Childhood’s End: Can APUG Growup

RIP APUG.The photography forum, APUG, analog photography users group has died. It has returned under a new banner, one with three doorways. The effort to keep 3 separate but equal groups resulted in little google traffic, and low participation. The past decade has not been good for isolation gatherings.

Segregation, separate but equal, hasn’t been a viable mode of culture building in over fifty years; it emphasizes the wrong things. In the case of photography, thinking and functions are reduced to size of film, type of camera, basic technical operations. Which engineer do you call your daddy.

My answer to my Q: No. The suggestion I’d offer to the owner is close it, or sell it, and get back on track with some level of better future for yourself. You’ve already given the best production years of your life to an economic, and cultural failure. Your return has been a sparse life-style business.

The Problem: As they see it.

Analog, classic, traditional — hard to even find a name since even alternative must be hyphenated into their world. They missed out on the “multi” world; it ended before they turned to the web.

Anyway, it is easy to see what they don’t want: digital – stuff with computers, software. They don’t want the work to be simple, something many others are doing. They fear coming in late, and last, again.

The solution the site owner has implemented is name + brand change.

The Problem: Really

The new brand, PHOTRIO, is really just a unified login among the portals, complicated by selection flags for type of post.

But, the posts are from most of the same group of people with the same shortcomings: lack of growth of imagination; low perceptual skill.

In the first posts, after the reopening, the old guard produced the same denunciations of “photography not done by us,” and the assurance that whatever this new site achieved, we will have our same old way of doing print sharing. Although, we would be nice enough to act as experts if “they” want to know how to do it our way. Talk about separate, yet equal.

What was needed wasn’t a name change, it was a user change. Growing up isn’t a matter of makeup, it is what you make up; what you can make.

The Problem: From a greater distance.

Topic limits put limits on growth. Staying idle, or on the sidelines of a fast changing field lowers your survival skills and opportunities. Others have already taken over the new fields, planted them and enjoy the fruits.

Fading Solutions

The remains of analog have formed into 2 small online pools: Large Format Photography Forum, and APUG. Each in their way claiming to hold high the banner of fading glory. A better time and way. Each asserting that their horseshoe will return, lucky and useful as before. Each praising their failures as signs of dedication to art. Each on their last stand. Tide pools left by the waves of innovation

They have given up esthetic growth by clinging too tightly to technique. It has become their plank in a storm. But no one cares except them. And they don’t really care about esthetic growth which is an even more demanding path

Limitations Of Growth

There are few reasons for membership to grow among those who can grow on their own. This leaves the membership to those who have small ability for self growth. APUG/Photrio is a holdover of people who went into other fields because they were not dedicated or capable of surviving on the pathway of photography.

They are filled with late bloomers and false bloomers; success has passed these folks by. They have each other to confirm their social comparisons among. Their achievement is confirmed by similarly low achievers.

Cognitive integration occurs as people develop shared communications which influence, even alter interpretations of reality.

The high posters engage, gain benefit from affective integration in an opportunity to control others. They need complementary seekers, but those have already formed in other pools.

Stages of development of volunteer groups follows from the three key psychological needs: (1) inclusion; (2) control, and (3) camaraderie.

This progression, to be included after the group has achieved stage 3, means you have to disturb (break) the control satisfied members. This can’t be done by a struggling business without significant risk and likely failure

Silver Circle Adaptation

This extends even to some grandparents in the silver-circle: Michael and Paula, ie, MAS (Michael A. Smith) and Paula Chamlee. This duo has been on the workshop path since the 60s. They live off the aspirations of weekenders. And they seem to have done well. Well enough to fund the production of an Azo replacement: lodima.

Even with the apparent success: their own publishing firm, paper distributed, workshop and photo tours, they’ve had to increase their water-wings to stay afloat. For the past several years they have included scanning and printing services to their sales list.

Purity doesn’t survive in the whorehouse, not even in the silver-circle

 

 

Getting Here -out of Art School

There was a time, the early 70s, when a small list, your teachers and fellow students could get you to a large world of artists. Not the entire world, but certainly a grand sampling. Ask 3 people to introduce you to another few people, who introduce you, who help even more, until – BAM, a contact list. Just 3 months work… it could be done again, only the names would be different.

that group:

Bob Flick;Joel Meyerowitz; Van Deren Coke; Joe Deal;  Ron Walker;  Lee Witkin;  Al Sweetman;  Don Drowty; Ellen Brooks;  Dennis Hearne;  Elaine Mayes; Bart Parker;  Larry Sultan;  Ed West;  Arthur Siegel;Leonard Freed;  Margery Mann;  Harry Callahan; Gary Metz; Peter Gowland;  Ansel Adams;  Ed Ruscha; Grace Mayer;  Mike Mandel;  Harold Allen;  Laura Gilpin;  Hank Smith;  Anne Tucker;  Phil Perkis;  Michael Simon;  Bill Owens; Manuel Bravo;  Nathan Lyons;  Bill Arnold;  Jim Hajicek;  Les Krims;  Joyce Neimanas; Judy Dater;  Al Coleman;  Ira Nowinski; Jack Welpott; Linda Parry;  Burke Uzzle;  Jim Dow;  Dave Freund; Todd Walker;  Catherine Jansen;  Eva Rubinstein;  Eddie Sievers; Minor White; Michael Becotte;  Fred McDarrah;  Richard Link;  Betty Hahn; Nick Hlobeczy; Bob Cumming;Ken Josephson;  Naomi Savage;  John Divola; Tom Barrow; Carl Chiarenza; Bea Nettles;  Roger Mertin;  John Benson; Cal Kowal;  Aaron Siskind;  R. von Sternberg;  Paige Pinnell;  Arthur Tress;  Jacob Deschin;  Linda Connor; Don Blumbeing;  Jim Alinder;  Harold Jones;  M.J. Walker;  Bill Parker; Al Woolpert;  Duke Baltz; Gus Kayafas;Duane Michals;  Darryl Curran; Arnold Newman; Geoff Winningham; Paul Vanderbilt; Anne Noggle; Timo Pajunen;Edmund Teske; Imogen Cunningham; Andy Anderson;  Bill Larson;  Pete Bunnell; Robert Doherty;  Joe Jachna; Oscar Bailey; Jerry Uelsmann; Art Sinsabaugh;  Charles Roitz;  Doug Stewart; Chuck Swedlund;  Bill Edwards;  Bobby Heinecken;  Micha Bar-Am;  Beaumont Newhall;  Wynn Bullock; Jerry McMillan;  John Schulze; Neal Slavin; Lee Rice; Joan Lyons; Bill Jenkins; Fred Sommer;  Barbara Crane; Emmet Gowin; Barbara Morgan; Mark Power;  Cornell Capa;  Lionel Suntop; Bunny Yeager; Doug Prince;  Eileen Cowin;  Eve Sonneman; Reg Heron;  Scott Hyde;Conrad Pressma;  John Szarkowski;  Bill Eggleston;  Mike Bishop;  Bob Fichter; Liliane DeCock; Tom Porett;  Arnold Crane; Arnold Gassan;  Elliott Erwitt;  Len Gittleman;

Many are gone. Most aren’t even remembered, yet at one time they were the time.

Post, expanded —

(8/27/17) … In an online world, experts like to block, to maintain their own value, self-appraisal. I have this blog, others choose to hold forth in sponsored forums. One person asked a question of me about the above, which I thought I’d prefaced correctly with the (now bolded section). Anyway, his question:

“What is the source of your list?” (Merg Ross)

He may not be expert blocking. I don’t know. Rather than answer back on that forum, I’ll expand here just a bit.

I began photography seriously by learning dye transfer. After just a few weeks of training, I was making airbrushed separation negatives; reading every scrap of information I could. These first efforts were in technique, the same thing every learning does – get the elementary done; collect all the elements you can handle. In doing that, I noticed that the Kodak materials were not complete, even somewhat scattered, or even outright wrong. What should be done? I contacted Kodak. Made a call to the main switchboard. After a few transfers, I got hold of a woman who had written some of the dataguides. Jeanette was the first person I spoke to who knew the famous. And she was generous with introductions. Like many structural keepers, she shared easily after qualification. She told me about Henry Holmes Smith at Indiana. I visited him, but didn’t feel that school was my path…not at that stage. I was a working commercial photographer able to set my own schedule; able to make any pictures I wanted on my time.

Then (a few years on) came my draft notice. I went. I returned. My DEROS was to Oakland Terminal in the middle of the night I was ‘exited.’ With cash in hand I went into San Francisco.

The next morning, I walked to a camera store to get supplies, which they didn’t have; however, the counter clerk told me about Adolph Gasser out on Geary Boulevard. It was there that I met Gene Saunders, the salesman who sold me my enlarger. He also told me about a new gallery that was exclusively photography.

Focus Gallery on Union Street was a haven for the world of photographers. Helen Head Johnson was the keeper. I showed her some of my dye transfers. She began introducing me to people, and suggested I check out SFAI since I had the GI bill and no real job. She told me to be certain to talk to Margery Mann.

I did. I enrolled. I got an MFA. The program was small, some of my fellow students were Larry Sultan, Mike Mandel, Harry Bowers, Adal Maldonado …

Oh, one other thing: a friend from the Army days worked for the phone company at Pine/Bush with something called ESS. He had access to every phone in the US. Everyone who had a phone, he had their address. Sweet. So, for awhile, I published something called the Contact Sheet – an address book for fine artists who wanted to connect.