Several ways in which Marc Adamus damages the Photography Industry, part 1.

How Marc Adamus damages the photo industry, Pt1
 

 

Several ways in which Marc Adamus damages the Photography Industry, part 1.

INTRO:  Marc Adamus is the consummate liar. He is obsessed with being famous. He has said this; there is no contesting this fact. Since he has little real talent, he’s found financial rescue in teaching his fraud to other losers and liars through photo workshops and photo tours. This damages the photography industry in several ways, directly and indirectly. Here is part one of this long-term series:

1. Marc Adamus encourages Copyright violation. (otherwise known as theft)

 Ever notice that many THUGS & LOSERS who like to bullshit about how passionate they are have nearly exact copies of Marc Adamus images? This is a direct violation of US and International Copyright Law, otherwise known as theft. Marc Adamus doesn’t do anything about this. Nothing! It’s his responsibility and obligation to protect the uniqueness of his portfolio, especially given his brazen boasts that his images are immediately recognizable (this is no longer true since there are so many illegal copies of his images).

 Why doesn’t Marc Adamus protect his copyright? At Marc Adamus LIES 2.0, we’ve concluded that it is because Marc Adamus makes almost all his money from selling workshops, and because workshops are purchased by dishonest, shameless hacks like Kevin Mcneal (who primarily take workshops to copy compositions, since a general workshop cannot possibly teach anyone anything about art or photography), enforcing his copyright would mean Marc would sell fewer workshops.

 The losers and frauds who practice copyright violation on Marc’s portfolio go on to steal compositions from many renown photographers. Art Wolfe, Ansel Adams, and Galen Rowell are popular targets, as are other photographers, dead or alive. This theft dramatically lowers the value of the original artist’s portfolio, since the thieving THUGS often practically give these stolen images away for free (Istockphoto or other microstock, paying publications to get “published”, giving images away for “publishing credits). There is no value created by this theft, but plenty of damage. Customers won’t see lower prices because THUGS sell stolen images for a quarter. IBM won’t lower the prices on its computers because it got some image for 25 cents, but the original photographer who had his image stolen has seen his income stolen from his fingers by a thieving LOSER. He might not be able to make his rent or feed his family because some 50-something LOSER/TERRORIST like Roman Johnston wanted to be “famous”. 

2. Marc Adamus encourages creating lies & bullshit to promote your work

 Marc Adamus has spun a complex fiction, in which he is a highly successful photographer who has been, and continues to be published everywhere. In additional to these lies, he also creates fantastic, impossible stories about so-called wilderness adventures. The majority of these stories are either outright inventions, contrived situations, or heavily exaggerated versions of reality.

 When boneheads like Steve Sieren, Kevin Mcneal, Ryan Dyar, Aaron Reed, and Miles Morgan read these stories, their first impulse is to masturbate until “it’s” red & raw. Their second impulse is to make up bullshit stories of their own. Most of these losers create “mountains out of molehills”, exaggerating mundane hikes, snowshoes, etc into North Pole Expedition type monstrosities. On a side note, some advice: do not believe any of these stories, and avoid anyone who uses stories and bullshit to promote themselves. Real artists like Art Wolfe do not mix their adventures with their visions, preferring to document experiences in their books. Photography is promoted by the innate strength of the compositional elements in the image, never by bogus stories about the “creation” of said image. 

3. Marc Adamus encourages the entry of non-artistic losers who already have careers.

  Most of the losers who buy Marc Adamus workshops and photo tours are completely devoid of any semblance of artistic talent. That’s why they are buying a workshop or photo tour in the first place. A true artist does not require hand-holding to create his vision. None of the truly well-known photographic artists took these fake, general workshops and photo tours, the kind sold by Marc Adamus, Ryan Dyar, Aaron Reed, Kevin Mcneal/Adrian Klein, or hundreds of other imposters. 

Instead, the usual clientele is money-flush losers, who have good jobs and good lives but want to “dabble” in the arts and be “famous”. The ease of digital photography, the ease of composition theft, and the siren call of Marc Adamus’ hand-holding workshops is simply irresistible to these scum. They come to his workshops in swarms, learn little to nothing, but come away with the desire to commit theft and fraud on the Internet. Stealing famous compositions and giving them away is the MO of these new terrorists, who harm America and cause jobs to be lost so they can “dabble” and “feel good about themselves”. They have no business being anywhere near anything artistic, and if it wasn’t for people like Marc Adamus duping them into photography, they would leave it alone. 

4. Marc Adamus encourages the use

of excessive post-processing and unrealistic compositions which sells a dishonest vision to the public.

  Compositionally, most Marc Adamus images might be described as “contrived” or “boring”. The real excitement is added through excessive post-processing and color manipulation. These is just dandy for THUGS and MORONS. They can’t be bothered with the patient waiting that defines the truly great landscape photographers. They want to be able to do a “weekend warrior” rush to Yosemite or wherever and be back in time to rush to their computer, Photoshop “the heck” (Steve Sieren) out of “their” images, and post them on whatever forum they happen to prefer. After which the waiting, member in hand, begins (comments and critiques welcome, remember?) Almost all Marc Adamus loving losers have adopted all or most of his dishonest post-processing/compositional philosophy, including all of the following:

1. Claiming that extensive and complicated image blends or “painting/blending” are required to “overcome” the inability of the camera to capture the scene as recorded by our “senses”.

2. The use of extremely long exposures as some sort of panacea (pretending that long exposures of otherwise ordinary subjects inputs a “magical” artistry to the composition in question).

3. Any mention of photography done only at the so-called “Golden Hour” or only at sunrise or sunset.

4. Any talk involving words such as “bold, dramatic, dynamic, ethereal”, or other meaningless words which are used to bamboozle and obfuscate. 

5. Any claim that computer manipulation was required to make the image look as it looked when they photographed it.

6. Ridiculously colorful images accompanied by dubious disclaimers such as “great images are never the result of computers” (Mark Metternich) or weasel words such as “only minor tonality or color adjustments”. 

All of these claims have one thing in common; they are all utterly dishonest and an attempt to deflect interrogation regarding the use of excessive computer manipulation. Any “photographer” making these claims should be avoided like the plague. 

This is part one of a multi-part series on Marc Adamus LIES 2.0 and MarcadamusLIES.net.