Mr Pre-Press Speaks!

Looking for Summer Work, 1975: A Fugue in 2 Parts

January 25, 2010 · Leave a Comment

Dog Star In Red Dwarves

In 1975 I was a horny, depressed graphic design major. Maybe that’s a given, but I also had vague notions about finding some kind of work for Summer ‘75. With a heavy heart I decided to look for ad agency work in Cleveland, Ohio, which at that time had the most agencies in Ohio.

My European summer of ‘74 was a fond memory, and no offers were forthcoming. Ginger, the girl I’d hooked up with on that trip had family in Cleveland; but was either in school in Connecticut or at the family escape at Sanibel in Florida. She made herself very scarce.

Hard times had begun to stalk the Rust Belt. The ‘73 Energy Crisis was still being played out daily. Coal was four times more expensive than it had been two winters before, and all the power plants burned coal. Legacy steel mills, auto, and other mid-century manufacturing had just been stabbed through the heart, and would never recover their previous glory. Ever. Welcome to the new economy, kid.

The first trip was in early January 1975. I stayed at the YMCA, went to ad agencies and showed my student book. The responses were polite, guarded, tepid. The city was bone-cold. I wore what passed for good clothing; non-jeans, street shoes. I froze my ass off.

At night I’d head back to the Y, and look out the window at the corner liquor store/carryout across the street. It was dead. The steam-heat was alternately comforting and stifling. I’d look at my dress-clothes as they came out of the pack, read whatever paperback I had, and wait for the morning. In the morning I’d go to a diner down the street and eat, hot coffee and something, and head out.

I plodded on for several days. No leads, but I got into more than a few agencies. My theoretical job began to look like an ever-lengthening line that curved over the horizon. Finally, I beat it back to the bus station for Athens, with brave promises that I’d do better over Spring Break.

School started up again, I buried myself in classes. Living at home was not fun, and I had a non-existent social life. It was a self-perpetuating cycle, with no clear escape.

Spring Break loomed, and I made plans to go back up to The Mistake On The Lake. The Sunday afternoon bus trip to Columbus was a reefer-madness comic episode. There were 3 or 4 exuberant young black guys in the back row who had a very large cassette-tape boom box, and a lot of dope. They lit up, and as the bus rolled on to Columbus, the bus slowly filled up with reefer smoke. Meanwhile the tape deck started playing slower, and slower. The mix tape was songs recorded off the radio, with the ends clipped as the DJ would back announce over the end of the song.

B-A-C-K-S-T-A-B-B-E-R…..

On the outskirts of Columbus, the bus passengers had essentially passed out. Finally somebody went to the bus-driver, who opened a wing-vent. A writhing snake of smoke collected itself, and like out of a movie, got sucked out of the bus. Everybody woke up by the time we pulled into the bus station.

The trip to Cleveland was muted. No joy here. I stayed at the Y one night. Then I opened my wallet and realized that I didn’t have enough to stay at the Y. Checking out, I found a SRO cheap-ass hotel—Hotel Bolivar, if memory serves, on 9th St. Walking up the single-width stairs to the buzzer-locked cashier’s window, I rented a room for the next two nights. He handed me a key, a dirty look, told me to read the rules, and buzzed me in.

Walking a maze of jumbled hallways that were painted in cast-off colors, I found my room. It was clean, dry, and barren, opening to an airless airwell. It made the Y look like the Ritz. Here I was. Time stretched on forever.

The first night was punctuated by footfalls in the hallway, faint snorings and phlegmy coughs by men who’d smoked their entire lives.I took a shower in a dim, blighted room that looked like it came from a prison-camp yard sale. Rarely have I showered so fast.

Note to the traveller: Celine’s “Journey to the End of the Night” is not light and frolicsome reading. Save it for when you have lots of money, on a beach somewhere. Also that night I lost any remaining taste for Tom Waits, who was then a boho fave with his “Nighthawks at the Diner“. Here there was no romance; only old, tired, used-up, broken men.

The few days that followed were more futility. I rotated in and out of agencies. One agency studio had middle-aged men sitting at their drafting tables, reading paperbacks. Nobody made a sound, so the bean-counters wouldn’t hear their inactivity, and fire them. It was foreboding.

My slender finances permitted a day-old loaf of bread, bracketed by 2 cups of watery coffee I got somewhere. The Y, with the vending machine, and the corner carryout was a mirage. Ghetto life in its full ’70s glory was on full display. Street-life characters could only afford one aspect of the Look; the apple cap, the chunky shoes, the high-rise flared pants. The rest of their outfits lagged a decade behind.

I threw in the towel on Wednesday. Caught the bus outta there, back down in painful slowness to Columbus, then back to Athens. The closer I got, the slower it became. I lulled myself to sleep with notions that it wasn’t always going to be this cold and bleak, and somehow I’d have a job, and get laid more often than not.

Once I got to Athens, I started walking through the deserted town,  out to Rt 50, and hitched a ride out to Albany. I then walked the last 2 miles from Albany out to the farm. I think I walked up the road to the house that semi-gray, raw March day, and saw Laird schooling a horse in the ring. Arnold was holed up in his office. I changed back into my workwear.

That summer I was a poorly-paid camp counsellor to the children of rich Texans in New Mexico. I nominally taught art, and having never taught art, made shit up. It was terrifying. I’d gotten out of the mud for 6 weeks; got drunk, fell in love, became fast friends for the summer with people I never saw again.

→ Leave a CommentCategories: ancient history · hard choices · improvisation · interview · school
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Tech Triumphalism Never Sleeps

July 12, 2009 · Leave a Comment

Extracting assumptions and trivia from this video…

1/ Assumes that the mere weight of data is somehow better or more valid than previous technologies or cultures
2/ That an issue of the NYT has more data/info than an 18th century person would encounter in a lifetime assumes that…

  • the info was only written, in a time when most working technologies and cultures were non-literate.
  • ignores the fact that an 18th C. individual was probably better equipped to feed/clothe him/herself than the 21st C urban techno-servant. For instance, when was the last time anyone in any office you worked in made a pair of pants, skinned a rabbit, tended a bean-patch?
  • that all info/data in that lucky issue of the NYT is of equal weight and value to all. In freight terms, what is the difference between a pound of lead and a pound of feathers? None. Mass is a different story.

3/ Broadband penetration: Geography & infrastructure is key. #1 Bernuda = tiny. #19 Japan = highly developed archipelago

4/ Number of text messages? How many actually say something? LOL/STFU. Highlights the metrics of availability and theoretical cost of use.

5/ Water, water, water. The invisible missing element.

6/ All these networks, infrastructures, systems are kept alive by electricity. When the lights go out, party’s over.

For starters.

→ Leave a CommentCategories: esoteric knowledge · hard choices · networking · technology · wild postings

The “Plan B” Photo Shoot Weekend

July 2, 2009 · 4 Comments

Saturday, June 28 2009, 1945hr

I was on location at the finish line of the Western States 100 Mile Endurance Run. The winner was due in about an hour.

I was setting up my lights—A Norman 2000 power pack, 2 lamp heads, one with softbox, the other with translucent umbrella. I was taking preliminary flash readings when I heard a loud cracking sound from the powerpack, followed by a slow puff of smoke. I toggled the switches, hoping that I had been hallucinating. The test switch was inoperative. I had a dead power-pack.

I could’ve been totally screwed. However—I’d packed my Lighting Plan B: 2 Vivitar 283s, 2 285s, a radio slave, and some Wein Peanuts. Incidentally, the case was a dumpster salvage from Art Center, thanks to my friend Lars who is the Shop Supervisor at the Lida St campus.

I quickly took new readings. The winner arrives. I make my shots, and await the next runners.

image shot 2100hrs

Over the next 12 hours I photograph another 40 runners.

TECH DETAILS

site shoot plan

site shoot plan

  1. 283 firing into silver umbrella at purple setting
  2. 285 set to 1/4 power, firing thru translucent umbrella
  3. 283 set to 1/4 power, stofen’d, set to 1/4 power
  4. Film: Kodak TriX ASA 320, 1989 vintage, shooting at 1/250 f 4
  5. Camera, with 4i Radio Slave

So far, so good. Until about 0945 on Sunday. The 80mm lens on the Hassy decided it’s had enough. The Plan B Camera is pulled from the green room—the Yashicamat 124.

I shot the remaining roll of Kodak 160 in it, then switch off to Kodak ASA 400 TCN. Keep shooting.

Now comes the fun part: had I learned anything in the last 6 months, and more importantly, did I remember when I needed it?

I’d heard about using small strobes for big jobs. To tell the truth, I didn’t quite believe it. Looking back I needed to have big lights dump light to overcome a tendency to underexpose.

Realizing I needed more information, I’d started to read the Strobist.com back in December ‘08, as these guys are all about creative solutions with small strobes.

Over the years I’d collected a stable of Vivitar 283s and 285s. No, I couldn’t afford Nikon Speedlights, and yes, I’m a primitivist. These Vivitars are the AK-47s of flash—sturdy warhorses that dump an unholy amount of light. Even dialed down to 1/4 power, they make a lot of magic, and go all night.

When I got the film back, I saw that overall reduced light at night gave me rich shadow and modeling. As the sun came up behind the light-proofed backdrop, the same settings opened up deep shadows in the faces, and left enough modelling so there was dimensionality. By 11:00, the official end of the race, the sun was nearly overhead to give that special “hair-light” effect.

image taken around 1030am.

A major added benefit of smaller strobes: a lot less weight in travel, quicker setups and knockdowns, and the versatility of photo-guerilla shooting. I’m a way happier camper now.

Oh yeah: all the pix right here.

→ 4 CommentsCategories: improvisation · photography · technology · wild postings

“The Art Doctor” Cannot Reanimate the Brain-Dead

May 13, 2009 · Leave a Comment

Mr Shark has his own thoughts on the subject of art.

Mr Shark has his own thoughts on the subject of art.

I’m delighted to assure you that bullshit knows no boundaries or statute of limitations. The New Yorker had a lengthy article on “the Art Doctor”,  conservator Christian Scheidemann. I respect Mr Scheidemnan’s encyclopedic expertise. What I find thoroughly laughable is his considerable talents are keeping art swindles by the likes of Damien Hirst et al, on life support.

Exceptions to the sorrow were some droll moments where beetles were gnawing the guts of a Wilfredo Lam canvas because they liked the glue. Wilfredo could kick the asses of all the current Po-Mo darlings, and then entertain their mistresses in style.

So, I decided to fire off a letter, to hurl a dead cow over the parapets if you will:

Editors:

Did it occur to anybody else while reading “The Art Doctor” that the real task was conservation of a preposterous fraud? Every “artist” reverentially mentioned is a slick bullshit artist, a mountebank, a swindler and cheat; pimply adolescent trolls stumbling in the footsteps of giants. I can’t wait for all of their “works” to implode due to their moronic ineptitude.

There was no thud, but it felt good anyway.

→ Leave a CommentCategories: academia · conceptual art, academia, MFA · wild postings
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The Sixth Interview Principle

April 9, 2009 · 2 Comments

Panhandler Posts Her Day-Rate

Panhandler Posts Her Working-Rate

There are Five Big Things you want to avoid during an interview. They are:

  1. Being unprepared
  2. Behaving inappropriately
  3. Appearing unfocused
  4. Seeming insincere
  5. Stretching the truth

That’s according to an article by Jerry S. Wilson, Senior VP-chief customer and commercial officer at Coca-Cola Co, in addition to his current incarnation as a motivational marketer, etc.

Keep reading →

→ 2 CommentsCategories: career choices · client meetings · hard choices · presentations
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The 60-Second Pitch

April 9, 2009 · 1 Comment

Super Hero, Straight Guy, and the Femme

Super Hero, Straight Guy, and the Femme

Its all about you. Describe who you are and what you do. Its professional speed-dating. That was the exercise before us that evening.

How are you going to be concise, informative, engaging, and confident? Without the hems, haws, errrs, and latent narcissism that is just dying to get out and run with muddy boots on white shag carpeting?

It was a messy start. Words got stuck in my throat. I was stumbling. All the reference points in my head were now floating furniture in a zero-gravity un-fun house. I closed my eyes like I was trying to see a match-flare in the dark.

If I’d been sparring in the boxing ring, I’d be knocked-out. If I was driving, there’d be a fireball. Help!

Start at the beginning.

“I’m a graphic designer with over 31 years of print production experience”.

Good start! Establish a professional bona-fide that you hadn’t been living as a Trustifarian.

“I am also a photographer that works with vintage cameras and film because of their unique visual qualities. The photos are then composited into unique digital illustrations, or left as freestanding documents”

Lumpy, but getting closer. Onward!

“One of my long-term documentary projects is photographing 100-mile runners immediately after they finish, in a mobile studio set-up at the finish line of the race. I shoot with medium format camera, using black-and-white film”

A definable, tangible artifact!

The second hand is sweeping towards the finish.

“I also…”

DING!

And now it’s your turn to listen to somebody else’s pitch.

At the end, I was wrung out. No surprise there—these muscles are flabby from inactivity. But its a start. As I went through the 60-second pitch process, I found that I thought I had it almost-wired. Almost. Until I got home and realized that I’d left out a lot. Like the fact that I’m writing this in a way that’s hopefully concise, informative, and engaging.

→ 1 CommentCategories: career choices · client meetings · interview · networking
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21 Questions In An Unsettled Time

April 8, 2009 · 1 Comment

Abandoned 1920s Billboard, N of Mojave CA. 1989

Abandoned 1920s Billboard, N of Mojave CA. 1989

I was contacted recently by a student who is going to be graduating this spring from Brooks. She included a survey and asked for answers so she could figure out her next move.

Tell me about yourself and your business.

Self-employed freelance print-production expert, with a sideline in photo

Where did you go to school?

Ohio University

Why did you choose that specific school?

A complicated story. There was no choice in the matter–my dad taught photo there, and with a faculty discount I paid (you’re not going to like this part) $79 a quarter (1973-77). However I had to cover all my own school expenses, while working nearly fulltime at his wife’s boarding stable. Much, much later I discovered that my grandparents had salted away money for my education…

What was your major?

Graphic design

How did you get started after school?

Looking for entry-level jobs. Got a job as a paste-up guy at a tiny magazine for $4.50/hr

Did your schooling prepare you for the industry?

Not really.

What are your most effective methods in growing and sustaining your business?

Being adaptable, learning new skills, learning old-school techniques and processes. Showing up on time. Meeting deadlines. Not being a dick.

What was the greatest challenge in starting your business?

Overcoming the terror. Yesterday, today, and tomorrow.

Is there any particular methods you would target and approach clients?

Be honest. Get a mentor

What are your favorite strategies of promoting yourself and your business?

Word of mouth. Social networking via LinkedIn/facebook. Its not surefire, but it helps.

What is your branding method or strategy?

Selling my experience.

What is the job market like in your market for new college graduates?

Really bad

What is the competition like in the industry?

Fierce

What is the competition like in your geographic area you promote and operate your business in?

Same as above

How do you determine your pricing?

1/ not being a CraigsList low-ball dick.

2/ realistically cover your costs, because this is a business

What would be your advice to a recent grad from a photography school about art direction for a career?

An effective art director is somebody who understands that looks alone are not going to make truly effective or interesting advertising.

I had a teacher who observed that fashion advertising is a world where the rules of gravity are suspended. I read W because the photography is alternately wonderful and horrifying, and gravity-free. Like the recent Marc Jacobs stuff where models are in a swirl of what appears to be mustard gas. Those are somewhat interesting images, but missed opportunities for art direction and design. By contrast there were some Chanel ads that were brilliant in their understated strength.

Are you growing as a business or entity?

I′m trying to grow my business as a specialty photographer using vintage cameras and film. Since my work is not insta-deadline driven, its a set of techniques like an illustrator

Would you recommend going to marketing classes or seminars?

depends on who’s teaching them. Get on a photo/designer list, ask questions, poke and pry. You’re trading money for talk.

Do you attend seminars?

Yes, very selectively

How is changing technology affecting your business?

Too numerous to mention. Suffice to say I watermark every image I post. Yes, its a dick move, but until I get paid for that image, its there, at 5% opacity, and meta-data’d as well.

What advice do you have for a student photographer desiring to enter the business?

Get ready to work very, very hard. Some joy, a fair amount of heartbreak. The stuff you thought was soul-deadening in school will probably pay your bills.

CODA

I mentioned my dad taught photography. Every quarter hed review the numbers for his Basic class:

450: annual number of students in Basic Photo [150 x 3 quarters]
100: number of students accepted into Intermediate, annually
25: number of students in Sr Class
10: number of students as graduate students
1: number of students making their living in photo, 5 years after graduation

This did not take into account the photo-journalism shooters, which was a different program. The numbers may have shifted over the years, I don‘t know.

I sincerely wish you the greatest success in your efforts. I really do. Hopefully the soundings I offer will help in some way, and not be discouraging. If I can be of any other assistance, let me know.

→ 1 CommentCategories: academia · ancient history · career choices · client expectations · job search · post-graduation despair
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LA1980: I Build A Book

March 11, 2009 · 6 Comments

book cover.

LA1980: book cover.

This post is about  “LA1980: a photo memoir”. Yes, a naked, blatant plug. Bear with me, I’m going to talk about the technical aspects of making this project happen.

Self-publishing a decent proof-quality book has come of age. For any derision about ‘vanity publishing’ I’ll say “demo”. As in musician. How good it looks and reads is up to you. It’s your baby. Treat it with respect, but work it.

Introduction to Self-Publishing

I’d stumbled on Blurb.com in December 2007. The idea was seductive. A closer examination revealed some serious issues.

Blurb uses Booksmart, a proprietary software, as a gating/formatting choke-point. Booksmart  is not easy in the same way a complex program like InDesign is easy. Its a bucket with pre-fab templates you can drag photos into. You have little control over type kerning, formatting, stylesheets, etc. Which are all the tools I need to work with. More study was required. All told,I studied the whole Booksmart/IDCS stuff for about 6 months, read all the posts, FAQs, whining. I got to post some of my own later.

In LA, There’s Always A Backstory

“LA1980″ surfaced during an interminable studio-traffic meeting last summer. I’d gotten wise to the ways of the massive organization I worked for, and used the dwell-time to sketch ideas in a notebook. I wanted to do a photo book using images I’d shot between 1979-1982.

I’d shot 100+ sleeved rolls of Kodak 5297 cinema neg stock; which was cheap in those days, and I was broke. The neg would be contact-exposed to the pos stock, and slides happened.

Periodically I would look at the slides, and go “Yipes!” because the color had gone seriously magenta. The prints I made back then were on a particularly putrid Kodak stock—soft, more magenta, muddy. The images went back in the boxes, and slept.

Scannermania

First sign of new life was 2003, when I got a used Nikon LS2000 film scanner. The scans from the slides were awful. The negs offered more hope. It was a toss-up between OK and awful. But it wasn’t good enough yet.

In 2008 I bit the bullet and bought the Nikon LS9000 scanner in order to scan my medium format negs. The Nikon scanning software worked fine with the Mac OS X 10.4. All well and good, until my elderly G4 died, and I had to get into a MacPro.

Now I discovered that I had two scanning software choices: Hamrick VueScan or SilverFastAI. The difference was about $600. Since the Lotto Fairy hadn’t swung by recently, I went with the Hamrick VueScan. HVS has a blunt, unfriendly interface. I also looked at SFAI, and its interface was blunt, and ugly  as well. I spent several weeks steaming in circles getting the hang of HVS. Finally it began to make sense, and I was up and rolling on that.

Building the Beast: One Image At A Time

The only coherent way to find out what I had besides what I remembered, was to literally start at the beginning, and scan every roll. I’d put it off long enough, and it was time to man-up.

  • Using a cast-off lightbox, I’d loupe the roll.
  • Pull an FPO scan of the roll, typically 1400dpi at 4×6″ for starters.
  • Implementing a workable naming convention. Now that I was scanning in bulk, and going back to pull high-rez images, I needed to find them again.
  • color profiles were set to sRGB, the default Booksmart colorspace.

When You Name It, You Can Find It

I’m done naming images, its alphanumeric for me. Names, descriptions, tags etc can all be handled in Adobe Bridge using Command-Shift-I, which brings up the dialog box for naming, tagging, copyrights, etc.

Here’s a peek:

Image browsing in Bridge

Image browsing in Bridge

Image 790700_08_06 is frame 06, from roll 08, from July 1979. Variations are indicated as -1, -2, etc. This will make my life easier every step of the way down the line, especially when I’m preflighting the InDesign doc, and swapping out missed lo-rez images.

All images start as jpegs. After the curves are applied, the psd is saved, jpeg is tossed.

Color-Balancing

Here is a typical image, in the before and after mode:

The raw scan and the recurved edit.

The raw scan and the recurved edit.

I scanned close to 1000 images, and had to work fast, smart, and non-destructive. Sometimes I’d recurve an image 4-5 times over the life of the project. I’d see something I’d overlooked the first time.

The Design/Production Workflow

The book was designed using InDesign. This gives me dynamic updates, unique page formatting, typographic specificity, PDF exports; everything lacking in the Booksmart interface.

Pay very close attention to the Blurb specs. They aren’t joking. The following is contingent on your layout being the exact right size, with standard 1/8″ bleed 4 sides.

  • layout all hi-rez images in IDCS
  • page export pages as singles, w/ bleeds, to PDF-x1a
  • open up PDFs as Photoshop PSD (300dpi)
  • save PSDs as Hi rez PNG (300dpi at 100% image size)
  • import PNGs into BookSmart layout
  • upload to site

First proof came back 6 days after sending it. Examined it,

  • looked at binding [OK]
  • color [OK]
  • trims [aggressive to outside margins].

Readjusted live so it was 1/2″ from trim, fixed pages that needed it, re-uploaded it.

Conclusions

I worked on this book 6 days a week, 8hrs a day from Dec 29 to January 21. It was my job when there was no immediately visible work. I decided I needed to get a project up and running that might have a wide/wider reach that would kickstart other opportunities.

The color is OK as a proof. Nothing matches ink hitting paper. However the advantage of creating crossovers with impunity is big fun.

I’m looking forward to my next book.

→ 6 CommentsCategories: color profiles · file management · nikon ls9000 · page layout · photoshop · retouching · scans · technical issues
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Creation Myths Revisited & Rendered

December 23, 2008 · Leave a Comment

Nativity Scene of the Holy Family, Attended by los Tres Reyes Godzillas

Nativity Scene of the Holy Family, Attended by los Tres Reyes Godzillas

In the Beginning

The Holy Family is attended by Los Tres Reyes Godzillas, who each have brought unique gifts of takeout, espresso, and a movie.

I shot this in 2001 with a Pentax ME Super, Fuji Reala 100 2G. Over the years I’ve scanned it as a print, then at least twice as a neg. Each time, I’ve seen more and been able to do more with the image.

When I scanned the print, I was captive to the murky print quality. The first time I scanned the neg with a Nikon LS2000, the details were eye-popping by comparison. The most recent neg scan was done with a Nikon LS9000 and the VueScan software [a whole other discussion] at 5400dpi, approx 12×16″.

The Bride Laid Bare

Moving pretty fast here:

  • duplicated the original source layer, set the duplicate to multipy. Combined the two layers to build out slightly underexposed shadow areas. Modified with curves. Collected all three layers to new working layer “Collect 1″. Saved source layers in a folder their own, to be left untouched.
  • All subsequent changes are written to “Collect 1″. Targeted areas with masks to bump the saturation, color-balancing, and modify inherent color casting
  • Finished with an overlay layer, solid color at 5% opacity to unify all the elements. Painted out areas on the mask to modify as needed.
  • I captioned it. Marion True helped me out on this one. Promise.
  • Then saved it as a web-ready jpeg.

Here’s the map:

Nativity Layer Palette

Nativity Layer Palette

Have yourself a Merry Li’l Xmas, and I’ll see you in the ‘09.

→ Leave a CommentCategories: digital imaging · photography · retouching · technical issues · technology

Faking It

November 20, 2008 · Leave a Comment

Foreign Policy Blog

Kim Jong Il. Image source: Foreign Policy "Passport"

This week the reappearance of Kim Jong-Il in a group shot excited some controversy. Not in the august presence of the Beloved Leader, but by inconsistent shadows and details in the image.

detail

Detail. Image source: Foreign Policy "Passport"

This example highlights aspects of concept and execution. I suspect the hapless Photoshop retoucher responsible for this may have ended his/her career on this one. Or, as others have suggested, maybe they were stuck with an elderly copy of Photoshop 2, which was layer-deficient until PS3 or so.

By definition, all photos of Kim Jong Il are faked in some way. This is in the intellectual DNA of North Korea in particular, but shared by all totalitarian states.

I was always intrigued by the photo textures of Communist leader-photos: Mao, Hoxha [Albania], Stalin, and all the Eastern European thugs in the ’50s thru the 80’s. And all this was old-school razor & airbrush fakery.

The most egregious Stalinist/Soviet examples are found in “The Commissar Vanishes”.

Lest anybody in the audience think that Western regimes are immune, guess again. My favorite anecdote involved a Spanish postmaster who had a forbidden gallery of Francisco Franco portraits taken down from the wall, and not returned to Madrid. All getting steadily older. He would contemplate them on occasion, and take solace that someday, Franco would die.*

*New Yorker article, mid-70s.

→ Leave a CommentCategories: photoshop
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