264 Responses to “madrid..”

  • Civi; “Please,don’t forget the damper…:)))”

    Imants and I will supply the damper, no worries! I used to make it over a campfire when hunting wild pigs waaaaay out beyond the black stump…


  • DAVID:

    Thank you very much. Would be good to share the show with you. Perhaps next time. I’ll let you know how it all goes.

    I plan to get the new work into submissions this week coming – hopefully. I’ll include login and password details for Anton.

    A Tahiti festival – not sure I could handle that (laughing), but would like to give it a go one day.

    Interesting thoughts you have on Jason H’s question.


    Good luck for your show too. When it comes to collectors prints, like all these things there is no one way of doing things. Yours are going towards a valuable cause and I’m sure it will all go well. I’ll check your blog to find out.


    Cheers. Too bad you are not still in Europe so you could make a quick visit to London.

  • ages since i have made any kind of print sale.. only ever sold one-off exhibition prints folowing show or at auction.. or donated prints to private collctions on the back of sponsorship, such as with kodak eastman.
    i had a rubber stamp made and signed & dated on reverse next to that.

    when commissioned to do artwork for a hotel – all rooms / foyer etc – i designed and had built custom glass frameless frames.. 5 inch sandblasted surround with print sandwiched between the 2 sheets of glass and mounted 1 inch from wall on spacers.. no white border,just a 1cm clear glass surround to the image area..
    for ¨signing¨ the client wanted it on the front so i signed a sheet of acetate which i placed over the print for a short part of the enlargement exposure, leaving a small and very subtle mark on the front within the picture area.. bottom right.. very small.. an embedded signature ¨held back¨ while printing.
    i did the same signing process for restaurant commissioned work..
    in retrospect it was alot of work for a result which, although happy with, i would nver use for personal work.. clients budget allowed for experimentation..

    thanks for brining it up sean.. reminds me that we all could be working up exhibition prints of select few all the time.. highest selling prints seem to be made close to the time of shooting by the author themselves..

  • Imants and I will supply the damper, no worries! I used to make it over a campfire when hunting wild pigs waaaaay out beyond the black stump………. Kiwi tourist ……. we made small loaves of rye based yeast risen bread peppered with walnuts covered with fresh baked murray cod and lemon myrtle butter and washed down with a warm can of KB* and still had time to saddle up the pigs for the afternoon race meeting at Bullamakenka


  • ” everything has been done before..well, yes of course …but well, no, not exactly …”

    Everything changes; yesterday has gone and will never return; so everything is again new and open to personal interpretation. The personal interpretation is the specialness that will set the work apart.

    The work of established “iconic” photographers merely sets the bar.

  • Editioned prints are a waste of time and effort. Unless you are “Famous Photographer,” you’re never going to sell more than three prints, anyway (and that’s if you have kind family members).

  • MIKE R..

    yes, exactly


    smiling…you are probably right for most photographers…setting up editions premature to ones career is a bit of a waste of time…to set editions one must be fairly well established in the art market OR have a gallerist who fancies your work and is going to set you up in the art market….there are exceptions of course…Taryn Simon came right out of Yale editioning her prints…it worked….for it to work you have to make it your full time job… in anything..


    i can imagine commercial clients like restaurants and hotels perhaps wanting a signature on the front…


    your forte will be selling limited edition books more than prints i would imagine

  • a civilian-mass audience

    And yes…we All can imagine…
    Our forte is Vision,Passion and compassion…
    And as JIMMY said…
    Don’t worry…
    You have a kind family…with many,many family members …all over the Universe!
    The BURN family…

    Dammnit…I can help it …But I love you All!!!

  • “Unless you are “Famous Photographer,” you’re never going to sell more than three prints, anyway (and that’s if you have kind family members).”

    Or unless you have pictures of your Congressman wearing lingerie and indulging his fondness for sheep. Then prints (preferably in color and with closeups of the Congressman and his paramour)are the gift that keep on giving.

  • i’ve sold more than 3 prints….as has marina…and neither of us are by any stretch of the word, famous….and not a single family member (much to my chagrin) has ever bought one of our pics…..

  • Hi DAH, All I’m sorry for posting and running, my only Internet access is currently at school or an occasional hotspot. I’m at work now so I can’t be on long. I just wanted to appologize and thank you all and especially David for his kindness and wisdom. I’ll be on later tonight to read up on all that has been posted in reply to my latest question. Have a great day everyone!

  • BOB…

    yes, family members expect prints gratis…of course if that family member is a lawyer or doctor, i doubt they are volunteering their services for free, but alas the nature of photography…seems like a hobby or fun or both (and it is!)…i even have a very distant family member on my ex-wife’s side who actually is a serious collector….still expects my prints gratis…all in the family…

    all joking aside, i too sold prints long before anyone had any idea of my career track….most people buy a picture they like…few buy for investment purposes….having a picture that will last on the wall is the game…i love this game…i love making and selling prints..absolutely the most enjoyable part of the business part of our business…no story no theme, just a great photograph…how can one beat that concept?

  • I don’t think that my print sales are going to sustain me in old age, and here’s why.

    During my portrait period I took a photograph of my brother and he asked for a print. It was a transparency and I’d already half-gassed myself making Cibachrome prints in an unventilated room so I vacillated for a while then put the task onto my “to do” list. Eventually digital imaging came around and I bought a scanner and scanned said photograph, then waited a few more years and finally bought a digital printer and made him a print. He thanked me, and put the print on the fireplace shelf. A few days later he told me that there was a small gap between the fireplace and the wall; and that the photograph had fallen into the gap. A few weeks later I made him another print. I looked at the original transparency and noticed the month and year of processing as printed on the mount. It was 25 years old.

  • Bob, you’re famous to me! And to all gathered here, I’m quite certain. So too, Marina.



  • “….but surely selling prints is the most rewarding of all commercial sales…it means somebody just likes the picture you took….yes, of course , some collectors just buy what their gallerist tells them to buy, but most will actually like the picture for its own sake..
    many photographers i hate to say it live in this land of “why isn’t my work loved”…

    Other than portrait photogrpahers, I suspect that there are very few people who actually make a living selling prints. I’ve never personally met one.

    I am constantly approached by people who are trying to find a way to make a living with photography. They show me their pictures of sunsets, scenics, flower innards etc and want to know how to sell them. There is even a store-front gallery in my small town in which a retired guy is pursuing his dream of selling his “art” photography (more sunsets, nature abstracts, wildlife and beach scenes). This is really wall decor, rather than art, which is OK, but you can go to the poster shop in your local mall for that. I’m sure he will close as soon unless he has a big bank account.

    The gallery/fine-art scene seems to be a pretty exclusive club, and although the buyers of such work I suppose appreciate the work for it’s own merit, it seems to be more about money than about art. It NEEDS to be exclusive. Why else would an open edition be worth less than a limited edition or a one off.

  • selling prints?????

    I live in another world. Or maybe I don’t belong to the right one. Anyway… now shooting… someday printing… simultaneously impossible.

  • a civilian-mass audience


    Do the men sell better …than the women…in your profession…???
    Are there …any statistics…?
    Hmmm…cause when I see a picture…I have no clue…and I don’t really care who shot it…
    As long as I love the picture and it works for me…I will buy the print…
    But I am just curious…

    Just a question
    from civi

  • a civilian-mass audience

    And yes, BOBBY…as POLLYMAN said…you are famous & MARINA & DIMA…!!!

  • a civilian-mass audience

    PAUL…sorry, my iPad is acting weird…

    I know…excuses,excuses… :)))

  • my iPad is acting weird………… that’s what happens to those that do not thinhk the market forces through and want to look good.
    We have this which is a heap more practical and useful you can be DOER not a passive receiver of information ……..

  • Yea David and books are a lot more interesting to produce though some work is being converted into praxinoscope friendly stuff

  • a civilian-mass audience

    You are damn right…
    …and i can’t even see the essays…
    And up here in the mountains of Grecolandia…
    I do look good …holding the iPad…
    Is that why this wild goat …doesn’t leave me alone…:)))


    well, i think everything we talk about here on Burn, or at least the direction i try to send young photographers, is in fact a pretty exclusive club as you have phrased it…i try to send photographers to the best publishers, magazines, agencies, galleries, etc etc…excellence IS a very exclusive club…the photographers who come to me for guidance are looking to belong to that upper echelon of photographic excellence…where else should i send them??

    open editions by the way CAN and often DO make more money for the photographer per picture than limited editions..take a picture and sell it ten times for $10,000. OR take the same picture, open the edition , and sell it one hundred times for $1,000. equals the same money and sell that same open edition picture 101 times or 201 times and you can see that open editions can and do make more for each picture printed…this is why the discussion never ends…it is both a business decision and for some an ethical decision….

    Gordon i must say that many photographers i know make money selling matter of fact almost all of them..some perhaps more successfully than others…quite a few here on Burn report selling prints…Burn has sold prints for folks here….we have three full time staff people at our (Magnum) NY office who do nothing but sell collector prints…and this does not count all of the galleries who represent the photographers…the business fluctuates with the economy of course, but the upper end sector seems to always be viable…rich folks do not suffer as much during a recession as others, and as a matter of fact can thrive making investments in prints at the lower prices that can come with a down economy….

    you are right of course that folks trying to sell their sunsets and flowers in the mall may go broke…of course…and my experience is as yours, there are so many who come to me asking how they can make a living as a photographer…as i have said many times before here on Burn, photography is NOT one of the professions, as is law and medicine and computer hard and you too can become a doctor or a lawyer…not so with photography as we refer to the craft here…however, many can find a special place and create their own worlds within this craft and happiness where what you do is only defined in your own terms…you Gordon have certainly found this balance…..but for the young with stars in their eyes, i would encourage positive thinking and show them that it is possible to live their dream…they should at least try…at least know HOW to try…

    i am sure that every kid who plays ice hockey imagines that they could one day play for the NHL…most will not of course…but at least every youngster who desires this should be able to give it a shot…and certainly should never be told by anyone that “you do not have a chance”….i try to be realistic when i look at a young person’s portfolio…most can certainly improve at least…there are some people who absolutely cannot see in pictures (every teacher knows this) and they must be told so..the worst thing you can do is give out false hope…but most can grow and some will grow beyond your wildest imagination..this is exciting stuff..and it is for this moment, for those of us who view lots and lots of work , we live to see..

    cheers, david

  • David

    I hear you.

    I’m not surprised that Magnum sells a lot of prints for it’s members, although you have to admit that you are a pretty select group.
    We all need to find our special place and create our own worlds as indeed you have done also. I have to admit that too often I concentrate on pointing out pitfalls and practical concerns rather than offering inspiration and encouragement.

    The digital revolution has created a huge upswell of interest in photography. As I’ve written before, photography has been re-invented. Photographers need to re-invent themselves as well. Burn is certainly an exciting part of that process.

  • Photographers need to re-invent themselves ………but as photographers not multi media freaks

  • GORDON..

    yes, M is a select group..but i grew up a middle class kid like millions of others and i was allowed into this select group just by old fashioned passion and hard work dream did come, it is my obligation to at least let others know that it is possible…Gordon, you are always a positive thinker in my mind…many thanks for always being here with your perspectives…much appreciated…


    i definitely agree, but do you not also believe in the power of multi-media? you sure are good at it..

  • Hi David – Some great points… I read your response and I’ve been thinking all day about what you asked of me… I need to research some more – but at the moment – my only inspirations for that essay was pressure, and a swift kick in the pants by you! (metaphorically speaking of course.)

    I’d have to look at others work deeper and try to figure it out.

    On my more recent work – The B&Ws you saw and the colors that killed them… The B&W’s, for me, feel inspired by works of Callahan, HCB, Robert Adams, and maybe a bit of Robert Capa… all men who I’ve been researching heavily recently. I really do prefer B&W to color myself – I feel more flow and freedom with it. I prefer film to digital for the same reasons…
    What will make me go from Jason Houge to JASON HOUGE? Well… I hope, with my continued effort, and through an environment like the one you’ve made here on burn, that Maybe someone will notice my work – whether I’m famous in my life it really doesn’t matter, I’m not really doing it for the fame.. I want to have a voice and to share my voice. Thats my main concern. In the times of Capa, HCB, CHIM and others, they lived through the most terrible times of Europe and I think they wanted to give those people who suffered the atrocities, and the people who fought for their lives against it a voice, because these guys had the means.
    Maybe out of the bunch, Capa wanted the fame, his biography sure seems to show he lavished in it, at least for a time. I really do appreciate your help David – I hope, for your sake (and maybe a lot of mine) I do “grow beyond your wildest imagination.”

    I must leave again for the Night and get ready to hang a small show tomorrow!

  • I suppoose it all comes down to finding a way of working that suits each individual photographer. Probably a mixture of a whole heap of stuff, prints, books, magazines, workshops etc.

    However; I do feel tht giving up the weekly grind of “run of the mill” magazine work has helped me produce better work. It has allowed me time to stand back and think about where my work needs to go, and ways to get it there.

    It reminded me of a radio interview I heard with Bob Jones; an NZ millionaire. He spent a period of time in hospital (about 6 months I think) when about 20 years old. He said it was the best thing that ever happenned to him. He said it gave him time out to think about where he wanted to go (in life), and how to achieve it, without the daily grind of work etc clouding his mind.

    Cheers :-)

  • Sure David but when taking stills that’s what you do take stills otherwise you end up with something else. I saw the production from British theatre company 1927…… “Animals and Children Took to the Streets” combining animation, cabaret, music hall type song, comedy in one show yet each profession stayed true to itself and it didn’t end up as a multi media piece

  • ………..we have webenfreude?

  • Imants; how are your books coming along?

  • well, now i can use finalcut pro just fine.. write HTML and build a website.. shoot capable video if a client requests.. in addition to printing B&W and color, developing, building exhibition frames, dry mounting, window mounting..

    the new skills, much like the old skills, are at my discretion by the looks of it.. so far..

    having said that i remember when it became possible to email images rather than deliver slides and prints.. i was capable and ready to do so long before my magazine clients had teh facilities to recieve emailed images, and so..

    now wondering who actually needs to change more.. the photographers or the clients?
    i remember in the summer in virginia talking about this in our discussion group.. photographers are suppliers of a product which the magazine / client uses in it’s own context.. so long as we are capable of producing the output needed it’s then a case of the client knowing the content they ned.. and some don’t seem to know..

    good to sell something to someone which they did not know they needed in the first place.. really though – panic over i think. passionate image makers have learn’t the skills and are able and set.. evolved..

    magazines, corperations and institutions are much more sluggish beasts than freelancers.. speedboats turn on a pinhead compared to oil rigs.. release the preasure.. be ready for the clients to change.. prod them into accepting their first metaphorical emailed photographs :ø)

  • and today i am sourcing an archived photo for a publishing house.. print use.. only critirea is for portrait orientation.. a music festival overview from croatia for full page bleed.

    last week – horizontal format request for magazine clients double page spread..

    week before – 1/4 page for scottish newspaper..
    still a photographer.

    one thing i noticed at look3 is that many of the projections were created by MM specialists and not the photographers.. dima G.. brian frank..
    i still think a photographers greatest skill is in finding an interesting specialization, researching contemporary context of the subject, getting themselves infront of the subject, framing it in such a way as to make it interesting enough for people to look at, pressing the shutter at the right moment and delivering ON TIME..

  • ¨Be a ‘warrior’ in all you do. How you are perceived in the photo world, and in the wider world, is important. Get your work seen – show it to groups, use it to inform on a local level and expand from there. Photographers have changed things with photography because they took it out of the photo world, into the real world, and made it ameliorate the lives of the subjects and inform a wider audience. ¨

  • and..

    ¨In photography it is necessary to develop a similar process that will exceed the mere copying or repetition of successful methodologies that have already been used in the art market or with publishers; it is necessary to risk in the search of our own grammar, a grammar that should be consistent with our inner world and/or our own culture; to extend the lifetime of a photograph by adding multiple layers of meanings into the image, going beyond the mere anecdote, eliminating tautologies and introducing visual signs that will make the spectator reflect on the interpretation of the image. ¨

    from alejandro castellote..

  • for some the digital advances abound today will be central to their output while to others it will be superficial compared to the central work they are doing.. both approaches are equally valid and also non-exclusive.. whether PJ or artist.

    just depends upon who you are, your goals and knowing what you need to achieve them.. i think the trick is figuring out what you need first and foremost..
    it’s amazing how much falls into place when focused..

  • Ross !! you ask !$%^&*(*&^…… how are your books coming along?

  • The last image is set just doing the last touches to the seven book series. I really treasured doing them and it is a shame that the series is coming to completion as it has been a roller coaster ride. Some periods of euphoria punctuated with despairing depression, had some real adrenalin rides as well. ………….. it sure has put a god damn smile on my face.

  • “well, now i can use finalcut pro just fine.. write HTML and build a website.. shoot capable video if a client requests.. in addition to printing B&W and color, developing, building exhibition frames, dry mounting, window mounting..”

    I learned to do the video and editing, too. But I think the problem is that many photographers, still photographers of longstanding, have been forced into becoming competent with video but do not like to shoot and edit video. I can do it. I own the tools to do it. But I don’t like to do it. And, fortunately, don’t have to do it often.

    Don’t you think that at some point trying to become all things to all clients, as many pros are forced to do these days, just isn’t worth it? I’m not sure I could do photography simply to survive. While I’ve done photography for money all my working life, had it ever become something I did not enjoy doing, I would have changed careers.

  • ROSS…

    Imants’ books are one of a kind masterpieces…..his work as a stone mason is evident in his books…he BUILDS books….i hope one day we may distribute them here through Burn…

    remind me at some point to give you my review of the Allard retro….either here or by skype


    we do not always agree, but on this point we surely do…looking at what is required of some photographers these days in terms of mixing video skills with still photography, i too would have chosen another profession if this is all i saw…not that i do not like the results…i love great films and video and i often appreciate the mixture..i just have no interest (or ability) in dealing with the editing tools etc….what made me fall in love with photography in the first place was so so simple…you saw something you wanted to remember or something which had an aesthetic appeal and you wanted to “save it”, “make it live” or however you wanted to think of it…then negative in the enlarger and up shows a print…done

    fortunately i have not had to make this choice, and i too have been blessed with enjoying every minute of being in this business….for now and the future i will always figure out a way to have others more skillful than i at video do this part…i have on my last commercial assignments been required to do video as well as stills…one i did myself and lucked out all around..somehow made it..the other, i had pro videographers do it..

    for the television version of Rio (i think being broadcast NatGeo Channel now) my son Bryan did the film…clients do not really care how you do it as long as you do it…if i take on more the role of director than photographer this only enhances your value to most clients anyway…


    agree totally with your last comment….

    cheers, david


    Dear Burnians, I have made a mistake. I am so sorry. I re-logged on around a week ago and left a message but when I tried to log in again yesterday, I could not. It was 100% operator error. And I would like to explain how it happened. This will not make good reading, far from it, so apologies for this intervention within your existing conversation. It is a matter of respect.

    I want to admit, here and now, that I sometimes don’t feel comfortable speaking on Dialogue as it feels too much ‘in the spotlight’ which is long way from my usual domain. This is not to say that I do not have a VISION I’d like to share, a passion and desire to see change in our world in our lifetimes. It could be that is lack of feeling entirely comfortable is partially at the root of a ‘going too fast’.

    Going too fast sometimes causes what some regard as ‘selective listening’ or ‘selective reading’ and I know this has most definitely been the case on my part here in the past. On the other hand, I do tend to focus on what I am interested in within a missive or statement – the part that resonates most closely with my vision or what I think would be good to work with or expand on. Selective listening is also sometimes useful – so long as you focus on the positive and not the negative that is said. Focusing on the negative – a wrong word or a wrong thought can drag us into the wrong place and it is so easy to rush off a comment that in hindsight was not exactly what we meant because we were caught up in the heat of the moment or a discussion. I do that too much already.

    I do try to avoid getting into the negative that people say and focus on the positive or, try to remember what they said yesterday, the day before, or the good vibes they shared in the past. Not always, but normally. But I must apologize to any and all Burnians who I misunderstood by either ‘selectively reading’ a comment which they wrote or not focusing on the positive. That was my error and may have caused a bad feeling or even a major furore once or twice. Apologies to ALL. My sensitivity to people, vibes and sounds and ‘going too fast’ is not always a blessing.

    I actually wanted to give you this: : ) And the quote that goes with it:

    “There are hundreds of languages in the world, but a smile speaks them all.” ~ Anon
    Baring the teeth in the right way is a very useful way to make friends and transport you wherever you may want to go! I am doing it right now but you can’t see it as this is the virtual world.


    PS The logging in mistake… I was copying and pasting the new password – an unintelligible sequence of letters and exclamation marks (as I don’t know how to change it) when my hand and mouse missed catching the first ‘!’. It was the loss of that ‘!’ that caused me to believe I had been blocked as the system refused to recognize the *ikgihknui without the ‘!’. And at that moment, my heart sank to the deepest of depths for a while until I tried again.

    In conclusion:
    SORRY for any and all bad feelings or negative comments I have made to any Burnian due to not seeing the truth of how perfect every one of us is in the core of our hearts. There, beyond ALL fears: we are nothing but LOVE AND LIGHT

  • David

    This apology is to you in particular. Sending you a million smiles and thanking you for your patience. I will try to restrict my comments as I was posting much too much on here and it was not always appreciated. I hope all is good in your world!

  • Prints and making money? An idea seems to be making limited edition books.. have bought a little nice one by Trent Parke (Bedknobs and Broomsticks) this past June, for $ 18, I see it now sells for $ 144.. and any others of his books go way way up, guess I’ll have to live without them :(

  • EVA…

    yes, this is the trend..and limited edition books are still way less expensive than prints…this certainly to be the way of our Imants for example..and well we do have a collector who is ready to pay premium for a copy of our own limited Burn 01 signed by everyone…a near impossible task, but at least value is being placed already…we will see in the coming months

    ok off to shoot…the shooting mentality is way different than the selling mentality..selling seems far far away to me now

    cheers, david

  • Imants; “it sure has put a god damn smile on my face” That’s got to be good! :-)


    I admire that you have such a range of skills at your disposal. One of the old farmers I know always reminds me that the best way is “to paddle your own canoe.”

    At the same time though, I’m still trying to master the craft of still photography. There is enough going on that takes me away from time spent photographing, if it was anymore it would be a problem both in terms of the things I am working towards with my work, and my own well being. I need to photograph, not sit at a computer.

    But I also have two film projects, both just about ready to begin editing. But with everything else going on, the thought of going through all the hours of video, learning how to use Final Cut, etc is a pretty daunting prospect. I’ve decided that I either need to find somebody to do this for me, or just put the material away in a box. My ideas are racing ahead of me, I already see these films being released as a limited edition DVDs, each coming in the back of a book of related photographs.

    As DAH always says – “the hard part is finishing something”. Perhaps the best approach is one project at a time.


    My print sales are far from a regular thing at the moment, but when they do happen it is very rewarding, and over time the sales are gradually increasing. I have already had potential buyers concerned about the potential for photographs to be reproduced endlessly, and it reassures them that I offer the prints as limited editions only. I made that decision from the beginning and I feel it was the right one. I do have people who say they would like a print but they are too expensive – for them an open edition would be more suitable. But the risk would then be that the person interested in buying a 40 x 30 print from an edition of 5, does not want a potentially endless number of the same photograph in a different size being in circulation.

    My experience (so far for what it’s worth), is that it is important to make the decision about how one will issue prints and at what price, and stick with it. It does not look good if there is no consistency in editions, prices etc. It is also important to build a relationship with collectors. They certainly value that, and for me it has been equally rewarding. A couple of collectors of my work I have become good friends with. Right now I am in the kitchen of one of these couples and one of my prints is hanging on the wall. It is always a good feeling every time I see it when I visit them.


    Have received my three sample books from ubyu. To answer your email question, yes, they use the same HP Indigo press as Blurb. The print quality is very good on most images. The paper is 160gsm. Not sure what Blurb use now, but some of the earlier books I saw the paper felt a bit too light.

    One big mistake I made was that I designed the book to include double page spreads. They do not work well with the binding used because the books do not open flat enough.

    I think I’m right to say that Burn .01 was printed on an HP press, yes? If so it is the first book I’ve seem printed this way at that size, which is produced in sections to allow for a stitched lay flat binding.

    Can anybody confirm if Blurb now can print in sections and bind the books so they open flat?

    Last year I was told that the HP Indigo can only take up to a certain size paper, so does not allow the printing of larger books in sections (by large I mean close to A4 / letter size), but perhaps that is changing.

    Making this book was all a bit last minute and the introduction text was written in a mad rush two hours before the upload submission deadline. Last night a friend pointed out two typos in the text (missed words), which is very frustrating. But it does not surprise me. I thought I proof read it properly, but it goes to show what happens when you work under pressure.

    I’m thinking about having the book at my exhibition next week, just to see what the reaction is. Still undecided if I should just have it on display, but I’ll have it at the private view so if any of you come along and would like to see it, please ask me.


    I bought Trent Parke’s new little book too. Very nice. Good to hear it has already increased in price. Did you see the next book available in LBM’s series? Very different kind of work, but also looks good.


    Justin P

  • jim.

    what we enjoy and don´t enjoy within photography is relative, obviously..
    i actually enjoyed building the frames for my first exhibition and saved a fortune through sponsorship for materials and workshop space.. still have them in the garage, waiting to be sanded down and prepped for the next shebang.

    justin n jim..
    you know.. the mother of invention and all that.. i only learn´t some thing because i have no money to employ others to do it.. other things i am interested in, as knowing it helps with control..

    the absolute and utterly difficult thing in photography is accounts and paperwork, for me.. anything even remotely related to the distribution or planning of my photography is a pleasure by comparison :ø)

    final cut is not so difficult i think – one of those things that clicks into place.. get to know film formats, compression.. that stuff and the actual editing is a doddle.. drag n drop.. smooth here.. render there.
    a solid 2 days work will get you quite far ..

  • also – is it me or are photo essays appearing a bit randomly and out of order?
    andrea has moved, just seen davin and aga.. now another piece by jiwan kim..

  • DB;)
    U see now why DAH needs the help of Anton, Anna , Diego.. and few more?
    He is trying to do everything himself.. Too much..
    imho… Computer glitches plus trying to do too much can create this type confusion..
    Hope those glitches to be fixed soon..
    I guess DAH will explain when he comes back..
    Obviously he needs some real tech help here..
    Anyway.. Not big of a mistake though..
    More photos for us to see and enjoy..
    More food is not bad.. Less food is bad..
    And here in Burn one thing fo sho..
    We are not “starving” anymore ;)

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