Carte Blanche
April 2011
155 posts
How does a photographer make enough money to fund significant works throughout a full, 30-year career?
Significant bodies of work happen because photographers have the opportunity to produce over long periods of time. They have a career where they refine and develop their craft, where they get to look at things critically and get to hone whatever their style and message. If you look at the cost over that period of time, you have to have some sort of revenue stream coming in. It can’t just be the credit card. It can’t just be the loan, or this idea that somewhere down the road, you’re going to be discovered and it’s going to make everything OK.
– Matt Slaby, LUCEO Images
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I learn a lot about a person by looking at a photographer’s raw takes. One aspect is how they approach a scene. I remember taking a personality test years ago for a job interview, and one of the questions asked how you approach a problem, presented as a barrier in the road. The choices were to turn around to avoid the barrier, drive around the barrier, plow through it or get out of your car, examine the barrier and then move it - imagine all the variations of those choices.
Photographers approach their subjects in a similar range of ways. Everyone has a rhythm to the beat of their picture taking.
” —What kind of picture taker are you? - Blog - Picture Editor : Photography Consultant : Mentor : Mike Davis (via photographsonthebrain)
open see by Jim Goldberg →
vimeo.com
Jim Goldberg has been awarded this year’s Deutsche Borse Photography Prize 2011.
Shane Lynam Photography
We’ve been back and forth-ing emails and contact recently, and really liking his Contours : excotica series about the Jardin d’Agronomie Tropicale in the Bois de Vincenne park in Paris.
In his words: ‘These landscapes are a fascinating portrayal of the struggle between man and nature’.
The series of images that currently exist are ambiguous in aesthetics, with a wonderfully subtle palette of colour. Great stuff.
He also has a pretty good portfolio on his website.
By Any Means Necessary
‘I’m not interested in playing the ‘concerned’ moral crusader by ramming violent images in people’s faces, but that doesn’t mean the world shouldn’t have access to them. Images don’t need ‘intelligent’ aesthetics to convey their message - again, think of the Falling Man – but they can benefit from them’
Tim Hetherington
09 May 2008
foto8
http://www.foto8.com/new/online/blog/451-by-any-means-necessary
