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I just saw Jim Galli's portraits in some magazine. Must have been in the Large Format Magazine.. And yes Jim is so refeshing with his old lens, out of focus portraits that i doubt we will see him in Lenswork. There's way to many hip photoshop manipulators for Brooks.
The last issue was actually very nice. (Read, not to manipulated)
jan
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Thank you
-C
Fear not the future of which you were deprived. Be thankful for the past which has been bestowed upon you. - Me, five seconds ago -
 Originally Posted by Art Soft The new newstand price for Lenswork will be $12.95 starting in Jan '08. Ouuuuuuuuuuuuuuuchhh!
Will you still buy it, or will you finally break down and subscribe? http://shop.lenswork.com/index.asp?P...ROD&ProdID=324 -
I just looked at the newest issue of LensWork at Barnes and Noble yesterday since my subscription copy has yet to arrive. It was interesting that Hoflehner is featured in Black and White Photography, as well as LensWork, and the issues that carry his work are on the newstands at the same time here in the NYC area (the December issue of B&WP). That seems to happen from time to time with certain photographers. A lot of attention all at once, and then not much thereafter.
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 Originally Posted by jovo I just looked at the newest issue of LensWork at Barnes and Noble yesterday since my subscription copy has yet to arrive. It was interesting that Hoflehner is featured in Black and White Photography, as well as LensWork, and the issues that carry his work are on the newstands at the same time here in the NYC area (the December issue of B&WP). That seems to happen from time to time with certain photographers. A lot of attention all at once, and then not much thereafter. That's interesting. Presumably Photographer X decides it's time to do some marketing, sends out a whole bunch of portfolios to various places, and occasionally more than one outlet picks them up.
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 Originally Posted by Ian Leake That's interesting. Presumably Photographer X decides it's time to do some marketing, sends out a whole bunch of portfolios to various places, and occasionally more than one outlet picks them up. You may be correct, Ian. I think it was John Sexton who I'm thinking of at the time of the publication of his Recollections. He was in View Camera, and LensWork and maybe some other 'zines as well. It probably helped to sell a lot more copies than might have been the case otherwise.
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Often, in the case of celebrities, it occurs because their agent is actively marketing them, and appearances in several sources simultaneously are a planned thing. But, in this case, it probably is more coincidence.
Barry
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I think Nick Brandt (I think the name is correct) has the record. He did gorgeous MF work of African wildlife and IIRC he was in Lenswork, B&W, Black and White Photography, PDN and Art in America all within about 2 months. I think his work was also in Camera Arts and National Georgraphic later that same year.
"Fundamentally I think we need to rediscover a non-ironic world"
Robert Adams -
I read every word of it, from front to back.
Well, except that I got a notice saying the next was my last issue - though I think I just renewed my subscription a few months back. I think there may have been a mistake made and I've not thought about it at the right time to go write a letter. (ha! how 'bout now???)
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I am strickly analog, but only because I refuse to shelve my beautiful old cameras/friends. I like people documentary via my Rollei , and I shoot three sizes of sheet film. Also I find greater satisfaction with wet printing than computer printing. That said I cannot understand the predjudice against digitally captured work. For me, Robert Waddinghams portraits of Ethiopians in LensWork # 73 are as good as it gets. As well is Markham Starrs images in the same issue. So please tell me what exactly is wrong with these? The ethical issue holds no water as that is not a machine generated crime. And the, what is it called, dynamic range issue, is surely absurd by now. Are my eyes missing something , or is this digital disregard nothing but clubhouse predjudice ? And how also can one disregard the efforts and accomplishments of imagemakers based on their equipment choice when they have brought home such stunning work?
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