thank you Michael
My favourite project of my entire career to date is ** House Calls with my Camera ** by Dr Mark Nowaczynski . I have processed , contacted , proofed printed , and printed every image for this show. My uncle Joe was in this project and award winning NFB documentary and even today Mark is continuing on with this project. Now he is showing the solution to taking care of elders who want to stay at home with dignity, I actually feel this project is part of me and am very proud to be associated with Mark.
For those not aware of this project , this is a stunning body of work(if I may say so myself) by a incredible photographer who deserves the Order Of Canada.(I will be there shining his shoes just before he walks into the Hall)
HPF in Pyro or Microphen , printed only on Ilford Warmtone is his weapons of choice and with this he is making social change with his photographic story and lectures and social media attention.
When you spend a lot of time nurturing, debating , pontificying with photographers and you believe in each other , you can get great pleasure from working on others photo projects.
Watch for the future , a few of my long term clients are about to go big time, and I can proudly stand by them when their work is exhibited, nothing like working on well thought out and executed photo projects.
For me I can only hope to leave behind a few bodies of work that future photographers can look at and know not only who the photographer was but as well who printed the work.
I took this long term approach at the beginning of my personal small business and am happy that I did.
The printing of fibre prints is a very small part of my business and is the most enjoyable aspect of running our small business here in Canada. We prefer to work on large projects over longer periods of time , rather than individual print orders.
Originally Posted by Michael R 1974
Interesting perspective. I remember reading about the House Calls project. I can't remember where I saw some of those images, magazines maybe? (unfortunately I never saw the real prints though).
Thanks for the insight.
Bob your costumer relationship sounds like a good approach. As I've never heard of Dr Mark Nowaczynski or his project before I googled him and quiet liked what I saw both aesthetically and the projects goals. I am wondering do you often discuss projects with photographers prior to the projects beginning or only during the project or after it has been completed? Forgive my stupidity but was is HPF?
Originally Posted by Michael R 1974
If the other photographers are at least half-decently skilled/talented, it can be quite fun. Unlike one's own negatives, every new negative is a bit of a surprise.
Sometimes a good surprise, and sometimes ....
“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
Sorry , Marks film of choice is HP5, he is mostly photographing with a Linhof Technika, sometimes using flash bulbs for a bit of bounce open light.
Usually before and most importantly we discuss the first round of film and contacts. I like the never ending projects for obvious financial reasons.
Seriously though , if you have a project that moves you then it can be a life long obsession, some of my clients are very obsessive with their photography. google Ryan Pyle , now this young man is really committed.
Originally Posted by MDR
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Bob thanks for answering my question and for the tip just googled Ryan Pyle some great photos on his site.
Originally Posted by baachitraka
Not tragic or strange, not even an historical aberration or an anathema relative to e.g. Ansel Adams, but a different, unfussed way to be that does not impinge or despoil upon his reputation as a master artist in any way. I don't do my own developing or printing either: I've got too much to do with a camera (or 7 of them...).
“The photographer must determine how he wants the finished print to look before he exposes the negative.
Before releasing the shutter, he must seek 'the flame of recognition,' a sense that the picture would reveal
the greater mystery of things...more clearly than the eyes see." ~Edward Weston, 1922.