andrew_west5

March 14, 2012

I appreciate all of the advice so far.

Willis, I'll send an email your way. Not that it really matters, but I think you have me confused for another Andrew West. As far as I know, I haven't had any nature photos published in the press.

I do plan on processing and printing color once I'm comfortable with B&W, and I would really like to get into large format work in the somewhat near future. I figured a darkroom based around a Jobo or something like it should best be able to handle all of that. I try to avoid buying anything that I would just want to upgrade or replace later on. I know that isn't always an option, but it does save money in the long run. Anyway, I'm not trying to counter anyone's advice here, just sharing my line of thinking.

March 9, 2012

I'm making a move back to film/traditional/analog/luddite photography. I have a choice between a poorly-ventilated, temporary bathroom darkroom and a poorly-ventilated, semi-permanent darkroom without access to running water.

I've never processed my own film before, much less setup a darkroom. It isn't difficult to Google the necessities, but I was curious if a processor, a Jobo if I can get lucky on eBay or at a garage sale, would be a good way to go.

If it is, and it seems that way, are the Jobo processors the only way to go for a home darkroom? I haven't been able to find anything else that wouldn't be complete overkill for my needs, but it seems unlikely—not impossible, though—that it all comes down to one company. I do intend to do my own printing, so I'm looking for something that I can use at both stages.

Any help would be much appreciated. Search engines are great and all, but there comes a point where it's just easier and more reliable to ask someone with experience.

November 7, 2011

November 3, 2011

As luck would have it, there's a camera store about an hour away. I can't exactly stop in just to look around, but it's there if I have a good enough reason. Their prices on used equipment are pretty good—typically good enough to justify buying there rather than gambling on buying online, sight unseen.

What annoys me about the big box stores closer to home, is that I know there are knowledgeable people looking for work who would be great for the specialty sales jobs. Having applied to (at least) a few dozen of these positions myself, from cameras and electronics to music/studio equipment, I know that the primary concern is retail experience. Understandable, of course, but I think the issue is that these companies don't really get what makes the shopping experience positive for a consumer.

Maybe I'm wrong, but it seems to me people want to trust a salesperson as an authority figure. They want to be able to get all of the nagging questions about a potential purchase off their chest and, if they're going to surrender the money they've been scraping together the past few weeks/months/years for whatever it is, they want the salesperson to put their mind at ease and assure them that they're making a good decision. Two things are important there: trust and knowledgeability. A customer needs to trust that these questions will be answered honestly, and they need to believe that the person representing the store and its products actually knows what they're selling—ideally, knows more about what they're selling than the customer.

I've had my share of bad store experiences, more than my share if you count years of listening to my dad (semi-pro musician with access to the Internet) complain about the same thing. Maybe the rise of ecommerce and the informed consumer requires more knowledgeable sales staff, not less. If that's not an option, then I think sales positions are obsolete—another occupation killed off by the evil machines, I guess.

Either way, there is a certain level of familiarity with a product that is necessary if you're going to work somewhere that sells it without making a fool of yourself, losing sales, and irritating customers. Awhile back, I asked someone working in Walmart's photo department a question about filters, she had me explain what they were, then told me she didn't sell them. I could have grabbed one from the shelf and shown her. I found it amusing more anything, but it's not hard to imagine how her lack of knowledge (and familiarity with the inventory) could lead to problems.

November 1, 2011

Why is film's growing popularity with younger generations maybe a good thing? Are we rooting for the death of film?

If nothing else, it means fewer party snaps and mirror-in-the-bathroom portraits. Well, probably not.

November 1, 2011

If a photographer who blends in is boring, a photographer who orders people around is obnoxious.

October 28, 2011

More food for thought here. I appreciate it.

Another question, probably the one I should have lead with: How would I get started, right now, before getting back into school or anything else? I could contact the local paper, but that seems like a dead end in my case. Our paper was bought out by a media company in another city, all but a handful of people were let go, and an already less than fantastic paper was transformed into a collection of syndicated articles, fluff pieces, and local news covered by a handful of staffers. Fun fact, our paper was actually voted one of the worst in the country. If I could remember the name of the ranking, I'd link it.

I could try papers in neighboring towns, but while the quality is generally better, I don't see them taking work on spec or hiring a freelancer. There's the possibility of internships, but everything I've seen around here is for college credit (unpaid, that is) and requires that applicants be working toward a degree in a related field.

Do I have any options other than waiting?

October 28, 2011

Interesting responses. As far as Walmart goes, it (and a handful of other major chain stories) has effectively taken over the economy of this particular small town (population around 20,000). For better or worse, as the Walmart here has grown (literally, they finished the Super Walmart conversion a couple years ago), local business has declined. The mall a minute from the house is empty, the last store closed its doors around the time the national economy bottomed out. There is still local business, but in many cases, it's competing directly with Walmart. Make of it what you will, no real point here, but them's the facts.

I have a question for those quick to stand up for the chain studios (which, to be honest, I don't have any strong opinions toward either way). If I were to research the pricing and packages of all of these studios in my immediate area (say, <10 miles), then start offering my own portrait services at either the same or a slightly lower cost, would you stand up for me while I undercut all of the independent photographers/studios in the area?

October 27, 2011

I would say that such portrait operations really are about polished, professional retail sensibilities (which include engaging manners, a customer service mindset, a sense of what the customer really wants and can afford, etc.). Because the formulaic photographic products in question aren't about creativity or a technical understanding of what's going on with those photons and JPGs and whatnot, it makes perfect sense to avoid would-be Artsy Primadonna Types and to look instead - deliberately and thoroughly - for people who know how to generate and take care of customers. Makes sense to me.

</blockquote>

So, you assume that experience or technical understanding precludes an ability to generate and take care of customers? Anyway, if I've come across as an Artsy Primadonna Type, let me assure you, all I want is a job to pay bills in the short term.

Customers who buy photos at Walmart know, or really should know, what they are getting. People who shop at Walmart know it's not Nordstrums. They can't afford that and know it, and there's nothing wrong with that.

If you want to work at a studio which does everything your way, then you can open one.

</blockquote>

I think you and Matt missed my point. I don't care about the focus on retail experience over ability as a photographer. I took issue with them promoting their photographers as "experienced professionals". I just found the discrepancies between their hiring practices and the marketing amusing—"no experience required" vs "experienced". Come on, you know it's a little funny, even if it's unsurprising and fairly common.

October 27, 2011

I think you gents are right, photography experience can be a hinderance with these places. I've applied at the photo labs with the same result.

I think I'm doubly screwed because I also mention working toward a photography degree. That's got to be the last thing they want.

October 27, 2011

Alright, just a wee rant here. Fair warning.

I've been applying at all the various McStudios in the area, from Picture People and JC Penney to the chain of studios that are either owned by Walmart or just joined at the hip (if you have a Super Walmart by you, and you do, you'll know what I'm talking about).

Two things that all of these establishments have in common:

- They want people with retail experience. The applications stress this, the assessments are sales-oriented, and the interviewers want you to "sell" them your cellphone. Or a pencil. That's all well and good, but photography experience and technical skills are also written off as unnecessary. They can teach that, they say.

- Their marketing materials all highlight the skill and experience of their photographers. The website that inspired this thread used the phrase "experienced professionals" as a mantra.

I'm not bitter. Sure, the phrase "fun filters" makes my blood simmer a little, but I can handle it. What actually makes it start to boil (but not really) is that these companies discount the value of technical ability and experience while simultaneously using it to sell themselves. If you're hiring people based on their summer job at Old Navy, you can't market the photographers in your hire as being experienced professional photographers. Not without intentionally deceiving customers, at least.

I should probably clarify here, I find it more amusing than anything. While I do genuinely believe they're deceiving customers unfairly, these places have their target market. The people who like "fun filters".

October 27, 2011

Thank you for sharing this. At the risk of sounding cliché, I think he's really managed to capture the strength of these women.

October 26, 2011

Thanks for all the advice so far. I have a lot to think about.

I'm not one to write things off without doing my due diligence, but I don't think I'm cut out to work in public affairs. I have considered military journalism, but as far as I know, I couldn't/wouldn't be guaranteed a speciality. Well that, and I'm not really looking to become a soldier, as tempting the career kick-start would be.

The part-time route, it's hard to argue with the pragmatism, but finding a proper, pensioned job is easier said than done (been working on finding any kind of work for awhile). Even then, how would I handle assignments requiring travel? Of course, there's no reason I couldn't branch out with the freelancing. Not just photography, but web/print design, maybe even multimedia production. Maybe that's the smart choice.

I went ahead and registered at Lightstalkers. It doesn't seem to be as active as it used once was, but it still looks like a valuable resource.

I'm hoping another advantage, besides not having to support a family (or, being honest, planning to start one), is my interest in new media. I believe this is a transitional period. Not a profound thought by any means, but I'm interested in being involved with whatever comes next. Maybe doing my own thing once I have the experience to pull it off.

Gotta have ambitions, right?

October 25, 2011

I know the question has been asked to death, but I haven't found anything that really addresses my concerns. I wouldn't bother asking if "photojournalist" is a practical career choice or if it pays decent. I know that, as far as practical career choices go, "journalist" (in all its various forms) falls somewhere between rock star and the next Great American Novel(ist). I also know that I'd be scrounging around for money while working my ass off (and possibly risking it) for the same pay I could make waxing floors at the local high school. To be fair though, school custodians make pretty good money around here.

I've read all about how photojournalism is becoming "multimedia journalism". Hell, it already has. I can handle that. I'm interested in audio and video production and I've always had an interest in documentary filmmaking. As long as I can still run around with a camera, that's fine with me.

I want to ask, is it a practical career choice to pursue "multimedia journalism", knowing that I'll be underpaid and overworked, in the hopes that it will be fulfilling enough to make up for the admittedly long list of disadvantages that come with it? If you associate the word practical with financial security, the obvious answer is no. I'm willing to sacrifice that for work that I enjoy (as a whole, at least) and that allows me to live a life as free from monotony as reasonably possible. You know, the same reasons everyone else wants in.

What concerns me is that I'm not sure if the job that I want exists. It seems the harsh reality that tenderfoot journalists are facing is that these dream jobs they put in four years plus an internship (or two) to get, well, they don't really exist. Finances aside, what should I expect as a freelancer? Vague question, I know, but whatever you have—I'm all ears.

Is stringing for a wire service an attainable goal? Is there a future for photojournalism as a profession in the form of multimedia publications, like <a href="http://oncemagazine.com/">Once Magazine</a> and <a href="http://obamapacman.com/2011/07/ipad-photojournalism-experiment-via-panam/">Via PanAm</a>? At the least, it seems like that's where the future of long-form photojournalism lies. Either way, I have experience with web design and the 800 lb gorilla that is digital media. Is it possible to make a living primarily through digital magazines and websites (and I don't just mean the online editions of established papers)?

I've read, many times over, that if you can think of anything else to do, do it. Only if you can think of nothing else you'd rather do (or maybe, that you're able to do), should you pursue photojournalism. Are there seasoned PJs who haven't grown bitter?

I apologize for the rambling, but I'm struggling with a decision here. I've spent over a year away from school (issues with financial aid, not by personal choice). I've been looking for a school close to home and I'll tell you, the options are limited in rural Indiana. There's a school, an hour drive, that offers a BA in journalism. Whether or not I'd major in that specifically isn't something I've decided at this point, but the courses are there.

Anyone want to give me their two cents? I should probably get used to begging for change.

October 19, 2011

Thanks for all the responses so far. Yesterday ended up being overcast and rainy, so I'll have to do it another day this week.

The issue with asking for payment up front in this situation is that I could just as easily rip him off. As far as he's concerned, I'm just a guy who responded to an ad. Sending him low resolution images for him to sign off on sounds like it could work.

$50.00, huh? Geez, I don't even like to get out of bed for less than $300.00.

(File under: If you don't value your own time and efforts, no one else will either.)

Oh Yeah, one other thing: Always, Always, Always get a signed agreement before you do any work.

</blockquote>

Actually, I'd file it under: If you're flat broke with bills piling up, turning down paying work is a luxury you can't afford. It has nothing to do with valuing my time and efforts.

I appreciate everyone's advice and I don't think they're unfounded concerns. Right now though, I'm just trying to put the money I've invested in photo equipment to some use. I don't intend to get into the business of undercutting local pros.

October 18, 2011

This reminds me of the time I was walking around Walmart with an SLR and 55-200mm hanging around my neck when an employee told me to put it away. I told him it wouldn't fit in my pocket and he seemed to agree.

October 18, 2011

With a contract, it would be easy to win a case in small claims court if he doesn't pay. He'll know this. If he refuses to sign a simple contract, it's a big red flag that you probably won't be paid.

</blockquote>

I can't imagine going to court over $50 though. It would be $100 just to file a claim here.

20 minutes total including travel time? Or 20 minutes on-site?

Having a contract is not just about being paid for the images. My concern would be that you are not necessarily the exclusive photographer. If 5 people responded to him, he might "hire" them all and pick the best later.

People tend to be overly concerned about copyrights for a shoot like this. The images most likely have no value to you for other purposes.

</blockquote>

From home, it's a pretty good drive. I'll already be in the area though, so I'm not making a special trip out there. I'm thinking it shouldn't take long to cover the area, it's pretty straightforward stuff.

If I were to send him a contract, it would be through email. I know you can find legal templates for this kind of thing online, but most of those seem like they would be a little much for this.

October 18, 2011

I responded to an online ad looking for a photographer. The arrangement is that I take exterior shots of a local chain store for a real estate portfolio, email the unedited JPEGS to the guy, and he'll send $50 through Paypal. He's looking for a dozen or so shots, just different angles of the building, so it shouldn't take too much time. I wasn't born yesterday or live under a rock; I'm well aware that the $50 could be a fairy tale, but there isn't much at stake here and any extra money helps right now.

At least, that's what I figured when I didn't bring up anything about a contract. Not to mention, I don't have the resources to go after him even if I did. Assuming the weather is decent, I'm planning on heading out tomorrow morning. I still feel like a contract would be overkill for something like this, but I'm considering bringing up copyright before sending him the images tomorrow. Maybe I'm just overthinking it.

Any thoughts or sage advice is welcome here.

August 23, 2011

You're right about the max aperture. I'm not sure where I got that, probably just wishful thinking.

I know there's the Polaroid Type 55 film for negatives, but I read something about cleaning up and using standard pack film negatives, at least for scanning. I might give it a shot and see what I get.

Converting the camera to manual does sound tempting.

August 21, 2011

Any idea how I could figure out the equivalent f-stop for each ISO setting (75, 150, 300, and 3000) or am I trying to do the impossible?

If I knew by how many stops the lighten/darken control effected the exposure, the aperture, and what exactly the lighting selector did, I should be able to control the exposure relative to the camera's metering. As far as the lighting selector goes, I read somewhere that the "Bright Sun or Dull Day" setting set the aperture to f5.6. The other setting stopped it down to f8 or smaller, if needed. I can't remember where I read it though, and I've yet to find it again, so I could just be imagining things.

Judging by the dozen or so Google searches I've done, all of this is a big mystery.

I have no problem scanning the prints, but I was hoping there was some way I could use the negative. Is it a lost cause?

August 20, 2011

I picked up an Automatic 100 in an antiques store a couple weeks ago. I cleaned it up (nothing too bad, just the usual 40 years of dust and grime), downloaded a PDF of the manual, and ordered the battery and a couple boxes of film online. My package arrived yesterday and I was finally able to start experimenting with it.

I love the thing, but I have a few questions.

I realize that it's technically a manual focus point-and-shoot, but it seems like there has to be a way to take control over the exposure. Correct me if I'm way off here, but it looks like the ISO dial directly controls the aperture, so using that in tandem with the exposure compensation dial (the lighten/darken control) along with the bright sun/everything else switch ("lighting selector") should allow me something resembling manual control over the exposure.

If anyone has a better understanding of the relationship between the controls and the exposure, please enlighten me.

I was also wondering if it would be possible to print from the negative. If so, how would I go about doing that?

Oh, and if anyone has any general Polaroid advice, I'm all ears.

Thanks all. Sorry if this isn't the right forum. I just figured, since the camera is a rangefinder and all...

February 28, 2011

Alright, so I have a dilemma here. My fiancée's cousin is getting married in August. The bride-to-be also happens to be her best friend. As you might imagine, she'd really like to be there. Before plans changed, her and I were actually supposed to be in the wedding.

Due to some family drama, the traditional church ceremony was scrapped in favor of a destination wedding. They found a Caribbean cruise they loved and booked it yesterday. Unfortunately, we don't have the money or means to raise a few thousand dollars in six months. We talked about it, and decided it just wasn't practical for us to try to go. I suggested, if we didn't have the money for both of us, that she go without me, but she didn't like idea. Understandable, since everyone else would be coupled.

She just called, having spent the day looking at dresses with the bride, and told me that the bride's mom offered to pay for my room (it's a package deal, so meals included) on the ship. This is extremely generous, but there are still a few issues:

<ol>

<li>We still have to cover my airfare and any other expenses.</li>

<li>She isn't paying for my fiancée, so we'll also need to cover the $700+ for the cruise in addition to her airfare and whatever else comes up.</li>

<li>She is offering this in exchange for my services as a photographer. This is why I am here.</li>

</ol>

All things being equal, if I had experience shooting weddings and the right equipment, I'd probably do it and wouldn't be posting this. However, I have never shot a wedding in my life and, though I have done some group photography, I've never covered an event.

As far as equipment, my inventory looks like this, more or less:

<ol>

</ol>

<ul>

<li>Fuji s3 Pro (the closest I have to a backup body is a P&S that may or may still work)</li>

<li>Nikon 55-200mm f4-5.6 VR</li>

<li>Nikon 50mm f1.8</li>

<li>Nikon sb600</li>

<li>Yongnuo RF-602 Wireless Flash Trigger</li>

<li>Lexar 4GB CF Card</li>

<li>Sunpak Pro-something Tripod with Pistol Grip Head</li>

<li>Assorted odds and ends such as spare batteries, emergency flash slave (optical), and electrical tape</li>

</ul>

I brought up not being confident in my equipment or experience to shoot a wedding solo, but the bride and groom weren't having any of that. If I scrounge, I might be able to pull together $500, give or take, to invest in equipment. I'm not entirely sure what I should be looking at. I have a basic understanding of a wedding/event photographer's checklist, but I have no clue what the absolute minimum setup would be. Is it impossible to work with $500? What kind of budget do I need? The wedding will be on board the ship before we leave port. I already asked for more information, though I have a feeling we won't really know until we're there. As of right now, I'm not even sure if it's going to be indoor or outdoor. Though, considering August is in the middle of Florida's rainy season, I wouldn't place any bets. I know this forum sees more than its share of ill-prepared amateurs trying to wring some money out of a hobby, but this situation is a little different. I don't want to disappoint friends by turning it down and not going, but I'm also afraid I'll agree to do it and let them down as a photographer.

Any advice here?

February 18, 2011

A young couple sit inside a parked car, the city lights glittering behind them. The scene evokes teenage dreams, long makeout sessions and big-time ambitions. It is classic Americana. Except for one thing: both are women.

“By inserting a queer subject, it’s rewriting the narrative,” said <a href="http://mollylandreth.com/">Molly Landreth</a>, the photographer. “It’s acknowledging that these lives exist parallel to the straight lives that are always seen in these iconic images.”

</blockquote>

Read more and view the project <a href="http://lens.blogs.nytimes.com/2010/12/03/in-a-common-scene-a-queer-subject/">here</a>.

February 16, 2011

A photography student and popular blogger on the subject of photojournalism:

Looking at all the imagery streaming out of Egypt, one thing I’ve noticed is how bad most photojournalism is. And not just in the way that ninety percent of anything is bad. I believe that quick photojournalism, of the sort that delivers rapid-fire updates on ongoing events, is especially bad. That won’t please photojournalists, who I know work hard and occasionally cross the line of fire to bring back pictures for us. But photojournalism is bad photography, generally.

</blockquote>

Full post available <a href="http://enthusiasms.org/post/3333661031">here</a>.

February 13, 2011

No, for many reasons.

On top of those already listed, there's the fact that journalists and documentary photographers, as a general rule, don't have the option of blurring out distracting backgrounds in Photoshop. Even if the effect was convincing (and actually looked halfway decent), there's an entire industry that frowns upon it, if not outright forbids it.

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