wingell

Here's a link to an article covering one upstate New York photography shop's

business "upheaval" in this digital age (the link is good for four days):

http://www.pressconnects.com/apps/pbcs.dll/article?AID=/20070611/BUSINESS/706110308/1002/BUSINESS

The 70-200 2.8L IS is a superb candid portrait lens, and it's not too bulky to qualify as a great walkabout lens. I often carry that lens on my 10D and the 24-70 2.8L on the 5D. Give it a try.

This week's "Circuits" section of the NYTimes has an interesting article on the

controversy that still surrounds the issue of longevity of inject prints. Henry

Wilhelm's views on the matter are featured. Look for the "Circuits" link in the

paper's "Technology" section or use the following impossibly-long URL:

 

http://www.nytimes.com/2007/06/05/technology/circuits/05print.html?ref=circuits

This note is admittedly somewhat "off-topic," but in the larger scheme of

things, members who frequent this forum might be interested in knowing that the

Museum of Fine Arts in Boston is hosting a comprehensive show of "documentary"

artist Edward Hopper and is providing screensavers of a half-dozen of his more

iconic works, including "Nighthawks" and "Chop Suey." I never dreamed of seeing

my laptop screen adorned with an awesome reproduction of "Nighthawks." Go to

www.mfa.org/hopper/explore.

I noticed Magnum, which appears to have joined p.net today, is not signed on as a subscriber. Anyone care to donate a gift subscription for them? That $250 charge for a 20-minute review sounds like money "down the drain" to me. A "photo critique" on p.net is much more productive. :)<div></div>

Since going digital a little over three years ago, I've put well over 100,000 images through my 10D and 5D bodies combined, with probably 40 per cent shot on the 24-70 2.8L (another 40 per cent on the 16-35 2.8L and the remainder on the 70-200 2.8L IS). All three lenses have worked flawlessly, and I find the 24-70 to be the best glass of the three.

A wonderful image--excellent composition and the color works beautifully with the subject's demeanor.

It wouldn't hurt for you to get some experience stringing--either as a photographer or reporter (or both)--for a local paper. As noted above, your biases have no place in the content of your work. Documentary work is all about telling someone else's story--not yours. And after decades of photojournalism and loads of feature, documentary and street photography, I still prefer to call myself a photographer, not an "artist." All the best...Bill

Thanks, everyone, for the comments and advice. I spoke today to the EPA representative who inquired about the photo, and she was adamant about their needing releases for use of the image. On the other hand, a metro photo editor I do some work for at a large metropolitan paper states she "can't imagine" why they need a release: "Street photographs do not require releases for editorial purposes," she insists. I'm going to call the EPA again but I think they'll refuse to budge on the matter. (My former Philly studio partner tells me he'll sign a release for one of the kids if someone else signs for the other boy. He also suggests the city should go around removing grates on all the storm drains as a cheap summer recreational program.) By the way, as I suspected, the EPA rep found the image on Google. A new algorithm --or something--is turning up loads of my old photo.net postings. And you're right about the age thing, Michael--I've been getting younger for years! Cheers...Bill

Thanks for the kind words, Michael--I really appreciate the thought. Regards...Bill

Three years ago I posted a shot of two young boys swimming in an open storm

drain in Philadelphia's Fishtown section back in 1968. It's in my black&white

"street shots" folder. I've just received a letter from the EPA in Washington

asking for a license to use the image in a publication dealing with land use and

water quality!

Of course, they want to know if I have model releases. When I took that shot in

my North Philadelphia wanderings 40 years ago, I somehow neglected to get those

releases, and it's probably going to be pretty difficult to find the subjects

now. In any event, I'm going to give the agency a call--I'm really curious how

they came across the image. Like I said, you never know when it comes to

photo.net. Cheers...Bill<div></div>

An excellent interview--very much appreciated. Thanks...Bill

Check out the work of Travis Ruse, a New York photo editor who's been documenting his morning commute on the subway for the past two years. Documentary photography is all about context--telling the story in a series of images. Not every shot in a documentary project can--or has to be--a singular, standout photo, but Ruse comes close to achieving that level of shooting. (www.travisruse.com)

Despite the weight, the 70-200 2.8 is probably the way to go for the work you describe. And if you find the 2.8 fast enough for your purposes, consider, for versatility, adding the 24-70 2.8. It's a great combination, and the weight of the two lenses will be nicely balanced :).

Cheers...Bill

I bought my 5D and, before that, my 10D, at Tuthill's Photo & Digital in the Binghamton area of upstate NY. It's a mid-sized retail shop that stays on top of digital developments and provides excellent service. I took the first 5D that arrived at the store in October 2005 (see the note under my portfolio portrait). No regrets! Cheers...Bill

What Beau said: the 70-200 2.8L IS is the quintessential portrait lens--worth every penny.

It does seem a bit odd that a street artist would react so negatively to having his photograph taken, but we all have our "issues." My own inclination is to use such a photo (I never ask permission when shooting on the street), and it's unlikely that the subject will ever see the image, but you might keep in mind that France has one of the strictest privacy laws on the books. The statute has put a real crimp in the style of France's street-shooters, and that's especially ironic in the country where street photography came of age. Cheers...Bill

Jennifer: I'm glad EP worked out for you--their photographers' list is pretty comprehensive. Now, let me know if you a shooter in upstate New York :). Cheers...Bill

 

Debbie: A stringer is a freelance photographer (or writer) who does assignments for publications or agencies--these days, most likely under a rights-grabbing "work for hire" agreement. Payment is all over the map--newspapers belonging to large national chains can be the stingiest; the major metropolitan New York dailies start out with a day-rate of $200 to $250 plus expenses. Freelancing is not the road to riches.

Check out "PDN." It has a broad scope, with a sizable amount of material on advertising photography, but it does try to keep up on developments in photojournalism and occasionally features PJ portfolios.

After 35 years of street-shooting with Leica Ms and 28, 35, 50 and 90mmm Summicrons, I swithced several years ago to a Canon 10D and the three essential 2.8L zooms. Worried that I would have difficulty adjusting to the size of the new equipment, I instead found the change liberating. Effective street and documentary photography (and I never ask permission; never will) is not determined by the equipment; it's the technique and attitude of the photographer that make the difference. I will say that after adding a 5D to my lineup last year, I got much more productive use of my 16-35 2.8 when shooting close images for features.

A recent critique-posting of mine received direct, forthright ratings of

6.38/6.62 from eight viewers. However, another seven "anonymous," skulking

viewers gave the image 4.43/4.43, thus ensuring that the image would be seen by

few members plowing through the "top ratings" list. Tell me again how the

moderators' reliance on "anonymous" ratings enhances this site?

By far, your best source would be the organization "Editorial Photographers" found at, curiously enough: www.editorialphotographers.com. Use the "Find a Photographer" link at the top of the home page. Cheers...Bill

Don't hesitate to use the 5D for concert work; you can shoot at 1600 ISO with virtually noiseless results.

Bought my 5D almost exactly a year ago; approaching 40,000 images and still problem-free. I do ALWAYS turn it off before changing anything.

What Giampi said. The 16-35 is my "default" lens on the 5D--the other 2.8 zooms go on the 10D.