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The 2007 'Best Of' Series
We have now produced an annual Best Of issue of the ASMP Bulletin for the third year in a row. As before, we selected twenty projects for our issue — but this year, we had nearly 200 excellent submissions! It was a tough decision, and we thank all those who submitted their work. We hope you will enjoy reading about these projects.
George Anderson, Columbus, OH
Web site: www.GeorgeCAnderson.com
Project: Unusual views created with homemade camera, plastic lens and Imacon 132C digital back
“Lo-motion” was the inspiration behind George C. Anderson’s experiments with a plastic-lens camera and high-end digital back. His client so loved the fall cityscapes made for their 2006 holiday cards they requested winter shots with the same look. But a sensor failure suddenly occurred, which threatened to leave Anderson standing out in the cold. With no replacement available and a winter storm on the way, Anderson came up with a clever work-around that never let his client see him sweat.
All images in this article © George Anderson
ASMP: How long have you been in business?
Self-employed 23 years, shooting professionally 32 years.
ASMP: How long have you been an ASMP member?
19 years.
ASMP: What are your photographic specialties?
People, lifestyle, kids and spaces (not architecture per se).
ASMP: Please describe the processes and techniques central to the making of this work.
Finding a new way to see the same space; figuring out a way to do it.
ASMP: What do you consider your most valuable piece of equipment?
My brain, then the Imacon 132C back and the various computers I have.
ASMP: What is unique about your style/approach or what sets you and your work apart from other photographers?
I connect with my subjects, and it shows. I use content, color and graphic composition effectively to create engaging photos.
ASMP: Have you made pictures with plastic-lens cameras in the past, before this current project? If so, please describe the circumstances.
About 13 years ago, fellow ASMP member Wilbur Montgomery (Indianapolis) shared his fabulous collection of homemade lenses with me. He predated the Lens Baby craze by that many years and more, and his unbounded creativity with odd lenses and bellows was inspiring.
I had also been to the ASMP 50 year anniversary in New Orleans (1994) where Sean Kernan gave a brief creativity seminar.
The two experiences helped me to start reworking my own vision and to play with various devices. I made several plane-of-focus lenses for SLR cameras, both 35 mm and 2¼ (film), and used them on several projects for various clients and in personal work.
ASMP: Did the recent popularity of Lens Baby plastic lenses have any influence in your starting this project? Have you worked with Lens Baby lenses yourself?
See above. Lens Babies are old hat to Wilbur and me.
ASMP: How did the use of the plastic lens affect your lighting?
In this case, it really is the choice of available light, and I deliberately chose compositions with light sources in them. They make such wonderfully surprising shapes and colors.
ASMP: Does the client you worked with have a tendency for innovation and taking creative visual approaches to their projects or was this a departure for them?
This client has always valued photography and appreciated creative play. He had asked about a “Lo-motion” approach; high contrast and saturation with a Holga camera look. We had worked together in the past and had a great working relationship.
ASMP: What other kinds of experiments did you do with the high-end digital back that you bought? How did you justify this kind of investment for “experimental” use?
I have made a pinhole for this same rig and also a plane of focus rig that is used with a Mamiya 6x45. The Imacon back was purchased for the large file size, wonderful color and ease of software operation. It also can be fitted on many camera platforms. I usually shoot with a Hasselblad ELX. A client asked me to capture digitally for them and after looking at several options of the day, this was the back and package we chose. The experimental drift happened after I became familiar with the back and discovered all the fun stuff you could do with it.
ASMP: Please elaborate on your communications with the manufacturer about the digital sensor “going bad”. Did they offer you any kind of advice or support? Were you satisfied with their response and customer service level?
This was, and is, a part of the paradigm shift we have seen and are in.
We used to buy a camera system and expected to use it without serious issue for years and years. There may have been a 3-year warranty, but parts weren’t too expensive given the total cost, and you expected the unit to be serviceable after 4-5 years.
That has changed.
Hasselblad (Imacon) offers an extended warranty on their digital backs after the initial one-year warranty period ends. But after 3 years, you can’t even get that extended warranty. My unit was 3½ years old when the sensor showed a 16-pixel-wide white stripe on every exposure. This occurred when I was shooting tethered in the studio; a very safe environment. Imacon said I did nothing to cause this; it just happened. The sensor failed for no apparent reason.
The problem was that the sensor is more than half the cost of the total unit. I was told there are no “refurbished” units available, but I could elect to have a second-quality sensor installed (rarely if ever done nor recommended). Also, Hasselblad may not carry parts such as sensors for older units in the future.
Good luck if you expect an old digital back to be repairable. I thought this over long and hard. I really like the functionality of the back; I’d already made custom bits and parts for it that produced work that is part of my portfolio and also a direction I want to pursue. Long story made short (that’s a joke), I bit the bullet.
Hasselblad was very good about informing me of the events required to repair the unit. This was very rare to have a sensor go bad, and everyone was sympathetic, but couldn’t really do anything except send it off to Denmark for a new sensor. It took lots of time (Easter fell into the time frame, and Europe shuts down for Easter) and lots of $.
ASMP: Do you have any thoughts about how this issue could have been handled differently?
I wish Hasselblad would step up to the plate and offer extended warranties on digital products beyond 3 years, and lead the way with a new version of long-term customer service for digital photographers.
ASMP: Your Web site includes a section for specifically for work/play in progress. Of what value are these kinds of projects to your business? Has this always been important?
Julie (my rep and more, see below) and I feel it is important to let my current and prospective clients realize that I am engaged in this profession and art form.
I love photography, and I want to work with people and clients who want a photographer who is more than a blood and guts copy machine. If people get to this part of my site, I hope they realize this.
ASMP: How much time do you dedicate to these kinds of projects on a regular basis?
As much as I can. I can’t always cut out the time for this type of creative play.
Every success is often preceded by a series of “failures”. Creativity is a messy process.
ASMP: What kinds of outside sources do you look to for inspiration in this aspect of your work?
My ASMP buddies are the best resource for honest feedback and kicks in the pants.
Other inspirations are the art galleries of the world, all the trade magazines we look at (CA, Archive, PDN, and more), the funny papers and people watching.
ASMP: How important is the input/collaboration of your rep, Julie Schirmer, in your creative process? Please describe your relationship.
Julie has worked with me as a rep, studio manager and “Creative Liaison” (her own invention, all others are impostors) for about 16 years. Her input and opinions are critical to myself and our clients. She wears many hats at the studio; Julie could be called my in-house producer. We have been called a dynamic duo, but our relationship is strictly business.
ASMP: What is her strategy for presenting your work to clients? Does she represent other photographers or creatives or only you?
Julie believes personality is an important part of the brand. We always work to develop lasting relationships based on trust and good work. Julie represents no other creatives.
