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  1. #51
    MattKing's Avatar
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    David said:

    Originally Posted by David Lyga
    ... it matters MORE to be to be ABLE to create pictures than to ACTUALLY CREATE THEM.

    I think I know where he is coming from.

    But it is true though that it doesn't make sense if he doesn't create at least a few.

    I think of the satisfaction I sometimes get from seeing a chance for a good photograph and envisioning the process. Even if I cannot take that photograph, I know that I can, and will take and make others.

    As long as the potential is realized at least some times, it is very satisfying.

    Contrast it with those who see what to them should be able to be made into a good photograph, but who cannot succeed in doing so, despite lots of trying. There frustration is obvious.

    There is a thread here on APUG about photographs enjoyed even when not taken - I think that is the sort of thing David is talking about.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  2. #52

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    OP, I did it back in 1996. Got brunt out, sold out. Then got back in.

    Lately am also burnt out, but sleep has been bad so that screws it all up.

    Good luck getting back to the sweet spot of freezing time OP.

  3. #53

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    Quote Originally Posted by Bob Carnie View Post
    Very interesting post,who would have thunk there is a twin out there.

    I am starting to do exactly the same thing with my work, how are you storing the prints , what editions are you doing, and do you have a web site to sell the work?
    I am also at a stage where I am exposing more film than I ever have and trying to keep up is a big undertaking but the experience is overwhelmingly positive.
    The biggest hurdle for me is archiving the work well so at a moments notice I can find each image to show people. I have bought storage racks for home that are very sturdy and I have been till now using the grey storage boxes, but very open to hear how you plan to archive and modify my system.
    I have just started and to this point have one or two AP 's of every image, but now at a stage where I want to print every free moment I have.
    My wife is exactly the same way so I am really lucky to have this partner.


    I would love to see some of your prints as you are doing exactly what I think each and every photographer should do, good luck over the next 10 years.
    Being stubborn and hardworking are IMO the most important attributes to becoming a great printmaker.
    I use clamshell boxes and post bound binders for the most part with my prints.

    Have you done any work trying to get into museums or other institutions?

  4. #54

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    Quote Originally Posted by TheFlyingCamera View Post
    Getting screwed over by a model is not only painful, it's frequent. If you feel this bad now, think about how it would be to have three or four models in succession back out, flake and just not show, or start asking for stupid stuff like "buy me this outfit and I'll pose for you - and you have to bring it with you to the session or I won't work".
    Why is that? I thought pro models were pros?

    i've used wannabee MM models, or at least tried to. The few that were set all flaked. I gave up on them and went back to street shooting.

    Yes wasting time and money on flakes is depressing.

  5. #55
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    Quote Originally Posted by Iluvmycam View Post
    Why is that? I thought pro models were pros?

    i've used wannabee MM models, or at least tried to. The few that were set all flaked. I gave up on them and went back to street shooting.

    Yes wasting time and money on flakes is depressing.
    These were MM models. I can't afford/won't risk $500/session or more that pro models charge. Therefore, I'm stuck to looking for folks who are willing to work within my budget. I've actually had the best luck and best results from working with folks who will pose for free.

  6. #56
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    hi don

    no need to apologize ...
    i have often not wanted to make photographs, pick up a camera &c ... sometimes you get bitten by thebug, sometimes, you don't .... i went through a period of maybe 4 years where my camera
    just sqt there ... then i started to enjoy it again ... nothing much as a cure but just waiting ....


    eddie, steven wright had it right.

  7. #57

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    Actually, Iluvmycam, have been doing that with some success. 2 Galleries in town are interested and the people that bought my old gallery to turn into a rustic type home furnishing store have left the door wide open for when they re-opened. They finally did re-open last week so I am going to see them hopefully today. Thanks for the advice and am going to follow through. Don

  8. #58

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    I always use free models. It used to be easy to find, but now being a geezer it has gotten much easier. Not sure this girl is going to flake out totally, but seems that something else always comes up. Decided to move on for now. Thanks, Don

  9. #59

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    Quote Originally Posted by TheFlyingCamera View Post
    These were MM models. I can't afford/won't risk $500/session or more that pro models charge. Therefore, I'm stuck to looking for folks who are willing to work within my budget. I've actually had the best luck and best results from working with folks who will pose for free.

    $500?? Wow, I didn't think it cost so much unless you had some high powered models. Your lucky you live in a big city. With my local, nothing but flakes. I could never get one from MM. One model went around for a couple months writing and canceling. A gal just wrote me a few days ago. Sounded like it might work out. Then nothing, she flaked out as well. If my photo work revolved around models from MM I guess I'd probably be quiting too! Glad it works out for you!

    Do you do much street shooting in DC. I'd love to be close by to DC. DC must be a dream city for street shooting.

  10. #60

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    Quote Originally Posted by lightwisps View Post
    Actually, Iluvmycam, have been doing that with some success. 2 Galleries in town are interested and the people that bought my old gallery to turn into a rustic type home furnishing store have left the door wide open for when they re-opened. They finally did re-open last week so I am going to see them hopefully today. Thanks for the advice and am going to follow through. Don
    Good for you! Very tough getting in galleries for me. I tried writing the high powered galleries in NY and CA. With galleries it is a 100% failure rate. 98% never even replied back.

    I've had more luck with public institutions accepting my work. Even with some success, I get depressed working in that area as well. With museums I have about a 96% failure rate placing donations with them. Very depressing work getting rejected that much. And you have to count yourself lucky with even getting a rejection letter from them. The biggest part of the lot never write back.

    With rare book libraries it is about 85% rejection rate. Better, but still lots of rejection and most never write back. So all this work is hard on the photo taking. It eats up time and you can't take photos. You just end up writing about photos.

    With the gigantic institutions I send out a bound gift proposal that has 21 to 35 letter size archival pigment prints in it. The photos are printed on Hahn Fine Art Baryta or Ultra Smooth Rag. This is done to 'sell the donation' of a larger print portfolio. So I have to spend a lot of $ to donate some more $. It is expensive work. Just to ship one to the UK or China cost $60. But glad I print myself or I could never afford it.

    If you guys paid to have the gift proposal done it would cost $400 to $700+ to send one out. For me it cost about 10% of that for production costs. But you most likely still never hear anything from the museums. So it is not just an email or letter I send out. The only emails that go out are for the very small museums.

    I hope to be done by year end with this work. I will finish up the US in a couple of months and am working on Europe. If I had to keep doing this year in year out...I'd prob quit! No fun at all.

    So where does all this work got me?

    In 7-1/2 months of work I am in 27 museums and rare book libraries special collections in the US, UK and China. May sound good, but that came from 392 solicitations of one form or another. I have a 6.8% success rate and 93.2% rejection rate. But that may rise as many museums take months to get back to you. Maybe it will end up as a 8% or 9% success rate when I'm done? Or not??
    Last edited by Iluvmycam; 08-05-2013 at 07:25 AM. Click to view previous post history.

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