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October 2008

Friday, 31 October 2008

The Sony A900: New Kicks

Kicks_2

Zander's new kicks. Actually I think "kicks" was the cool term for shoes when he was in grade school; I wasn't supposed to use the word then ("don't say kicks, Daddy, that's what kids say") and I think it's passé now, but I still like it. He designed these himself, on the Converse website, and he's very pleased with them—he says at least nobody at school will have the same shoes as he does! He's got that right.

I got the Sony A900 this morning, courtesy of Matt at Alpha Lens Rental, and just thought I'd post a very quick first reaction:

• It's not that big. Nothing like the big pro N & C's. Not small. But still at least vaguely camera-sized, or what I think of as camera-sized. Seems quite similar to the D700, just going from memory.

• It's pretty light for its size.

• The controls were very easy for me, probably because I'm so familiar with the A900's ancestor, the Konica-Minolta 7D.

• The viewfinder. This is a signal feature for this camera. The first reaction is oooh, but then after using the camera for an hour or two the thrill disappears. Imagine wearing shoes that were too small for a year; it would be a constant annoyance, something you'd never not be aware of. But then if you got shoes that fit perfectly, it's not like you'd walk around every day going, "Wow, these fit so well." You'd just forget about them. Same with this viewfinder—you can see everything you point the camera at, a nice, big, clear, unimpeded view. It's not so much that it constantly calls attention to itself as that it just completely obliterates "viewfinder annoyance."

• Its kinda loud. I don't know if it bugs me or not, though. It seems to be a good kinda loud, rather than a sharp, "lookit-me," annoying kind of loud. We'll see. I'll get back to you.

• File size: remember that scene in "Jaws" when Richard Dreyfuss says, "You're gonna need a bigger boat?" Well, you're gonna need a bigger hard drive. Whew.

• Hand-feel: very good. Very comfortable.

Iso800small

I said I wasn't going to do any test shots, but of course I couldn't resist: I was curious to see for myself what all this brouhaha about noise is about. The picturesque subject above is from my desk looking East. First off, the resolution of this thing is stunning: it sees considerably better than I do.

It was immediately obvious that JPEGs have more noise than raw (.ARW) files. Here's a little patch of the above pic in JPEG:

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And in raw:

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Same shot, ISO 800, both straight out of the camera. See that stack of CDs on the right hand side? This is a patch of the wall next to that stack and about the same size. I don't know, but I don't think I'm the right guy to ask about noise; I just don't mind noise...in fact my immediate thought was that the JPEG noise looks so good I might have to use JPEG from time to time.

(By the way, PopPhoto.com says the D700 has a 2-stop advantage on the A900 when it comes to noise; they say the D700 at 6400 is about equal to the A900 at 1600.)

More later under this heading, when I've done more shooting.

And now, off to photograph doggies at the doggie park, while Lulu, the A900, and I all get a little exercise.

_____________________

Mike

Wednesday, 29 October 2008

Expected: A Bouncing Baby Sony

Thanks to everybody for making the last post so interesting. It was a "throw away" on my part—I saw that review in Winding Road and that post had written itself inside of about four minutes—pure reaction. I never imagined it would garner upwards of a hundred comments and so many interesting pictures and links. That was fun.

I'm going to take a couple of days off now, mebbe a day and a half, mebbe three—dunno. I'll resume when inspiration strikes, I guess. I had a dream the other night that I was photographing Paul McCartney with an M8. I'd fumble endlessly setting the exposure as Sir Paul posed cooperatively, and then when I was ready to shoot, he'd make faces. This happened over and over. I kept misplacing the M8, too. I suspect this qualifies as a nightmare on several levels, but even if it doesn't, I'm pretty sure it's a plain sign I need to tear my eyes off the computer, touch my toes, do some deep breathing, take an amiable amble with the dog, and attack, or at least plan an attack on, one or two heaps of laundry. (Hills 52 and 54 look ripe for takeover. Or maybe they just look ripe.)

Once again—it being that time of the month—I'd like to thank all of you who placed orders for "schtuff" of any description at B&H, Adorama, or Amazon through my links this past month, as well as everybody who took advantage of Ctein's surprisingly successful print offer. Vous êtes très aimable, as my Dad used to say. I had a good month in October, and you get the thanks. I can use a good month every now and then. Especially after last summer, which wasn't so good. Making your purchases through the links on the site doesn't cost you anything, but it keeps an income stream a-flowin' from this essentially indulgent activity for me. Any excuse is a good enough excuse, and I'm grateful.

Holistic 'n' experiential
In a couple of days I should have a Sony A900 in house to put through its paces. I'm going to try to do some "real" shooting with it, rather than "test" shooting, and I think that rather than writing a formal review I'd prefer to just answer some questions people might have about it.

The reason for this approach—stated from the positive angle—is that I want to concentrate on getting a holistic, experiential "feel" for what it might be like to own and use the thing. I'll only have a few days with it, on this go-around at least, and I'd like to find out what I think about it, and what I might use it for, before assuming the burden of explaining to others what they might think about it or everything that they might use it for.

I dunno, once more. We'll see when the time comes.

Cheerio,

-              —Mike, Head, Dept. of Arrancy, Spuriousity, and Verbalacrity, T.O.P.

Tuesday, 28 October 2008

Ugly as a Plumber's Butt

(Apologies to any plumbers out there for that header.)

One of the great blessings of my particular mental make-up is also a considerable curse at times: it's that I happen to look at the world largely from an aesthetic perspective. All my life I've seen the beauty in certain objects, ugliness in others...but I see in terms of beauty and ugliness (and everything in between) all the time, everywhere I look.

I don't think this is quite...normal. And I don't claim it's any great advantage.

Naturally, my appreciation of "things" isn't limited to official art or objects commonly accepted to have an aesthetic purpose. I was a teenager, for instance, before I realized that not everybody has favorite trees. Trees to me are simply beautiful, some more than others, and when I see a particularly outstanding example, I remember it. Not on purpose; I just do.

Pace Tom Wolfe, perhaps the objects most widely accepted by the greatest number of "normal" people to be aesthetic objects, in addition to practical ones, are automobiles. Which leads me to my question:

Picture_5

Have you ever seen a more butt-ugly car in your life?

It's the new 2009 Roll-Royce Phantom Coupe. The picture, by Richard Newton, comes from Winding Road, a "webzine."

It even has jowls. Check out that little swoopy excrescence on the side panel.

Granted, I'm not in the market: I'm sure the people tasked with selling these things don't care what I think. (My picture's in the dictionary under "peon.")

And of course there's always a certain appeal to objects made of fine materials that are crisply fabricated. I'm sure the Phantom Coupe has those qualities in spades. But my Gawd, you'd think for all the green they want for this truck they could hire a designer...I've doodled better-lookin' cars than this. The thing looks like a Chinese copy of a Chrysler.*

At least in the old days, Rolls-Royces were beauties. (Anybody got a picture of one of those? Send it to me, or shoot me a link—I'll post it.)

I suppose it is a matter of taste. One of the cars I like best is the classic Jaguar sedan (my tastes run decidedly British), and those are considered a bit blah by many non-connoisseurs.

What's your favorite car, considering aesthetics and naught else? I heard once of a guy who had a body-less Bugatti Type 35 in his living room, as an objet d'art. That I'd like to see. Is there any car you'd put in yours?

______________________

Mike

*Although that description does a disservice to the Chinese...and to Chrysler.

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P.S. Michael, a.k.a. arrested_development, brought up Dan Neil's superb "The 50 Worst Cars of All Time," published by TIME.com in 2007. Time-consuming to click through one page at a time, but brilliant, and brilliantly funny at times. Entertaining, astute, and recommended for when you have a spare 15 minutes if you haven't already seen it.

P.P.S. Another one not to miss—The Telegraph's list of "The 100 Ugliest Cars." Found this one through a link provided by Paul H. Be sure not to miss the caption explaining the inclusion of the Porsche Boxster(!?)...hilarious!

Poolerolls
Bill Poole of San Francisco found this one parked behind a shed in Pescadero, California, in 2005. 

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Ed Richards of Baton Rouge, Louisiana, encountered this Rolls at a FEMA trailer camp!

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Our friend Ed Taylor writes: "Here is a photo from 1963 of my father and his Silver Cloud Rolls Royce which I still have. He was still driving it in 2007 before he died at 89 years old. After his death, I had it completely restored. I believe it is a real work of art and it always reminds me of my Dad."

Johnlongtatra

Reader John Long writes: "Thought I would send you a pic of what I think is a beautiful car, a 1938 Tatra T77a from Czechoslovakia. Designed by Hans Ledwinka and Paul Jaray, the noted Zeppelin aerodynamic engineer. Best of all, it is now parked in my garage, after many years spent getting it out of Russia and then restored in the Czech Republic."

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Reader Ron Nelson writes: "Well said Mike. Here is my entry for one of the most beautiful cars ever. I owned this car for about eight years—having bought it from my movie star cousin. She bought the Rolls when it was one year old and kept it until very late in her life when I became the owner. This somewhat rare 1967 Rolls-Royce Silver Shadow Drop-Head Coupe (convertible) was the prototype for what became the Rolls Corniche. Word of caution for those lusting after a 'senior' Silver Shadow—they love spending time in the company of Rolls-Royce mechanics. I appreciated every minute of owning this piece of art but I was relieved to see it find a new home after eight years of contributing to the 'new, local Rolls-Royce' agency."

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Reader Mike Dennis writes: "I grew up in South Africa and my Dad had one of these Citroën 11 cars, and ever since then I have lusted after one. The British version had a timber dashboard with the gear change projecting from it. Sometimes called the Maigret car after the television series. Apart from the Spitfire fighter plane it is one of the best pieces of aesthetic engineering for me."

And check this one out: reader Don Mohr doesn't have a car in his living room, but he collects unusual art, and he has two motorcycles displayed in his home in Anchorage, Alaska, as sculpture—including this 1958 Triumph in, yep, his living room!

Mohr

Leiter from Steidlville

The Saul Leiter Early Color book appears to be available directly from Steidl this morning—you can add it to your cart and a reader who purchased it that way got a purchase confirmation. Prices are $65, £35, and €48, although you can get 10% off if you join Steidl's book club.

______________________

Mike  (Thanks to Gabriele Harhoff)

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Monday, 27 October 2008

'What is an illustrator to do?'

Daviscombined

Dear Mike,

As the artist who painted the Bette Davis stamp, I can unequivocally state that in the original reference photo Bette was not smoking a cigarette. It just ain't so...though looking at the position of her fingers I can see why people might think otherwise.

In a supplementary drawing I did to accompany my James Dean postage stamp of 1995, I was indeed asked to remove a cigarette dangling from Dean's mouth, and the resulting picture definitely lacked some of Dean's inimitable cool. But what else could be done? As a smoker, I can say that cinema has romanticized a habit that is slowly destroying my lungs, and to keep it in the drawing would have been at the very least a subliminal endorsement of tobacco.

Ironically, no one has picked up on what actually was changed in the Bette Davis stamp: Ms. Davis' coat. In the original photo Bette was wearing a mink, and contrary to the old expression, in this day and age fur will not fly. Not any more so than a cigarette would. Had I depicted her in mink, there would likely have been an outcry (perhaps rightfully so) from the folks at PETA, accusing the Postal Service of endorsing fur as fashion.

I therefore had an acquaintance pose in red velvet to replace the mink, and then combined the two images for the final oil painting, which led to the slight alteration in the position of Bette's hand. And yes, you are correct: the model was simply clinging to the coat's lapel, but hopefully in a way reminiscent of Ms. Davis' inimitable style.

The trouble with all this is, in our time historical accuracy often gets pitted against political correctness. So what is an illustrator to do? Keep the cigarette, mink, or whatever in the picture, and be damned by public interest groups for encouraging vices? Or take them out, and be accused of Orwellian revisionism? It's kind of a lose/lose situation. To paraphrase Abraham Lincoln, you simply can't please all of the people all of the time.

In either case, I hope this letter, straight from the horse's mouth, helps lay this particular ghost to rest...though I'm sure the bigger debate over historical accuracy versus political correctness will go on. And on....

With kind regards,
Michael J. Deas

-

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Legal Handbook for Photographers by Bert Krages

Picture_2 I hafta say, I love this book. I love primers*, and as one reviewer put it, this book provides "a great breadth of information in modest depth." In other words, it's a primer.

It's called Legal Handbook for Photographers: The Rights and Liabilities of Making Images, and it's by Bert Krages. You should know that name. Bert is the guy who's responsible for the famous and widely used leaflet "The Photographer's Right." (The latter is free, and if you don't already have it, I recommend that you go download it now.)

Bert Krages' book is not the only legal guide for photographers: I've also recommended Photographer's Legal Guide by Carolyn E. Wright, who runs Photo Attorney, a great blog on legal topics of interest to photographers. And Bert's book isn't the place to go for lawyers and others who are deeply immersed in legal topics. Rather, it's the book to have for photographers whose grasp of rights and legal issues is sketchy at best and who need the basics set forth for them plainly and with a minimum of muss and fuss.

The book is straightforwardly aimed at practicing photographers. All of the chapters are good, but my favorites are Chapter 5, "Confrontations and Remedies," a subject on which the author is particularly good; and Chapter 8, "Formulating Your Ethics," because it's so commonsense and practical...and because it puts the responsibility for ethics so squarely where it belongs, on each one of us.

It's this week's "Recommended by M.J."

______________________

Mike

*The word, by the bye, is properly pronounced "primmer," not "prime-er."

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High Pass Sharpening with Layers

Blog77figure1

By Ctein

Author's note: I'm scheduled to do two two-day workshops at the Mesilla Digital Imaging Workshops at the end of January. One will be on photo restoration, the other on using Layers in Photoshop. This column is a taste of what participants will be getting in the latter class. We still have room for more students; I hope some of you will be inclined to sign up.

I recently stumbled on a very useful and flexible way to enhance detail and sharpen up images. I'm sure I'm not the first to hit on this; still, Martin Evening (a walking encyclopedia of Photoshop skills) gives it only a page in Adobe Photoshop CS3 for Photographers and seems not to realize how very useful it is.

In short form, it works like this. Duplicate your image layer. Apply Photoshop's "High Pass..." filter to the top layer. Set the layer blend to "Soft Light." Detail's enhanced!

Long form: I hit upon this trick while trying to improve the eclipse photo above. The original image is more than a dozen times larger than the one here. The coronal streamers I wanted to bring out are broad features. Normal edge and fine-detail boosts miss them entirely; the local contrast enhancement method I described previously improves detail only slightly.

The High Pass filter lets me set the width of the filter. In this case, the radius was about 60 pixels! Doing that got me the version below (kinda—I painted the disk of the sun black by hand). The effect of the filter is to produce an image where non-detail comes out a uniform 128-grey. Edges get brighter or darker. So what?

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Well, "Soft Blend" is one of Photoshop's "weird" blending modes. When you blend a layer that way, any pixels with values of 128 have no effect on the underlying image. Pixels lighter or darker than that lighten or darken the underlying image.

See where we're going? High Pass + Soft Blend exaggerates edges. Now, so do most Photoshop sharpening tools, but the cool part of this method is how much you can control the enhancement, as well as apply it to features far too large for normal sharpening methods to notice.

Blog77figure3

By itself, the High Pass layer has a puny effect. You can make the effect stronger by blending with one of the other modes, all the way up to "Linear Light." A Curves adjustment layer associated with the High Pass layer is a much better tool. The screen shot above shows the arrangment of layers and the curve I used to get me to the second picture at the top of this post (the finished eclipse picture). What that curve does to the High Pass layer is shown here:

Blog77figure4

Lock down the 128,128 point; then you can do anything you want to the rest of the curve without altering overall image brightness. Here I just kicked the contrast way up. But, for example, if I'd wanted to enhance the dark side of the edges and not the bright side (to avoid bright haloes, perhaps), I could have drawn a curve that looked "normal" to the right of 128,128.

You can manipulate the results other ways. Want different strength enhancements in different areas? Airbrush black into the High Pass or Curves layer mask channel to reduce its effect. Want no enhancement in some areas? Paint over those parts of the High Pass layer with 128-gray. Want wildly different enhancements in different areas? Make multiple High Pass/Curves layer sets and paint in the masks to restrict the impact to the areas you want.

This approach works fabulously well with digital camera images. Try it for yourself, with a filter radius of about 2 pixels to start. You'll be amazed how much you can sharpen your photos without getting annoying edge artifacts. Better still, if 90% of the photo looks great and 10% shows artifacts or halos, just paint those areas down in the masks. It's merely my personal taste, but I feel this approach is giving me the most natural-looking sharpening I've ever gotten.

Warning: High Pass sharpening also greatly enhances noise and grain. You'll want to run a noise reduction pass on the original image before filtering and on the resulting High Pass layer to keep it under control. I used the Neat Image plug-in in this example; Noise Ninja's also good.

_______________________

Ctein

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Sunday, 26 October 2008

Open Mike: The New Wealth (OT)

I'd like to send out a shout to any of our readers who might recently have lost a job. Losing a job is both a blow and a loss, and it's notoriously tough to cope with at first. At a stroke, you lose security, your sense of usefulness, friends and colleagues, even the structure by which you formerly organized your days. It's tough. Been there.

Might I offer a humble suggestion? Don't forget your camera. Assuming you already own a digital camera of some sort, shooting a hundred pictures every morning won't cost you anything. Getting out at sunrise every day can get you out of bed, get you going, give you some exercise, and take your mind off things for a little while. I don't know if it'll help. But it might.

Bright spots
Picture_6_2 This has certainly been a chastening and alarming month or two, even if you haven't lost a job. I'm sure I don't need to detail the particulars of the financial meltdown that has everyone worried—although I might point out that it wasn't so much the losses suffered in the stock market in 1929–33 that caused all the trouble back then, as it was its volatility—the constant wild swings. And we're certainly seeing volatility on the boards in the last couple of weeks. Whew.

One bright spot in the clouds seems increasingly difficult to ignore, however, and I keep thinking about it. Consider: America used to be the world's biggest producer and exporter of oil. It fueled our growth and our wealth. We not only won the Second World War with our oil production, we also fueled every other Allied country's war effort—six out of seven barrels of oil used by the Allies came from the U.S. mainland. Our oil made us rich. Our prosperity in the 20th century was based on it, and to a great extent the very structure of our society is based on it, too.

There's good and bad news about that. The bad news is that, traditionally, societies have not done a good job adapting to new sources of energy if they were dominant in older forms. If historical precedent holds—and there is every sign that it is doing so thus far—America will have a very difficult time moving away from oil as the dominant energy source in our culture. Our nation will decline right along with the decline of oil.

But history only indicates the future; it doesn't predict it.

America reached its peak oil production in 1970–72, and it's been falling off ever since then. Gradually, but inexorably, the amount of oil we've been obliged to import has risen. Right now, it's somewhere around 70% of what we use.

Therein lies the opportunity. We're spending a huge amount of money to pay other nations for the oil we're buying from them—something on the order of half a trillion dollars a year. The economic equation is simple: the more alternative energy we can produce here at home, the more of that money will go back into the pockets of Americans instead of getting dumped into the coffers of Saudis, Russians, Venezuelans, and so forth. To restore our economic equilibrium, alternative energy is our best hope, because it will keep our energy money right here at home, in our own economy.

As an aside, one interesting idea I've run across recently—I got this from Thomas Friedman's new book Hot, Flat, and Crowded—is the notion that the problems of solar and wind electricity production—namely, its intermittency, and the difficulty of storing it—is essentially solved if we manage to run our cars off batteries. Essentially, the national fleet of automobiles would be the infinitely expandable, mobile, adaptable, tailorable national electricity storage network. Think about that when you read about the introduction of the Chevy Volt in 2010—it's not just a car, it's a harbinger. Fascinating.

Uh, no
At the risk of appearing partisan, I have to mention one very wrong idea that's really been distorting some peoples' thinking on some of these issues lately—summed up by the phrase "drill, baby, drill." That is, the idea that somehow Congress (I guess that's the story) is "preventing" us from using all the oil that's still underneath America, just because we've set a little parkland, a few wildlife refuges, and some shorelines off limits for drilling, on account of people don't want to look at wells or rigs in those places.

The idea that there's still enough oil here if only "they" would let us drill for it is...uh, let's say, wrongheaded. That's the kindest way I can think of to put it. Oil geologists have been scouring America for oil for decades, and they know where most of it is and how much there is. The off-limits places are a minuscule percentage of our land mass—with very few exceptions, we'll pretty much drill anywhere. People in Oklahoma have oil wells in their front yards. There are over a million discrete oil wells (active and abandoned) in Texas alone. Petroleum engineers can very accurately chart the incidence and the size of new discoveries, and the trend is unmistakable—it's just a fact that our production peaked around 1970. Wishing that it wasn't so won't make it not so. If we opened the Alaskan National Wildlife Refuge to drilling and extracted every drop that's there, it would serve the nation's oil needs for about eight months, give or take a month or two. That's not a solution. If we absolutely maximized production here in America tomorrow—that is, if we could bring every possible oil source online immediately, which we can't—we might increase domestic production from 30% to 40%. It's just not enough. It's not going to solve the longterm problem.

All that this "drill, baby, drill" idea is doing is allowing us to avoid facing the real problem, and delay dealing with it. It's a bit like saying Michael Jackson would look great if he could just have a little more plastic surgery. Or, one of my favorite lines, from Jon Stewart, after pointing out that even George W. Bush said we're addicted to oil but also that we should allow offshore drilling: "if you're addicted to heroin, the solution to your problem is not a little more heroin."

The idea that we can drill our way out of our energy dilemma is analogous to "a little more heroin." The real problem is that the oil isn't going to last forever, and we need to start preparing for the future. We can do it, but not by sticking our heads down a dry well and fantasizing.

Gimme money
There's going to be lots of money to be made in alternative energy. I think it will be socially beneficial, too, in that alternative energy won't need to be so centralized—lots of "little people" will share in the new wealth, rather than just a few moguls. Going after it is America's best chance to continue our historical prosperity till the end of this century. It's possible we just won't have the mental flexibility, the conceptual agility, the collective will—and, ah, the leadership—to pull it off; but then again, maybe we will. We'll have to see about that.

But in any case, it's something I think about every time I pay for a tank of gas: I think, there goes thirty dollars to the Saudis—thirty dollars that could, and should, have gone to one of my fellow Americans here at home who needs it.

__________________

Mike

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Featured Comment by Dave Sailer: "Let's bookmark this post and come back to it every five years for the next 50.

"I hate to say that I'm right all the time, but it's my personal burden, and I have to bear it. Usually it takes five to 10 years for proof that I was right all along, but everyone I talked to back then is gone somewhere else or they don't care any more.

"So sad, my life. But.

"The issue I see is in the second-to-last paragraph. I keep waiting for the politicians to wake up, stand up, and roll up their sleeves. I've heard from more than one source that we have (theoretically, and not all reachable) 3000 times our current energy needs in geothermal resources right beneath our feet.

"Crude oil and nuclear weapons are similar in that using them will destroy us in the process. When global warming tips and it becomes too late to prevent disaster, then everything else will be irrelevant. Right now we have a huge blossoming in ideas. Improvements in solar cells are announced almost daily. Wind farms spring up. Wave and tidal resources are being researched. And there are other options.

"The United States, if focused, could own new energy technologies. We could have everything from theoretical science all the way through design, development, and manufacturing to installation and maintenance. If we embraced this option it would revitalize every aspect of our society, and help the entire world. We would have jobs, and money, and factories, and technology. And once at the forefront we could keep surfing that forward edge.

"Instead we have crowds of people throwing dipsticks at each other while the rest of the world quietly passes by, bemused, on its way to the future."

Featured Comment by ch: "I am a petroleum geologist by profession. I make a good living looking for oil and gas, and  I have my own exploration company. In short, I am 'small oil.' And everything you say is correct. In the USA, it has been impossible to find enough new production to offset declines in old production since the early 1960s. which is why we are importing more oil every year. The only effect of 'Drill, baby, drill!' will be to ever-so-slightly decrease the rate of our decline. But it will continue to decline. That is a fact that no political posturing will be able to overcome.

"If you really want to scare yourself, look at what total world production has done since 2005. It has begun to decline. In the face of rising prices. This, of course, would make no sense if oil were an infinitely available commodity that is responsive to price signals. But it is not infinite. The essential problem boils down to this: The huge, easy-to-find, high-production-rate fields were mostly found in the '40s and '50s. They are all beginning to decline. The oil fields that remain to be discovered are at once smaller, harder to find, and logistically more difficult to ramp up to their peak rates. In short, we are not able to offset the production rate declines in the big old giants such as Saudi Arabia's Garwar field with new discoveries.

"Does this mean that the taps will run dry? No, but it does mean that planning an economic future for our nation based on a commodity whose price will surely increase is a fool's game. To plan this way will likely increase the likelihood that we end up at war at some point with another energy-hungry nation. Oh, wait. I guess I mean another war."

Featured Comment by Ken Tanaka: "My first profession out of school was in energy engineering. More specifically, I began as a consultant specializing in teaching engineers and building owners how to simulate, estimate, and improve large buildings' energy performance. I wrote papers, taught an average of a seminar every 10 days someplace in the world, gave interviews, participated in advanced research often with national labs, etcetera.  In short, I was a goggles-on energy conservation 'guru.' I was positively a boor on the subject at a time when the world was really scared...like now.

"But as oil prices gradually dropped in the late 1970s and early 1980s so did public interest in the subject. I realized that people acted mainly out of immediate self-interest rather than long-term societal concerns. I could see that my future 'self-interest' would not be best served in energy management and conservation. I might as well have been a forest ranger (which actually seemed appealing). So I bailed, made life changes, and all has turned out fine so far.

"But here we are again. A whole new generation of empty-pocketed energy drunks asking the same damn questions, getting the same damn answers. Economists often spouting half-truths about energy supplies and consumption mainly to get notoriety. Politicians misquoting stews of economists hoping to produce the right blend of guilt, fear and hope to get votes. Nothing much has changed in 30+ years.

"Personally, like a military veteran, I feel I've served my time on this front. I've also lived for over three decades with a daily eye toward my own energy footprint. So I refuse to be guilted by newcomers whose credit card statements are suddenly putting energy awareness into their life scene. I also refuse to participate in any deep energy discourse ever again. The same future is on the same wall and will remain largely unaltered until the last drop of gas is sucked into the last auto from the last pump.

"Mike's advice to use a camera to relieve stress and keep in touch with other facets of life can be very sage for many people, particularly regular visitors here. During the coming year or two one hell of a lot of people are going to visit tough times, many for the first time. That digital photography is free of ongoing costs should be a blessing to many of us."

Photo Plus Expo '08

Photoexpo I presume most readers know that Photo Plus Expo has just ended at the Javits Center in New York City. The biggest photo trade show in the U.S., it used to be held on Halloween weekend every year, which is why I never got to spend Halloween with my son when he was young. I miss my annual pilgrimages to New York City—my brother lived there during the years I attended the show—and I miss my visits to MoMA and other museums, but I don't miss Photo East (what the show used to be called) itself. I like looking at pictures, not equipment. By the end of the first day, I'd always know exactly where the (usually very few) exhibits of work were in the hall; the endless aisles of equipment I always found boring. Equipment is fun, sometimes, but mostly it's a necessary evil in photography. I certainly can't get excited about the umpteenth flash unit or camera bag I'm confronted with, much less 90% of the "stuff" you encounter at such shows. It's the place to be for a crash course in what's what in the current marketplace, and there are always some interesting things there. For the most part, however, I found it challenging to maintain an outward appearance of interest.

PDN Online has some videos online of some of the choice items from this year's show.

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Mike

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Featured Comment by Bruce Appelbaum: "Living near NYC, I have been going for many years. Even though I am not in the photo business, I manage to get a free Expo-only pass. I generally go on the Friday, and try to get there as early as possible.

"I got there a few minutes before 10 a.m. on Friday, and the rent-a-cops were enforcing the 'pay to get in early' rule. In an inimitable NYC style. (Once upon a time, I could scam my way inside before 10 by walking in backwards—really!) By the time 10 a.m. rolled around, there were hundreds of folks champing at the bit to get in and there was a stampede when the velvet rope was pulled aside. I think next year I'll pay the $30 for the quiet hour.

"This year's show was more lively than those in previous years. The Adobe, Canon, and Nikon booths were jammed and there were lots of 'celebrity' photographers shilling, er, I mean promoting for them. For example, Joe McNally, who is a great speaker, was doing a booth an hour for different vendors, as well as presenting two-hour workshops.

"One of my show 'barometers' is the Kodak booth. Kodak was closer to the front entrance than in the last few years (still giving away film), Hasselblad was in the back and hard to spot if you weren't looking for them. Fuji was also representing film (as well as digital).

"Not much activity to be seen at Leica. Sony had a big presence, as did Olympus and Pentax, but most of the buzz was at Canon and Nikon, who had the aforementioned celeb photographers.

"The most innovative award would go to Casio. They had a team of cheerleaders who, every 15 minutes, would throw the smallest of the group (and she was très petite) into the air and then catch her. I watched this for a while, and it reminded me of nothing else than midget hurling (which I have never seen, but have heard alluded to). She went up, she came down, and it seemed to me that she was close to an unhappy end because some of the catches were a bit less graceful than others.

"There seemed to be fewer photo exhibits this year, and some were associated with the vendors' booths. But there were some nice photos to be seen.

"One thing I always find amusing—there is a no-photography rule at the Expo. The vendors don't want people taking pictures of their products. The amusing part is always the couple of dozen people who show up with massive Nikon cameras coupled to massive telephoto lenses. Who can't use them inside. And why would they? The Javits Center is one of the least photogenic sites in the universe.

"There was a very interesting slate of workshops this year. I haven't gone to any in the past, and although some looked interesting, $100 for a two-hour talk seemed a little steep to me. I had seen Joe McNally talk a few weeks ago at Adorama (a NYC and internet camera emporium), paid $25 for a two-hour talk and received a $25 coupon for a future purchase at the store. Did the same with Seth Resnick and Eric Meola at various times. Much more cost-effective, in my mind.

"All in all, it was an enjoyable two hour stroll through 14 or 15 long aisles of vendors. I picked up lots of literature to read on train during ride home.

"Not much in the way of giveaways (swag) this year (another one of my barometers). Nikon World calendars and Nikon lanyards, and Nikon pins galore. No Adobe calendars. Some inkjet paper samples from Harman, a few vendors giving away cheap ballpoint pens and candy, and that was about it.

"My take on the state of the photo industry: lots of new stuff out there, lots of keeping up with the Joneses. But there seemed to be an air of caution."
 

Bette Davis Update

The really fascinating thing about the "missing cigarette" controversy [see two posts down if you missed it] is that the comments under Roger Ebert's article are still going strong, 224 in number as of this writing. Several commenters have by now mentioned that Roger was dead wrong, that the original photo didn't have a cigarette in it, and that therefore the entire "controversy" is imagined. They've linked to the photograph, several times. Yet, despite these corrections, most of the commenters are continuing to comment just as if Ebert were right and a cigarette had been removed. So, clearly, not only are the commenters not reading the previous comments before posting their own thoughts, but Roger Ebert isn't reading the comments either, because there's been no acknowledgment or retraction from him.

This is really interesting to me because of what it says about public knowledge. Here we have a case where an authority figure has framed an argument using premises which happen to be flat-out false; people are discussing the argument as it was framed; then other people step in and correct the false premises without having any discernible effect on the discussion. Others go one blithely talking about smoking and whether it was right or not right to remove the cigarette-that-was-never-there-in-the-first-place. Some are even "outraged" about it! That is, if you're still parsing this, they're outraged about something they were told was done even though it never was.

Meanwhile, "Angela, a spokeswoman for the US Postal Service," is quoted on boxwish saying: "In the original photo used as the basis for this portrait Bette Davis did not have a cigarette in her hand. What you are seeing is the effect of light and shadow."

Light and shadow? I emailed the artist, Michael Deas, asking for a comment from him. In moving and changing the hand on the stamp, did he deliberately mean to imply the presence of a cigarette without actually painting one? No answer as of yet....

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Mike

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