..: Newsletter September 2008 :..: No. 034 :..: 01.09.08 :..
I.) W E L C O M E
Dear Reader !
After all the technical stuff, I had to struggle with in
the last few weeks, I finally got back into "The Real Thing" -
Photography. What I love most about my huge photo archive is that I discover (or better
re-discover) "new", sometimes accidentally forgotten works. In recent years a large
fraction of shots is done completely digital, but many of the older series are archived in
hanging sheets with 20 slides each. A selection of them, I considered the good ones were
scanned already six or seven years ago. Looking at all of them today, makes you
see the total body of work in a different way and shots I take out today for scanning are very
often ones that were not taken into consideration in the past.
Living and working abroad in New York
City is something that is fascinating for most of us. Well, "The city that
never sleeps". For us, who have to stay here, I have good news: A good old friend
of this little publication relocated recently and lets us know about Life in the
Big Apple
Talking about Superstars in terms of
fashion photography there's one name these days to be remembered:
Steven Klein. In the Famous Photographers section we will get some
insight into his work.
(image: © P. Fauland 2008, "A sheep's life")
Please be aware, that this month there is no Exhibition Announcment !
II.) I N T E R N A L N E W S
Short update on the Tartaru Gallery status:
I am happy to inform you about our first two artists - Vince Lovecchio and Leszek Scholz.
» Tartaru Gallery
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As you will see in the "Latest Updates" section
The Landscapes gallery was relaunched. As the other image galleries, this is also a Flash-Gallery
providing a slim design, a thumbnail overview, slideshow mode and even full screen mode.
As mentioned in the FAQ the galleries were all tested
with different operating systems and web browsers and work fine. In case you encounter any problems
what so ever, please let me know. According to server statistics virtually everybody is useing
Flash-Technology these days. This is why I did not implement an additional HTML gallery up to now.
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III.) L A T E S T U P D A T E S
As promised, the Landscapes gallery
was updated. In the phase of the re-launch - which will continuously go on during the
next couple of weeks - new works were added to well-known ones from the old gallery.
A series of nine photographs of "The Wave", taken with a Panorama Camera during
the years 2001 till 2005 are presented in a dedicated section.
- The Wave - Vertical
- The Wave (re launched & new works)
- Slot Canyons (re launched & new works)
All to be found here !!
C o f f e e - T a b l e R e v i e w Nr. 004
There are a few books about photography, that should not be missing in your personal little collection ...
In cooperation with Lindemanns Books I will present a personal
selection of interesting editions. Feel free to get inspired !
National Geographic - Best of ...
3 volumes in a decoration slipcase. 1512 (!) pages with 750 color photographs, 26 x 26 cm, Hamburg 2006, hard bound,
instead of EUR 119,85 if bought separately, now just EUR 49,00
Travel- and photo journalism, Portraits and Nature- and Landscape photography are the themes of these impressive books:
1. The world in breathtaking images. Even from the most remote areas photographs are shown.
2. The most fascinating fasces of the world. In five chapters the best portrait- and people photography.
One chapter is about the time before 1930. Then others to cover the time starting 1950 and then 1970.
3. The most spectacular landscapes. In 12 chapters all continents are covered. Since its beginning National Geographic is famous for
its landscape photographs taken by the best photographers, that were working for the magazine in the last 100 years.
Catalogue-Nr: 99146N now only EUR 49.00
Gross, Steve/Daley, Susan: Time Wearing Out Memory.
Schoharie County. 128 pages with 104 Duotone images, text english, 26,5 x 29 cm, London 2008.
Schoharie County, located near New York, is among the oldest farm lands in the United States.
Partially still cultivated today, but the state of the buildings leaves no doubt that this area has come to an end.
Landscape, buildings, tools and appliances are announcing past times. Now it's the time of photography as churches, barns, one-room-
schools, old end-of-life vehicles, the general store and the old fashioned hotel are visualizing the old America. Excellent black and
white photographs, reproduced and print in best quality, were chosen by the two photographers in order to document this one could
say self-contained world.
Catalogue-Nr: 85224G EUR 45.00
IV.) N e w Y o r k C o n n e c t i o n
Regular readers will know David McCreery. Our Fashion Photographer
recently moved to New York and will keep us informed.
7th of August, 2008
After living abroad for more than three years,
I'm getting used to the reverse culture shock of being back in America. Just about
everything in my hometown feels like the opposite of what I'm used to in Geneva.
Where most restaurants in Geneva put tables outside in the summer, restaurants in
South Haven, Mich. keep the doors closed and the air conditioning cranked to cryogenic
levels.
At least American customer service brings some warmth to the eating experience. While
visiting a busy restaurant by myself at lunch time, I was surprised when the server
suggested that I take their last free booth: yes, one person eating at a table for four.
I ordered the battered and deep fried chicken fingers. Each one was closer to the size of
my entire hand. It's nice to have fast food for single digit prices with free ice water.
Most people around here appreciate American dining more than I do. Much more. Most of the
men I see in Michigan look like Michelin men. Everybody has a spare tire or seems pregnant
with twins.
It doesn't help that my hometown doesn't encourage walking. Most of the shopping outside
of the city center involves strip malls with vast asphalt parking lots.
Houses are also spread out, with long driveways and grass filled yards... There aren't any
seven-story, poured cement apartment blocks where it's forbidden to flush at night, lest
it wake up your neighbors.
In the next 36 hours, I'll be departing for the Big Apple - another densely populated,
dirty, noisy city which may help me fill my gap for Geneva withdrawal.
12th of August, 2008
Below are my first impressions of the Big Apple...
I drove over the Brooklyn Bridge into Manhattan on Sunday afternoon,
the back of the car stacked Tetris-style with IKEA boxes. It was the final shopping trip
to outfit the apartment.
Yesterday I finished assembling my flat-packed dresser and bookshelf and declared myself
completely settled-in. I arrived in New York City on Friday afternoon and was surprised
how quickly I got organized. Just about anything I need I can find around the corner on
Broadway - from banking to groceries to hardware to a film shoot for a new McDonald's
commercial.
I am used to the less-than-convenient shopping of Switzerland where many places close for
two hours at lunchtime, for the evening at 7pm and completely on Sundays. By contrast,
stores in Manhattan are open continuosly from 10am to 10pm, seven days a week and are even
happy to let you shop a few minutes after closing. Same day delivery is another asset: You
can pick out a bed in the morning and have it to sleep on at night.
Every morning, I wake up to a view of the tall brick buildings standing around me. My
apartment is a corner unit on the sixth floor with lots of natural light coming in on
two sides. The place was was recently rennovated and is in better condition than the one
I left behind in Geneva. The kitchen has granite countertops and stainless steel appliances.
It flows into the living room to maximize open space. The bathroom has elegant marble tilework
and even has a toilet in it - unlike the Swiss/ Brady Bunch style where the pot is in a
separate closet somewhere else.
P.S. I'm still waiting for my boxes to arrive from Switzerland.
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(David McCreery)
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V.) F a s h i o n and S t y l e
An Ode to a Fashion Genius
Mademoiselle's life started with an error. A careless registrar wrote "Chasnel" into the birth certificate of Gabrielle Chanel the 19th of August 1883.
Many years later the girl became famous under her nickname: Coco Chanel, the most exceptionally gifted fashion designer of the 20th century. These days she would have celebrated her 125th birthday.
Coco Chanel loved little hats, artificial pearls and the color black, which was only seen as the color of mourning before her legislating.
Every single woman has clothes in her wardrobe that are inspired by Coco Chanel. During times when ladies wore hooped skirts, corsets and
full-length dresses, she re-invented fashion in a radical way: Plain, simple, functional yet elegant wear.
Among her creations are: "The little black one", trousers for women, Tweed-costumes, Twinsets, long necklaces made from artificial pearls.
It was her for the first time to cut down the length of skirts to never-before seen length. A hand below the knee.
The day she was born she was so unimportant that one "s" more or less in her name did not change a thing. As Gabrielle was eleven years old, her mother died. Her father brought her to an orphanage and disappeared for ever out of her life.
Coco Chanel had to take care about herself, something that worked out pretty well. 1916 she bought some Jersey and tailored ladies coats and skirts.
An incredible scandal, as these days Jersey was only used for mens underwear. Nevertheless this clothing quickly became a "Must-Have" in the high society.
All noble ladies wanted to appear exactly like this gentle, modern and incredibly nonchalant french lady.
Her many lovers always supported her, but her business grew from her own efforts. Boy Chapel was the big love of her life. He lend her the money for her first shop in Rue Cambon, in the first district in Paris. Chapel died 1919 during a car accident.
She hurled herself into dozens of affairs, never got married and always wanted to be called "Mademoiselle".
She was never extremely friendly. Some male colleagues were berated as "fags who want to live their phantasies. They dream to be women, and make real women look like transvestites".
Together with her sappy statements she left especially one thing: Her vision. Back in the 1930s she said: "We are all nomads. Everything has
to be easily transported and comfortable."
She addressed the idea of a mobile society, which should become reality much later. "These days women drive cars, with a hooped skirt this is not that easy."
As we can guess from these famous citations: Coco Chanel was restless and brassbound against herself. "I get really angry, when I am told, I was lucky. Nobody was working harder, than I did", she said about her life. She did not overstate, as the fact proves that she died during the preparation
of her latest collection in January 1971 at the age of 87. Her last words are said to be "So, this is how it feels to die."
After her death her life's work degraded to a dusty label for elderly ladies. Only 1983, Karl Lagerfeld became chief designer and managed to match the work of the legendary Mademoiselle with his fashion related clear sight and an intuition for the mix of tradition and modern trend. Up to now with remarkable success.
V.) E X H I B I T I O N S
1.)
2008 Cologne -
23.-28.09.08
Every two years all big photography and imaging companies invite
us to Cologne to get a first look and feel on the latest cameras, gadgets and gimmicks. But it's more than that: Exhibitions, Life-
presentations and much more ....
The best is, to have a close look at the Exhibitor Search:
You can find detailed information about exhibitors, hall plans and product lists as well as a comfortable planning tool.
Exhibitor Search.
VI.) L I N K S
In this section I would like to share a few outstanding
presentations of very talented, somehow "special" or just
beautiful photographs with you.
Todays link is
Yanyel Photography
Yanire Fernandez Simon (Yanyel)
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"Since I was a little girl it was strictly forbidden to touch the "family camera", a simple compact model.
Maybe this was partially responsible for the small obsession that returned when I was around 17 years old.
My photographs are often self-portraits, emerged from involuntarily not having anybody around, who would be
willing to model for me 24 hours a day. So I discovered that the best way to express what one carries within is to
experience life in front of and behind a camera."
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"I need to be different from everything else, to transmit sensations, feelings, concerns, conflicts, to show that
every little thing is special. Creating unreal real tensions, stories. repel indifference, be subtleÉ
But above all I need to be able to continue to communicate through an image for a long time."
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How do you find your inspiration ?
I like the lyrics of songs, poems, phrases, momentous movies ... when they start to dwindle ideas, I am just
some movie, listen to music or read some poems, hence any idea usually comes out to perform.
Soil accompany my photographs with a text, song or poetry that complements
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Can you name artists that have influenced your photographic vision?
Not if you call it influence, because I do not think about any artist when take photographs, but I must admit that
I love Surrealism, Dali, Magritte, to name two. Talking about photographers I would mention Jan Saudek. Actually,
you could appoint a lot of photographers that I like, but influence is different, and I suppose that these three
artists mean so much to me that perhaps unconsciously my photos have taken something from them.
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Why have you chosen photography as a mean of expression ?
Since I was a little girl, I loved the drawings and paintings done by my grandfather, my sister is very artistic, too.
But for me, painting had certain limits, I can imagine things but I am unable to put it on canvas with a charcoal,
I transmit something
real but nothing that is in my head, and I think that's why photography complements what the painting could not
give me, I can imagine anything, and make it real in a picture with my camera. It is sad but since I started with
photography I have not felt the need to paint anymore.
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Self Portrait
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16 mm
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Feel free to check out more of Yanel's work on
>> Yanel Photography
VII.) F A M O U S P H O T O G R A P H E R S
Steven Klein
has become the fashion world's
current superstar
In a grimly lit video-editing bay on West 18th Street,
Steven Klein is hovering above proofs
of his most recent photographs of Brad Pitt - Brad in pasty makeup that makes him look like
an albino, Brad in a straitjacket, Brad shirtless and in a sensuous stretch that shows off his
rippling back - as flames that Klein has created for Madonna flicker on a nearby monitor.
The editing bay, stocked with computer-generated-imaging hardware that's churning
through the billions of ones and zeroes that will add up to the video backdrop for Madonna's
upcoming tour, hums ominously.
Beyond multitasking with Pitt and Madonna, Klein is, arguably, the most influential (and busy)
fashion photographer in the world right now, even while his career seems to be all about
flouting the rules of fashion photography. The Pitt images, for instance, appear in a
62-page portfolio that takes up the entire feature well of the May-June issue of the Italian
glossy L'Uomo Vogue - and the vast majority of them don't have clothing credits, in defiance
of fashion-magazine imperatives.
Klein has also made a career of flouting the usual rules of celebrity portraiture. The stars
he shoots often seem to be more at the service of his art than their own image management.
In positioning himself as a sort of postÐAnnie Leibovitz auteur, he's been able to persuade
stars to pose for intensely private, erotically charged - and sometimes not particularly
flattering - images that he then releases into the most public and mainstream of forums.
"It's like, maybe, you know, Brad and Madonna
are two of the biggest icons in the
world," says Klein. "But I don't connect with them because of their
standing. I've
connected with them because of their way of morphing into my pictures, and being willing
to go there with me."
"There," in a Steven Klein image, is typically a place with a dark, foreboding
aura. Sometimes the mood of his photographs is so emotionally isolating that it can seem
like he conducts all his shoots in airtight bunkers buried under a desert floor somewhere.
The paradox of Klein's status as a superstar photographer of superstars - he's created
risque, iconic images of not just Pitt and Madonna but Justin Timberlake, Ethan Hawke,
Naomi Campbell, and others - is that he's successfully selling a darker version of celebrity
at a particularly idiotic, giddy juncture in pop culture, just as US Weekly is flying off
newsstands and the treacly showtunery of American Idol is topping the ratings.
If Steven Klein's photographs are often
punishing takes on pop culture - and on the pop
artists themselves - it may be that we all secretly wish to be punished for what we love. The
fashion industry, likewise, seems eager to submit to Klein's gentle sadism: It's when he's
cared the least about fashion that heÕs been most celebrated as a fashion photographer.
"The thing that gets frustrating about fashion," Klein says, "is that as a
photographer you always want to grab on to something that reflects what's happening in
the world, what's in the street. You don't want to just fabricate these dream lives of these
idealistic Barbie dolls that don't even exist anymore."
Mindlessly glam fashion photography is a dead
or dying form,
and Steven
Klein, the anti-fashion fashion photographer, helped strangle it.
If Bruce Weber's hard-bodied, shiny, happy Abercrombie boys and girls set the tone
for sexually charged fashion photography for much of the nineties, and Terry
Richardson's trashy, bisexual leer helped usher in the new millennium, then Steven
Klein's sexually ambiguous, quasi-commercial transgressiveness is the new fashion
frisson. There's a seedy glamour to his work, but it's a carefully calculated seediness:
never so out-there as to be alienating, and enhanced with the best lighting and sets
Conde Nast money can buy.
"Steven's edge is what distinguishes the
work," says Susan Kismaric, a
photography curator at the Museum of Modern Art. "The way it examines the
dark side, the side of things that we tend not to want to focus on. I mean, I realize that
sex sells clothes, but his is a sexuality that is much more palpable and realistic."
Kismaric is one of the curators behind MoMA's current show "Fashioning Fiction,"
which largely examines what happens when fine-art photographers like Philip-Lorca
diCorcia, Nan Goldin, and Cindy Sherman get assignments to shoot fashion. (The answer:
fashionable fine art.) As a result of the show, there's been a lot of talk this season about
the distinctions (or lack thereof) between art and fashion photography. The collective
conclusion - the boundaries have become so blurry that they're practically meaningless
- is hardly surprising.
Klein isn't in the show, which might be for the best. He finds the "art" discourse
to be beside the point. Madonna, a frequent collaborator of Klein's, e-mails in to say that
she considers him to be "an artist, not a fashion photographer," but Klein insists,
"I never consider what I do art. I never will, never will."
Which is not to say that he has some sort of creative inferiority complex. Klein reassures
me that "my whole thing is, nothing's better, nothing's more. Art isn't better than
fashion photography. With fashion photography and art, people have the same kind of
hype about their work. But to say that it all means nothing doesn't mean you have to take
your work less seriously."
"Great fashion photography not only
understands the clothes and makes them
look beautiful and of-the-moment," says Vogue editor-in-chief Anna Wintour, "but
it also brings a twist that catches the eye and captures the imagination. In the case of
Steven Klein, you give him a dress, and he will give you a girl in a dress with a robot
in a garden. It's clever, conceptual, and ultimately lyrical." Klein routinely shoots
intricate tableaux for Vogue, as part of his relationship with Conde Nast/Fairchild, which
also makes him a contributor for L'Uomo Vogue and W.
With his boyishly shaggy haircut, slight build, and unremarkable clothing (jeans and
T-shirts, usually), Klein, 38, blends into his surroundings. In fact, if I hadn't already
met him, I wouldn't have been able to pick him out of the crowd of workers assembled
in a chilly, abandoned warehouse at the Brooklyn Navy Yard for a recent Vogue shoot.
A half-dozen emaciated models in nothing but Calvin Klein underwear are huddled
around a heat lamp during a break, smoking cigarettes, while a team of burly lighting
technicians bustles about, wielding giant umbrella-shaped flash canopies. Today's shoot
stars art promoter Yvonne Force. One of the talents she's promoting - Swedish performance
artist Tobias Bernstrup - will appear alongside her in the image, while another one of
her artists, Vanessa Beecroft, will appear in spirit, her work represented by the models.
There are close to two dozen people in the
dank warehouse space, and this all-day
production has the feel of the most organized indie-movie shoot ever. Klein is seated
next to the old-timey-looking eight-by-ten-inch-format camera, and after surveying the
scene, he occasionally squeezes off a bunch of shots. But the real action on this set
occurs between takes, at a folding table set up nearby. "Maybe we can build this
out a bit," Klein says quietly to his production designer, gesturing at a portion of
the set as shown in a Polaroid test print. Throughout the day and into the evening, Klein
spends most of his time silently staring at the images and rearranging bits and pieces
of Polaroids. Watching him quietly move around the fragments to compose the ideal
image brings to mind old-master underpaintings.
As the set is rearranged, Force gets her hair done up into a frightful bouffant. "Steven's
clearly the master of the photograph," she says to me as the stylist makes the
product in her hair sizzle with a curling iron. "But heÕs so generous. I mean, the way
he listens to everybody."
Or the way he seems to listen. "Some people think this is an insult," says Joe
Lalli, a photographer and filmmaker who has been working as a creative consultant for
Klein, "but to me it's a compliment: Steven's passive-aggressive. It's like, he'll almost
look like he's not saying much or reacting much, so people project on him. He's almost
like an empty screen."
Madonna calls Klein "an artist, not a fashion photographer,"
but Klein says, "I never consider what I do art. I never will."
Klein's fine-art take on fashion and
celebrity and pop culture and everything else
predates even his days studying painting at the Rhode Island School of Design in
his home state. "I wanted to be a painter ever since I was, like, 12 or 13 years old.
I did ceramics and pottery at the same time - and I built a darkroom in my parents' basement
but I didn't really want to be a photographer." (He became one, officially, in Paris,
post-RISD, when he got an assignment to shoot for Dior.)
The fashion-photography thing, despite his more tactile interests, happened early. "When
I was in fifth grade, I fell in love with this girl who was in sixth grade. We went out for a while.
I became obsessed with her and photographed her for many years. She had a very kind of
American Indian look: She used to wear her hair in a long braid, had very dark olive skin,
very big scorpion eyes - dark eyes. And she had a really distinctive fashion sense. She
was the first one who showed me a European Vogue or French Vogue, before I had any
idea what fashion was."
Klein, it turns out, recently tracked her down. "I said to myself, Wouldn't it be great to photograph her again? My childhood muse - the first girl that I photographed, the girl that I was
obsessed with." I ask where she is now. "She still lives in Rhode Island. She's a
hairdresser. She said she would do it. But I said, 'Can you send me pictures?' And I
never received any. I have to call her back and see what happened."
"I put these pictures out there with only good intentions, in a neutral way.
But I find that people react based on their fears and desires."
Maybe Klein's desire to shoot an ordinary
person has something to do with his own
bondage to the celebrity-industrial complex - indeed, the mechanics of what has become
the Steven Klein machine. In the rented editing suite on 18th Street, he talks a bit about
the increasingly elaborate nature of his shoots: "It can get impersonal. The more
people you have around - walking in, interfering, distracting - it changes the relationship
you have with the person you're photographing. I still think there should be this simple
idea of subject and photographer."
But the narrative sensibility of even his stillest still photography suggests a filmic future
for Klein - above and beyond his video work for Madonna. "I bet by next year,"
Joe Lalli tells me, "he starts working on a movie. And it's going to be with a big actor.
He's going to do strange dramas, a lot of atmosphere and stuff - David Cronenberg stuff."
W creative director Dennis Freedman says, "I could easily see Steven working in film. In
his fashion work, his photography, he thinks cinematically; he thinks about the whole entirety
of the set."
Meanwhile, Klein continues to push his luck in
print, particularly with his European
commissions. For Dsquared2, the Canadian-by-way-of-Italy label, he just completed
a campaign - notably running in European fashion publications but not in the U.S. - that
involves, in Klein's words, "the idea of women in power. It's about these women tying
up men in the woods, kind of stripping them down and raping them and stuff like that."
He says this to me with a certain flatness as he shows me a series of slightly hilarious,
slightly scary pictures of woodland nymphs gone nymphomaniacal. Gorgeous boys - dressed
and undressed - are getting bound and gagged by similarly attired - and unattired - girls.
He continues: "So I got a call from my agent saying, you know, 'I spoke to such and
such editor, and a lot of people think these ads are kind of vulgar, and you're going to get a
lot of people afraid to work with you,' like, serious fashion people. The funny thing is, I put
these pictures out there with only good intentions, in a neutral way, but I find that what
happens is that people react based on their fears and desires. A lot of times with strong
images, while maybe someone in the fashion business would say that's, like, too homoerotic
or whatever, you show it to a normal kid on the street, and they look at it, and they say, 'Wow,
that's cool, man.' "
There's a guilelessness to Klein's disconnected,
inchoate talk about his work that suggests
that many of his recurring visuals - bondage, claustrophobic interiors, spilled blood,
implied violence - emerge, unfiltered, from his subconscious. And it sort of doesn't matter
whether he wants to, or is even able to, articulate deeper meanings: His key constituencies
connect with them all the same.
They connect, and if all goes as planned, they buy - new wardrobes, movies tickets, CDs -
with Klein standing in the dim background, coolly fanning the flames of desire.
(excerpts from an article in NYMAG by Simon Dumenco, published May 10, 2004)
(all images © Steven Klein, courtesy of "wmagazine", )
Feel free to check out more of Steven's work on
>> Steven Klein Photography
VIII.) P R E V I E W
The Landscape Gallery will be further updated
Step by step.
"I felt like being tele-ported to another planet ..." - This
would describe my first impressions pretty well. Monolake is different, definitely.
Stay tuned ...
Finally, I want make you - once again - aware of the importance of data security. Read this:
NIGHTMARE - lost 900 images of wedding
"Hello, I despise myself right now, and am racked with guilty feelings for the Bride & Groom, the entire party,
the family and for myself and my portfolio. Last night I shot one of the best weddings of my career, I wasn't nervous, I was
creative, funny, entertaining & spontaneous. Halfway through the bridal party portraits my 4GB card ran out, so I replaced
it with another in the middle of doing headshots of the 20person bridal party.
All were in good spirits, so I lined them up school portrait style to have them come in and give me a nice portrait then a
funny face for laughs and to keep people entertained. It went really well, everyone had fun making fun of eachother -- THEN I
did the Bride with her ladies, the Groom with his men ... then we had an extra hour so went to a pub unexpected -- took over
a VIP room, everyone had pints - I shot that, got some really nice candids and captured the whole feeling of the moments, the
bar even let us do a big group shot with the gals up on the bar & everyone crowded around ... moments of pure gold -- then to
the reception, where I got great shots of the receiving line, candid portraits of the moms and dads and grandparents, then the
big family group shots ... card ran out. Then after the next card in the middle of the best mans speech I changed cards
and unknowingly did the unthinkable, I formatted that golden 4GB card ... UNKNOWINGLY ... and proceeded to FILL
it with silly dance floor stuff (with considerably less emotional meaning than the original content)
It was this morning when I uploaded that I realized what I had done. I've spent the last 4 hours having a fit of guilty crying and
anger at my own stupidity. I'VE NEVER DONE SOMETHING LIKE THIS, and just can't erase from my mind all the great shot I
had, and now don't."
Poor guy, what can I say ? Obviously having enough - or better more than enough - memory cards and
keeping "used" and "new" ones strictly separated is essential.
» Hyperdrive - Copy your data on location. A first step ...
» OntrackDataRecovery - The professional Solution. For really difficult cases.
» Runtime.org - Data Recovery Software.
Here, I would like to take the opportunity to remind you about the
Fauland Photography Blog,
for sure the fastest way to stay uptodate. Furthermore, I will always answer any
email sent to me.
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