me – an 8×10, but nothing is happening there until I build, buy, or steal a new bellows.

The upshot of all this is that I have a significant range of film cameras, many of which are system cameras, and have developed approaches to using and specific purposes to each.  I mean everything from a Mamiya C330S to a Graflex 4×5 R.B. (with factory Graflok!) sporting a 8″/2.9 slapped in front with gaffer tape, epoxy, and a steel lensboard from an unknown system.  All of these systems have reviews online: none of these are new cameras and lots of people have things to say.  I do not intend to duplicate that.  I just want to give my notes on these tools, especially since I have a pretty good cross section of MF offerings (thought LF and 35mm will get some notes).  Systems include Mamiya TLR, Mamiya RB67 and RZ67, Mamiya Universal, Koni Omega, Pentax 67, Horseman 970, Kiev 60, Hasselblad 500 series, and more.  I think the first up will be the Koni, representing one of the best price/performance ratios in film cameras, which is remarkable given the current prices of systems like the RZ67 and the Fuji GX680.

But for now, I sleep.