Held Hostage by the Refrigerator Repair Person. Trapped in my office venting.

 Who would have guessed that an appliance could create so much chaos and frustration in modern life? We're heading into our third (or is it our 4th?) week with a brand new (three months old), $2,000+ GE refrigerator that the warranty repair person doesn't seem to know how to fix. His 4th visit was supposed to be this morning between 8 and noon but of course I got a call at 12:15 pm letting me know he was running late. A Samsung ice maker somewhere was impeding his progress... 

I wasted yet another four hour block of time that could have been spent swimming, swilling coffee with friends or cajoling clients into loosening some purse strings for my own future happiness. But...no...I waited for the repair guy. Again. 

The general approach to repairing things now seems to be just taking a guess at what might be wrong ordering a part from the manufacturer, waiting for the part to come in and then making a new appointment to install the part. And then waiting a few days to see if it worked. If it didn't then we make a new call to GE and they re-approve the next warranty repair and then we navigate the online scheduling system with the third party warranty repair company and then we get another four hour window to twiddle our thumbs through. The guy shows up again, conjectures that the last repair didn't work... (no shit) and decides on the next random part order. And we start the process all over again.

I'm pretty much at my boiling point. Today we're replacing the master control board. Maybe it will work. But if it doesn't work I'm going after GE like a howler monkey crossed with a killer whale. The unit will exit my house one way or another. I'll get a check or GE will get a tangle with my attorney. The offending and wholly demonic refrigerator that now sits glowering and not cooling in my kitchen will be replaced by the most reliable fridge on the market. At any cost. 

The sad thing is that the service phone operator at GE is great, gave me her direct line, and commiserated wisely. The crappy thing is that the warranty service company doesn't have a telephone number and you have to communicate through bad Windows 1995 website design to reach anyone for anything.

This has to be the worst retail disaster I've ever experienced. I'm so angry I put all my cameras in a locked case to keep me from being inspired to use them to beat the refrigerator to death. 

Just thought I'd let you know how this particular day in paradise is working out for me.... 

The Killer Robots Have Arrived. They are called "Generative AI." They are here to destroy photography.

 

A new style of photography is suddenly popping up all over the web. It features very exotic (mostly female) human constructs in equally exotic and near perfect backgrounds. The images are mostly convincing as photographs but they are constructed by computer programs using artificial intelligence. I also see many portraits on Instagram of (mostly female) models that look almost perfect but in many cases there is something just enough "off" to cue one to dig deeper to see just how the images were made. Eyes and skin too perfect, the proportions just a bit off, etc. ( A program reminder that most modern entertainment technology evolves first in the pornography spaces...).

Programs such as DALL-E, Mid-Journey and Stable Diffusion work by translating textural descriptions (shit people write....) into illustrations which directly mimic photographs. People are essentially describing what they would like to see, entering it into one of the popular programs and then looking at the many iterations the programs quickly generate, choosing one of the images and then tweaking it in post production. 

How did the programs become "smart enough" about photography to get to the point where they can do this? Easy, they stole your photographs off the internet, along with the photographs created by hundreds of millions of other photographs, then analyzed them endlessly and used the analysis to and create content fabricated from bits and pieces; constructs based on similarities and bits of direct appropriation. Classic machine learning, I think. But the companies that are making this sort of AI software were totally dependent on gaps in current property and copyright laws to be able to steal our work and use it to program these "weapons" which will, almost surely, devastate the commercial markets for photography going forward. You can try to explain it all away or protest that I am being an alarmist but I think, as photographers, we're facing an existential inflection point that will make the market disruption caused by "penny stock" photography back in the 1990s look like a very minor blip. 

Should you care? Not if you don't care about original human art, the theft of private property, the appropriation of human work, and the ability of advertisers and corporations to create alternate realities with which to more intrusively manipulate your reactions to their products and their process of "appropriating" copyrighted materials to strip you of wealth, security and stability while showcasing damagingly unreal body and facial construct images to your children and grandchildren with devastating psychological results. If you don't care you can just go along for the ride. 

Being able to create images that look like real photographs just from written descriptions creates new weapons for bad operators to create convincing deep fakes, near endless political misinformation, destructive propaganda and even worse things. And make no mistake, the same technology is coming for video. Soon bad actors/terrorists/governments will be able to "create" news events that never happened, speeches from trusted leaders which were never spoken, never actually delivered, and all will be used in the service of stripping away your money and your rights.  

But the first victims will be creative artists. Creative visual artists. 

Popular photo websites backed by international corporations will jump in soon to "make it all okay." They'll extoll how much fun you too could be having by using the programs to "create new art." But the sad coda to that campaign of getting people to love their own creative destruction will be the demise of the jobs of those people writing about how great generative AI is right now. Once they convince enough of the population that we shouldn't care about the bad effects of unrestricted generative AI they'll be as disposable as the rest and a new generation of highly refined ChatGBT and other AI applications will take their places. Their jobs. Their pulpits. And why not? If you were a leader in a mega-corporation wouldn't you love to replace a gaggle of writers and editors with robot writers that never get tired? Never push back when you ask them to work in the absence of morals and ethics? When their primary mission is to extend the power and reach of their owners by manipulating content. 

At the point where we lose control of the creative process and abdicate our rights to own and control our personal creative content it sure won't matter if Sony cameras AF the quickest or Fuji has the nicest color science because our robot overlords will no longer need us to use actual cameras and lenses to make more material; more data points for study. And that hobby/profession/fun pastime will disappear. And then we can skulk back to our homes and watch more TV. Or continue to cruise the web. The programming for which will also be generated by artificial intelligence with the sole purpose of controlling human thought, individual action and ultimately channeling cultural momentum. A dream scenario for authoritarians.

Fun times ahead. Of course this is just my take, pre-coffee. Let the apologists for misguided technology push back in the comments. I'd be interested to see how deeply the robots and their masters have implanted their rationalizations into the general population...

Gotta stop watching Transformer movies...

More images from Sunday's walk through SXSW...

There's something refreshing about being out in public, walking with a camera and only the vaguest agenda. If the population is dense enough you could just stand in one place, keep turning around and around and keep your finger on the shutter button of your camera. 

Something came to mind yesterday when one of my acquaintances asked me if it was "scary" to photograph "strangers" on the street. He then asked me if I got threatened or harassed. It made me remember something about my mom. 

We lived in Turkey for two years. A city called Adana. It's in the southeast of the country. My mom was always fascinated by different cultures, learned to speaking passing good Turkish and was more or less fearless. One day she heard about a very large encampment of "gypsies" who were about 10 miles from the edge of town. She wanted to go and see them and, oddly enough, take photographs of them. I say, "oddly enough" because my mother never showed much interest in taking photographs of anything other than family back then. She also was armed only with an older Argus A-3 camera. 

She hired a taxi cab in front of the America consulate, which was across a grassy field from our five story apartment building, and with her Turkish cab driver headed out to find the gypsy encampment. When they found it she asked the driver to wait for her and headed off to find one of the elders in order to make an introduction and ask permission to photograph. 

She found a group of older men who assured her that for a small contribution she would have their blessing to make pictures. She spent a half hour or so meeting people and photographing them and when she was ready to leave she found that the contribution she'd made to the elders had no bearing on the rest of the people she had been photographing. They all wanted to be paid. My mother had brought along some cash but not nearly enough to pay modeling fees to dozens and dozens of now aggressive people. 

She and the taxi driver made a hasty retreat to the cab. The driver asked her to give him all of her change. All of the coins she had with her. He added some of this coins to the collection and then strategically tossed the money out the window of the car in such a way as the path cleared out ahead. He jammed the car into gear and they effected a hasty retreat.

Years later I looked at the snapshots again as I was going through my late parent's house in San Antonio making it ready for sale. The photographs were not technically very good but my mother had one advantage over more technically proficient photographers. She was able to get close to her subjects. And she was able to develop an almost instant rapport. Even with gypsies armed and ready to press their advantage. 

To my mind my mother's intention was to just be there. The camera was an excuse; a reason to make the trip. An aside from the pleasure of being immersed in something different. 

When we returned to the USA she continued to photograph only sporadically. Birthdays, holidays, family trips and that sort of thing. I never thought consciously about this before but I wonder if my mother's interest in cultures different from hers was some sort of bread crumb trail for my own interests. Strange to dredge this up after so many decades have passed...

But here are a few more images from yesterday. Not clouds....

At SXSW companies are anxious to give their stuff away for free.

Sadly, it's mostly stuff you probably don't want. Like energy drinks filled with 

caffeine and sugar. Or phone screen cleaning clothes.

I had to take this because everyone in the photo looks, dour, pissed off or too serious by far.

See? No clouds...

Impromptu album cover shots everywhere.

I focused on the photographer, not the model.

She seemed more important....

"Wolverines ripped my trousers..."

Even the mannequins are decked out for SXSW.

Bokeh city...

My tip of the day. Never pass up red stuff. Especially deep red stuff.

so. I guess the point of the story about my mom is that we should, as photographers, try to be a bit more fearless than we might normally be. In most urban areas the worst thing that might happen (almost never) is that someone will try to forcefully try to steal your camera. Relax, the cameras are all insured. right?

But my mom's story from 1965 is still "archival positioned in the minds of her three children." 

 

I went downtown to photograph more stuff at SXSW yesterday but I ended up liking these clouds more....

 

One focused on infinity...

One focused on the edge of the building...

If you go out with the idea of shooting something very specific in mind you can sometimes limit yourself by constraining the intention of your outing too tightly. I went out looking for unusual people and scenes at SXSW (big music, film, tech conference. 10 days straight. right here in the middle of Austin) and the very last images of the day were a mile away and up in the air.

Yesterday's camera and lens of choice were the Panasonic S5 (original) and the Sigma 85mm art lens (DN DG). A very nice combination. 

Contrary to Saturday's mission all of the Sunday images were shot as Jpegs. I actually like the look better. 

I posted some questions for Mike over on theonlinephotographer blog site. The consensus is that I do not suffer from "low energy." But I really didn't get any of my pressing questions answered. Oh well. At least some of the readers seemed to really appreciate them.

Daylight savings time messed with my timing yesterday. Not much...but enough. 

Need a really, really great and cheap entry into the L system? The S5 is a wonderful and very capable camera. I recommend it highly. Sure, the new one focuses video faster. So what?

How do you become more "fluid" in taking photographs out in public? Practice, play, practice, play. And shoot, shoot, shoot.

 

I had time yesterday afternoon to take a camera downtown and make a bunch of photographs documenting the start of the week+ long spectacle of SXSW. Most of the events take place indoors and the music portion of the show doesn't start until tomorrow but it sure was refreshing to see people filling up the streets after a few years of sparse traffic downtown. 

I broke one of my "rules" in casual photography by taking along not just one camera but two, and not just one lens but two. And more extra batteries...

I'd photographed the day before with a Leica SL and a big, standard, 24-105mm zoom lens. I was bored carrying around such a big and obvious package of gear. I decided to go small yesterday and took out two Leica CL cameras. One sporting a Sigma 90mm f2.8 i-Series lens and the other with the small Sigma 18-50mm f2.8 zoom lens. I have to admit that I'm out of practice with 135mm equivalent lenses but I ventured on and used the 90mm lens for just about everything. I used it either at f4.0 or f2.8 but no apertures smaller than those two. 

I mostly just walked the streets and tried to will myself into anonymity and a super low profile. I don't shy away from meeting people's eyes but I also do like to pick people out of crowds with longer lenses. The two shooting days this week were less about coming home with "winners" that getting back into random shooting practice and to figure out where all the good shots are going to end up happening this time around. 

While the CL camera focuses quickly in S-AF it can be less performant in C-AF. I experiemented with C-AF but almost immediately defaulted back to my comfort zones of either using S-AF or just switching the lens to MF and using some focus peaking. The cameras were also set to .DNG format which is something I normally shy away from using in casual play. Jpeg makes the process more challenging (and fun) because you mostly have to get your files to be well behaved in camera instead of relying on the magic of post processing to save you from bad technique.

Above and below are samples that are all from the CL and the Sigma 90mm. I hope you'll click through to see them larger.