Luminous Landscape Forum
Equipment & Techniques => Digital Cameras & Shooting Techniques => Topic started by: RyuuzakiJulio on May 25, 2013, 06:19:59 pm
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Is he serious? In Smashbox? with the best LA models?
This is like the first serious workshop I had ever seen, by an epic photographer. I had followed his work since I started photography 6 years ago and his lighting setups are just amazing. And my portfolio could use some legit models from real agencies. Can't wait to be there.
Even the price, I've seen other guys charging up to 5k for their workshops but never of his caliber.
Check it out, hope to see some of you there!
http://markusklinkoworkshops.com/
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Coincidently, I just watched an episode of Double Exposure, a reality show (couple years old now I think) about Klinko and Indrani.
I should actually say, I tried watching an episode. I saw the listing and turned it on with eager anticipation, hoping to see them actually working on a shoot, but had to turn it off after only 10 or so minutes.
Perhaps they were playing it up for the camera but I found both extremely immature and unprofessional. Like a couple of feuding, bratty children. They even had one of the stars of their shoot, shaking her head.
I realize they do good work, but sure didn't compel me to run out and sign up for one of their workshops.
Hopefully, your experience turns out a whole lot better.
Marv
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Your answer is very well based. But I have talked to him directly. I have meet with him and he even let me grab his camera and even measure his double grip. He is far from the guy on the tv series. He is very cool and down to earth. We are all humans and have defects. But being an unpleasant person won't let you stand a few months in this industry. He has been up for 20 years. And his lighting skills are truly amazing. I assure you that show has nothing to do with who they are in real life.
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How come these 'stars' find time for workshops?
Rob C
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Because "stars" need less than 20 good shoots per year to make tons of money. Their price range has 5 figures sometimes even 6 figures.
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Because "stars" need less than 20 good shoots per year to make tons of money. Their price range has 5 figures sometimes even 6 figures.
I have a leprechaun at the bottom of my garden; he never works more than he has to either, and that's because he's not greedy. He refuses to be drawn into accepting more than his fair share of what's going. He constantly turns down would-be clients - just look at his website. He's absolutely amazed to learn that 'stars' make so much money; he didn't know that before. Of course, he isn't a photographer like us, just a leprechaun.
;-)
Rob C
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I agree. There are a lot of photographers doing workshops out there, that are not even close to being on this level.
Put it this way. Just renting out equipment and a studio space in LA will cost you over $1500- not to mention professional hair/mu/wardrobe/models/catering/assistants etc...
To get all of that, with a master instructor like Markus to share his insight and technical knowledge of lighting and setups is an incredible opportunity. Plus you get to walk away with great additions to your portfolio.
I can only imagine that this will sell out really quickly!
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As far as Reality TV goes, I think we all know by now that clever editing and scriptwriting has a lot to do with keeping a show entertaining ;) It is Hollywood, after all.
In real life, Markus and Indrani are both exceptionally professional and are constantly giving back.
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My wife was on a reality show. Boy, could they twist things.
Larry
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I have a leprechaun at the bottom of my garden; he never works more than he has to either, and that's because he's not greedy. He refuses to be drawn into accepting more than his fair share of what's going. He constantly turns down would-be clients - just look at his website. He's absolutely amazed to learn that 'stars' make so much money; he didn't know that before. Of course, he isn't a photographer like us, just a leprechaun.
;-)
Rob C
What are you smoking?? I would like some of that....
But in all seriousness, I believe Markus is a leprechaun because his work is magical 8)
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I so love a well-oiled publicity machine; it attracts brand new contributors to LuLa!
;-)
Rob C
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How much blow is included in the price of the workshop?
OK, in all seriousness, its probably a good del, but take what he says with a grain of salt. Meaning, 50% of what he says is bullshit. Be skeptical.
If Indriani is there listen to her and watch what she does with the models and styling. That is the real value.
To the OP, I hope you are going to the agencies directly and shooting new faces. You have the skills.
Good luck and have fun.
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How come these 'stars' find time for workshops?
Rob C
The same reasons 'name' photogs are shooting weddings - they need the money. Really no workshop is worth anywhere near $5k, not even if you got to shoot Coco Rocha but no doubt some rich amateurs will find the cash - at least he hasn't gone wild with the price tag
I am sceptical of most photog education especially after watching lots of creativeLIVE, a lot of what makes great fashion pictures are access to a great team and great models and a day or two of workshop is not going to get you that and transform your portfolio. At most you will get some idea of how xyz photog works and pictures that are the same as everyone else that attends which also don't match the rest of your work.
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I am sceptical of most photog education especially after watching lots of creativeLIVE, a lot of what makes great fashion pictures are access to a great team and great models and a day or two of workshop is not going to get you that and transform your portfolio. At most you will get some idea of how xyz photog works and pictures that are the same as everyone else that attends which also don't match the rest of your work.
You're basically dissing the "art" of photography, since you're saying that almost anyone holding a camera could take great fashion pictures if they had access to exceptional teams & models - as if the job of being a photographer has no value..coming from someone who is a photographer, it doesn't sound very smart.
I do agree that having these teams and models is a basic requirement. I mean, there are certainly examples of photographers who mainly rely on their models and teams, but the history of fashion photography is filled with examples of great artists who use the opportunity of a fashion image to create timeless masterpieces from Erwin Blumenfeld to Helmut Newton. They elevate the genre far beyond just a documentation of a fashion moment.
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You're basically dissing the "art" of photography, since you're saying that almost anyone holding a camera could take great fashion pictures if they had access to exceptional teams & models - as if the job of being a photographer has no value..coming from someone who is a photographer, it doesn't sound very smart.
I do agree that having these teams and models is a basic requirement. I mean, there are certainly examples of photographers who mainly rely on their models and teams, but the history of fashion photography is filled with examples of great artists who use the opportunity of a fashion image to create timeless masterpieces from Erwin Blumenfeld to Helmut Newton. They elevate the genre far beyond just a documentation of a fashion moment.
I don’t feel that I am. In fashion, a photographer is primarily a director, the one with the concept and vision which is the total opposite of having no value. Since creative vision is unique to the person I’m not sure how this workshop helps because you will be shooting someone else’s vision not your own which was what my “doesn't match the rest of your work” comment was directed at. One componant is a great concept and idea, the other is the means to execute it by having a great team, location, clothes etc.
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Much depends how far back you go.
As far as I can tell, the idea of a big team was originally an American thing, possibly an invention of need carried over from the Hollywood influences, whereas most of the European greats made their names by going out with the girl and doing their mutual thing. The 'team' concept flies in the face of the creative solo artist, where the fewer the disparate factors at work the greater the chances of getting done that which you wish to do.
In my day, models did their own hair and makeup, the photographer, at most, needed a kid with young muscle to carry the weights and be the one exhausted after the struggle to wherever the location might be. It's nice to have someone to hold steady a lighting stand or reflector out on a windy beach, be first line of defence against cows in a field...
I realise that was a simple way of working, and that today folks need to have computers, people to work the computers, clients, hair, makeup, wardrobe and any number of modern aides to assist the flow of the great man's mind.
Wasn't always the case, and looking at a lot of the contemporary work that graces the pages of mags, less would often have been more.
Perhaps that's why there's less personality around today; that any number of shooters could be thought to have made any particular shot: it is all teamwork, committee photography.
There would never have been a Sarah Moon, a David Bailey nor a Helmut Newton if those people had been forced to work as button pushers.
Rob C
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Much depends how far back you go.
As far as I can tell, the idea of a big team was originally an American thing, possibly an invention of need carried over from the Hollywood influences, whereas most of the European greats made their names by going out with the girl and doing their mutual thing. The 'team' concept flies in the face of the creative solo artist, where the fewer the disparate factors at work the greater the chances of getting done that which you wish to do.
In my day, models did their own hair and makeup, the photographer, at most, needed a kid with young muscle to carry the weights and be the one exhausted after the struggle to wherever the location might be. It's nice to have someone to hold steady a lighting stand or reflector out on a windy beach, be first line of defence against cows in a field...
I realise that was a simple way of working, and that today folks need to have computers, people to work the computers, clients, hair, makeup, wardrobe and any number of modern aides to assist the flow of the great man's mind.
Wasn't always the case, and looking at a lot of the contemporary work that graces the pages of mags, less would often have been more.
Perhaps that's why there's less personality around today; that any number of shooters could be thought to have made any particular shot: it is all teamwork, committee photography.
There would never have been a Sarah Moon, a David Bailey nor a Helmut Newton if those people had been forced to work as button pushers.
Rob C
Moon, Newton, Penn were/are artists.
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Moon, Newton, Penn were/are artists.
That's basically what it's about, T.
It's always been that with paint, so why would folks think it can be different with photographs? In fact, this simple concept explains pretty much all of the angst and frustration that gets voiced in forums devoted to photography. The hard fact of having or not having 'it' remains and can't be avoided. It would be nice if it could be bought, but unfortunately, no one can quite do that. The true democracy of art?
Rob C
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That's basically what it's about, T.
It's always been that with paint, so why would folks think it can be different with photographs? In fact, this simple concept explains pretty much all of the angst and frustration that gets voiced in forums devoted to photography. The hard fact of having or not having 'it' remains and can't be avoided. It would be nice if it could be bought, but unfortunately, no one can quite do that. The true democracy of art?
Rob C
A heavy meritocracy.
Compare Klinko to say Sara Moon. Putting aside personality etc., Klinko's work is eye popping magazine fad. I do not mean this as an insult. Moon's fashion work, such as her ads for Citreon, read like a novel: complex, identity issues, a sense of despiration, decadence. the difference is the complexity of the images and the message, more being better, and not the complexity of production.
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A heavy meritocracy.
Compare Klinko to say Sara Moon. Putting aside personality etc., Klinko's work is eye popping magazine fad. I do not mean this as an insult. Moon's fashion work, such as her ads for Citreon, read like a novel: complex, identity issues, a sense of despiration, decadence. the difference is the complexity of the images and the message, more being better, and not the complexity of production.
All I needed from Sarah was her Pirelli '72 and her Cacharel cosmetics work and I became hers for life.
Regarding Klinko: in the context of his published work (as far as I know it), he's as good as the rest of them working in that style, and their number is legion. It's the style that leaves me cold.
I guess it's part of being or not being a romantic soul. I believe in love, not in make-believe passion. Sally meeting Harry was a sociological disaster. Now everyone groans. Every time, and within five seconds.
Rob C
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All I needed from Sarah was her Pirelli '72 and her Cacharel cosmetics work and I became hers for life.
Regarding Klinko: in the context of his published work (as far as I know it), he's as good as the rest of them working in that style, and their number is legion. It's the style that leaves me cold.
I guess it's part of being or not being a romantic soul. I believe in love, not in make-believe passion. Sally meeting Harry was a sociological disaster. Now everyone groans. Every time, and within five seconds.
Rob C
YES.
That style you refer to is, to use an old word that is perfectly apt, VULGAR. That's the problem, or my problem, with it. All this bad taste gravitates toward that vulgar style with all of the heat of narcisistic yearning and impatient consumerism. That's the vibe I get.
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I would hardly call this event epic. Klinko must be desperate for cash, lol. I heard his partner Indrani left him to pursue her solo film directing career, so don't expect to see her at this event. She was obviously the driving talent in this 'celebrity duo'. Just watch one episode of Double Exposure and see for yourself. And while you're on YouTube, look up 'studio lighting techniques'. All this information is out there already- it's not magic, or a trade secret. If it was, he wouldn't be telling his competition about it!
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$5000.00 to help make the world more plastic. $5000.00 to promote the idea to young girls, that they will never be good enough.
$5000.00 to promote the idea that an air brushed face is what all girls should strive for. This is quite sad.
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$5000.00 to help make the world more plastic. $5000.00 to promote the idea to young girls, that they will never be good enough.
$5000.00 to promote the idea that an air brushed face is what all girls should strive for. This is quite sad.
I'm not defending Klinko, but the plastic you refer to is a result of retouching, not the actual photography or anything that is the result of production.
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I'm not defending Klinko, but the plastic you refer to is a result of retouching, not the actual photography or anything that is the result of production.
T, I'd be inclined not to overlook the added dimension of digital capture, which seems pretty good, all by itself, to create plastic where none existed. I even found it doing that to a red pepper.
Rob C
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T, I'd be inclined not to overlook the added dimension of digital capture, which seems pretty good, all by itself, to create plastic where none existed. I even found it doing that to a red pepper.
Rob C
You are correct on that. I think teh CCD cameras do better skin. This is not science, just an observation.
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I'm not defending Klinko, but the plastic you refer to is a result of retouching, not the actual photography or anything that is the result of production.
All of that retouching is part of their "vision" or more accurately his "style." The process doesn't end when it is handed off to his retoucher - he is going for that look from the get-go and styling, hair, makeup, choice of model, and lighting and the entire image making chain from raw to finished is what clients pay for.
As for his personality, well there's no doubt reality television twists and distorts who people are when they are off camera:
- http://blogs.wsj.com/bankruptcy/2009/08/21/forget-speidi-meet-markus-and-indrani/
- http://online.wsj.com/public/resources/documents/AllPointssuit.pdf
- http://finance.paidcontent.org/paidcontent/news/read?GUID=14612737
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Woooow..really low to post those links. Who hasn't gone through some bad stuff during this economy these days?
It's commendable to be a real professional working photographer in this current economic turmoil...unlike some of you guys that have only nasty things to say about others.
HATERS GON HATE!
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All of that retouching is part of their "vision" or more accurately his "style." The process doesn't end when it is handed off to his retoucher - he is going for that look from the get-go and styling, hair, makeup, choice of model, and lighting and the entire image making chain from raw to finished is what clients pay for.
As for his personality, well there's no doubt reality television twists and distorts who people are when they are off camera:
- http://blogs.wsj.com/bankruptcy/2009/08/21/forget-speidi-meet-markus-and-indrani/
- http://online.wsj.com/public/resources/documents/AllPointssuit.pdf
- http://finance.paidcontent.org/paidcontent/news/read?GUID=14612737
Ellis, I was commenting more generally on THAT style, not necessarily Klinko's style. (I should have been more clear). I've used the same lighting set ups (generally) and the same back/camera combo, worked with some of the same MUA's, but gave different instructions to the retouchers. I'm sure he is going for THAT look, but it doesn't HAVE to be that way.
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Woooow..really low to post those links. Who hasn't gone through some bad stuff during this economy these days?
It's commendable to be a real professional working photographer in this current economic turmoil...unlike some of you guys that have only nasty things to say about others.
HATERS GON HATE!
I'm not going to hate on Klinko or Indriani but they did stiff every third person in the biz in NYC when they went bust. They weren't solely victims of the economic meltdown, which is why many people loath them deeply. The main issue is that the times changed, and that style, of photography as well as personality, is now remembered as a bad dream, like Sunset BLVD is 1988.
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Look...all I'm just saying that times have changed with technology to the point where basically anyone out there can call themselves a "photographer."
I think it's interesting and fun to have a comradeship relationship with other photographers rather than a negative, judgmental one.
There are only few of us that still believe in the kindness of photography in which we all share tips and advice to others, which is what this forum is for.
I mean, yes - we could look up how to do some crappy basic lighting on youtube but that defeats the purpose of being personal with each other.
Everything is so virtual these days, for good and for bad, but I believe we have diminished the importance of meeting people in person and learning for each other.
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Look...all I'm just saying that times have changed with technology to the point where basically anyone out there can call themselves a "photographer."
I think it's interesting and fun to have a comradeship relationship with other photographers rather than a negative, judgmental one.
There are only few of us that still believe in the kindness of photography in which we all share tips and advice to others, which is what this forum is for.
I mean, yes - we could look up how to do some crappy basic lighting on youtube but that defeats the purpose of being personal with each other.
Everything is so virtual these days, for good and for bad, but I believe we have diminished the importance of meeting people in person and learning for each other.
You must be very young. It won't last.
;-)
Rob C
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Why complain that Klinko's work is "plasticky"? That's the nature of advertising photography, and yes, fashion photos are made simply in order to SELL STUFF. There isn't much fashion photography that attempts portraiture as well as fashion. But this isn't the most annoying style of fashion photography. I really get irritated at the knuckleheads that pose white American or European models among "the colorful natives", as if the locals are just interchangeable back-drop.
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Why complain that Klinko's work is "plasticky"? That's the nature of advertising photography, and yes, fashion photos are made simply in order to SELL STUFF. There isn't much fashion photography that attempts portraiture as well as fashion. But this isn't the most annoying style of fashion photography. I really get irritated at the knuckleheads that pose white American or European models among "the colorful natives", as if the locals are just interchangeable back-drop.
Hey there! I mean no disrespect at all but there is a bias on this here forum against commercial and fashion. It appears that many negative comments come about as a result of a shallow understanding of what is out there. This is fine, as most people's understanding of fashion is that it is a cross between the Khardashians and Zoolander, and if it doesn't interest a person there is no reason to expect a deep knowledge or even a broad survey level knowledge of the genre.
Editorial fashion doesn't sell anything except for magazines and commercial photography doesn't have to be plasticky. It often isn't. Look at Nadav Kander's commercial work for Morgan Stanley, Martin Schoeller, Mark Seliger, or for fashion look at Nick Knight, Paolo Roversi, Sebastian Kim, etc.
My humble opinion is that fashion and commercial photography doesn't have to be plasticky, just like landscapes don't have to be boring and repetitive.
Again, I mean no disrespect.
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T is right. The worst thing about the 'plastic' look is that it removes the whole of the human element from the concept.
When one looks at these images one doesn't any longer see a model: one sees a construct, and sometimes one wonders if it is actually a model or - well, a model of a model.
The shock/surprise value died off years and years ago, and it seems to me that the only people not getting this are the editors. The snappers will provide whatever makes them able to continue in the world of dreams they inhabit. I don't mean a world that does not exist, I mean a real world of fantasy that does very much exist: I was part of it for many years. It's just another drug that you ingest through your eyes, your ego and often your genitalia.
I enjoyed it during the years it lasted; I'd hate any female in my family being a part of it.
Rob C
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I enjoyed it during the years it lasted; I'd hate any female in my family being a part of it.
Rob C
Yes and no. Some parts of the industry are just scummy, but career models, who have their heads together, do very well. Most semi-retire around 30, transitioning to lifestyle and TV ads. If they aren't train wrecks they have saved LOTS of money and went to school, then opened restaurants, bought houses, are married with children. The danger is to the girls who have emotional issues when they enter the industry. There can be many traps for the unwary. So yeah, I would support my daughters if they wanted to model, depending on who they are at that stage of their lives.
T
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Woooow..really low to post those links. Who hasn't gone through some bad stuff during this economy these days?
It's commendable to be a real professional working photographer in this current economic turmoil...unlike some of you guys that have only nasty things to say about others.
HATERS GON HATE!
Excuse me , but I am a working photographer and my business has done nothing but steadily grow over the past few years, and I haven't needed to do what he and his (former?) partner have done. Neither have any of the very hard working photographers that I personally know who are also thriving have.
What exactly are you objecting to? If you don't like people knowing what he's done, than maybe he should not have done it or maybe you should not be working for him.
Of course if you just want to act like a bad PR flack, keep it up. In 2013 thinking that saying "Haters gonna hate" is an acceptable answer anywhere outside of a junior high school loses you credibility faster than just about anything elae you could say.
On the other hand maybe as a budding PR flack you should try taking some lessons from PR pros who have real world experience dealing with these types of problems. Hollywood is full of them... but so is New York, London, Chicago, Dallas, Houston, Atlanta, Rome, and Paris.
I wish Mr. Klinko well in his career and you in yours.
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Yes and no. Some parts of the industry are just scummy, but career models, who have their heads together, do very well. Most semi-retire around 30, transitioning to lifestyle and TV ads. If they aren't train wrecks they have saved LOTS of money and went to school, then opened restaurants, bought houses, are married with children. The danger is to the girls who have emotional issues when they enter the industry. There can be many traps for the unwary. So yeah, I would support my daughters if they wanted to model, depending on who they are at that stage of their lives.
T
Great Points, all of them.
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Yes and no. Some parts of the industry are just scummy, but career models, who have their heads together, do very well. Most semi-retire around 30, transitioning to lifestyle and TV ads. If they aren't train wrecks they have saved LOTS of money and went to school, then opened restaurants, bought houses, are married with children. The danger is to the girls who have emotional issues when they enter the industry. There can be many traps for the unwary. So yeah, I would support my daughters if they wanted to model, depending on who they are at that stage of their lives.
A lot of the money is also being made by models working in commercial and catalogue work. No one will have heard of them, they won’t get tear sheets from top fashion mags but they make a very good living and keep the model agencies lights on.
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A lot of the money is also being made by models working in commercial and catalogue work. No one will have heard of them, they won’t get tear sheets from top fashion mags but they make a very good living and keep the model agencies lights on.
Absolutely. The high fashion models who aren't "names" often transition into commercial/life style, catalogue, and TV commercials. They are professionals and high earners, making upwards of $280k a year (gross) in NYC. Not bad. They work lots, and work hard.
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My point about not wanting any female in my family in the business is academic: none wanted it.
That some make millions is well documented, as are the 'train-wrecks' too. My personal opinion isn't really coloured by the drugs, because I think that that depends on the individual to resist or otherwise; more, I think about the unpleasantness that can come from clients who use their power for personal, non-business advantage, and there are many; it even happens to snappers, never mind models where sex comes into the game on top of everything else.
Really, I sort of dislike the idea of a business where you can't metaphorically close the shop and go home to your own, private life without someone wanting a piece of you out of hours...
I used to face that at weekends: Friday afternoon the 'phone would ring with requests (?) for prints first thing Monday. Those ADs didn't work weekends. And often they didn't need the pics on Monday, either: I distinctly remember going back later in the week to an office and the shots were still lying on the desk, in the glassine envelope where they'd been left when I delivered them. It's about demonstrating power. But of course, you knew that from life already.
;-)
Rob C
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My point about not wanting any female in my family in the business is academic: none wanted it.
That some make millions is well documented, as are the 'train-wrecks' too. My personal opinion isn't really coloured by the drugs, because I think that that depends on the individual to resist or otherwise; more, I think about the unpleasantness that can come from clients who use their power for personal, non-business advantage, and there are many; it even happens to snappers, never mind models where sex comes into the game on top of everything else.
Really, I sort of dislike the idea of a business where you can't metaphorically close the shop and go home to your own, private life without someone wanting a piece of you out of hours...
I used to face that at weekends: Friday afternoon the 'phone would ring with requests (?) for prints first thing Monday. Those ADs didn't work weekends. And often they didn't need the pics on Monday, either: I distinctly remember going back later in the week to an office and the shots were still lying on the desk, in the glassine envelope where they'd been left when I delivered them. It's about demonstrating power. But of course, you knew that from life already.
;-)
Rob C
Now adays Ad agency ADs are working over the weekend. They all look nervous and tell you about teh coffee shop/brew pub/gallery they are going to open in order to avoid the stress.
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You are excused... but definitely not excused for jumping to conclusions about me. I just happen to be a 43 year old guy that enjoys listening to rap music :P I may not be young...but I'll always be young at heart.
The only thing I'm objecting to is bringing up pointless info..what does any of it have to do with his WORK? Let's face the big picture - this site is about PHOTOGRAPHY and not trolling the internet looking for some random articles about people's record and hating on them. That's not cool. If we did that to everyone on this forum (if we could hehe) we'd be finding a bunch of worse things about all of ya'll. ;)
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You are excused... but definitely not excused for jumping to conclusions about me. I just happen to be a 43 year old guy that enjoys listening to rap music :P I may not be young...but I'll always be young at heart.
The only thing I'm objecting to is bringing up pointless info..what does any of it have to do with his WORK? Let's face the big picture - this site is about PHOTOGRAPHY and not trolling the internet looking for some random articles about people's record and hating on them. That's not cool. If we did that to everyone on this forum (if we could hehe) we'd be finding a bunch of worse things about all of ya'll. ;)
Didn't Mum tell you about mirrors?
;-)
Rob C
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The only thing I'm objecting to is bringing up pointless info..what does any of it have to do with his WORK? L
The WORK is also about one's professional ethics. That is why it is relevant. I didn't have to "troll the internet looking for articles about (his) record" - in professional circles this was big news when it came out, just like the news about Annie Leibovitz's bankruptcy and her real estate woes. Does that mean I am "hating on him" by pointing it out? I don't think so.
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Attending if his retouchers Mete and Bianca, or of course Indrani, are there. Those type of behind the scenes people are the key. Kept locked up hidden and have all the insight.
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Didn't Mum tell you about mirrors?
;-)
Rob C
IF YOU SEE SOMEONE HATIN' ...POINT 'EM OUT!
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IF YOU SEE SOMEONE HATIN' ...POINT 'EM OUT!
Snitches Get Stitches, Playa!
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Snitches Get Stitches, Playa!
Hey TMARK..you sound very insightful and inspiring. Dying to see your work..where can I see it? (You must be so proud of it.)
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Hey TMARK..you sound very insightful and inspiring. Dying to see your work..where can I see it? (You must be so proud of it.)
Thanks! I know that the web is not a medium where nuance and sarcasm is clearly communicated, which is what I was doing with my post.
I value my privacy, because one of the first things that goes down when hiring any one is web checking to see if they are a prick who engages in endless argument on forums, or is otherwise a fool. Being public also stifles speach, because I can criticize things without much fear of blowback. Now that i work at an ad agency, an Omnicom shop, its even more important.