Big Al – Conversation

Alec Soth photographed in San Antonio , Texas by Panos Skoulidas , April 6, 2011


On Apr 6, 2011, at 3:04 PM, David Alan Harvey wrote: 

many thanks for the transcribe anna…pictures? d


On 4/6/11 2:49 PM, anna maria barry-jester wrote:

Here you go…
There seems to be a little missing in the middle of the interview…I think a sentence cut off between clips you sent me…you should be able to fill it in very easily from the original file….I noted in bold where I think something is missing below.

Here’s the transcript of the Soth interview….this is unedited…this is a FOR REAL CONVERSATION

DAH – Alec Soth Interview

Nat sound (ringing)

DAH: Let me start with the most recent thing that I found out about, and that is Big Al’s printing. The thing that’s always fascinated me about you, other than your photography which of course is how I knew you in the beginning, is your versatility. I mean I knew your work only with Mississippi of course, Sleeping by the Mississippi, before having met you in person. And then very quickly you became a very popular blog person and you’re involved in a lot of stuff- soft industries as I like to call it. And then we’ve got Big Al’s printing. Tell me about this multiplicity of ventures for you, besides your photography.

ALEC SOTH: Well first of all, I mean, I’m talking to you from Minnesota, and I have this sort of midwestern sensibility in which I think everything is always going to come to an end, and I’m gonna fail. And I feel a need for job security. So the most secure thing has been diversifying everything so I don’t have all my eggs in one basket. So that’s where Big Al’s comes in. But I’ll tell you what led up to that is that I was in Alex Majoli’s place in Italy, and he’s got this set up where he’s got a studio, and then there’s this Chesura lab, which is this group of people that use his equipment, but have their own little printing operation as well as all sorts of other stuff that they do. And I thought that was really fantastic, and so I came back home, and I thought, this has always been an issue, where we have all of this stuff, all of this equipment, um, but it just sits there a lot of the time when I’m not using it, so it just seemed like it makes sense. I mean, the people who work for me use it, but why not have them expand that and let other people, charge other people to use it, you know, make a little bit of money. But also there’s this one guy, his name’s Eric, who wanted to do some work with me or whatever, so he can run that thing, it’s not really my business, I’m not that involved with it, a little bit involved with it, but it just made sense. But I’m not like Mr. entrepreneur, you know.

DAH : Well, you’ve definitely diversified, and of course I’m going to copy you on every single thing. Of course I’ve hated every minute of copying you.

ALEC: But that’s what it is, I’m copying Alex. (laughter)

DAH: I know, I know, he’s got an empire there. But it’s a very interesting model for all of us. So you’re main person I guess who was your printer for your shows ended up sort of creating his business through Big Al’s operation.

ALEC: …A little bit, we had a printer that worked up to a certain size, and then we had to outsource a bigger size. and so, at a certain point, it’s just like “I’m going to buy that printer, it doesn’t make any more sense.” But if i’m going to buy the printer we might as well use it, you know, that kind of stuff.
But the thing is, it was being exposed to Majoli’s way of doing things, which isn’t for me, I mean, I’m not gonna have…it’s like a commune out there. You know, they’re all sleeping in rooms above the studio, I don’t want to do that. I just want to pool our resources. I mean, that’s what it’s about, and when you talk about Magnum, that’s what it’s about. It’s pooling resources.

DAH: Right, is that the modus operandi for Little Brown Mushroom as well, is that the same kind of thing?

ALEC: That’s a little bit different. I mean, Little Brown Mushroom is about having fun. So, and, Big Al’s is, well, who knows what it is, it’s about we’ve got some equipment lets use it. Little Brown Mushroom is about having fun, and making cool things. And it’s not about the art world, it’s not about getting caught up in that, it’s not about trying to make money, and if it makes money fine, if not that’s ok, you know, I just want to break even ideally. But it’s about that spirit of when you’re a teenager and you’re just making stuff because you love it. It’s just remembering that feeling you know. When you get caught up in the professionalism of everything, you can forget about it.

DAH: Oh yeah, it ruins everything, right?

ALEC: Well, it’s a danger, and that’s what I would say about the blog. You know, I started the blog as a retreat from the art world, as a place to just talk about issues, and then all of a sudden it turned into another business, and so I dropped it. Little Brown Mushroom hasn’t yet, it’s still, it’s like we’re just having a lot of fun with it.

DAH: Yeah, it looks like it. Yeah, it’s great. Who did the design work, did you do that or did you have a designer do that?

ALEC: It started off, I mean, I don’t know anything about design. You know, I don’t know cmyk from… I’m an RGB, photoshop, that’s all I know. But I wanted to make little things, so I just started making little zines. you know, the kind of thing where you go to Kinkos, you know, staple-bound little things. And then one thing led to another and I met a designer named Hans Sieger, who lives in Wisconsin, and uh, it all kind of came together in my head. Little Golden Books was something I was interested in, do you remember those children books? They were published out of Wisconsin, and it just felt like something that was meant to be. And so here’s this really cool designer, who happens to live there, you know, he does most of his work in New York, really high end, but he lives in Wisconsin. And here’s Little Golden Books, and merging these ideas. And he works unpaid, he just works just for the fun of it too, he’s just into it, and so we collaborate on it, we print it in Wisconsin which is great. It’s a little cottage industry.

DAH: Yeah, well, that really is cool. That’s interesting. You say that you’re, that this was one of the things, Big Al’s, and then just your mentality in general is kind of a midwestern job security thing, which you know, I understand that. And the other thing is just to have fun and a little bit of an escape from the art world. On the other hand, you’ve busted your ass to make it in the art world. So is it just because…you don’t really want to escape the art world do you? I mean, isn’t that your mainstay?

ALEC: Yeah, that’s how i make a living. Um, it’s not that I want to escape the art world, but I have to keep it fresh, and it’s kind of like, uh, to use a music analogy, it’s like. Ok. Maybe I’m not playing arenas now, but I’m playing big venues. And sometimes you have to just go down to the club, and just play, and play some new stuff for a real audience. That’s what I mean, it’s just like keeping it fresh, you know, and also keeping the experimentalism alive so that you can try things. So maybe you can screw up at the little club with 30 people, it’s not that big of a deal.

DAH: Yeah, everybody loves the garage band. The garage band stage of anybody’s career is THE stage.

ALEC: Absolutely, right. Its just keeping some of that alive is all.

DAH: I understand that completely. That’s a pretty good analogy.

ALEC: You know, I want to play arenas, I mean, don’t get me wrong I want the big audience still, I just want to keep it fresh.

DAH: Now, you’re in the art world, you’re selling prints, you played the arenas so to speak. At the same time, you’re doing some editorial work. That certainly isn’t for the money, that editorial work. So is that just part of the fun thing? Or keeping yourself fresh? Or where does that come in? That’s more of the, why would you be in Magnum in the first place since you’re so successful in the art world?

ALEC: (audio missing between clips???) one iota. And if you think about what that collective artist could be, it’s gigantic. The thing is, I started big al’s last week, and I email some people or whatever and it goes around the little blogosphere. But I ask Magnum to put it on their facebook, and to do a tweet about it, and that’s a lot of people. And, we can access just a much larger audience as a group.

DAH: So distribution is still important, it’s just a different kind of distribution. It’s a twitter, facebook fanclub thing. Plus we bring our own audiences in there too.

ALEC: Yeah, absolutely. And bringing our own audiences into that is something that we haven’t really done, or figured out how to do. Um, but we’re working towards it.

DAH: Yeah, well, that’s what you and I are supposed to do. We’re on the committee. I’m a little bit out of the loop. I saw the note from Jonas this morning, but it’s the first time I’ve heard from him, so. There are a lot of reasons for that. I do wish we were a little more coordinated with those kinds of ideas and thinking, cause I think that if we actually really did get you and jonas and chris and I in the same room, even for a short time, we might be able to come up with a bunch of good ideas that could push us forward. Unfortunately we don’t really have the mechanism for that because we’re all out in different places all the time. That’s the bad part about Magnum. The good part is that when we’re together there’s magic often times. But then we go off in separate directions, it’s very hard for us to stay coordinated.

ALEC: For me, I mean, and I talked about this, I don’t know what’s
(rambling about what part of this conversation will be used)

ALEC: This is a real taboo, but it’s something I wanted to talk about…it’s the club element of it. And I hate the word club, but, I think it’s a significant part of what it is for people. You have this brand, you’re attached to this thing, and these other people, and I think so much of the business stuff, which actually doesn’t work, just gets in the way of all that.

ALEC: The retreat was really successful. And it was like, wow.

DAH: Well, I can see, I mean I couldn’t even be there but I was all over that psychologically from the very beginning because I thought, if I can have the Magnum crowd down here like where I’m sitting right now. I mean, I’ve got dunes, I’ve got water, and I’ve got a great front porch. I’ll just show you (sounds of david picking up computer and walking away). This is where I want to hang out with you guys. I’d like to invite a bunch of you down here, you know (sound of creeky screen door opening), and uh sit on my porch right, and look out at the sand dunes over there.
(sound too faint to hear). I would love it if you guys were sitting down here by the fire, and it would be a great meeting of the minds. The truth is that when I do meet Magnum photographers, like one on one, and on assignment, we really do have a lot of good stuff in common, and I’m sure you found that out on the retreat.

ALEC: The business stuff comes out of it too. I mean, like I said, just going to Majoli’s place, suddenly Al’s opens up 3 weeks later just from that experience. And it’s that kind of pooling of resources, which we don’t even have time for, and that’s how the retreat came about is my frustration that the AGM (??), at least for the younger generation, cause we used to not have to be involved, and now we have to be involved, and it’s just ruined it, where we don’t get to hang out.

DAH: It’s a slug, you never get to go out and just have a beer, and somehow you don’t even end up talking about the business stuff. You end up getting into spreadsheets instead of the business, and there’s a difference. Now listen, I know you have to go, and I think we probably have enough…
…wait, but I have to show you my window, just to see where you don’t want to visit. Let’s see if we can get the exposure right (laughing).

ALEC: I have this feeling that Magnum’s just going to turn into BURN.

DAH; No! I don’t mean…

ALEC: No, I mean it in a good way.

DAH: No, to be honest with you, what I really really want to do is probably quit burn in June, or have it evolve into something else, or have somebody else run it or,

ALEC: I know what you mean, but it’s just that the spirit of it, it’s just like funding Paolo’s thing..No, but it’s just like, that’s the kind of energy that we so badly need.

DAH: I know it, but the thing is what I don’t want to do, and I’m sure that you of all people can totally appreciate this, I don’t want to get so involved in minutia and local politics that it just burns up all of the energy. There’s x amount of stuff that we’ve all gotta do in our lives, we’ve all gotta pay taxes, you need to get your kids off to school, you need to fix the garage door. We’ve already got lots of stuff. And I can’t take on a whole other thing with Magnum beyond a certain point. Anyway, many thanks amigo..

Postcards from America

Little Brown Mushroom

Big Al’s

Alec Soth


423 Responses to “Big Al – Conversation”

  • ok Tom…im gonna watch the docu “when you’re strange” once again…back to Venice Beach in 48 hours..gotta be “prepared” ;)

  • i meant to say… a very fair punishment

  • But these sort of subjects on the web are very delicate
    Paul, true…!


    it’s time to turn over a new page.
    also very true…

  • Panos; “i prefer artists than mechanics”

    Depends… I’d rather sit down with a mechanic over a beer or two than a pretentious “artiste”…. ;-) A mechanic and a grounded artist? Yup that’s more like it; think the conversation would be way more interesting! :-)

  • Artist/mechanic, Strat/Telecaster? Throw me the work-a-day Tele ;-)

  • How many of you know that Jimmy Page who we usually associate with a Gibson Les paul actually nearly always recorded all his guitar parts in the studio with a telecaster. :)

  • Paul; Didn’t know that!

  • But anyway if anyone wants to learn from history and WW2 start by reading and understanding the Treaty of Versailles and how it crippled financially German causing the future unrest which Hitler took advantage of…so you see BW don’t exist it’s a matter of greys…and yes I know Panos I also hate greys

  • there is no bad weather – just the wrong clothes..
    was out working double-figure hour days when it reached double-figure minus temperatures in these parts over the winter.. and it’s true.

    as reality as also in metaphor..
    wear the right clothes people.

    nazis, nazis.. the space race, jet flight and the evolution of weaponry..
    at least the pope is pure.

  • Michael Webster…

    “…she said something that made me think that might be a good idea for my type of photography.”

    Did I miss where you said what that was? What did she say? What inspired you?

  • if anyone wants to learn about ww1 visit verdun,
    and stand in a trench on the meter thick layer of debris,
    in the driving rain,
    up to your ankles in mud.

    like.. thud.

    a grey card reflects the light perfectly.

  • It may shock you all to learn that it’s not only Riefenstahl, that there have actually been many documentaries (and books!) made about Hitler himself, and pretty much everyone else involved in Nazi Germany, and many millions — regular people, not Nazis — have viewed these documentaries without becoming Nazis. In fact, many believe that it’s necessary to understand these bad people and bad periods of history in order to help ensure that they don’t happen again. And apparently the guy that made the Riefenstahl documentary was one of them.

    Panos, seriously, check out the movie. I’m sure you would find it fascinating. And Riefenstahl was interesting well beyond the Nazi phase of her life. She spent several decades doing great photo work in Africa and then underwater photography for the final 30 years of her life. And Thomas above refers. I think, to Susan Sontag’s critique of her style as a fascist aesthetic. And maybe it was, but that’s an interesting conversation. Is there really such a thing as a fascist aesthetic?

    Personally, I think the world would probably be a better place if every journalist, if not every artist or just plain everybody, were forced to study the wonderful horrible life of Leni Riefenstahl. We can see her legacy just about every time you pick up a newspaper or watch the news on tv. Unfortunately, very few can recognize it.

  • Michael K, she said she liked to shoot wide open in bright sunlight for the weird atmospheric effects.

  • Thanks MW…

    I found it interesting that rather than just bring her up and discuss what inspired you or how she influenced todays videographers, you ask why she’s not discussed in here. (I believe she actually has been) So rather than a discussion of her influence you get a discussion of why she’s rarely talked about and now you can take the high road because you want to discuss her. Feeling particularly provocative today, are we? ;^}

  • “In fact, many believe that it’s necessary to understand these bad people and bad periods of history in order to help ensure that they don’t happen again.”

    .. and at least if they do happen again we can take 11th november as respite, take stock and say to ourselves that we believe it is necessary to understand these bad people and bad periods of history in order to help ensure that they don’t happen again.

    and then, feeling shaky as we stand from our sofa slumber, we’ll leave that room and close the door, knowing that the further we get from that closed door the further we feel from what was said in that room.

  • okay – think i am off topic..
    g’night :o)

  • Susan Sontag? Navel gazer extrordinaire….

  • I am not sure, even with all education and learning about history “it” would never happen again.
    Have you heard about “The Wave”? –

    However, it is good to understand the things others try to manipulate us.

  • Mike R
    Yes that was me that Reichman is quoting.

    Have a peek at Reichman’s review.
    then there is a follow-up review.

    No deal breakers Panos but some annoying stuff. I had an issue with the camera not waking from sleep mode, but have discovered that I have to HOLD the shutter button down, not just press it.
    The camera is slow to wake up, has some auto-focus issues, difficult menu system, the rear control wheel is too small finicky, and a few other glitches.
    My last major annoyance is that with the camera on, and the focus pre-set on manual, I cannot just swing the camera up and instantly take a picture, there can be a lag of about half a second in bright daylight, and curiously, there is almost no lag in lower light. This seems to be tied to the fact that the aperture is opening and closing during viewing, reacing to light. When pointed at bright light, the aperture is small. If you watch the lens when the shutter is released, it then quickly opens wide, then down to shooting aperture. In lower light, the aperture is already open, so has to do less to get ready to shoot, therefore takes less time. If you have your finger partially depressed on the shutter button before you shoot, there is no lag. It is annoying, but I can work with it. It is really a matter of being aware of these quirks and dealing with them.

    My love/hate relationship is now leaning more towards love than hate. As I said before, it is like a relationship with a woman/man. You learn to embrace and overlook the quirks.

    Thi image quality is amazing. I have not seen any tech stuff, but I swear the dynamic range is wider than any digital camera I’ve ever used. The resolution is very high, the lens seems flawless, sharp to the corners at any aperture.
    Not since I gave up my Leica M4-2 many years ago have I had the pleasure of shooting with an optical viewfinder. The X100 optical viewfinder is not as nice as an M Leica, but it is very good. The frame-line adjusts for parallax, at is at least as accurate as a Leica I suspect. One issue with the OVF is that the focus frame does not shift when the frame shifts for parallax, leaving the focus point a bit up and to the left. This could mean that you are not actually focussed where you thought at close distances. I have not found this to really be a issue in practical use. As Reichman points out, it is just something you need to be aware of.
    The electronic viewfinder appears instantly with a flick of the little lever on the front of the camera. It is a pretty good evf as far as evfs go, but a bit laggy.
    Then of course you can always just use the screen on the back of the camera as with the GF1 or Olympus. It is amazing to have the choice.

    Don’t go play with one unless you have a spare $1200 because you will want it.

  • Well, no, education and learning about history won’t ensure anything, but not learning about it sure will. The Riefenstahl movie, btw, is not any kind of whitewash. She is confronted with all of those questions and often the shallowness of her justifications is exposed.

    Michael K? What the fuck are you talking about? Never mind, I don’t even wanna know…

  • MW, I fully agree with what you are saying.

  • “One of the most exciting things for me is the coming of Burn as print publisher…for me this would be the most fun of all…to build a print library of Burn books…” – DAH

    Right on!

  • looking..

    i met 2 german school teachers in verdun.. out looking for the most shocking, short of death camp, field-trip for their students.. to insure that ‘it’ never happens again.

    well.. it does of course.. and will..

    so why is it the german empire onto which nations deflect their collective sins? i thought the teachers would be just as well placed in looking for a field trip venue in scotland, (pinned to the vikings), or the even U.S. where 60 million indigenous people are thought to have died.. hmm.. school budget cuts in europe.. nah..
    maybe tv and photo?

    we’re the roman empires atrocities.. or the british.. or the tibetans for that matter.. the first to be filmed and photoed, perhaps they would be the political crutch, the “i know better” expression of understanding/excusing/deflecting/atoning-for whatever contemporary disgust is going on.

    how many iraqi civilians dead so far?
    HRW say more than 700 000.. could it be over a million?
    1959 a 3rd of tibets people were wiped out – 2 million.. and that’s when the memory was still fresh..

    anyway.. looking before i am leaping.. documentary is on.. and i must follow subtitles..
    let not imagine though, that humans.. no.. ‘politicians’.. learn from their mistakes.
    nor that the intelligent ‘understanders’ are any less pawns than the majority.

    it makes me smart somewhat when i meet critically aware and sharp germans, saddled and carrying the weight of “least we forget” .. burden such as these teachers carried.. when it’s all of ours to share.


    it’s the shutter lag that would kill it for me.. utterly.. how did they evolve a visual art which astonished for being able to capture the moment into something which catches just after the moment?

    for all the latest technology, there are ways in which cameras seem to have stepped backwards.

  • to paraphrase:
    if anyone wants to know about Jesus, do NOT watch Mel Gibson’s aka “the Drunk from Malibu”, Passion of the Christ!;)

  • I’d rather sit down with a mechanic over a beer or two than a pretentious “artiste”…. ;-
    Ross, yes yes i agree!

  • seriously, check out the movie. I’m sure you would find it fascinating
    MW, yes i will…i was actually happily “confused” when i figured that Leni was Nelly’s friend…
    And yes yes, Paul i agree..i hate grey and sometimes i become a victim of grey myself and i “judge ” accordingly…
    (btw Paul you are the absolute guitar wiki…)

  • Have a peek at Reichman’s review.
    then there is a follow-up review.

    Thank you GORDON…i respect and totally trust Reichman…love “luminous landscape”..serious work

    i hope this one for me coz i deserve it ;)

  • of course.. panos.. it takes a BLASPHEMER !! to know one.
    i linked to the documentary which MW suggested above, (if you want to see a 91 year old scuba-diving)..

    reichman and gordon bring up points that would drive me absolutely nuts..

    i’ve read elsewhere that perhaps fuji illustrated a little insecurity about the marketability of the x100 by crapping out on some expenses.. thus the fixed lens.. bit’s n bobs.. and more..

    you know..

    i recently got an M3, a v600 film scanner, leitz 1.5, 50mm & 135mm lenses, MC meter and case – ALL for roughly £330 less.. 330 quid which i can spend on film..
    or soup
    or socks
    or Tor Capa.

  • As I said before, it is like a relationship with a woman/man. You learn to embrace and overlook the quirks.
    this little piece of information..if i only knew that long time ago, i would have been a better person damn it;)

  • Well, it is a three hour movie covering 70 years of a person’s life. Takes awhile to get going.

  • David Bowen

    Shutter lag is only an issue in manual focus mode, and only then if you want to pre-focus and be ready to shoot instantly. If the shutter button is partially depressed, the frame line shifts to compensate for parallax, and then the shutter released instantly when you depress further. If you are in auto-focus mode, there is no problem since you must partially depress the button to activate focus anyway.

    It is a pain in the ass, but I can work around it. The more time I spend with the camera, the more I am growing to like it. It is a very different animal from a dslr. Try one out if you get an opportunity.

  • .. sorry.. 230 less than an x100..
    still, 100 or so rolls of fuji colour neg at 23 quid for 10 on ebay..
    or 3600 or so photos,,

  • again Gordon , thank u again for review and test photos

  • NO.. 10 rolls of fujifilm..
    god my head is fried tonight.. and my hands are reporting as much..

    “Shutter lag is only an issue in manual focus mode, and only then if you want to pre-focus and be ready to shoot instantly. ”

    that’s the trouble.. i do want to, i do.. :o)

    i’d love to try one out.. there is something alluring about them, although how much is due to viewfinder-adoration and the x100s ground breaking ways..

    i’m looking forward to getting their hands on one, in my own sad little way..

  • no.. it is 100..
    bed time..
    i am exhausted when numbers are not adding up.

  • Geez MW…

    Lighten up! It was just poking at you a bit.

  • “In fact, many believe that it’s necessary to understand these bad people and bad periods of history in order to help ensure that they don’t happen again.”

    “so why is it the german empire onto which nations deflect their collective sins?”

    What many believe is wrong. Good people don’t want to understand the bad people and wish they would simply go away, but the bad people won’t go ever go away, not now, not ever, or as Trotsky, not merely a bad person but a complete and utter shit, put it, you may not be interested in war, but war is interested in you. And why war? War works. Ask any Nazi, American Indian, Algerian mujahid, Japanese imperialist, Viet Minh, or Robert E. Lee if war works. War solves a lot more issues than almost anything you can think of. The only way the good people keep the bad people in check is to make sure the bad people understand that the good people will stomp their evil asses into the ground if they get out of line. Sweet reasonableness can do wonders, but as Al Capone said, paraphrasing Teddy Roosevelt, you can farther with a kind word and a gun than you can with just a kind word.

    And why the Germans? Because then we can tell ourselves that we wouldn’t do that sort of thing, only the Germans would do something like that. The rest of us wouldn’t do anything as evil as the Holocaust. This, of course, is absolute rubbish. Put the right circumstances together and the monster will come out in all of us. Khmer Rouge ideology, Ottoman Turk wartime paranoia, Serbian nationalism, Hutu tribal consciousness [and how, I wonder, is that different from Serbian nationalism? Not much, I think, except that Hutus are Africans and the Serbians are not] Take your pick. Believe in the justice of your cause enough and there is no enormity you would not be willing to commit in order to advance it. And the Germans lost both wars. It’s always important to remember that losers commit atrocities; winners commit regrettable lapses in the heat of battle.

  • Ah David, You film burners just won’t give up.

    Yes, I agree, I wan’t to be ready in an instant as well. But this camera is just too cool to walk away from. I mean, if you are shooting with a Leica, how long does it take to take a light reading, focus, compose and shoot. We are quibbling about a fraction of a second. If I can train myself to partially depress the shutter button as I bring the camera to my eye, all will be well.

    Different cameras ask different things of us. I’m a huge fan of twin lens reflex cameras. I still have the Rolliecord Vb that I bought new in the late sixties, although I hav’nt put a roll of film in it for years. You have to get used to viewing head down, tilt the camera left the horizon tilts right, no light meter, difficult focus, especially in poor light, only 12 shots per roll. Yet, many of my all time favourite photos were taken with that camera, and other twin lens cameras.

    I spent many years under a dark cloth behind a 4×5 view camera. The image, laterally reversed, upside down, a very deliberate way of working.

    The explosion of 35mm slrs in the sixties gave us freedom to explore a much more spontaneous way of working. Digital slrs, autofocus, ability to shoot at very high ISOs (remmember Kodachrome 11, ISO 25), have changed the way we make photographs.

    Iphones, holgas, film, digital, polaroid

    All of these image making tools change the way we make images. Not better or worse, just different.

    The Fuji x100 is a whole new image making experience. Yes, there are glitches and problems, but at the same time, it offers a completely new (really) way of making photographs. And I have to re-inforce what I have state already, besides the whole new viewing experience, the image quality is a whole different ball of wax.

    Anyway, blah blah blah. Gotta go help my sweet woman with supper now. Love ya all. Go make some pictures with whatever camera you have in your hand right now.

  • Go make some pictures with whatever camera you have in your hand right now.
    thats exactly the “message”…thats exactly what/how it comes down to…

  • and although im pro-Obama , read this…since we gotta keep our eyes open..

  • The Bush/Cheney/Obama wars of naked aggression have bankrupted America. Joseph Stiglitz, former chairman of the President’s Council of Economic Advisers, concluded that the money wasted on the Iraq war could have been used to fix America’s Social Security problem for half a century.
    Instead, the money was used to boost the obscene profits of the armament industry.

  • Panos…

    Been having a bad Obama year or so, I must admit. The Bradley Manning and Anwar al-Awlaki crap is just too difficult to overlook. Unfortunately, the alternatives to Obama are significantly worse.

  • yea i hear u..we are all pretty much “trapped” at this point :(

  • Yes Gordon!! make pictures with whatever camera you’ve got…so very true.
    Think I’ll go out with my Pentax Me Super it’s been with me since I was born…first ever pictures taken of me by grandfather were probably shot with that camera…my adiction – neccesity of photography begun whilst using that camera at the age of 15…lovely 50mm lens.

  • Talking about evil…have any of you had the dubious pleasure of meeting someone who is really bad, evil? My ex neighbour is a certified psychopath, she is capable of absolutely anything…one afternoon before we knew the truth she came down with a baseball threatning to to hit my 3 month old son because he was ill with a fever…i might add it was 5:00pm and 5:00am…i could tell you one horror story after another we have indured 5 years of hell.

  • 5:00pm and not 5:00am..

Leave a Reply

You must login to post a comment.