Photographer Clay

Tag: fine art

  • Are Photography workshops really workshops

    Are Photography workshops really workshops

    Are photography workshops really workshops or are they becoming guided photography trips? Let us first look at the definition of a workshop;

    1. a room, group of rooms, or building in which work, especially mechanical work, is carried on.

    2. a seminar, discussion group, or the like, that emphasizes the exchange of ideas and the demonstration and application of techniques, skills, etc.:a theater workshop; an opera workshop.

    If that is the case then many times I have either attended a workshop or hosted a workshop when I gather with a group of fellow photographers and creatives to spend the day discussing, and exchanging ideas, and concepts, while creating photographs and art.

    I see so many advertisements for photography workshops that sound more like a guided photography trip yet they are billed as a workshop and cost a small fortune. Am I paying for the knowledge of where to go or are the hosts going to impart their knowledge to me? If it is the latter, are they also going to be taking photographs? Or is this all a way for the host(s) to make money and get their trip paid for by others?

    I often believe there are both types and we have to be careful to fully understand what we are paying for when we book the workshop. The only “workshop” I paid for I looked at it as a guided photography trip where the “hosts” didn’t teach me anything they just had scouted out the areas ahead of time.

    As I wrote about yesterday, everyone seemingly has something to sell us. Presets for photo editing programs, books, contests, and workshops all in the name of “making us better artists”. Do we really need these things or do we need to just create art and photographs? Maybe both?

  • Marketing to artists, are we easy targets?

    Marketing to artists, are we easy targets?

    Are we, artists and photographers, easy to sell to? I often believe we are easy for others to make money from. We buy chances to get published, offer free use of our photographs and art, and pay fees to get an opportunity to “win”.

    I’ve allowed “magazines” the privilege of using my photographs for free when the publisher made money from subscriptions just to say I was published but was I really published or was it the ability to use a free photograph the real selling point? Are we, photographers and artists so caught up in our own ego that we will pay to play?

    It often appears to me that everyone is willing to sell to us and we are willing to pay. Vanity contests, vanity magazines, vanity books, and vanity exhibitions.

    Marcel DuChamp in 1917 submitted “The Fountain” for exhibition in the Society of Independent Artists’ show at The Grand Central Palace in New York. It is said that the submission under the name “R. Mutt” was a protest because the society decided that anyone could be displayed simply by submitting a piece and paying a fee. Have we devolved what is art to anything is art and worthy of exhibition to simply “paying a fee”?

  • Go from average to glamour

    Go from average to glamour

    I have written often about the power of the digital darkroom and I use a variety of tools and software to get the final images I envision. In the past, we also used a variety of tools to achieve these glamorous looks. Soft focus filters, extensive lighting setups, and some advanced darkroom techniques. Despite what the anti-digital darkroom people say, it is always been done, it is just using different tools.

    While it may appear easier today it still requires good technique and a good starting point. Those of us who work extensively in the digital darkroom understand that it takes time and practice to “make it look easier”.

  • Models and the photographic artist

    Models and the photographic artist

    As some of you who have followed this blog for a while may know I call myself a photographic artist. I work to create art with my photographs. The photograph I chose to include today is done so on purpose since it doesn’t represent any model I have worked with in the past because today I am writing about an issue that comes up far too often. Artists who are creepy or sexual predators use art to molest models.

    I’ve worked with models for nearly 10 years and this topic, unfortunately, arises many times a year in my area alone. We’ve read news stories about famous photographers and artists who have not only been accused of molesting models but convicted of their crimes. As a photographic artist, I always recommend a model bring a friend, at very least the first time we work together. I also let models know we will not do any posing or styles they are not comfortable with and I never touch a model. I’ve been instances when models have had wardrobe malfunctions and if that isn’t something that was planned I always let them know they may have a bit more showing than they want and allow them to fix their wardrobe.

    For me, it’s about art nothing more and I get totally appalled and angry at those who take advantage of models. If you are a model and work with photographers or artists who make you feel uncomfortable let others know. If you are a photographer or artist who works with models never push models to do anything they are not comfortable with and agreed upon BEFORE the session. Let’s work to keep everyone safe.

  • Sometimes you have to do simple

    Sometimes you have to do simple

    We were able to “dodge the COVID bullet” for two years until this past week. At first, I suspected I was getting a bit of a cold but soon tested positive for COVID. While I never really felt sick (I’m chalking it up to being current on COVID vaccines) I just didn’t feel like I had much energy, thus the blog went unwritten for a few days.

    During that time I was isolated I received colored gels for use with studio lighting. Since I was feeling I had a bit more energy and was still “stuck” in my house I decided I’d experiment with the gels just to see if they were actually going to fit my need. It’s a nothing photograph of a vintage telephone that sits in my office. I used one of the purple gels to just see how much it changed the color of the light. Experiment success.

    Over the years, I have learned it doesn’t always take something exotic or elaborate to get you inspired and moving again. Sometimes you just need to do something simple. Here’s to getting back on track again. And for those following my journey to retirement from working for others and my journey into the full-time art and photography world, I’m down to 57 days, which equates to something like 34 working days.

  • The importance of model releases

    The importance of model releases

    I didn’t always get model releases signed. Nowadays, I get a model release anytime I photograph people unless they are clearly in public. I do this even when I have no intent to sell the images commercially. Why? Because I have had two occasions where I photographed a model and then a couple of years later they, the model, decided they didn’t like the photograph or photographs. Fortunately, in both instances, I have a signed model release that clearly states I have ownership of the photographs resulting from the session and they have no further claim and the permission is irrevocable. I will say this, in both instances, I followed through with the requests just because it wasn’t that big of an issue for me. On the other hand, the photographs that I was requested to “take down” are examples of my work and were damn good in my opinion.

    One of the biggest reasons model releases are important is that they protect both you and the model by clearly outlining how and where the photographs may be used. In my trade of time model release, I also include how many photographs the model will receive in exchange for their time, a time limit as to when they will receive the images, and the minimum size of the digital images. I also suggest they read the text of the release BEFORE signing. Once the release is signed an email version is sent to both the model and myself.

    If you are not using model releases I would strongly suggest you consider them for each and every session you do with models. As the old adage goes a verbal agreement isn’t worth the paper it is written on.

  • Time and the part-time artist

    Time and the part-time artist

    I suspect I’m not the only one who experiences the problem of feeling there is a shortage of time and creating art. Currently, I work a 40-hour-a-week job and create art in my “spare” time. Lately, it seems that “spare” time is virtually nonexistent. I’m up every day at 4 AM, the three S’s, make coffee, and sit to write a blog entry. Then it is off to the “job”. My so-called 9 to 5 isn’t mentally taxing but it is often physical. By the time I get back home at about 3:30 PM, I’m just ready to vegetate. There are days when I force myself to come in and work on some projects but over the years what I have discovered is that creativity just can’t be forced. It doesn’t happen when you sit down and say, come on come up with some great art, at least for me.

    I know it is difficult to say, to hell with it I’ll just quit my job and work making art full-time. Most of us have commitments and bills to be paid. We also know it is tough to break into becoming a successful well-paid artist. So, what is happening for me, is that I have worked at a job for the past 50 years or so and I’m in a position to retire and devote more time to creating art. My health is still good, but my mind, well sometimes it wanders, oh look a squirrel, and then suddenly a random song or line from a movie pops out.

    It’s never too late to start creating art. If you are passionate, I know that word gets bantered about far too often, about creating art take advantage of it, and do as much as you can as soon as you can, but I have also seen many people get burnt out when working a “day job” and creating photographic art. Many I have known over the years are no longer photographers or, as I have done a few times, let their equipment sit for weeks or months at a time. This is the quandary of the part-time artist. So much to create and often so little time.

  • Are artists locked into idealized worlds?

    Are artists locked into idealized worlds?

    I’ve become disillusioned by what used to be a favorite podcast. In the last podcast, I listened to the podcaster stating that we, artists, envision an “idealized” world. We work to eliminate objects from our works that we don’t want to show. I’m not sure that is always correct. Sometimes, at least for some of us, we show the world as it is. Sometimes the world is a harsh and ugly place and deserves to be shown that way.

    I will agree that we as artists and photographers may be selective in what we include in our work but this is often necessary to bring attention to the world around us. Sometimes, artists and photographers are limited by the limitations of our equipment or the canvas. Sometimes we do want to visualize an idealized world but there are times we don’t, at least not to me.

    My goal as an artist is to bring viewers into a reality of the world and things around me that may not always be ideal. Photographic art cannot recreate the world because we are limited only to the sense of vision. Our other senses, at least for now, cannot be passed on to the viewer so I may have to visually bring the viewer to imagine those things by how I choose to develop the final artwork. If that is an idealized version so be it as I work to bring the viewer into the world or subject as I visualized it at the time. I choose not to compete with other artists or photographers but to bring a piece of my world to my viewers.

  • Something I don’t understand about some photographers

    Something I don’t understand about some photographers

    I recently read a discussion about using Photoshop CS6 which was released in 2012 on a computer with the latest operating system. Photoshop CS6 was the last version of the program before Adobe introduced the subscription model. It has been 10 years. When I first bought Photoshop I paid somewhere around $700. To upgrade every 18-24 months was around $200. So in 4 years I went from Photoshop CS4 to CS6 and spent somewhere in the neighborhood of $1,100. This doesn’t count Lightroom, which costs $199 and upgrades another $80 or so.

    From CS6 until today to get continuous upgrades I’ve spent around $1,200 in 10 years! I will just never understand. I spend less money today than I used to, and I get the program’s latest version. In fact, I get two programs for less than I spent previously just for Photoshop.

    Many of those complaining about the “subscription” model uses the “but you don’t own the program” argument. If they had read the license they would probably realize they never owned the program, they owned a license to use the program which could be revoked. These same people also likely spend more on coffee each month.

    I just don’t understand wanting to continue to use outdated programs with outdated tools. I don’t use Microsoft Word or Excel much but I use them enough that I wouldn’t want to use a 10-year-old version of them. Photoshop and Lightroom I use nearly every day. To use Lightroom and Photoshop on the subscription model literally costs me 33 cents a day!

  • Art and photography aren’t about gear

    Art and photography aren’t about gear

    I belong to a social media group that is a camera brand-specific group and it can be a real source of drama. This morning while I was getting my coffee ready I was reading through some posts and noticed one where a member was chiding other members about posting photographs of their top-of-the-line gear and I get it. Some of those people don’t post photographs they take of other subjects but rather just their equipment seemingly to boast about what they have rather than what they can do with the expensive equipment. I’ve seen this plenty of times in other forums.

    Maybe I’m a bit jealous because I don’t have the budget to just decide to drop $2,000 to $3,000 on a lens, but at the same time, I have been able to buy some higher-end photography gear. In the end, it isn’t about the gear, it is about the results. I’ve taken great photographs with inexpensive lenses and a 14-year-old 10-megapixel camera.

    I also understand wanting to show off a new expensive piece of equipment. Pride in your gear is admirable, to an extent. What I would rather do is show off my new expensive piece of equipment with the final results of the photographs I’ve managed to take with the expensive equipment.

    Photography and especially art isn’t about what equipment we use but rather what we can do with the equipment we have. For me, I would rather see an artist showing me fantastic works with basic equipment. That, my friends, shows others they can do it as well.