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  1. #11

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    Quote Originally Posted by Dave Miller View Post
    It is, but as someone once said; always look on the bright side of life.

    Now so many pro’s are reproducing their work by spraying dirty water onto paper, maybe they will become accepted as water-colourists by the establishment.
    Giclée darling, Giclée. :rolleyes:

    I remember one amateur and aspiring 'fine artist' trying to convince me that they were much more highly regarded than normal photographs and quite different to peasant inkjets....he was going to make sure that he got some Giclée prints made from his files and was not going to bother with photographic or inkjet prints

  2. #12

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    There are actually few Famous American Photographers who are not shooting the Grand and Glorious Western Landscape.
    How many US photographers can you name who are from the American South, or East, or Midwest. Clyde Butcher, who photographs the Swamps of Florida and Paul Caponigro whose best work was done in the British Isles are the only two who came to my mind.
    The work of John Blakemore and Hamish Fulton are certainly in a class with theirs.

  3. #13

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    Even the likes of Joe Cornish earns little from his prints - he suplements his income with books, courses etc. I shall lay down a challenge to all UK photographers out there - how many of us have bought a print from a UK photographer? How many of us have anyone else's* photos on the wall? There just doesn't seem to be a market here for photographic images, bar the usual 'famous' global ones.

    * I'll exclude any other member of the household in this.

  4. #14
    Baxter Bradford's Avatar
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    Tom's original post made no reference to preferred output medium, indeed talking about websites. Thus I felt there was only emphasis regarding image content.

    Mark - Yes I have 2 of Mr Cornish's prints on my wall (cibachrome), a David Fleetham Flying fish (inkjet) and also am fortunate to have a B+W Faye Godwin (FB silver print) which was a very generous present some years ago.

  5. #15

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    Baxter, Lucky you. I would like to have more others' prints on my walls and one day will. Once I am settled I look forward to print exchanges as I find more ' peer amateur' work I am keen to have than pro work if I am honest.

    As for the market. The would not have thought that the market is other photographers and would not excpect it to be. Surely it is about a wide culture...art collectors, corporate buyers etc?

  6. #16
    Andrew Moxom's Avatar
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    I bought two of Fay Godwin's signed prints on a workshop at Duckspool in 1992, as well as a limited edition (1000) Varilux reprinting of her book LAND that was signed and referenced the workshop. It's a book that I try to keep in good shape!

  7. #17

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    I think this thread has pretty well confirmed that while we have a pretty solid history of landscape photography, no photographers have been able to devote their life to it, due to financial considerations. The entire landscape photography culture seems very different to the US, if you catch my drift. I need to make a point of buying the work of a photographer who is still alive then! Might look to see what Joe Cornish's prices are like....

    Tom

  8. #18
    Ian Grant's Avatar
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    Like Baxter & Andrew I have a Fay Godwin print on my wall. alongside a Peter Catrell, John Blakemore, Jorge Gasteazoro and I made a great effort to re-locate them to the Aegean, and our current abode. The rest of my collection is sat on the walls in the UK, and will go into storage.

    There is not a strong tradition of buying original prints in the UK, back in the 90's the market began to expand but was hit savagely by the rapid increase in house prices.

    Even in the US few if any "art" photographers as opposed to those shooting commercial landscapes make a living directly from their landscape photography, most work as academics, or in the commercial sectors of photography.

    Ian

  9. #19
    dferrie's Avatar
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    What about Charlie Waite (http://www.charliewaite.com) I used to enjoy his work in some of the UK magazines, not sure if he still writes or is published in the magazines as I stopped buying the magazines when it reached a point that they became thinly disguised catalogs for Jessops et al, and then became with obsessed with all things digital. Don't get me wrong I have no problem reading about digital (this may not be the place to admit that ) but it got to a stage that even though publishing houses had dedicated digital titles, their traditionally film orientated titles were also devoting more pages to digital than film.

    David
    I want to take the photograph I think I'm taking

  10. #20

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    I have a dozen or so of John Blakemore's beautiful landscape prints. I bought them from him in the early '80s at 100 quid each, which at the time was only about $60(US).
    He met me at the train station in Derby, and along with his 10 year old son we rattled along in his 2CV back to his flat, where he showed me boxes of 16x20 prints and I decided which ones I could afford. As he left the room to fetch some others, his son asked me how much I was paying.
    "100 quid." I said.
    "For the whole box?" he asked.
    "No, for each print."
    "Cor!" he said (the first time that I actually heard the work used - I thought that it was just in paperbacks). I could almost see the calculator running inside the boy's head.
    Suddently the kid literally seemed to have a new respect for his father. It was fun to see.

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