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  1. #11
    Aggie's Avatar
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  2. #12
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    Quote Originally Posted by blansky
    I would go to bars and try to pick up girls. Some of them looked sooo good while I was sitting talking to them.
    Hmmm...interesting, the "Beer Goggles" theory applied to creative photography. I think there might be book in that

    Seriously, I think that you have an excellent point there. I'm thinking of people that I know who have visited the Grand Canyon and, overcome by the spectacular vista, the depth, the color, the breathtaking scale, they shoot dozens of frames sure that every one will certainly be a masterpiece. When they get their 4x6's back, they are inevitably disappointed. The prints just don't convey their experience of standing in front of the real thing (must be the damned lab's fault).

    -Neal
    That is called grain. It is supposed to be there.
    =Neal W.=

  3. #13

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    Speaking of "fecetiousness" one of my favorite expressions that's often misused is a variation of "taking something with a grain of salt."

    In contemporary parlance the phrase has no meaning. What do condiments and dubiousness have in common?

    The original expression was "dose of salts" which referred to taking a laxative.

    So when I suggest that others take my advice with a dose of salts you can be assured that I, not they, may be full of it.
    Three degrees of separation from Kevin Bacon.

  4. #14
    Aggie's Avatar
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  5. #15

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    My theory is that as with all artists you have to be emotionally involved with your subject in order to create great images. Technique is a necessary precursor; but you can't say today I'll shoot architecture, tomorrow nudes & day after natural lnadscapes, and expect to create something that grabs you. Tourists create mementos whereas the great work is created by those who live in & deeply respond to the beauty of an area.

    Ansel Adams, Clyde Butcher, etc. create inspiring images of their areas; but with few exceptions create only good technical pictures of areas they visit. Weston created thousands of portraits, but they don't inspire. Reading his biography one realizes that even his pepper series evolved from his interest in food & health.

    So, find a subject that grabs you, inspires you; then your images may do the same.

  6. #16

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    Quote Originally Posted by ader

    what do you do when you know something would make a great photo but when you take it it looks like the proverbial "crap"....
    That's what's called editing, isn't it? Sorting out the very few good ones from the rest... Being critical to ones own work, sorting out what's working and not working immediately, then revisiting later with new perspectives. Or revisiting and re-discovering "crap" as being part of a theme, a body of work.

    I find myself these days printing negatives 2-5 years old, negatives that I did not find interessting at first glance, but are rediscovering in a new context. I am doing a streetphoto portfolio with exhibition in mind.

    What I do with the rest of the "crap"? Contacts of course. And then filing archivaly and maintaining a database. The crappy ones I am emotionally attached to - kids & family - travels - holidays - are printed as workprints on RC paper. As archival as RC can be, stored in print-books.
    Henning Jansen
    Stavanger - Norway

  7. #17
    Ed Sukach's Avatar
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    Quote Originally Posted by doughowk
    ...Weston created thousands of portraits, but they don't inspire.
    So, find a subject that grabs you, inspires you; then your images may do the same.
    That is exactly as it should be. If doorknobs fascinate you, for heavens sake, take photographs of doorknobs. Or clouds, or ...
    I once saw a wonderful book based on an unusual theme, "Outhouses"; another on *wonderful* graffitti in the Greenwich Village area of New York....

    With all respect for our individual "pre-dispositions" ... I AM inspired with many of Edward Westons portraits... case in point would be "Galvan Shooting, 1924"; there are MANY of Tina Modotti (aside from the Azotea nudes) - protraits of a beautiful, emotional, expressive woman; "Nahui Olin, 1925".... so many more.
    Possibly I am just weird ... I've been accused of that before ... but I experience a great deal of "emotional involvement" from the work of Ansel Adams.

    Interesting ... Steiglitz was once asked about his fascination with clouds ... so many images produced on Kodak Postcard stock. "Why do you photograph clouds? What do you `see' in them?", he was asked.

    His answer: "Naked women."
    Carpe erratum!!

    Ed Sukach, FFP.

  8. #18

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    Are you implying that naked women make us see cloudy? maybe it's not my lenses fault afterall for my images being out of focus.
    Stop trying to get into my mind, There is nothing there!

  9. #19
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    LOL, ED, I just found an old doorknob that had been taken from my girlfriend's house and photographed it
    Let's see what I've got in the magic trash can for Mateo!

    blog
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  10. #20
    Ed Sukach's Avatar
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    Quote Originally Posted by Thomassauerwein
    Are you implying that naked women make us see cloudy?
    Yes.
    Carpe erratum!!

    Ed Sukach, FFP.

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