what do you do to keep yourself sharp ?

[removed account4]

do you have things in mind that you can't photograph that keep you going ?

i know we all change and our photographic interests change/morph into things that are different, but we always have a seed of what we started with "in the beginning" - memories and other ideas that are always in the back on one's head.

do you have anything that you always think about that you can't or don't photograph that influences how you expose film + make prints ?

every time i see a shadow cast on the kitchen wall, water dripping off my nose to the shower floor, or a piece of glass to be recycled on monday's trash pick-up, i want to photograph this stuff, but i don't/can't for whatever reason --- time/energy ... whatever. -- so i just think about them.

anyone else have things they think about to keep them going ?

-john

 

[Donald Qualls]

Within limitations of my budget, I try to keep my formats and techniques expanded so I *can* take those photographs I might otherwise pass up. Recently, I found I could carry three medium format cameras (two folders and one retracting pinhole), one 35 mm pinhole, plus a couple tiny one-shot pinhole cameras, tripod, and light meter -- and have both hands free. A few 120 cans and a backup cassette of Tri-X in my pocket and I was ready for a whole day of photography, and the only camera visible was the Nettar hung around my neck.

Don't know what I'll do when summer comes and I can't wear that jacket because it's too HOT. Probably go back to my over-shoulder bag of plate cameras, with the tripod over the other shoulder...

 

[Donald Miller]

I am getting away from photographing "things" and paying more attention to forms, lines, patterns, and textures. Photo 101 stuff but I forgot and got away from it over the years.

 

[Foto Ludens]

Yeah, I know what you mean. I tend to look at people all day and wish I had a camera with me. Last semester I had a class with a particular philosophy professor whose blackboard notes were always extremely cool (abstract, whatever). I always wish I had a camera in that class just to photograph the blackboard at the end of the hour.... But I never did...

Jeremy Moore will know what I'm talking about...

 

[Thomassauerwein]

Use a LOOP and a GRAIN FINDER.

 

[John Bartley]

..... Recently, I found I could carry ...... a whole bunch of cameras ...

WOW !!!


Donald, what are you going to do when the 8x10 bug hits .

 

[Jeremy]

Yeah, I know what you mean. I tend to look at people all day and wish I had a camera with me. Last semester I had a class with a particular philosophy professor whose blackboard notes were always extremely cool (abstract, whatever). I always wish I had a camera in that class just to photograph the blackboard at the end of the hour.... But I never did...

Jeremy Moore will know what I'm talking about...

Andre,
Go for it! Pauley is such a great guy that he would not mind it at all and would welcome the chance... would probably just require a print for him on your part.

 

[Thomassauerwein]

Well this may be to much information but, I never really fall asleep immediately so I usually look at images or walk around locations I'm planning to visit. It is amazing how with your eyes closed how much you can move things around and try different lighting scenarios. In my basketball superstar days (laugh, laugh) Replaying plays and practising shooting while half asleep really did great things. It just kind of carried over to photography once I realized there are no huge NBA contracts coming my way.
Another strange thing that happens, is while printing. When an image starts to form in the developer it is usually broken down to its fundemental shapes for the first 40 to 70 seconds. At this point I can't tell you how many times I've seen the essence of the idea. It has really helped to cut out the crap and focus an idea. I guess that's why I love to print so much. Every time I print the same image anew it always inspires a better way or new ideas.

 

[Charles Webb]

I began my photography journey in A portrait studio, loved everything associated with it. Except photographing baby's. I hated that part of the job, I suppose because the babies were smarter than me. When the opportunity to move into catelog and illustration came about I was quick to turn my back on portrait work, totally because of babies (to young to sit up on their own). I loved the adults and the kids over 24 months old. I spent many years doing aerial, commercial illustration and a small amount of portrait work. After fifty or more years of photographing anything that would stand still long enough, I find my self thinking totally about portrait work. I go to bed thinking about it, dreaming, scheming until I wake up in the morning. I then I am more obssessed with the same subject. I beat myself up daily for not persuing portraiture more than I did. I had the finest teachers available but did not take full advantage of them. I rubbed elbows with them for fifty years, but did not believe I was in the same class with them. My portraits won awards, ribbons etc. hanging right beside of theirs,
but I still felt my work fell short of theirs, even though the judges thought differently. Anyway, as my life in picture making is coming to a close I do find my self reposing, reshooting, and rethinking those portraits I have made so long ago. I have no one to day to sit for me, but I still dream of it!

Charlie...................

 

[roteague]

In my basketball superstar days (laugh, laugh) Replaying plays and practising shooting while half asleep really did great things. It just kind of carried over to photography once I realized there are no huge NBA contracts coming my way.

I try to visualize images in my mind as well. Most of the time I never get the shot I imagine, but it keeps me aware for ones that I wouldn't have gotten otherwise.

 

[Curt]

Study Art and other forms of Design. I went to the Louve recently and other Museums like the Rodin. It's great to see the works of the Masters in Art and Architecture. I also spend time looking and thinking about lighting.

 

[Foto Ludens]

Andre,
Go for it! Pauley is such a great guy that he would not mind it at all and would welcome the chance... would probably just require a print for him on your part.

ha, yeah, I might do that next time I have a class with him. Next semester is Pauleyless, unfortunately .

 

[Jeremy]

ha, yeah, I might do that next time I have a class with him. Next semester is Pauleyless, unfortunately .

Andre, he is teaching Modern next semester I believe. No reason that you actually need to be enrolled in the class to do the photographing.

 

[Donald Qualls]

WOW !!!


Donald, what are you going to do when the 8x10 bug hits .

Hopefully, I'll have the money or find some means to make it a problem I have to actually think about. But by then I'll have some practice. I can already carry two 9x12 cm plate cameras, 20 plate holders (15 for one camera, 5 for the other), two boxes of film, changing bag, dark cloth, light meter, and tripod, and still walk easily and lightly; soon I'll be trying the same trick with an Aletta 4x5 monorail camera and the same heavy tripod. I think I've spotted a bag already in the house that will do the job. Fortunately, the wooden Aletta is light, just bulky.

 

[firecracker]

Whatever you pick one at a time, examine one's work critically and come up with your own conclusion of it. And you apply it to your own work and grow with it.

Track down your most influences first, and see what their works are all about and how they relate to yours and/or you relate to theirs.

At the same time, be open to almost anything that comes to you, but just (learn to figure out) what is and what is not for you to achieve your particular goal(s). And stick to what you believe is and feels right.

I know I'm talking about the common sense, but you know that's what keeps me being as sharp as I could possibly be.