An Unusual question fro all of you - part II??

[jonathan brewer]

Jim....If he doesn't come your way, then you need to fed-ex the

whip to Hershey. Hershey, if you've got a laptop in that pack, and

Stephen gives you some time off, contact us and let us know the 'real

deal'.

[charlie_strack]

Didn't Ansel Adams say he was happy with his output if he made one

image a year that really mattered?

[jonathan brewer]

Stephen....with all joking aside, please e-mail me a j-peg of

Hershey if at all possible, it would be appreciated.

[michael_alpert1]

Stephen,

At first I thought that your question was interesting, but now I'm not

so sure. Harry Callahan was an engaged photographer for his whole adult

life, but I don't think he ever thought in the terms that you are. I'm

not suggesting that what you're doing is wrong, but it may be self-

defeating. Productivity is the kind of consideration that is important

in your commercial work. You seem to be dragging that mind-set into

your artistic journey. I really think that if you'll let yourself be

more at ease, without any pre-set quantitative quota, you'll be more

able to think and see clearly. I'll overstate this slightly to make the

point: If your goal is the realization of your self through artistic

work, then it's what you do not yet know that counts, not your

preconceptions as to what constitutes an acceptable photograph. If your

goal is to create a second photo business with your landscape

photographs, then your daily quotas might make more sense. The real

question (for yourself, not for this forum) is, which is it?

[mike_kelleghan]

- I scout a location with a small viewfinder and a palmtop full of

software. I document the places and angles, figure out the position

of the sun thruout the year, try to "previsualize" the scene.

Sometimes I just sit and admire a rock from every angle for a whole

day. Later (a day, a week, a year) I come back with just the gear I

need for the image I want. Frequently, the small viewfinder captures

a fleeting moment that never returns i.e.: a fish in a pond with a

blooming lilly is one of my personal best shots. I have returned

many times, but the fish has not. I have a stack of maps, pics and

notes of places to go back to.

 

<p>

 

- I select one of the best shots from one of the master photogs. I

then go to that location and try and see what it is they saw, try to

duplicate their results with my modest skills. This gives me a

measure of how and where my skills need improvement, and where

my "inner vision" needs refinement. The question I try to answer,

and which I never will, is whether I could have made the same picture

had I never seen the masters'.

 

<p>

 

- I really like the idea of a llama to carry my gear, but I lack the

back-country skills to handle a pack animal. My wife has 8 cats,

maybe I can hitch them to a wheelbarrow.... <vbg>

 

<p>

 

- I am yet to create a picture in the same league as the masters.

OTOH, in the rockies above the treeline, that close to God, I can

imagine that all pictures would be great.

[andrea_milano3]

Stephen,

your entry and the many contributions clearly show once again

that there are all sorts of people in photography, I am afraid that I

belong to a different tribe than yours. You concentrate on

"results" and amounts of "perfect" shots seem to play a large

role in your approach to your craft.

Numbers matter in a commercial enterprise and I am sure that

you are very good at doig what you do, in art, numbers matter a

great deal less than what you seem to think, art is the product of

a fine spirit fed on long conversation to your good friends, good

films, good books, visits to museums.

Some people are then possessed by the holy fire and go and

sweat and produce a lot, some produce a great deal less.

No one of these two methods is any better than the other.

Practice is a good school but cannot give somebody talent,

some choose to frantically work, some don't.

There is no point in doing something different from your nature.

By nature I am a less active person than you seem to be, I don't

blame you and don't espect you to blame me. We are different,

we make different photographs, and there is no telling from our

characters if any of us, one day would create an unforgettable

masterpiece.

I hope you will, in any case, take it easy and enjoy the ride!

Good luck! (even though you might not believe in it!)

[david richhart]

Stephen, how old are you? <p>

Could this feeling of what seems like self doubt, simply be a touch

of the "middle-aged crazies"? Do you ever entertain thoughts of

trading Hershey in on a red sportscar? Do you constantly examine the

financial success of others your age, and compare it to yourself? Are

you thinking about trading the wife in for woman 20 years younger? <p>

From reading the 2 questions you posted, it seems to me that you are

approaching your photography with a great deal of energy and thought.

Producing museum quality photographs is not something you can

schedule, or practice, or explain...

[stephen_vaughan3]

Mr. Willard,

I am astonished by the progress of your contribution to the forum.

Many genuine image makers and thinkers have responded with some

genorosity to your question. And yet - and this is what amazes me -

the only answer you have deemed worthy of response in return, is one

regarding the grand virtues of a viewfinder!

 

<p>

 

Which planet are you from that you boldly ignore the broadly mutual

sentiment that picture-making is not about the equipment?

 

Stop. Take a deep breath, and answer these questions honestly, please:

Is all of this 'stuff' really improving your work? What elements of

your work genuinely fulfill your needs as a picture maker? What things

do you feel are missing from your work?

 

<p>

 

Surely the one thing you are not lacking is quantity. I feel you need

to ask yourself deeper questions about why you make pictures.

 

<p>

 

Sorry if this sounds harsh. I just cannot comprehend the level of

obsessive behaviour which forces you to go and buy a seperate 10 inch

cable release for each lens, pre-attached for speed.

 

<p>

 

Please calm down, you are making me tense!

 

<p>

 

Maybe your joking though.......that would be funny..

[jonathan brewer]

Stephan.....One of the most 'feel good' and 'battery recharging'

moments I've ever had was running around the house 'shooting/catching'

images of my wife and kids with my sons SX-70 and time zero film.

 

<p>

 

The best one of these I caught as my wife, son, and daughter

sprang out of the closet, with all three made up with my wifes

gree/quacamole/mudpack in the morning in their pajamas.

 

<p>

 

Sentimentality aside the shot is carefree and uplifting, and more

importantly the shot stirs something in me in that it has a quality I

want to add to a few Portraits that I do with my gear.

 

<p>

 

The point I'm trying to make, is that you can snatch from any

part of your lifes experience, any number of little

vignettes/inspirations, the creativity/Artistry that you would

mold/weld together to use for your craft.

 

<p>

 

Living your life with fun/Panache, a sense of humor, with a joy

for it all, and the ability to laught at yourself(I need practice on

this) will serve your Art as much as anything.

 

<p>

 

Fooling others is mean spirited, fooling yourself is downright

cruel. I don't mean this as a personal statement to you, I'm saying

this to everybody including myself.

[armin_seeholzer]

Hi Stephen

 

<p>

 

I really think you are joking;-))

But if not I would start to make your equipment lesser in wight! I for

exampel go sometimes only with 1 lens 1 camera and 3-6 holders for a 3-

6 ouhers walk somewhere and sometimes I did`nt even take the camera out

of the backpack and sometimes I came back with all negs. or pos. used.

Thad works not so good if I work for a mag and I have a deadline from

2-3 days, but it works very well for my free work!

 

<p>

 

Could it be that you are to hard to yourself and to Hershey?

[sandy_sorlien]

Some master said (anyone know who?) that if you make ten "masterpiece"

photographs IN YOUR ENTIRE LIFE you are doing all right. The catch is

that you don't usually know which ones will be the enduring

masterpieces (to yourself or anyone else) until months, years, or even

decades later.

[stewart_ethier2]

<I>I just cannot comprehend the level of obsessive behaviour

which forces you to go and buy a seperate 10 inch cable release

for each lens, pre-attached for speed. </I><BR><BR>

Many people do this, including such well known landscape

photographers as Tom Till. Obsessive? Maybe, but also very

convenient. .

[jorge_gasteazoro3]

So you really want to save time and make 6 masterpices a day?

Ok, I see you got all the gear, all the advice. All that I really

think you are missing is sitting down and think what you want to

photograph. In my case I just moved to Mexico and I am building my

house and darkroom. Since I am unable to use my LF cameras, I already

scouted the are and have at least 5 or 6 pics in my mind I want to

do, When I get the rest of my equipment it will be only a matter of

going to the site and set up and click!

Easy...:-))

[peter brown - www.peterbro]

Stephen,

 

<p>

 

You've asked an interesting question and for me the methods and techniques

to produce those successful images come from within, not from the equipment

or the technique. Creativity is the key. Having a sound knowledge of

technique and having good quality equipment is certainly a help, but if you

are not able to be creative then all the equipment and lastest techniques in

world will only produce mediocre images at best.

 

<p>

 

To be "productive" you must first love your subject with a passion and have

the ability to express that through images that will provoke strong emotions

in yourself and in others too. Turning your photography into a numbers game

is, in my opinon, non-productive. After all, it's not about how many images we

produce, it's about how many unforgettable images we produce.

 

<p>

 

So to answer your first question, I would say that "the art of seeing" and

"the art of creativity" are the techniques and methods I employ the most.

 

<p>

 

And I think the text below best sums up my thoughts to your second

question:

 

<p>

 

" I have always liked landscape photographers, people who make their living

from vistas of nature, whose hands are familiar with the feel of the camera,

whose eyes are trained to distinguish the different varieties of the land, who

have a form memory.

 

<p>

 

Their brains are not forever dealing with vague abstractions; they are

satisfied with the romance which the seasons bring with them, and have the

patience and fortitude to gamble their lives and fortunes in an industry which

requires infinite patience, which raises hopes with each new image and too

often dashes them to pieces with each change of the light.

 

<p>

 

They are always conscious of sun and wind and rain; must always be alert

lest they lose the chance of seeing at the right moment, shooting at the right

time, circumventing the vagaries of nature by quick decision and prompt

action.

 

<p>

 

They are manufacturers of a high order, whose business requires not only

intelligence of a practical character, but necessitates an instinct for beauty

which is different from that required by the city dweller always within sight of

other people and the sound of their voices. The successful landscape

photographer spends much time alone among his rocks, his trees, his nature,

away from the constant chatter of human beings."

 

<p>

 

Peter Habens-Brown 1953 -

 

<p>

 

Photographer & Explorer

[james phillips]

Stephen,

 

<p>

 

I must say that I have read this post and your previous with much

interest. I am not going to tell you the kind of LF photographer I

am, nor will I try to evaluate why you do what you do. You asked a

simple technical question in looking for ways to improve your

productivity.(this is important to you)

 

<p>

 

What I will say is that I am totally amazed at the many replies that

need to judge/evaluate your reasons while still not contributing any

answers to your original question.

 

<p>

 

I am able to offer only the simplest of answers and that is be

prepared with your knowledge of the terrain as well as the expected

weather. This may help to maximize your chances of shooting some

wonderful shots when the opportunities present themselves.

 

<p>

 

Great ability develops and reveals itself increasingly with every

new assignment. Baltasar Gracian

 

<p>

 

Regards

[robert_a._zeichner1]

"I believe that imposing a goal of 1-6 exhibition quality images per

day is absolutely essential for you to grow as a photographer."

 

<p>

 

This is just my opinion, but I believe that in order to "grow" as

anything, it is essential that you sometimes fail at your attempts. It

is from examining those failures that you can really learn something.

If you are looking for a "formula" for producing exhibition quality

work, your work will probably take on the appearance of such....formula

art! I think an important thing to do is to frequently look at a lot of

great photographs made by others. Actual photographs, not just ones in

monographs. It's a bit like playing tennis with someone who's better

than you... your efforts to keep up will help you to improve.

 

<p>

 

Here's some questions for you. Do you sell your landscape photographs?

How many? How frequently? Through galleries? Is the demand for your

work so great that you need to come up with new images at such a fast

rate just to keep up with that demand? Do you bring Hershey with you

on wedding jobs? If so, does he wear a tuxedo?

[ted_brownle]

Steve,

 

<p>

 

I am not so much as an equipment junkie as a solution junkie. I like

to mix things up to keep me on the edge. A change in venue or

formats. Shoot medium format for awhile in a particular location. I

go along the San Mateo coast in california. Now dump the medium

format & start dragging along the 4x5 & suddenly you have to think

very differently.

 

<p>

 

Jim Brandenburg published a book recently where he traveled in the

northern woods for a specific time & allowed himself one meaningful

image per day.

 

<p>

 

I turn that around a bit & pick an area ~ say a local park & make

your goal to produce a single photograph that will capture the

essence of that park. Do you start at the North or South entrance?

What season? Start walking around without a camera on a regular

basis...

 

<p>

 

You get the idea.

 

<p>

 

The goal is to have fun & once you do that, the quality of your work

follows.

 

<p>

 

~Ted

[neal_shields]

Get on Ebay and buy every Grafmatic back you can find.

[emile_de_leon9]

Many people are way too busy/active !Thats cool but there is another

way too...Try moving very slowly...taichi style without a camera

while in the forest or while doing regular activities around the

house.Real....real...real....SLOW.The unknown/universe might open up

to you and then perhaps to photograph...If you reach the

STATE...but you may not need to at that point!Most people are

overactive to avoid something they dont want to encounter inside

themselves. The other way is to do something with extraordinary

speed and risk outside of the comfort zone. This can lead to the

STATE but through another door if the first one dosnt work or

becomes stagnent.Its all really about you...not some stupid

exibition or anything else your mind can decieve you with.

[saulius_eidukas]

Stephen,

When out in the field taking landscape photogrpahs I carry my 35mm

camera with several lenses as well as my 8x10. Upon seeing an

enticing composition I first pull out my 35mm with a lens combination

that closely matches what I forsee using with the LF camera and

lens. What I then do is walk around looking through the 35mm to get

a better sense of where to first place my tripod and LF camera and to

see if the composition will work. It saves me some time in moving my

big heavy LF camera around on tripod from spot to spot until I find

the right vantage point. This doesn't always work but seems to help

me. Another thought is to become very familiar and proficient at

setting up your camera. It may be the difference between catching or

missing a scene in which the lighting is quickly changing or fading.

I've missed a few at being too slow and clumsy with my camera. Lastly

if you can get your hands on the publication LENSWORK issues 33 and

34 there may be something of interest to you. In issue 33 the editor

talked about a 100 prints project in six weeks and follows it up with

some observations in issue 34 "The Importance of Structure". Some

tidbits from issue 34 "I can be much more productive when I define a

project and then set about the task of executing it. When the

definition is missing, the execution tends to be random, unfinsihed,

inconsistent and mostly theoretical. One of the keys to success is

to frankly face our limitations and work within them." You can buy

back issues on line at http://www.lenswork.com/ These ideas may

help you be more productive, which may or may not help in getting you

more exhibition quality prints. Best of luck.

[emile_de_leon9]

Lenswork is a great mag! Perhaps to be sucessful it's necessary to

work on ones weak points as well as our strengths...but we need to

recognize them first! This we rarely if ever do ever do for

ourselves.We need to have an honest eye and heart...but with NO

judgemental qualities to alter the reality of our position.Just to

SEE...clean and clear!

[saulius_eidukas]

Ooops, a correction on my previous post. The article - Getting

Serious: The One Hundred Prints Project is found in Lenwork issue 21

not 33 according to their web site.

[neal_shields]

One thought would be to use the shutter off of a Graflex Super D. It

allows you to focus at full aperture and then stops down

automatically to the taking aperture when the shutter is tripped.

Thus saving one whole step in the exposure process. Also you could

use UV filters instead of lens caps.

 

<p>

 

Also if you use Grafmatic backs, you can buy extra septums and

instead of loading septums in the field, you can just swap out

septums in a changing bag which would be very quick. If this doesn�t

make sense, see the Graflex.org web site.

 

<p>

 

However, the king of rapid fire 4X5 has to be Peter Gowland. Get one

of his Gowlandflex cameras (4X5 and 8X10 TLRs), and you eliminate

several steps in the normal view camera picture taking process. You

can leave the Grafmatic back in place, leave your shutter speed, and

aperture set. They are a bit heavy however, so I hope your Llama

doesn�t spit on me if we ever meet.

 

<p>

 

Keep in mind when everybody tells you about these great artists that

didn�t do very much, all of the stuff that Michaelangelio did during

his life time. Read �The Agony and the Ecstasy�. The birth of

American Art Photography coincided pretty much with the Beat era

so prolific output would not be expected.

 

<p>

 

However, I have been trying to get a satisfactory picture of a door

with vines around it for several months, so I don�t think I can

aspire to your 6 or 7 a day.

[erik_ryberg]

I prescribe a 4x10 pinhole camera that has to be taken apart to be

loaded, five sheets of film, and a 7 day backcountry trip.

[geoffrey_swenson]

Perhaps I am too late to ask, but could we see some of your work? It

might give us a good insight into what you consider exhibit quality

images, and also to see what your work offers to mankind.

 

<p>

 

Regards,

 

<p>

 

GS