gfisch9862

<p>If you were trying to view the full-size image on the phone, the problem is probably the scaling algorithm used by the phone software. Is it an iPhone or Android device?<br> Try scaling the image down in Photoshop (less than 1000 pixels on the long side), or something equivalent, then see how it looks.<br> By the way, very nice image!</p>

<p>Last night, I went to a photography presentation called, "Open Show", where Michael Ruiz and others showed some of their work and spoke about what they were doing. Interestingly, Michael started his presentation by stating the he is NOT a photographer, but merely used photographs to help tell his story. Basically, he had spent a lot of time crossing the US/Mexico border and noticed how many people do that everyday to get to work, or to visit family, and seemed to just disappear. Hence, his desire to take the pictures, print them on very thick paper, and painstaking erase the people using scraping and/or an electric sander.</p>

<p>Thanks, Fred. That's the kind of thinking that I'm trying to get to. I still don't get it, but seeing the other elements, like "the medium commenting on itself" seem like important concepts to appreciate.</p>

<p>Jeff,<br> You're right, it's probably posters, books, etc.. But a few I talked with recently said the the bulk of their sales involved the resale of "vintage" work, not the work they were currently showing. Of course, there are people like Peter Lik, whose galleries just sell his work.</p>

<p>Very true! There is no disputing taste!</p> <p>But what I'm questioning is why the low-quality, "edgy" work seems to get the promotion and accolades, but those who are committed to striving for quality imagery and sound artistic intent (whatever that is?) are considered "old fashioned" and not worth showing. However, when you see which photographers are keeping the galleries in business, it is usually the old standbys, Adams, Weston, Bernhard, Sexton, Tice, Caponigro and the rest.</p> <p>Many years ago, I was actively exhibiting my work in the Los Angeles area and sold a good number of prints. In 1980, I received the personal recommendation of Ansel Adams to become part of the Polaroid Corporation Permanent Collection. I thought, "What could be better than that!" A few years later, I was asked to be a part of a group show of the up-and-coming" photographers in the SoCal area. When I went to the opening, my work was the first thing one sees upon entering the gallery, but once inside, everything else was barely able to be considered photography. Mixed media... maybe, but not photography. I was so frustrated by the "artists" standing around bragging, that I didn't sign the register, or even to tell them my work was there. I just left, and quit doing serious photography. It is only recently that I decided to try to get back to it, but it still seems that the crappy, edgy work still gets the exposure. At this point, I've matured enough to not make hasty decisions and am trying to really understand the value of some of this contemporary work.</p>