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  1. #11
    donbga's Avatar
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    Quote Originally Posted by tim atherton
    I'd add, these two mags are chasing after/serving so much of the same market, with a lot of crossover and generally seem to chose portfolios of a "certain type" that they end up fishing from a pretty small pond - so this is almost inevitable.

    (a recent post on photo mags on the LF list probably listed more people buying View Camera and Lenswork than anything else...)
    Priddle-praddle.
    Don Bryant

  2. #12
    Joe Lipka's Avatar
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    It is not above the realm of imagination to suppose that a photographer with an exceptional body of work would submit to multiple publications. Having more than one accepted would be a wonderful problem to have.
    Two New Projects! Light on China - 07/13/2014

    www.joelipkaphoto.com

    250+ posts and still blogging! "Postcards from the Creative Journey"

    http://blog.joelipkaphoto.com/

  3. #13

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    Quote Originally Posted by donbga
    Priddle-praddle.
    presumably you actually mean prittle-prattle. If so, how so...?

  4. #14
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    Quote Originally Posted by tim atherton
    presumably you actually mean prittle-prattle. If so, how so...?
    Thanks for correcting my spelling.

    Quote Originally Posted by tim atherton
    and generally seem to chose portfolios of a "certain type
    If you look at past issues of those two magazines you will see that really isn't true. When is the last time Lens Work published color archietectural interiors?

    Or color any color portfolios. Sometimes there are similarities but the editorial slant is completly different, IMO.
    Don Bryant

  5. #15

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    Both magazine are serving a niche within a niche (at least)

    with some exceptions (often quite good exceptions) the subject matter that both tend to publish could be described as perhaps "mid-modern" (i.e. probably 85+% of the content of both could have been taken in the 1930/40/50's if you ignore the odd billboard or whatever)

    There is a certain type of photography (and whether it's in colour or not really makes little difference) that tends to predominate in both and which draws from the same fairly narrow strand of photography. Occasionally they step out of this at one end or the other (these days Lenswork perhaps more often).

    I don't think you are likely to see even much, say, Friedlander in Lenswork. Nor will you see much Robert Adams or Shore or Esser - or even Misrach these days - in View Camera (though neither is impossible, but they wouldn't be characteristic of either mag). Or much Sally Mann in either (even though View Camera has featured her in the distant past as I recall).

  6. #16

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    PS - the fact that in less than a year the two magazines have twice both featured major portfolios of the same photographer at the same time ( the first time both were the cover stories I think) speaks volumes. There are hundreds more good photographers than that out there....

    (and btw - I happen to think Lenswork is a particularly good magazine)

  7. #17
    donbga's Avatar
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    Quote Originally Posted by tim atherton
    I don't think you are likely to see even much, say, Friedlander in Lenswork. Nor will you see much Robert Adams or Shore or Esser - or even Misrach these days - in View Camera (though neither is impossible, but they wouldn't be characteristic of either mag). Or much Sally Mann in either (even though View Camera has featured her in the distant past as I recall).
    I beleive that Adams, (not Gomez or Ansel), Misrach, and Shore has appeared in VC in the past.

    As far as LensWork is concerned I'm willing to bet money if Friedlander were to submit a portfolio he would be published and the same perhaps for Adams and Mann.

    But the under current to your posts lately seem to me to suggest that you embrace what many art schools with a photography curriculum are teaching, "traditional photography is residual photography".

    Frankly, a lot of the current color work I see today is banal and quite boring. Big ass inkjet or cibachrome prints seem to be one of the trends these days; work that is devoid of emotion or point of view.

    Don't misunderstand me, I've seen enough of the disneychrome nature photography of the typical subjects such as fall color, sunrise/sunset, rocks and roots, - post card photography to last me pretty much a life time. And I do like the work of those listed above, but I don't see much new work today that is being promoted as cutting edge worth looking at for long.
    Don Bryant

  8. #18

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    Quote Originally Posted by donbga
    I beleive that Adams, (not Gomez or Ansel), Misrach, and Shore has appeared in VC in the past.
    Not as far as recall, apart from Misrach, which I indicated - as in I'd be suprised to see View Camera publish his shrub or beach studies? (But they did publish An-My Lê - so who knows) - they are somewhat different from most of his desert work

    And you may be right about Friedlander... who knows

    But the under current to your posts lately seem to me to suggest that you embrace what many art schools with a photography curriculum are teaching, "traditional photography is residual photography".

    I'm not sure what "traditional photography" is? But that aside, I've really no idea what the art schools and departments are currently teaching. I do know what kind of contemporary photography tends to interest and excite me though, and what my friends and colleagues who are photographers talk about, look at and enjoy.

    (I'm still intrigued by the traditional photography thing - is it Frederick Evans? Gustav le Gray? Atget? Sudek? Many Ray? Walker Evans? Roger Fenton? Francis Frith? Maholy Nagy? Kertesz? to name a few of my favourites of widely varying schools and styles - give me a clue)

    Frankly, a lot of the current color work I see today is banal and quite boring. Big ass inkjet or cibachrome prints seem to be one of the trends these days; work that is devoid of emotion or point of view

    ..but I don't see much new work today that is being promoted as cutting edge worth looking at for long.


    Many of Esser's vedutas and landscapes are - for me - quite fascinating, rich and beautiful. Would that I could afford one to keep on the wall... And of course much of Sally Mann's work to me seems almost pure emotion. And much of Sugimotos work to me is stunning and speaks volumes in terms of point of view (as does Basilicos work).

    (and don't get me going on size - I've never understood why so many photographers still seem to have an almost pathological attachment to miniautures, even when the technological reasons for them have long fallen! There are few other art forms that so artificially limit themselves in the same way that I can think of... but that's a whole other topic)

  9. #19
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    Quote Originally Posted by tim atherton

    Many of Esser's vedutas and landscapes are - for me - quite fascinating, rich and beautiful. Would that I could afford one to keep on the wall... And of course much of Sally Mann's work to me seems almost pure emotion. And much of Sugimotos work to me is stunning and speaks volumes in terms of point of view (as does Basilicos work).
    Just so other folks can see some of Esser's work, here is a link to visit:

    http://www.albrightknox.org/acquisit...002/Esser.html

    Need we say more.
    Don Bryant

  10. #20
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    Quote Originally Posted by donbga
    Just so other folks can see some of Esser's work, here is a link to visit:

    http://www.albrightknox.org/acquisit...002/Esser.html

    Need we say more.
    And here is another one in color:

    http://www.aeroplastics.net/dreamscapes/ESSER.html

    What else do I need to say.
    Don Bryant

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