I won't even try to design my dream magazine, as I think that most of what I want to see is covered in one or another of the magazines that I currently read. I would, however, like to see two things:
First (with apologies to Jay for repeating his idea): more cutting-edge work. I appreciate the quality of a lot of the work that's being published in magazines today, but I would like to see a bit more experimental/unusual work represented. The over-burned/over-dodged portfolio in LensWork a few issues back was the kind of thing that caught my eye...because normally it wouldn't have been published anywhere. I'm glad I got to see it, whether I liked it or not. At least it avoided the formulas that most artists follow.
Second: There's a standard article type in which the artist tells us how he or she processed their film and made the print. You all know this article: It inevitably includes a straight print, sometimes includes work prints along the way, usually includes a burn and dodge map, and always includes the final print. I'd be interested in articles of a similar vein, but with a focus on what happened before the negative was exposed. What was the artist's though process about where the camera was placed. Why did the artist have a particular film that day? Why were certain movements chosen (if the camera has movements)? Why specific filters were chosen, and what others were considered. Why, emotionally, did the artist make the picture? What the artist did after the negative was exposed is interesting...but I'd like more information on what went through his or her head before the film was exposed. One of the reasons that I love Ansel Adam's book "Examples" is that he gives us this information on a lot of the pictures in the book. I'd like to know more about how other artists go through this process. (So far I know how Ansel did it and how I do it...not much of a representative sample!)
Just my two cents...not really enough to fill a magazine, but a few thoughts that might spark something for someone. And again, Jay, my apologies for stealing you idea...I thought it was important enought to bear repeating.
Be well.
Dave
First (with apologies to Jay for repeating his idea): more cutting-edge work. I appreciate the quality of a lot of the work that's being published in magazines today, but I would like to see a bit more experimental/unusual work represented. The over-burned/over-dodged portfolio in LensWork a few issues back was the kind of thing that caught my eye...because normally it wouldn't have been published anywhere. I'm glad I got to see it, whether I liked it or not. At least it avoided the formulas that most artists follow.
Second: There's a standard article type in which the artist tells us how he or she processed their film and made the print. You all know this article: It inevitably includes a straight print, sometimes includes work prints along the way, usually includes a burn and dodge map, and always includes the final print. I'd be interested in articles of a similar vein, but with a focus on what happened before the negative was exposed. What was the artist's though process about where the camera was placed. Why did the artist have a particular film that day? Why were certain movements chosen (if the camera has movements)? Why specific filters were chosen, and what others were considered. Why, emotionally, did the artist make the picture? What the artist did after the negative was exposed is interesting...but I'd like more information on what went through his or her head before the film was exposed. One of the reasons that I love Ansel Adam's book "Examples" is that he gives us this information on a lot of the pictures in the book. I'd like to know more about how other artists go through this process. (So far I know how Ansel did it and how I do it...not much of a representative sample!)
Just my two cents...not really enough to fill a magazine, but a few thoughts that might spark something for someone. And again, Jay, my apologies for stealing you idea...I thought it was important enought to bear repeating.
Be well.
Dave