I wrote the following as an updated note to an earlier entry, but it probably needs a seperate published manisfesto:
I have been trying to reconcile the writing I do for this blog versus The Photo Exchange, were I am the current Managing Editor, so for this subject (The Business of Fine Art Phtograph) and similar topics regarding the business of (Fine Art) photography, I will be posting those on The Photo Exchange. Thus, this journal will be more about my development of my photographic projects, series, singular images, photographs and the like.
Unless I have some technical glitch I want to crab about or want to extrol the benefits of some equipment, I defer to the ton of other blogs who think that this is more important than I do.
I realize that this declariation will probably reduce my readership to a mere pitance, but in am writing to fete my thoughts and feelings about the work I do, so be it.
But I will probably change my mind about this again tomorrow;- )
Best regarsds, Doug
More investigating the spacial relationships of neighbors. Missouri.
The question of “What makes a good landscape” is one of those questions that at one time, I felt had some relevance. Sorry, but I am now feeling that the question is only one for me personally.
In fact, I have difficulty with the concept of “good” as adjutive attached to a landscape image, or perhaps any work of art. I try to think in terms of something connecting with me, or not connecting with me. Just because I feel a connection (or not) does not mean that someone else will or will not. Way too personal and I am not a big fan of judgemental statments of late.
So for me, a landscape image should be interesting, there should be something about it that creates interesting forms, shapes, space and other design elements. For some reason, it should hold my interest in some way. And the ways that it could hold my interest vary.
Some landscape images are those that can be meditative, there is something that draws me in and allows me some internal reflective time. Many of Michael Kenna photographs are like that, as are many of my earlier natural landscape photographs.
The landscape image may or it may not have all of the answers. Sometimes they do and those work, sometimes they do not and those work. It is a case by case event, but lately, I am interested by the landscape photographs that do not seen to have all of the answers. It is my opinion that if a series of landscapes are grouped, they should support each other in a way that collectively they are greater than each one seperately (unless that stated purpose is something other than that). And this is not as easy at it might seem.
My thoughts for the day. Tomorrow, my thoughts about this will probably be different.
Best regards, Doug
While I was in Eastern China at the beginning of the year, I embarked on a study of the construction and changes occuring there. Thos photographers were subsequently labeled “industrial landscape photography” at the Palm Springs Photo Festival portfolio reviews. I must admit, I was tapping into my technical background, but I thought those phtotographs were still about the evolving landscape and the releationships that were changing in China. Not so much as industrial landscapes per se.
The recent trip to Colorado and Missouri confirms for me that I still have an on-going interest in the interpersonal relationships that are created between neighbors. Yep, it seems that my series of Places Amongst Us continues to evolve.
Best regards, Doug
I continue to contemplate the use of Limited Editions for my photographs after my lengthly discussion with Hal Gould while in Denver last week. There really is a lengthly list of pros and cons on this issue, but I guess it does come down to individual philosphy and creative intent.
In reality, there is no limit to the amount of photographic prints that can be made from a negative or electronic file, especially if you allow others to make your prints for you. If you complete your own printing, it is limited to your own life span, eh?
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