this being the idea that the right camera, or simply just one more camera,will fix things (Kim,undated). He spoke, I believe, with sincerity and humility of a need to become an artist by not expecting the camera to create the art This was sage advice and he got at it via an initial love of the Ricoh GRIL (tweaking the Moriyama model into the digital age, a version of the I purchased eventually too) (Kim, 2016). With a fixed lens and smal lsensor it was a basic beast. Yet, it looked amazing and gave enough resistance to the culture of pure visuality so as to amplify its techness, its status as a function of the realm of picture-language. Within the industry at the same time were the great videos from the Hong Kong site Digitalrev that also featured nice instances of pros using crappy cameras,and there was release of camera with limitations like the more recent Leica M black-and-white-only digital camera, the Leica 2012. Always, the things was to show that at the same time as the progress fetish was being played out it was just that a fetish, a construct, a product of culture in the guise of science and religion in the form of technology.