Thousands of miles from Cupertino and San Francisco, the iPhone rollout still drew enthusiastic crowds. "You know how big iPhone is going to be?" one of my co-workers posed earlier this week. "My son, who doesn't have a penny to his name, is going to wait on line to buy one, pay whatever the monthly bill is, and - he has a Nokia phone that's good through August - pay a fee to break his contract."
It's late on Sunday night. My kids are asleep and baseball highlights are airing on the TV in the background. I'm taking a look at the AT&T emails that gave me so much consternation during my iPhone activation. Over 36 hours after I made my iPhone purchase, my iPhone is finally working.
Here are five quick, random observations based on about 10 minutes of fiddling with the iPhone after activating it.
A few days ago, Susie passed along this Get a Mac parody with South Park characters. The other night, I saw another Get a Mac parody on Late Show with David Letterman.
I was in the worst movie of 1987. It was called Leonard Part 6, it starred Bill Cosby and I’d offer that it was perhaps the worst movie ever made for $40 million dollars. But what stuck out most for me from this time was something a stunt guy had said to me when I was inquiring about the whys and wherefores of stunt work and whether there were any schools he could recommend. He looked at me soberly and said with a sad smile on his face, “only a fool goes to school for this.” And so it is, long-way around style, that after two years of actually working at Adobe (as I did) and ample opportunities to take classes to figure out photo format action, I demurred and enjoyed then, and now, doing things the old-fashioned way: through trial and error. No directions. No help guides. Call it being spoiled after living so long in the Apple Universe Intuitive, but it seems a much cooler way to learn stuff. 
It’s a brand new world. In the old world I’d dreamed of maybe affording a Hasselblad, a super expensive top-viewing Swedish camera. My reasons for doing this had much more to do with what happens when you take photos than the fact that it was some hoity-toity Euro-piece of fine arts machinery. I was convinced that the motion made when you use a traditional camera, the raising of the arms and pointing of the camera is so familiar and familiarly off-putting that it significantly, though sublimely, changes your photos because it changes at least the humans you’re photographing. But with a top-view camera, which is typically held at your abdomen, you can frame and shoot all day long without tipping your hand to those who might only be casually aware about what it is you’re doing. 
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