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  1. #31
    Richard Boutwell's Avatar
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    I just got the issue in the mail yesterday. It is the best Special Issue so far, and I now look forward to future ones.

    Also, congrats the to everyone here (and some people I know who aren't here) who made it into the magazine.

    Quote Originally Posted by Ryan McIntosh View Post
    What I mean is that after looking at alot of the photographers work in the magazine, I could not find anything online on their fine art that is reproduced in the magazine, but rather only websites of thier stock images/weddings/ect. There were some photographers whos work I would be interested in seeing more of, but their website was 100% commerical and did not even contain the images that were published.
    That is too bad that they didn't position themselves to take full advantage of being published.

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  2. #32
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    Quote Originally Posted by Early Riser View Post
    Ryan I only started doing my personal photography in 1998 and none of it appeared on my website, which was dedicated to my advertising work, until several years later, I imagine a similar situation might be the case with those you mention. It should not be surprising though that many who have spent years with photography as their full time occupation may also have some ability in other areas of it. Many other photographers that I know who shot commercially for editorial or advertising, also had excellent personal work portfolios.
    Consider the example of Sam Abell, who, for all those years shooting color NatGeo spreads since the 1960's, was also shooting his own B&W work quietly and in parallel for year after year after year, never showing it until recently.

    Heck, if a potential customer knew the wedding shooter (or commercial shooter) they were considering could be shown an example of his work in a "fine art" magazine like B&W... that might drive sales far more substantial than what collector markets could drive alone. Does Alec Soth's work invalidate itself because he shoots for W or Paris Vogue or whatever? I doubt it. Taryn Simon? Mark Leong? Nope and nope.... Avedon or Arbus? Do we readily dismiss Steichen because he produced (the first) cardboard-stock photo books for babies?

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  3. #33

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    Quote Originally Posted by bjorke View Post
    Consider the example of Sam Abell, who, for all those years shooting color NatGeo spreads since the 1960's, was also shooting his own B&W work quietly and in parallel for year after year after year, never showing it until recently.

    Heck, if a potential customer knew the wedding shooter (or commercial shooter) they were considering could be shown an example of his work in a "fine art" magazine like B&W... that might drive sales far more substantial than what collector markets could drive alone. Does Alec Soth's work invalidate itself because he shoots for W or Paris Vogue or whatever? I doubt it. Taryn Simon? Mark Leong? Nope and nope.... Avedon or Arbus? Do we readily dismiss Steichen because he produced (the first) cardboard-stock photo books for babies?
    Bjorke, I'm confused with your addressing this point to me. We share the same POV on this but I'm not sure if you realize that.

  4. #34
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    Quote Originally Posted by Early Riser View Post
    Bjorke, I'm confused with your addressing this point to me. We share the same POV on this but I'm not sure if you realize that.
    I do - but I was too lazy to scroll back over multiple pages looking for the older post you responded to

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