tonmestrom

April 23, 2011

yes, I like them too! Although it's virtually the same you should give this one a try as well. Why? For not other reason than that it's great fun.

<a href="http://swankolab.com/">http://swankolab.com/</a>

April 16, 2011

<div>

00YZml-348795584.jpg.572c58e83bda4db4c31f9ba65b2f26ee.jpg

</div>

April 16, 2011

thanks Phylo

...and converting color to B&W after the fact is the wrong approach

</blockquote>

the fact that it is for you doesn't mean it automatically follows it is for other people Sanford.

April 9, 2011

but I also know that a longer focal length is generally better for portraits

</blockquote>

it's one of those perpetual myths. You could use the 50 for the rest of your existence and come away with great portraits if you like.

April 6, 2011

Ton, your tone is more arrogant than anyone here except maybe mine, but I think I might just come out second!

</blockquote>

great response Ray, if it makes you happy keep on qualifying.

one more thing though:

But it doesn't matter if they were written by a 14 year old

</blockquote>

it does actually. Whether it's done by a 14 year old or someone who behaves like one trying to be funny and miserably failing it sure does matter, a whole lot in fact.

April 6, 2011

For the record it wasn't a question. I said I think it does. Look at the post

</blockquote>

I did and if you want to talk semantics this:

"One of the things that I think hurts us as street photographers"

</blockquote>

clearly implies a question

But my post was just to point it out, not that anything can be done about it other than to try to raise awareness. In the end I think it goes to the coarseness of modern culture, lack of education, simple minds falling to the lowest common denominator..

</blockquote>

no,no,no Ray. If one reads this thread objectively one would believe the we are the victims of the big brute world out there and that our "noble art" is once again under heavy attack. Well, it isn't. The very reason why most of us still (can) go out there is because of one thing only and that is that lump of grey tissue between our ears that some do actually use. That and how we handle ourselves:

Finally, if someone , a potential subject, objects to their photo being taken. I don't take it. Thats not a rule,just how I behave.

</blockquote>

The very reason why you and most of us here are still going out there because we can, without getting beaten up I might add, and actually still have fun doing so. So we are hardly victims of a changed culture. Let's not behave like we are therefore.

April 5, 2011

Like you said Matt:

I have talked to people who specifically have said they don't want to find themselves featured on some blog somewhere that exists to ridicule people with

</blockquote>

April 5, 2011

never mind

April 5, 2011

Would you like it if those kinds of comments were made about you?

</blockquote>

I think I made it clear Ray that some nuance and perspective are in order as far as I'm concerned. To answer your question more directly in the real world you'll get criticized if you shoot street, if you shoot nudes, if you shoot flowerpots or whatever else. Your question was if it would hurt us (and I've answered that) and not if I or anyone else likes it.

As for your second question that's why I got back to it but as with all things this also has a beginning and an end. You can't discuss reactions with either leaving out. Well, actually you can but context and perspective are a factor.

April 5, 2011

Having worked a long day I've just read what you all left behind so far and I can't help feeling that some people tend to overreact.

Looking at Ray's original post I can only conclude that all those comments he refers to are an extremely poor and quite adolescent attempt at being funny at best (which btw would probably be removed pronto on a strictly moderated site like this) and as such they hardly can be seen as something being taken to serious.

So as for Ray's question if something like this is going to hurt us out there no, it will not. Having said that Dave made a great point about a cultural shift that has actually been going on for some years and that's influential on perception in general. Of that there can be no doubt.

But, and here's the thing, it's where personality, experience, people skills and some basic common sense come in and actually do pay off.

So can you influence other peoples reaction to ones work. Sure you can, one would be a lousy photographer if one wouldn't be able to do just that. How? By being serious about your photography. Like I said before there's a world of difference between a serious photographer and someone who shoots just about everything and does it without caring on which feet he's stamping.

The real question is to what extent you can influence (the kind of) reactions. I think much of that is defined by the manner in which work is presented. On the whole you're likely to get different reactions from the public exhibiting in an art gallery or from published work than you'll get on an open internet forum. As they say in your country, "opinions are like a** holes, everybody has got one"

Of course motives will be questioned from time to time. I think it happened (and will continue to happen) to all of us on occassion. I don't mind that as long as it's on topic.

Just remember, any photographer worth his salt stands by his work.

Don't shoot pics of kids and post them online, and have a little respect

</blockquote>

frankly I don't see why this should be mutually exclusive. I don't make a habit of shooting kids but when it makes for a good or fun photo why not?

I shot this photo last week in full sight of the mother. If you want to talk about respect you should learn to avoid meaningless generalisations.

April 4, 2011

But in the end, how can you control the way people will receive your work, how they'll comment on it, or how those you shoot will react?

</blockquote>

being serious about your work is a good start. Let's not pretend that there isn't a big difference between a serious photographer and someone, anyone, who just snaps away at anything that shows up in front of his/her lens.

As for necessary tactics, I don't use them. I use my common sense and so far it has served me very well.

April 3, 2011

you should exhibit them. Makes for a compelling series ;-)))

April 3, 2011

There's a lot of "pronouncements" made in this thread, not just John.

</blockquote>

true enough. Let's pick up on some of them:

A coherent essay, no drama, no pretty, no pathos, no photographer ego. He (and the Times) respects the people

</blockquote>

which is the point of the whole series. I think Barry put it best when he said:

Even though this series is showing individuals, maybe it's not really about individuals at all, Maybe the dehumanization of individuals is symbolic...

</blockquote>

As for ego, genereally speaking imposing ones ego as John put it (and he's right in this case as far as I'm concerned), or giving evidence of a inflated ego is hardly relevant if there's substance behind it. Regardless of how one looks at this particular series I think it's fair to say that Soth's work overall is all substance.

These aren't portraits of individuals.

I think the point was to challenge, not to please</blockquote>

exactly

As for like/dislike that is hardly important I think. To be honest looking at these I can't say I do like them that much looking at them individually but I definitely do admire the concept behind it and how he worked it out. Simply put, it works.

March 29, 2011

thanks for the link Phylo

Yes, I quite like the way his prints look and how the subjects are 'cemented' in it.

</blockquote>

yes, I think I can see why. I do like my blacks though.

March 28, 2011

thanks Leesa. appreciate it

March 28, 2011

thanks for the link Ellis

The main Page of Members · March 27, 2011

well, rejuvenating does cost a certain amount of time ;-)

March 27, 2011

I worked with Hasselblad quite some years and never had any trouble. It's a great system and like they say, "take care of it and it takes care of you". I find that to be true of most systems including Hasselblad. Oh and by the way it's indeed Hasselblad and not Hassy. Only pretentious amateurs refer to it like that.

As for overly expensive that is quite relative. As long as you realize you buy into a expensive (but your moneys worth) system to begin with you can't expect everything to be at grabs for just a few cents can you?

March 27, 2011

Agree with Brad Catherine. Great what you did and how you did it.

I know one day I'll find the person who says 'no'

</blockquote>

sure you will. But remember, for anyone who says no there are a hundred who'll be glad to. I've been out shooting all day long yesterday in Amsterdam and had a great time doing so. Met a great deal of people. some of them Amsterdam's own who tend to be very direct (some would say blunt) but also people born in different parts of the world who work there. People tend to react to you as a person rather than to your camera, so work with who you are rather than what you have.

March 25, 2011

your Yashica and some Tri-X will get you some of the way, the rest is talent.

March 24, 2011

They often gather in caves or basements or attics (with creepy lighting)

</blockquote>

seems like a great subject. I'm looking forward to the photos ;-)

March 23, 2011

I don't really know what they are thinking when they go out there, but I imagine they are trying to earn a living and name for themselves while their subjects are trying to stay alive.

</blockquote>

Fi is right Elmo. The motivations can be as varied as the personalities. On the whole however life tends to be a bit more prosaic. Most simply seem to roll into it one way or the other. What is certain however that it does have a profound impact on their (personal) life. Don MCcullin's 2002 autobiography:

Don McCullin; with Lewis Chester Unreasonable Behaviour: An Autobiography <a title="International Standard Book Number" href="http://en.wikipedia.org/wiki/International_Standard_Book_Number">ISBN</a> <a title="Special:BookSources/0-09-943776-7" href="http://en.wikipedia.org/wiki/Special:BookSources/0-09-943776-7">0-09-943776-7</a>.

</blockquote>

illustrates that very clearly. It's a great book because it's straightforward, honest end down to earth. I have read many many books about or from photographers and this one I rank among the best of them just because there's a disarming honesty and personal integrity that one rarely comes across.

Fi thanks, I know but merely reacted to what was said in the article. Conspiracy theories in general appeal to most people but are rarely substantiated with facts. As far as mainstream media are concerned I think it's safe to say that the media over here are less polarised which perhaps is the main reason why such theories seem to be more prevalent in the USA.

The cannonball incident is important because it speaks of a certain inclination we all have to enhance reality, whether in wartime or the home front.

</blockquote>

Absolutely although in this particular case more from an academic point of view than from a practical one. Even more recent examples like Capa's Spanish Soldier or the Iwo Jima photo are still subject to heated debates and as you know there is far more known about this than about Fenton's cannonballs.

Thanks for pointing out Susie Linfields 2010 book.

Red Color News Soldier is a fascinating and very moving book; buy it!

</blockquote>

Haven't done so yet but will. Thanks Clive.

March 22, 2011

I'm a huge fan of historical photography

</blockquote>

you and me both Clive ;-)

Fenton makes an interesting subject for this forum. I think each of us should draw our own conclusions from this. However, the two near-identical photos are food for thought.

</blockquote>

for sure

As far as historical photography is concerned I think I'm going to present someones work next week who is (was) a bit more contemporary. I have someone in mind who's work I've admired for ages.

On the other hand I'm less familiar with Eastern-European and Japanese photography beyond the wellknown ones. Perhaps you could do something on the latter? Although speaking of which, Araki, who's work I'm very familiar with would also be a great subject here I think.

I do like and appreciate (as I'm sure many do here) the links you respond with.

March 22, 2011

you're welcome Philip. It's great fun actually, especially with Clive keeping me on my toes ;-)

For those interested and active on Facebook Fenton has a page there which includes a few dozen of his photos: <a href="http://www.facebook.com/pages/Roger-Fenton/54912958019?v=info&closeTheater=1">Roger Fenton</a>

March 22, 2011

Thanks Clive and what a good read it is. I do admire the sheer tenacity of Morris which speaks of a scientific mind at work.

However, there is a lot of supposition on either side which of course is to be expected. Furthermore historians as a rule do tend to cover all bases and it's something that Morris experiences as well. What Sonntag did was quote from Keller's work without cross referencing it. This happens all the time but it sometimes has the nasty habit of turning a mere supposition into a perceived fact. The question of ON/OFF i.e. staged or not is interesting from a academic point for sure but in the end does in no way diminish the value of Fenton's work. Nor does it, as Morris concludes, provide a definitive answer.

Morris implied conclusion of Keller's bias towards Fenton I can share. Remember that Fenton went to shoot the Crimean War when it was already going on for two years and was in his last year before it finally ended in Februari of 1856. This means that Fenton surely knew of some of the atrocities going on there. I see no one who one would suppose to be a coward take up such an assignment. So did he exaggerate the personal danger he was in? Frankly I don't know but it is pretty sure that he took some photos while under actual fire. Again, this seems to be more of an academic question. Anyway, him choosing one valley above the other, one supposedly being more dangerous to me seems to be more a case of common sense (a very valuable asset to have) than cowardice.

Then his two photos. As I said before it was the only one that hinted at the drama of war. His motivation of taking either of the two is unknown but given his very specific assignment it seems unlikely to me that he would fool around with rearranging cannonballs. While they make assumptions about him being to lazy or having backproblems it is a fact that he contracted a serious bout of Cholera (which probably was somewhat instrumental in his untimely death).

Then there is this:

[2] Fenton himself, in his April 4-5t letter, writes about the “valley of death” although he is clearly referring to “The Valley of the Shadow of Death.”

</blockquote>

as far as I know the valley was actually named (by the soldiers who fought there) the valley of death as such. Alfred, Lord Tennyson who wrote a poem after reading the news story also spoke of the valley of death. The Valley of the Shadow of Death seems to be a later addition which obviously refers to the wellknown <a href="http://upload.wikimedia.org/wikipedia/commons/8/8b/The_Sunday_at_Home_1880_-_Psalm_23.jpg">Psalm XXIII</a>

Something else noteworthy from the article:

4. The claim that a photograph is posed is essentially a “conspiracy theory.” It is a claim that the photographer intended to deceive the viewer.

</blockquote>

as we know (and FWIW) conspiracy theories almost without exception prove to be wrong in the end.

Although I did find (and crosschecked in so far as was possible) some of the information on the internet in my OP my main source of information was the <a href="http://www.amazon.com/Encyclopedia-Nineteenth-Century-Photography-John-Hannavy/dp/0415972353/ref=sr_1_1?ie=UTF8&qid=1300829828&sr=8-1">"Encyclopedia of Nineteenth Century Photography" </a>

One excerpt from the article on Fenton in this Encyclopedia the implication of which I think all of us should take to hart is this: "Driven by his enthusiasm for discussion and debate, and the exchange of information between practitioners, he helped establish the model of photographic fellowship that endures to this day"

Sign In

Profiles

Forums

Blogs

Events

Downloads

Gallery

Store

Posts posted by tonmestrom