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Alejandro Chaskielberg – The High Tide
Emerging Photographer Fund – FINALIST (number one of eleven)
With my photographs I create fictional scenarios with real people and situations.
I try to explore the limits of documentary photography, using technical processes to transform the natural perception of light, colors and spaces.
I am working on a project about the Paraná River Delta photographed in full moon.
The Paraná River supplies water for more than one hundred million people, including the cities of San Pablo, Buenos Aires and Asunción, Argentina. The whole Paraná basin is one of the principal reserves of sweet water in the world.
My photographs set out to document the life and work of the islanders of the Delta.
Using long-time exposures with full moon, they have allowed me to light part of the landscape artificially and also give the islanders a strange timelessness: an unknown source of light floods the scene with unreality and mysterious.
I think my pictures as slides of unfinished stories, having a script on my head. The images are carefully planned after days of observation, and they only have a body when the large-format camera initiates the slow subordination of the capture. It will take from five to ten minutes until this thick darkness sprouts what was secret.
I am interested in the poetical and visual power of the water, and the relationship of the people and the environment. I think that the health of this resource is a worldwide problematic issue today.
My intention is to work with photography in the border between reality and fiction.
Photography can transform reality and produce a magical view of people and life, and this is a part of its particular language.
Photographs: Alejandro Chaskielberg
Website: www.chaskielberg.com
Thanks for your reply David.
I saied that because this images without text saied nothing to me, nor remind me a corporate iconography work or a fashion one.
As you spoke about your personnal project as photographer and not as the director of a grant. I really like certain fiction, (when it’s not an hidden auto-biography). In photography, “auto-fiction” only have a sense to my eyes, not docu fiction…till yet.
By always searching new way of making photography I think we miss something, we miss the essential. Photographs, like words, don’t need to invent new way of writing to be readen, we just have to have something to say. It’s not far from portrait somehow, today I don’t see any good portraits but I saw portraits everywhere in newspaper…a self controled world…and in portrait, like in fiction, to me it’s the same…
Today only self portrait have a sense or I miss the new Diane Arbus (does someone know a real strong portaitist today?)…and not a self satisfied photographers that get a great technics with great teachers to make his cook succesful.
I really read that word “fiction” everywhere and I also think that “intimacy” is in the same mood…everywhere and it’s not the right tone of the real movement in the real new photography.
I honnestly think that such 10000 dollards grants are for a book project and not for a magazine work. I would never buy such a book with that kind of fiction photographs done as a serie. It’s quiet boring and annoying.
DAH, I’ve looked online at the China issue of Nat Geo but can’t find the photograph of the baby being lifted from the hole. No matter; I wasn’t saying that because Alejandro mixed fact and fiction that he would not be able to call attention to an issue. It’s just that, for me, just for me, I don’t see the link between the photographs and the issue. Is Alejandro saying that everything is fine with the Paraná River water supply or is there a problem? Is that what he wants to bring to our attention or is it just the lifestyle of the delta’s inhabitants that he wants to show us? If so, why mention in the text the importance of the water supply? I’m sorry but I’m not sure of the intention of the essay.
As for the photographs; in isolation from the text. For me, just for me, they are not to my taste. I also can’t take to the work of Martin Parr. I’ve tried, believe me, but…. nothing.
This takes nothing from Alejandro or Martin; indeed I wish them well. I don’t critique here on Burn: I and everyone else here are fortunate to see other photographers work. I only comment to stimulate debate and to learn from the comments of others.
Good light to all and happy vacation to Akaky,
Mike.
I’ve looked at this essay several times, and though I really like the “look” of it, I’m really not sure what to make of it as a piece. It is certainly very well-executed, and different; it has a beautiful color palette; and, as has already been discussed, a very interesting technique. But I am at pains to understand what it is about, or what the individual photographs are meant to convey–not in any documentary way, but in an emotional way. Perhaps a well-written essay by an Argentinian author might flesh things out a little bit, as a consideration for how to bring it together as a finished piece down the road.
I’m all about the idea of moving documentary photography into more artistic realms of expression, as I think we’ve all seen one too many documentary stories shot exactly the same way; and I think the photo world is crying out for work that does what Alejandro is trying to do here; that is, create work that is evocative and not just expository…and for that I salute him for taking some big risks here and trying something completely different. And no doubt, given the complexity of his technique, he has put a huge amount of work into this project. But to me it comes off more as a technical experiment than as a piece, and I wonder if the pains he has taken with the technique have placed him at a distance from the flesh-and-blood of the narrative he is trying to create. Maybe, as David has said, the point of the EPF is to allow photographers to continue working on their pieces, and so the fact that the piece feels “unfinished” is an advantage here; ie, the work has great potential, but could use a big fat grant to help it along a bit. If so, my recommendations would be to try to figure in more movement, emotion, and pathos into the piece.
I will keep looking and trying to see it. Maybe it’s just going to take me a few more looks before I get it. Regardless, it is a beautiful set of photographs, and I would love to see them as large prints on a wall.
OZ…
obviously, not everything is to everyone’s taste…that is a given…so, you will not be purchasing Alejandro’s book…fair enough…my only very humble suggestion to you is that as time goes on , you really explore some areas of photography that may not appeal to you now…surely, you cannot imagine grabbing the same kind of book off the shelf in 5 years that you are in love with now, unless of course you are shopping for a classic or rare book….
let me be very clear on one point for you and for others….there is certainly no intent on my part at BURN either through work presented here or through the EPF to create work that would necessarily be suitable for current printed magazines…BURN is not trying to be anything other than BURN
the agenda and motive for intended use is totally in the hands of the photographer..
i only have the obligation and intent to publish provocative or informative work whether most suitable for a published book, a wall, or a magazine, or a handmade book or slide show or refrigerator door or ????…….i am not trying to shape or fit something here into an existing mold…however, as many of you know, i will work with specific photographers who do have clear career intentions…i.e. this year i will have mentored 3 books into final publication and helped set up magazine assignments for others…but, in general, my intent is not final medium specific…
MIKE R….
as i said to OZ, not your cup of tea just is not your cup of tea….you cannot TRY to like something that just does not appeal….i now really dislike things i used to like, and like things i did not heretofore understand…most of us change with time in terms of appreciation…which could also logically mean that you could grow even further away from Martin P and/or Alejandro….heaven help you (laughing Mike)….
cheers, david
free Akaky
free Akaky
free Akaky…
Mike…:)))
LUZZ…
i think you not going past #10 in a 13 picture essay says way more about you than about Alejandro…besides my friend , #11 is killer!!
cheers, david
you made me go back and look at # 11….
I dont discuss your selection…it’s just that i dont see the point with that kind of photo-illustration.
To me it’s just arty stuff.
Yeah, David, I need help! As Chris Bickford says here, you obviously see the potential. At first look Sean Gallagher’s essay on China had me luke warm; now I look at his website and love to see how far he has come.
So, Alejandro, listen to DAH and be assured of my best wishes. No boundaries, right?
Mike.
“personally, i would never enter a competition, but i would apply for a grant….two totally different things in my mind….
you??”
Yes to an educational institution that asked me to create a teaching aid etc,for my own work no
These images simply look surreal, unseen, surprising. Very eerie atmosphere!
The mix of moonlight and flashlight plus tilt and shift is a pretty cool idea!
It is a different, new way of telling a story. Certainly new territory. Very inspiring!
In my early days of photography I used to take pictures in moonlight. In northern Europe this works best in winter, which also means it was always freezing cold. I am still freezing when I think of it. Okay, I will think Buenos Aires now and I feel much warmer already ;-)
It would be great to see this work continue!
Reimar
LUZZ…
fair enough…but, thanks for taking a look anyway….opinions of all kinds are welcomed always….
IMANTS…
what i asked was , do you see the difference between a competition like World Press and a grant like Guggenheim???? your answer confused me in the context of your original question….
cheers, david
i think this work could find it´s place in an illustrative editorial context really easily – as did many illustrative snaps from the recent olympics which took advantage of tilt shift techniques..
of course it is a fad right now, as hdr is been, in part due to the software online to alter photos – but they do not create full tilt shift effects..
regardless of epf this set would have blown me away for the reasons i fist mentioned.. as with chris i agree that there is exploring to be done and further the project in terms of the story.. and so within the context of the epf i think this first glimpse is just what the grant needs to be about.. some work and some people need small breaks.. grants.. commissions or whatever.. in order to put the time in a fund their practice.
d
damn.. i only mean´t to put ¨franklin¨ in one post..
“….i now really dislike things i used to like, and like things i did not heretofore understand…most of us change with time in terms of appreciation…..” DAH
Is it naughty of me, or potentially very illuminating, to want to see a list of things David used to like but now really dislikes? Or vice versa? Maybe this is not the appropriate thread for that, but it sure would be interesting….!!!
A compelling work should let us see something which we normally don’t.
I’m afraid this work only let us see something which we literally do not see. As with infrared pictures. Of course it is more than just good technique. There is a common ground for the pictures. The compositions are not bad (and not incredibly good neither).
But where is the uttermost personal vision?
General overview: documentary photography slides away into Hollywood style images which want to create empathy but only generate apathy (VII agency) or into photography which exclaims loud it is art (Martin Parr and many contemporary best-sellers). What both share is guts and professionnality. But where is the vision which digs us into the belly of our world?
The question is not: where is the new thing? For then we run just behind art buyers. But: which work let us think? Which work shifts the ground under our feet, so we have a glimpse on human nature, on our society, our world..
I don’t see no vision in Alejandro’s essay.
Maybe I put the stakes too high? Maybe I do not see?
I agree that work definitely takes time to ‘read’, and that over time, our views and appreciations of work change. There is definitely work that I liked (of mine and other photogs) a year ago, that today I cringe at, and vice versa. One thing I have realised (about photography and art (and life)) is that we shouldn’t be too quick to judge or critique work. Essays that appear on this website (and other publications) do so with the benefit of great thought, practice, personal involvement, emotion and practical hard work (from the photog, as well as DAH and other editors, publishers etc.), and sometimes people are making comments three seconds after seeing the work.
As viewers, critics (both + and -) and commentators, each person needs to give intent thought about the work before making judgements. Comments are great, and there are some entertaining ones (and some strenuous one) posted here often, but I urge people to be patient with work. Work at it, just like the photographer works at his/her project. As viewers, each of us is required to participate, and sometimes looking at work requires more than just breezing over a series of images and immediately deciding whether we like/dislike it. Look, look again, and look again. Work hard to create your own understanding and interpretation of work, and then come back to the work again.
Good photography takes time (a hell of a lot of time). Give published work a bit of time and its amazing what comes of it, even if the work is not to your taste. In regards to this work by Alejandro, it is quite amazing. I can not recall any other work that it reminds me of, and as a starting point that tells me that there is some deep personal commitment to this work. And that, to begin with, intrigues me.
Felicitaciones mi amigo. Voy a disfrutar explorando tu trabajo.
Regards.
Is the intent to only publish a single essay each week until the EPF finalists are done? I’d like other non-EPF images and essays to also continued being published along with them. There is only so much to be said about an essay.
a list of things David used to like but now really dislikes
—————————-
Maybe, if the photographers are LONG dead, Sidney…. ;-)
i think that photo images require new definitions and new categories-genres. this essay is a personal interpretation that uses the imagination-invention as a response to a place and time. there are photographers who “cheat”, who are not forthcoming/transparent about their artistic practice. I admire this work and the artist’s integrity.
Fantastic work and a terrific choice as a finalist. Cant wait to see what is to come. More.
As for those at pains to see what is relevant, good or appropriate about this work and its selection as a finalist in the EPF, one would think that here on this one site, at least, you could either broaden your horizons – or have them broadened – and embrace something that is quite apart from the rest of the fare. This is stunning work and whether you connect “emotionally” is certainly beside the point.
Bring it on, Mr. Harvey.
do you see the difference between a competition like World Press and a grant like Guggenheim???? A grant is given to the most relevant submission and the photo style of the year wins the press award
jim –
this is the drum roll for the EPF winner announcement at look3…. these are the ten finalists… this is their sunshine. let’s not steal that.
FYI, we will be posting a finalist essay round about every 72 hrs, and soon enough even every 48 hrs….
I do hope you can appreciate the extra time we are using to double check facts and figures on these essays, so history does not repeat itself. and at the same time we’re producing the best BURN presentation possible for Look3, so we can attract more sponsorship and funding and make this a place where we can publish even more…
and all that, “especially for you…”
and… there just might be a bombshell we decide drop in here before Look3… so sit tight… :-) we’re doing it all for you…
get the buzz goin’
cheers,
anton
Uh, huh. So it’s going to be EPF central for several weeks. Seems like a way to lose momentum to me. But, you guys are the experts.
JIM
I have to say something
cuz you sound so disrespectful…
perhaps its the web-talk again…
but….
come on…
lighten up
and
enjoy the ride…
let the fires
BURN……
Thanks, Anton, for clarifying…and for your infinite patience. Whenever comments like Jim’s come in pushing you and DAH to quicken the pace in putting up new essays/selected photos or wanting more than just EPF finalists’ work to be shown, I have to wonder what they are thinking goes on behind the scenes here. I mean you and David are already working 24 hours a day looking through submissions, contacting photographers, helping with edits and doing the tech work to set up the slideshows. And now you’ve just finished going through 1200 essays to find 10 EPF finalists, not to mention the recently added task of fact-checking each of these essays. Geez, Jim, aren’t they doing enough already?
In my book, Anton, you and DAH are like magicians who make it all look too easy. If we saw what really goes into keeping Burn going and growing day by day, I think we’d be amazed. You two deserve more thanks than we could ever give you. What an accomplishment!
Patricia
Jim……
love u but…….. u gotta realize that if they ( dah & anton = BURN ) ,
START publishing non- finalists… then , them ( non finalists published ) will feel
cheated… they ( non finalists ) will fill like “fillers”… they ( non finalists ) will feel
“used” or something…………….
Jim, Herve……… be patient………….
I agree with u though………. we are all discussion hungry……
we want to consume…….. but we should practice patience,………
As Anton said ( its their time )………… the finalists time………
lets not steal it…Its their moment…………
the rest of US should just wait……. be patient…………..
Again… till LOOK3 its THEIR TIME….
not MY time or JIM’s time……..
sorry panos, sorry jim, sorry herve,…………
the rest of us gotta wait……..
peace and hugs!
Hi BOB.
just read your comments of concern about wether or not simply by a body of work entering the final stages of a competition, adds credibility to its value. What i’ve found with myself is that it push’s me to re-evaluate that style, technique used, regarding that body of work. So given an unsophisticated stand point, such as my own, i can only learn viewing what others regard as worth while. . What you suggest is very real as i’m sure we have all noticed peoples views being swayed but i imagine only because they are unable to make that evaluation in their own sense, and even so, their sense of what makes sense shall evolve. Hopefully for all of us.
You have made some really interesting points so thanks for your effort in addding ..
Deus Little Arithmetics Lyrics:
“Into temptation, over in doubt
Black night, neonlight into my house
Talking, talking, talking about
Out of frustration over in doubt
Hold me now, I’m hoping that you can explain
Little arithmetics
Got me down, they’re fooling me again and again
Little arithmetics, little arithmetics
Got me down
Sometimes I feel like going down
south (Sometimes I’m feeling alright)
Sometimes I feel like I’m over and out
(Sometimes I’m losing my mind)
Talking, talking, talking about
(Sometimes the day is the night)
Into temptation over in doubt
(Sometimes I don’t wanna fight)
Hold me now, (Hold me now)
I’m hoping that you can explain
Little arithmetics
Got me down, (Hold me now)
they’re fooling me again and again
Little arithmetics, little arithmetics
Hold me now
Little arithmetics
Got me down”
big hug
JIM – how can burn lose momentum showing amazing work every 48-72 hours? i don’t get what your concern is… if it did not say EPF finalist in red – what is so different than our regular discussions, etc?
Jim, Herve……… be patient………….
———————————
?!?!?! What do I have to do with this ?!?!?
herve,
cuz youve got that brand new bike
and youve been having too much of a good time
and you need to get back here on the bus…
hahahaha.
yeah, wth!
hey peeps
go with the flow and twiddle your thumbs
enjoy the sunshine and the cookin smores
watch the bugs and dont let them bite
dig up your film or charge your batteries.
and go take pictures of what you like.
can we pick apart all these
flesh and bones, mirrors and sensors alike
can we just say
DAMN that picture makes me feeeel gooooood!
God,
the bickering doesnt stop when Jim is around, does it? Jim, what you wrote makes zero sense. Essays are still being published at the same frequency as before, so wheres your beef? How will momentum be lost? I would personally hate, HATE, being published here between now and Look3 if I werent the finalist. I agree with Panos, it would make me feel like filler. I don’t think anyone would relish that, either.
Congratulations, Alejandro…que muchas felicidades!
I have read ALL the comments (phew!) and so many of you touched on my thoughts and reactions to this essay that it would be redundant for me to try to top you all!
I agree that this illustrates a problem or issue rather than documents it. I also think that the look and style would be very appealing in today’s market. A good thing because even the best artist would like to make a living out of what he does. It’s a little flashy for me..strictly my own taste but it is interesting, aesthetically beautiful and fun to watch. Reminds me of a series of books i read as a young girl called “The Borrowers” about little people who inhabited a separate world in big people’s homes, using found items like spools of thread, a tassel from a curtain, match boxes, etc. that they ‘borrowed’ from their adopted homes to furnish their little rincons. They came out at night and foraged for these things, hence their adventures and experiences provided a counter reality to the big people sleeping the night away upstairs. So this essay’s surreal ambience is very pleasing to me. These people look like how i always imagined the Borrowers! Overall, extremely well done and I wish you the very, very best in the EPF.
Sincerely
kathleen
I know this is stupid and has nothing to do with anything but when I grow up I don’t want to be Jim.
Stupid
hey, come on, this is an EPF finalist..let’s play nice, just this once? k? Jim’s gotten a LOT better..i have read every single things he has said and while he still bangs his old tin drum, he’s being a lot more positive and interactive lately..give him a break, eh, Stoop? If not for the sake of my stupid request than just for the sake of a really exciting EPF Finalist kick-off?
Please?
hugZ
kat~
I agree that this illustrates a problem or issue rather than documents it.
—————————
I kind of got into that groove too, reading some of you, but just reading Alejandro’s introduction again, nowhere does he indicate that his pictures are to illustrate a problem happening with the Delta waters.
I was just stupidly saying that when I grow up, I don’t want to be him, Kathleen. Didn’t mean to take anything away from EPF. Hope I did not. Peace, love, and long exposures on large format film to all! :)
Stupid
Ok, Stoop, you don’t have to be Jim when you grow up, haha…you can be Jim’s kid, how’s that? ;))) You’re funny!
Herve
i meant this style is illustrative rather than documentary.
Alejandro says says:
1) “My photographs set out to document the life and work of the islanders of the Delta.”
2) “Photography can transform reality and produce a magical view of people and life, and this is a part of its particular language.”
It’s a bit of a slippery slope saying on the one hand that he’s documenting the life and work of the islanders and on the other that his camera transforms reality into a magical view. I guess it’s up to each of us which side of the bleachers we sit on. Some might see this as a fair approximation of the life of the Delta people and others, like me, are seduced into a dreamworld by the fictional and surreal quality of his tableaus and lighting.
best and zzzzzzzzzz
kat~
Herve
Though “issue” is not at the top of his list for reasons to examine the life and times of these people, Alejandro is extremely concerned about the threats to this water supply which he makes clear is an artery of life-sustaining “agua dulce” for millions of people. That’s a pretty big issue and driving force in his desire to document life in the region.
best
kat~
I tried to keep my feelings close to my chest until I see more finalists but that’s what I really was struck by as well, Kathleen. To me the goal of documentation does not jive with the imagery. I don’t see any document here. I do see unique images, but I see no documentation, or a story. The essay hangs but it does so only on its aesthetic, or rather technique. And the technique is used well. But I do not see a story, or much of a continuum from one photo to the other.
To me it’s an unexpected choice, which makes it interesting.
It’s not really my cup of tea or my kind of interpretation of documentary photography, but it doesn’t have to be.
That is what makes photography in general so fascinating.
There is room for everyone and all kind of styles. Everyone has their own way of looking at the world around us and how they will capture this in images. Their own ways of telling a story, fictional or not.
I’m looking forward to seeing the other finalists!
Alejandro’s approach is different and therefor thoughtprovoking. I like it in that sense alone.
Congrats Alejandro.
Dear OZ,
You asked “does someone know a real strong portraitist today?”. I would urge you to visit Erica McDonald’s website – http://www.ericamcdonaldphoto.com. For me, the gallery entitled ‘New York City Portraits’ is particularly special.
I’d also recommend…
Pieter Hugo
Simon Roberts
Stefan Ruiz
Joel Sternfeld
Philip Lorca Di-Corcia
Rineke Dijkstra
Hope this helps.
I keep trying to imagine what sort of a beast a newspaper/magazine would be if it was illustrated solely with artistic interpretations of themes and written exclusively by avant garde poets and performance writers.
Sure would be a blast, but I dont know what it would achieve for anybody other than the artists themselves. Maybe Time should put out an issue entirely done in cross proccessed lomo and haiku.:)
Peace
John
Wendy, there isn’t room for everyone in every kind of photography. The reality is that these photos are fine art and are only an illusion of documentary photography. Artist statements are often ambiguous though.
Patricia, I actually do understand what it takes to create something like this. But it doesn’t matter. Just like nobody looking at your photos on the wall of a gallery cares that you drove 1,000 miles, got up at 3 a.m., hiked four miles and sat in the pouring rain in the cold for 18 hours to shoot the photo hanging there, then spent days printing, matting, and framing the photo. Just as nobody cares how much time it takes a team of people to create a daily newspaper that is bird cage liner the next day. The fact is that the only thing 99 percent of the people hitting the home page of burn see is the essays and photos. You are somewhat privy because of the talk here over time to what it takes to turn the trick. You know the man (men) behind the curtain. But the success of a magic show depends on the viewers not knowing or caring how the magic works. The only thing that matters to most viewers here is the content. And that is how it should be.
I just don’t think it serves the audience well to turn the venue into strictly a promotional piece for the EPF for weeks at a time. Just an opinion, of course. I don’t have a dog in the hunt.
Jim-
Can you send me your email? You can send me a message directly david_bacher@yahoo.com
Don’t worry…It’s not about bashing rather discussing things aside from the Burn forum.
thank-
David
An essay published on Burn is an essay published on Burn. What is the difference if it is an EPF finalist?
Sometimes I can’t believe your point of view Jim.
ALL…
the number and rate of pictures published here between now and Look3 will be approximately the same as our normal schedule…….and even if we have to slow down on BURN to double check facts, then we will just have to slow down….
there is a voracious audience out there evidently…i suppose that is a good thing…but , please be aware that as a platform for presenting work, we must be way out there in just sheer volume…i do not put value on volume , but we have published mucho during our online tenure…
we could publish more frequently IF photographers gave us ready to publish material, but that is not going to happen…we certainly have enough material in hand to post five times a day in theory, but that would be careless….most of our time goes into several time consuming contacts with the photographers (over days and weeks) about to be published who are on various time zones….Anton and i are almost never on the same time zone ourselves….so, my day begins at about 6am to talk or write to those of you in Asia and Europe and ends often at 1am to chat with Chris Bradley (our Ogilvy guru) who is in California….there is nobody out there on a Pacific island, so i can finally get a bit of sleep
my suggestion would be that we enjoy what we have while we have it….BURN is only a good thing for me as long as i am having fun…i am putting a lot of time into this right now just because it seems like good timing segueing into Look3 fest and my Magnum channel meeting in London and the evolution of our BURN gallery space…but, even with some sponsorship heading in your direction, we will basically be doing this work on BURN as a service…this is NOT a complaint…i AM having fun…
i often describe our efforts here as a collaboration…it is so so true….i have to keep you enlightened and enthusiastic and you have to do the same for me…so far, so good, and i have every intention of keeping up my end of our online relationship….
my whole life has been spent in working on projects that were solidly rewarding one way or the other…this is always my mantra for photographers i mentor…at no point in my career did i ever put money over the sheer joy of working on whatever i was working on..BURN is no exception…
i have always put in a 16 hour day or more for my projects, so that does not phase me at all…unless, as i said, it stopped being fun and turned into “work” and i have worked really hard to avoid “work” my whole career…….simple as that my friends, simple as that….i have no doubt most of this audience gets it…
speaking of this audience, i have been just blown away by your support…..we will have to keep the wolf away from our door every month one way or another, but i always take things one day at a time and it looks like we are rolling along just about right….i am trying now to envision the best time to kick off our gallery….perhaps we will do a gallery event in early july….fall will be the very best time for a big show, but a smaller event with rooftop cooking and summertime ambiance with a crowd most likely to buy your prints might just be in order…..in any case, an event we CAN create…..
i am working on a plan for how best to actually get prints in the door and up on the wall….these will be curated shows with an equal chance for everyone, but of course not everyone’s favorite picture is going to make it….most likely it will be a gallery version of the selection process for BURN itself…i cannot imagine any other way to do it….of course, an online gallery will give us much more opportunity to show the world your work and offer it to potential collectors…
the space of my loft looks less and less like an apartment and more and more like a gallery every day..well, er, a very bohemian gallery!!! some of you have camera skyped me to take a look…check it out…..of course, i will post a link with pictures when it is done….once rolling i hope to step back from the gallery operation…i cannot run a gallery and run BURN…..i think we have enough able volunteers, mentored interns etc to keep us rolling fine…oh yes…by the way, i am talking to some of you offline about trading out a one or two month mentoring program for working with me on BURN or in the gallery….this is such a cool idea and was not thought of by me, but by one of you….i have one person lined up to spend a couple of months with me , but i will withhold the name until it actually happens….anyway food for thought…i can provide living space in my home and a nice beach as additional incentives for thinking about this one….
one last thing…help me to help you to help me to help you…the more you get involved , the more you will get back…and i say this because i just HAVE to get back immersed in shooting and book production right after Look3 and the London meet…..i do no good to any of you if i am not photographing myself and finish the three books that i have in various stages of development…so no matter how good or sophisticated BURN becomes, i will not give up my own work…i think all of you get that too, but i just wanted to make it very clear….
if all of you keep your cool, lend a hand, and we all go out and take a picture, then who can stop us???
that question does not really require an answer..laughing….
please enjoy your spring day…..
cheers, hugs, peace, david
JIM..
unreal dude…unreal…only as a promotional piece for the EPF?? why do you think the EPF exists??? for the readers here..for the best of the readers here….geeez Jim….we have generous donors who give relatively large sums of money to support photographers and the EPF on this forum and to somehow have that concept twisted around as a negative by you just about “takes the cake” as they say in Texas…
i thank you very much for your financial contribution to BURN…and i am sure you will thank me for sending it back….
Whatever.