smokysun Posted December 2, 2006 Author Share #201 Posted December 2, 2006 Advertisement (gone after registration) hi vic and imants, your input extremely valuable. thanks again. i see what you both mean about getting in close. i am in a bit of a bind, cause dancers really don't like to be looked at too closely. they want to be beautiful, unlike actors who prefer to be interesting, no matter how foolish, etc. they might look. in a sense, i feel very protective toward the dancers. i did have a real treat last nite. just as i finished putting up some sixty pics in the walkways into the theater, the dancers started showing up. to have fifty beautiful young woman laughing at themselves, congratulating me on the pictures, etc. was half an hour of glory. the best reward i've had. and i do think they have some humor. but i agree with you both, i haven't shown the sweat and tears. these dancers are really throwing themselves (literally at times) into the performance. imants, i will try getting in with a wide lens this spring. at this point i don't have the really fast one i need. (yes, i think we're all crying for that simple, perfect pocket digital. eventually someone will get the message, especially as sensor technology evolves.) vic, i've seen one movie, i think, by the greek director you mentioned. about a poet who has a day's full of sad/gratifying experiences just before he goes into the hospital to die. it is another movie i haven't been able to shake. i'll check out the others. by the way, i happened to get the august issue of american cinematographer. they interview camera people in depth about a film they've worked on. part technical, but interesting i think, for any photographer. Amazon.com: American Cinematographer: Magazines here's another pic from this week and i've put a bunch at CHICO DANCE THEATRE 2006 Photo Gallery by wayne pease at pbase.com yes, this question of distance and not invading a person's space is a problem that plagues me. wayne ps. here's a photoshoot from last year's concert. perhaps some of them more satisfying: D2 CDT dance photoshoot Photo Gallery by wayne pease at pbase.com Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=109449'>More sharing options...
Advertisement Posted December 2, 2006 Posted December 2, 2006 Hi smokysun, Take a look here sean reid and street photography. I'm sure you'll find what you were looking for!
vic vic Posted December 2, 2006 Share #202 Posted December 2, 2006 hi wayne.. the film u mentioned is called "a day and eternity". ya, amazing film. if we mention the camera work in this film (and all anglopoulos films) - then u will not find there any darma in camera work, no specialy techniques no nothing much sofisticated. but........ what u find there is a masterpeice of camera work. camera work that goes far beyound the "visibale" aspects. it simply goes deep into the "invisiable" - awaking emotions etc... by the way, yesterday, i had some chat with my friend who is a painter. some how weve got into talking about this and that of fine art etc. one of the questions rised there was about "criteriors or giudlines to identify a GOOD art work in visual media". my personal argument is that there is no real creteria or guide line of this kind. but one this maybe concidered as such at some extent, and that is : the INVISIBLE element of the work.. about yor posted photo here.... long lens... u have mentioned that u want to use wider. for wider, ya u have to be very close. many times i get so close that i can literally touch the subject. dont have dance photo here, but below is something that demostrates what i mean with being extrimly close. what is there in this picture u have posted ??? is it goes in circyle. or is it in two lines in parallel (i mean the dancers). is it one acompaning line and one solist in front ??? i dont know - the long lens broke the perseption of space. even if i know, i still dont feel space, i cannot get space perception. u loose one of the most important things in the dance - the STAGE peception. what is the other way to dpeict the dance in photography if u dont go with the sense of stage??? basically, it is the "siluets" of dancing body (with expressions of something of course).... but for siluets - again - u need cleaner and less mixed rendering in visual terms. wayne.. wait - i will take a look at your link with the photos now Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=109494'>More sharing options...
vic vic Posted December 2, 2006 Share #203 Posted December 2, 2006 ok wayne - i had a look... those are photos that i loved: 1 2 8-! 10 11 17-! 20-! 21-! 34 35 40-! 47 56 the (x)-!, means especially loved. the girls that appear in the following photos (those girls that are focused on those photos), are very good ones to make a more private photo-session with them. very difficult to judge from here, but i think they may have a very good stage PRESANCE. dont know how they are as dancers or as personalities though. numbers - 43, 8, 20 i dont know why and how, but on pic number 17, the painter goya run in my mind :-)))))))) ah - forgot to mention - try to imagine the series according to the photos that i have listed. u will see how much pace this series will have... Link to post Share on other sites More sharing options...
Guest stnami Posted December 2, 2006 Share #204 Posted December 2, 2006 Slight change of pace one for the Nordic mindset Arni & Kinski | Work | Sigur Rós: Viðrar Vel Til Loftárása Sigur Rós : Glósóli the INVISIBLE element of the work.. .... is like seeing with the back of your eyes Link to post Share on other sites More sharing options...
msr Posted December 2, 2006 Share #205 Posted December 2, 2006 here is my philosophical statement.. but a little poetic and metophoric... "self" might be like "empty space".... all our conciousness about "self" comes from our cognitions that are originated from our confrontations with reality (something which seems to be external to our mind). and even the more INNER (in the mind) contents are very much like diversities that our free and flexible thought creates.... and where is the self , then ???? one of the main "functions" of our mind??? our "memory", that contains all our cognitive contents??? paradoxical... so paradoxical it is to talk about "self", at least philosophically and pragamtically... it can be everything in our mind... or it is our mind.... but from the other hand, nothing difines and identifies it as we usually think about "self" in common-sense.... When Hui-Neng enterred the gate he heard two monks arguing near the flagpole. One proclaimed that it was not the flag that was moving but the wind; the other said it was the flag that was moving. Hui-neng replied,"It is neither the flag or the wind that is moving. It is your mind that moves." Link to post Share on other sites More sharing options...
Guest stnami Posted December 5, 2006 Share #206 Posted December 5, 2006 Wayne some Chinese photographers, http://www.798photogallery.cn/EN/photographer/index.html Link to post Share on other sites More sharing options...
vic vic Posted December 5, 2006 Share #207 Posted December 5, 2006 Advertisement (gone after registration) hi imants.. "like seeing with the back of eyes"... great man. ya :-))))) well the invisible element is created in the synergy of the art work in front of u. and ya - for that u defenetly have to flip your eyes somehow :-)))) the clips u linked are amazing works. really loved it. very good visuals. i loved the pace very much, it works perfect with the imagery that is made in that little movies. about the content presentation, i think there are slight weakneses in the 1 to 1 follow up presentation of the story, but nothing that makes this work "not good". i felt like there is not enough "tention" and "contrast" in story telling. ha ha malcolm :-))))) ya - in western philosophy it may be related to "representative reality". things happen in our mind. it is there when we define and bracketing things into clear objects etc. Link to post Share on other sites More sharing options...
smokysun Posted December 5, 2006 Author Share #208 Posted December 5, 2006 hi vic, thanks for going thru the pics and picking your favorites. i just looked at those in particular. maybe they are the strongest in form? (the point sean is always making.) and the three women you picked as photogenic truly are, especially the one in 8. she's a dramatically natural model. alas, she doesn't want to lose weight and make her million. (i've been after her to do it for four years.) interesting you picked up on goya for that particular picture (17) cause it was literally a war dance, two groups of girl soldiers go after each other. everyone is killed. then they come alive as the dead and dance a second number in blue light. great piece. literally, 'the disasters of war'. let me know if you have any more thoughts. do you know the work of lois greenfield? Lois Greenfield Photography : Galleries she's probably the most famous dance photographer of the past 30 years. works under studio conditions and gets some great stuff. oddly, though i like to direct plays, for photos i like the element of chance. arranging things like still lives doesn't interest me much. i like found poetry. hi imants and malcolm, mentioning poetry, i think that's what you're asking for. for example, in an art exhibit i once saw a couch created in outline by hanging beads. and i thought, that's poetry. somehow it is the invisible which becomes visible. also certain artists are able to show the movement of their mind/spirit very much in the zen manner. how you reach that level of honesty/authority seems to be the issue, don't you think? alas, zen training doesn't turn everyone into a zen master. pictures of monet in the classroom surrounded by anonymous students has to have a humbling effect on most of us. but i also believe in late bloomers. you never know when this particular click of the shutter will be your moment of entrance into enlightenment! wayne ps. imants, i like wang fuchun the best of the chinese photographers. but all very interesting. thanks for the site. Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=111567'>More sharing options...
vic vic Posted December 6, 2006 Share #209 Posted December 6, 2006 hi wayene... about goya, ya, i saw something like this in the dance in your photos, although only as general mood in some photos. so i gues the idea of goya poped there consequantly in the photo that was constructed as some parts of goys paintings :-))))))) is it form that makes the photo?? well- it is deffenetly one of the most important factors, but not the only one. i think that capabilities of the photography as a medium is so great and extended in diferent directions that it makes it too hard to point out one or two rules/criterias to good photography. photographs can work on different levels and in different ways. no - i didnt know the dance photographer u have linked. i saw it now, i dont like it that much. lets say, it is not my taste. those photos doesnt tell me much, surely not on emotional levle. wayne... when i told u to get arrangement with some of the dancers as photo-session, i dont mean that u should neccesarly do this kind of work. even in studio u can do countless different things. but what i mean is that u will be better offed if the dance will be performed for u and for photo-session for example. let them dance for u:-))))) get involved into this dance, and u will keep that idea of "letting chance in photography". i know what u mean, but some times, it is good that u will make a little arrangement for yourself, so that those chances that u look after will appear more, and more comfortably :-)) u dont have to do static and boring studio work for it. for example, in dance, i look for what i think about dance. in my photos of dances, i look for alot of body work and expression through the body, and i look for alot of sexuality, cause i have nothing to do with it, dancers and dance are extrimly sexual, so i photograph with it in my mind :-)))) in other cases, i may want to be more intelegent with my photos. in that case i can ask for some assistance either from dancer or from choriograph to help to understand the dance better, and the motion etc, cause im not educated enough to know everything about dance, wether it is tango, ballet, or modern... for example, in one of the project i have made for dance band a year ago, we have decided to make alot of concentration on leg-work. my choice was to go alot with low-angle shots, but in order to understand what is going on, i simply asked assistance from choriograph to exaplain me some of the motions of the body and legs, and then i have conected it with what seemed to me visually interesting and appealing. this is another way to work. man, i dont have my danceing photos with me. but here i have some sports photos that will demostrate the issue of more arranged photo-session. those photos done a couple of months ago here in haifa with israel record holder in high jump. all of them are actually snapshots before we started to train. she tries to get me back into the shape again :-))) all of them are done with very wide angle camera (something that u mentioned u want to do) and i was extrimly close to her - almost dengerously close to her when she was jumping. so close that i could extended my hand and touch her - seriously. no way i can do this photos if she does not jumps especially for me and my photos. and nothing in them is "studio". http://www.leica-camera-user.com/people/5718-high-jump-champion.html Link to post Share on other sites More sharing options...
smokysun Posted December 6, 2006 Author Share #210 Posted December 6, 2006 hi vic, great shots of the high jumper. and now i see what you mean. maybe this spring i can do as you suggest, at least in the classroom. getting stage time with stage lights to work this close unlikely. ironically, when i first started doing the dance stuff, i was closer to what you suggest: dance: sue pates choreography class Photo Gallery by wayne pease at pbase.com and the g5 shots seem the sexiest, though no wide angle (it did have a 2.0 lens but also shutter lag. sorry i sold it.) the 50 1.4 on the canon rebel definitly puts me farther away (in the sense you've been showing). the problem is to get a fast wide-angle lens for these low-light situations. maybe i'll have to get an m8 after all! i'd really like to see some of your dance photos when you get a chance to put them up. for my spring show i'm doing mainly dance and theater photos (as well as a couple of playreading events and a movie showing). your advice on the dance very helpful, as this has been the hardest thing to do but the closest to my heart. i agree with you on form. sometimes the subject has so much punch nothing else matters. or the light. or the color. yes, it's great to have them all together. still amazes me with the billions of photos being made how few really stand out. isn't that something? my best, wayne ps. i have gotten the fuji 6000fd which goes down to 28 and can get excellent photos at 800 iso and usuable at 1600 and desperate ones at 3200. no shutter lag. 10.7 optical zoom. and a sharper lens than the little f30 which does amazingly well. i simply don't understand leica/panasonic lagging so far behind. i'll give this camera a try in class on friday. Link to post Share on other sites More sharing options...
Guest stnami Posted December 7, 2006 Share #211 Posted December 7, 2006 Wayne there still is a certain timidness about the dance images and seem to be without a lot of direction. Form as oppossed to subject, try to respond to your own imagination via the subject. What I like about the Chinese images is that there is a certain niavity about them. I am building a site for my images and artwork the foliosnap site is getting restrictive as it gears itself as a point for commercial sale of items and that is not what Iam about. So it is time to refresh and improve Dreamweaver skills and build from scratch. I bought some space of a friend should have it running by Feb, by the time I get all the multimedia stuff together.... learning out of necessity...again.... Link to post Share on other sites More sharing options...
Guest stnami Posted December 7, 2006 Share #212 Posted December 7, 2006 Infor5mation http://www.pixchannel.com/flash/index.html Link to post Share on other sites More sharing options...
smokysun Posted December 8, 2006 Author Share #213 Posted December 8, 2006 hi imants, i think you're right about the timidness. and i think i'm not re-imagining each dance as a separate story and style (which they are). just posted new lobby shots for the show starting tonight and i realized i do tailor the portraits to the show being done. i need to do the same thing with each dance. if i were doing one dance company with a distinct nature, i can see it would be easier. jacob marley's christmas carol dir. amber miller Photo Gallery by wayne pease at pbase.com i've been trying out the fuji f6000 and the dp review just came out: Fujifilm FinePix S6000fd Review: 1. Introduction: Digital Photography Review the girl below dressed up as a mayan goddess (sort of) for the projects part of the pre-columbian art class. used the fuji (and also for the theater portraits above). like any camera it takes some practice. these in jpeg. to get the best results at 1600 and 3200 i'll have to use raw. still the best (and f30) low light digicam, which is why i bought it. no hotshoe and no image stabilization. with those i think it would give the fz50/v-1 a run for it's money. and it has 28mm wide angle, which the leica/panasonic does not. another reason i bought it. (and it's much cheaper.) the link for photographer videos looks great. i'll check it out now. thanks again for the insights. wayne Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=113515'>More sharing options...
sean_reid Posted December 8, 2006 Share #214 Posted December 8, 2006 Hi Wayne, Haven't looked at this thread for awhile. Would you mind giving me a summary of links to the stuff you're currently up to? Cheers, Sean Link to post Share on other sites More sharing options...
smokysun Posted December 8, 2006 Author Share #215 Posted December 8, 2006 hi sean, good to hear from you. several lines of thought have been going thru the thread. we've talked a lot about shooting dance pictures. this is not really off topic as the problems with good dance photos the same as street stuff: how to capture a movement/story/arrangement on the fly. someone like lois greenfield does it in the studio. but to me and vic (a major contributer to this discussion) they look contrived. here are pictures i took last week and exhibited in the lobby of the theater: CHICO DANCE THEATRE 2006 Photo Gallery by wayne pease at pbase.com both imants and vic feel i'm not in close enough and need to use a wide-angle lens. imants also thinks i'm being timid. this is always an issue with street-style, i think. plus, the dancers/girls really complain all the time about how i catch them at silly, awkward moments. unlike actors, dancers always want to be beautiful (actors prefer to look interesting - and here are some actor portraits done this week: jacob marley's christmas carol dir. amber miller Photo Gallery by wayne pease at pbase.com ) i'm also wondering if i might not be one of those photographers who do better on assignment, as i feel i am with the theater photos, to give a certain flavor and theme. for example, david bailey and guy bourdin, i feel, much more interesting in their commercial work than in their personal. maybe i'm not as good coming up with stories out of thin air. i also feel i haven't, in this sense, given each dance it's own style, as they are all very different from each other. vic posted the high jump shots above as examples of getting in close, and i learned last week exactly what he meant. during one dance performance i sat in the front row during the first part and in the second row during the second. the feeling was completely different within three feet. in the front row i saw each dancer making an individual effort, their personality. in the second row they all melted together into the atmosphere of the piece. so distance is a crucial factor. the other thing i've been doing is using the fuji f30 and fuji 6000fd to compare with the d-lux 2 and d2. the fuji's have been celebrated for their lowlight performance and i have to agree. i wish their sensor had been adopted for the new panasonic/leicas. when you review the d-lux 3 and the v-1, i'd love to see a comparison with the two fujis. here are some recent pics: fuji f30 the first walkabout Photo Gallery by wayne pease at pbase.com also the actor pics above taken with the 6000fd. hopefully this will help push leica in the right direction. i think that's it for the moment. imants and vic have really interesting angles of view. worth reading. good luck with your work. wayne Link to post Share on other sites More sharing options...
Guest stnami Posted December 9, 2006 Share #216 Posted December 9, 2006 Hi Wayne Some of those dance shots are quite impressive, time to place them into a compact sequence to bring out the best aspects of the individual images. Less is more with these types of images, maybe sort them into a few pools of content, colour, or contrasting elements etc. ....fuji f30 and fuji 6000fd to compare with the d-lux 2 and d2.+the DSLR] Wayne have a look at how you use the smaller cameras and pit it against your attitude with the bigger cams. It will give you a good indicator of what you do and like as a photographer. I see that with the d-lux 2 you engaged the audience when photographing objects as a narrative with a lot of intimacy.... then there is a barrier when people involved( normal for most of us). The DSLR shots see you as being comfortable with you subjects and you get back to photographing with greater visual empathy and control. I have taken the GRD to as far as I can in terms of its uses, so it has now a place in my work. Still prefer the D2 size on the streets, though its limitations as far as iso and speed are more pronounced at home(oz) that in the open lifestyles of SE Asia India etc. I looked at a friends Pentax K100 with a 43mm f/1.9 lovely little outfit, low light WB is a bit off and there is too much bokeh(too narrow) for my liking. In the light that Sigma and foven are too unknown, Oly are loosing it as the head away from the E-1 and I have decided on the second generation M8 whatever....... a K100 and a 21 pancake(32 in SLR terms) looks the go as I can use it to 800iso( enough for me) The extra 4mm on the 28 makes a difference, well I see it. Pain in the butt this camera caper. so much easier in the OM days a OM4, a 35mm, a 24 shift and lots of film was all that one needed. On top of that someone else printed your colour stuff to your needs.... gone!!! Still to me digital post processing is a joy Link to post Share on other sites More sharing options...
smokysun Posted December 9, 2006 Author Share #217 Posted December 9, 2006 hi imants, i can see why you're a good teacher! you've put your finger on the most important thing (for my work). yes, when doing objects, store windows, etc with a compact i feel comfortable and free, glad to have such a small, wonderful tool. but, as you very astutely observed, when i use it for people, i actually withdraw from them at the same time, feeling i am sneaking something. believe me, at that moment i feel a flush in my face. this is very like learning young that i couldn't steal or cheat without hurting myself, as, even if i got away with it, it made me withdraw into myself and hide. in that sense, it injured me. (my father was minister, remember). with a larger camera, the d2, a dslr, even the 6000fd, i simply don't hide, i don't pretend i'm not taking pictures, and this engages me with people, even if, at times, i can see disapproval in their eyes. it's all up front. it calls out a certain courage and outgoingness in me. that's why i can't understand people wanting to be invisible when doing street photography. yes, the tradition of hcb, etc. but i see it usually being better when the subject is engaged in some way. now, i had an amazing experience today that relates to this. in dance class (me a mere observer) i watched as a teacher led the dancers in a mental relaxation. they all closed their eyes, moved in different ways to feel where their bodies hurt, and so on. the masks dropped from their faces and i saw fourty people look totally different from their usual selves. the vulnerability, the tiredness, other emotions, transformed the most beautiful women into something else. some actually ugly. amazing. and then when they came out of it all, slowly the masks took over again. what energy it must take to make ourselves look acceptable and presentable and innocent. i wasn't photographing (the teacher asked me not to do it when they'd feel self-conscious). yet if i had, all of them would have been chagrined to see themselves so exposed. you can get this when working with someone, but then it's by their permission and trust. you've really helped me acknowledge how i must work if i want the best results. yes, with a candid, hidden camera i feel like a thief. and then i can't really see. as for cameras, i'd love to try the m8 or it's successor. i'm actually afraid to use my d2 too much, with stories of sensor death and falling apart. i'll save it for when i actually need it. a fantastic portrait camera, i think. otherwise it's the fujis for now. the pentax supposed to be the smallest dslr, which would make it a nice package. the fuji 6000fd just reaching the stores. give it a try and let me know what you think. you didn't like the color of my original shots, but i think that was my fault. when shooting travel slides, i prefered fujichrome to all other film for the reds and the greens. this is also characteristic of the two cameras i have. thanks again. it is a bit of news on the tough side, as so often i do want to be invisible. the peter pan complex for sure. wayne ps. my spring show will be all theater and dance photos, so i'll be doing a lot of culling. not that much space to fill. Link to post Share on other sites More sharing options...
Guest stnami Posted December 9, 2006 Share #218 Posted December 9, 2006 I have a mate who works for fuji PR so access to the fuji 6000fd and other stuff is easy, so i will give ot a go after Xmas. As with many others I have put my D2 under TLC... there will be future uses for it when a particular type of image is needed Wayne a exhibition is just hard work, do a cull now and see what is left and what has to be catered for etc. I did a early cull once and ended up with two images depressed to no end, boy was there a heap of pieces to pick up. I really think you are hitting the right track and are now working towards focusing on a definitive concept. It is a matter of always doing thinking, taking the chance and not growing attached to a image for I like there for it stays reasons. It's the audience out there that changes ones mind, this is great if they are the prime concern, maybe they should be. Then in what capacity are they there to learn? to be directed or are they there to pump up an ego? Questions that are mulled over and over again.... It may be.... it's my art so I do as I please, a hard road to travel that one. I think that in the end it is not what you did with the camera that creates the variety in an exhibition it is where and how you placed yourself in the mind game................. One has to be mentally tough to get an exhibition together and I am sure you are and it is just a matter of using it to work to your advantage without narrowing and pre-fabricating the creative experience. They are fun things do do as well Link to post Share on other sites More sharing options...
smokysun Posted December 9, 2006 Author Share #219 Posted December 9, 2006 hi imants, this is probably the first and last time i'll ever do anything like this, but i've been cooking on it. i decided the eros vs. death theme pretty much runs thru everything i've done. i've set up two nights at the theater for readings of the plays i wrote last summer. i plan to show on another evening some lookout stuff, one a slide show called 'waiting for the world's end' and a movie i wrote and acted in thirty-five years ago. for the reception i'm thinking of showing pics of collage stuff (the show itself pure photography). and so on. thanks much for the thoughts from your experiences. yes, to really find a way to have at least a momentary affect seems key. i like shows that have a strong unity. then i walk out of the concert, museum, theater seeing and hearing the world differently. in general i think the power of art is the focal point. it unifies the world for just a moment and acts on us like meditation. at least, that might be the hope. in terms of cameras i've been playing with the fuji stuff. here are two shot within minutes of each other. i think the fuji my color choice for the moment, but for b&w the d-lux 2 and d2 translate much better. i don't know if it's a matter of the lenses or what. with the fuji i'm searching for color that's almost real but goes somehow into another zone. need more work on that. the d-lux 2 looks like it will be like your grd for b&w. i really appreciate your input. it helps to have someone who's been thru all this (more than once!). wayne Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=114758'>More sharing options...
smokysun Posted December 11, 2006 Author Share #220 Posted December 11, 2006 hi imants, finally watched all of the interviews: Pix Channel :: What Makes Photographers Click very interesting for the playwright, as these photographers all real characters, doing very different kinds of work, from playboy to landscapes. and it's nice to put a face with a name. two interesting pieces of advice. from jack welpot, 'marrying rich' and from ralph gibson, 'don't copy any other photographers, you learn nothing by it'. nobody ever mentions the one major decision in life: are you going to have kids or not? if yes, then you're going to need money. if no, then you can do anything you want and get along. i knew having a family meant doing a lot of things you don't want to do, my idealistic family in much debt the whole time i was growing up. of course, sally mann and eugene meatyard turned their families into photographic gold. pretty rare. with responsibilities, plan on being a commercial artist, or be a banker. as for not copying other photographers, that's interesting as most artists learn by imitation and then diverting into their own territory. do you know this book: Amazon.com: Louis Stettner: Wisdom cries out in the streets: Books: Louis Stettner i find his work (most street stuff in b&w) very appealing. every picture seems to have some kind of beauty, yet he has no 'style' you could call his. some sharp, some blurry, etc. that gives hope to those of us with nothing particularly distinguishing. a question: is there interesting material everywhere? i keep finding stuff like the pics below. wayne Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=115962'>More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.