Let's talk making great images.

[Photog]

Stan,
The pages of this thread have been very, very good reading. There are at least 4 distinct perspectives in this thread (so far); each providing great insight to photography and/or art. You may find that one of these perspective really matches your idea of photography.

Following this thread has helped me to see my own work differently. I am making some notes from this thread, in my journal, that will go with me into the field.

We touched on the frustration/inspiration issue a few pages back (post #32 +). I am happy to see it surface again. I think a decent discussion on this point can easily make our time spent in the field, more efficient and productive.

:lurk::lurk:

 

[Overland Hadley]

I read something once that noted that moments of clarity and inspiration in life are more uncommon than common.

I think anytime you are working/speaking from the soul things can become frustrating if the inspiration is not there. It can also be very frustrating when the inspiration is there but the subject or the light is not there. It is at these times we wish we were painters, able to take the "feeling" back to the studio and create through the darkness of night.

But this is one of the things I like about photography, part of its magic to me. It is not enough to be simply inspired, nor is it enough to be in the right location. It has to be a combination of the two.

I spend a couple of months before a big trip mentally preparing myself for the work ahead. Most of the time it works and I am mentally in the right place, and sometimes it doesn't work.


I would be interested in hearing other peoples thoughts on frustration and inspiration.

 

[Michael Slade]

Here are how my pieces turned out. I will donate one to the auction, one to the school and one went home with me on Friday. I am very happy how it looks hanging on the wall.

Here is the note I included on the reverse side, along with the sliced-up original negatives. :Wow1:


January 24, 2010

Dear Friend,

I hope you enjoy this piece. I am pretty sure that you will, since bidding at an auction is not an involuntary action. In case we never meet in person, I wanted to share a few things about the image and how it was made.

In November of 2009 I decided I wanted to visit the Bear River Migratory Bird Refuge to make this image. I knew the location I wanted to photograph, as I had been there several times before. I originally had envisioned this piece as a triptych printed in platinum, and now just had to find a scene to match what I wanted the piece to feel like. I arrived around 5 am, which was far too dark to photograph, and nearly too dark to even walk around without a flashlight on. I had to wait for the light to increase enough that I could start to see where I wanted to set up the camera.

As the sky brightened, I began to look for the view I had envisioned and set up the camera. The scene wasn't working for me visually, so I walked about ¼ mile with over 50lbs of camera equipment and set up again. Looking at the image I still wasn't satisfied so again, I packed up the gear and walked another ¼ mile. As I walked up to this location I knew that it was exactly the scene I wanted, mainly because it felt right. For me this is a huge part of my photography. If there isn't any feeling in the image I ought not to even waste my time. Occasionally everything happens just right. In this piece, now that it is finished, I am very happy with how it both looks and feels.

The view is looking north east towards Tremonton, Utah. ATK would be to the left, Brigham City would be to your right and the Great Salt Lake is directly behind the camera.

The camera is an 11x14 Lotus view camera which is owned by Waterford School. The view was photographed on 11x14 inch Ilford HP5+ film and processed in Pyro. The printing was on Arches Platine, a 100% cotton rag paper. Each sheet is hand-torn to fit the negative size. The image is created with Platinum and Palladium metals, which are hand-brushed onto the surface of the paper. The image has a 500-year - or longer - life-expectancy. The image is actually soaked into the paper fibers and as long as the paper exists, the image will exist. Furthermore, as Platinum and Palladium are noble metals, they will not fade. You shouldn't have to worry about placing the print in nearly any display situation. I would suggest displaying it where the viewer can get up close to it and really look at the detail and texture...that is, after all, one of the unique characteristics of the Platinum/Palladium print.

There are about fifty to sixty hours involved in the creation of this piece. I honestly hope you enjoy it. If it is taken care of, it will be a piece you can pass down for generations.

Thank you for your support of the Waterford School through the purchase of my work.

Warmly,


Michael Slade
www.gslps.org

 

[photoman]

Very nice Michael. I feel that a hand written note by the artist is a very special piece to add to photos. Especially in situations like this where you have donated the piece for fund raising.



I can see that you have signed the piece but do not see it titled anywhere. Is it titled in the bottom left maybe?
If you title your pieces how and where do you title them?

 

[Michael Slade]

I sign in the lower right, title in the lower left. If it's an edition I'll put the edition numbers in the middle.

As to how I title a piece, I am very literal. I usually title it the location of the image and a short one-word description. This image is titled: 'Pond, B.R.M.B.R, Utah' The BRMBR stands for: Bear River Migratory Bird Refuge.

 

[photoman]

I sign in the lower right, title in the lower left. If it's an edition I'll put the edition numbers in the middle.

As to how I title a piece, I am very literal. I usually title it the location of the image and a short one-word description. This image is titled: 'Pond, B.R.M.B.R, Utah' The BRMBR stands for: Bear River Migratory Bird Refuge.

Thanks-

I always find it interesting to see how people present their work. Many times it describes the artists work and vision as much as the actual art does.