Week-22-Contextual Research.

My work has finally culminated in the objectification of ideas and experiences.  I feel that through the printing of my own work, floating the image in space in the shadow box, embracing the natural curl of fibre base paper, I am approaching the objectofocation of ideas better than I have ever been able to do up to this point.

Like the alchemists of old, through chemical means attempting to change lead into silver and copper into gold, even though this was never the actual case, it was more of them coming out of the darkness (negrado) in to the light (albedo)


This week I looked at the interview with Francesca Genovese curator of very interesting interview. I think it’s very important for a photographer to know how to deal with their work as far as selling and presenting it goes.

It always amazes me how people tend to talk in abstracts. For example Francesca says: “There is a lot of ways to find out how to price your work.”  Well . . . tell me some ways, don’t leave it open ended.

Very busy this week writing my Oral, gathering my images for presentation and catching up on the CRJ.

Week-4-Contextual Research

This week I will be researching and looking at the work of Japanese photographer Masahisa Fukase. Recommended by module leader Anna. To look at the work which may help me figure a series for my own. There is an exhibition in Amsterdam at present.  I may look online for now, but may head to the museum in Amsterdam after the F2F in Paris, November 9-11.

This past week have been giving it some deep thought. For this module I am going to make a series of images in and around my house, thinking of tilting the piece “Yard-Work”  a series of images on film 2 1/4 x 2 1/4. Finally coming to the place I feel intuitively to create imagery at this time. After limiting myself to HWY 138 in the last module, I still feel that I can look closer and deeper in a much more limited area, and am thus keep to explore my yard and everything in it, including my house and my makeshift studio/darkroom.


Went out to HWY138 this week. Wanted to photograph a road sign that had been taken down by a truck or car and lay along the roadway.  However when I arrived there, the sign had been removed by the roads department. I saw it the day before, and thought I should go back and photograph it, but did not do it. So, when I went back a day later, it was gone.

I have attempted in my life, when I get ideas to act upon them promptly, as the tide can change very quickly. As quickly as an idea appears and disappears, the same thing can happen with material or physical phenomena, so it is very important to act immediately with any idea that surfaces, and not leave it at that. Still conflicted and stuck between abstract and representational photography for my FMP, cannot seem at this time to make a clear distinction between the two.

WEEK 3: The Filters of Citizen Journalism (Coursework)

Identify one or two questions or challenges that citizen journalism and its related aesthetics raise, and critically articulate your own conclusions.


Link (Links to an external site.)  Orginal vs Digital enhancement. Advantage of current technology.

In the hands of the few:

Technological advances have always been a challenge, whether buggy to car, coal stove to electric, or silent film to talkies, the list goes on. All along the way there are individuals who are set in there ways and don’t change with the times (Amish, no electric,cars,tv) some who change with the times, and then of course there are the younger generation who know no other way, and in so pave the way for the future.

My grandmother went through a lot of change; from primus to microwave, from oil lamps to lightbulbs. The progression is the same in photography from Bitman of Judea to CMOS enabling us to record,entertain,sell,convince and persuade through imaging.

I think we live in the most marvellous times EVER! Even a poor person of today has more than a king had a mere century and a half ago. We can throw pictures and voices through the air, turn night into day with the flick of a switch, walk to the kitchen open a box and there is a selection of foods from all over the country, just waiting to be consumed and enjoyed when ever wanted. Not even having to go out to hunt and gather. If this is not magic, I don’t know what is?

Gone are the days where knowledge and equipment is in the hands of the few, it is finally available to everyone. When I started as a film maker, I had to rent a  35mm camera and lenses, these cost upwards of a $150,000.00 for a “PRO” camera setup. This is till true today, a basic set of Leica Cinema Lenses https://leicastoremiami.com/collections/leica-cine-lenses can cost over $250,000.00 for a set.

Leica Summilux 16mm T1.4 +/- $40,000.00

(today I have a choice, back then I did not) Film was expensive, in the hands of three companies; Kodak, Fuji and Agfa. Today I can buy DILM (my name for digital film/CF cards) anywhere, even at 7-11convience store So was post production, costing $400 an hour thirty years ago.  All this stuff was in the hands of the FEW.

The iPhone and Canon5D (among the many brands) changed all that, by allowing everyone to photograph and make a movie. This is what scares the old “Pros” here is that word again. No longer does anyone have to be a scientist+engineer+professor+ wealthy to make a film, any Joe or Joe-ess on the street can do it with just a few hundred dollars, a few friends and a digital camera and software. Just like the daguerreotype, one no longer needed to be a Queen or a King to have their likeness made. Hurrah for technology.  The old must make way for the new.

Shakespeare said it best:

“The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself—
Yea, all which it inherit—shall dissolve,
And like this insubstantial pageant faded,
Leave not a rack behind.”
– The Tempest Act IV Scene 1-

WEEK3: Re-Thinking Photographers (Coursework)

This weeks forum: The Amateur (Non) vs the Pro Photographer:

Write a brief post to the forum describing what you think non-photographers make of professional photographers: what are the conceptions and misconceptions?

There is a big difference between an Amateur and a Professional photographer.

The amateur has always been discriminated against, sometimes referred to as a ‘non’ photographer, as listed above in the heading. It has been argued, debated, categorised and defined.

However there are two distinct categories. The amateur (NON) photographer and the(PRO) photographer. Below is the actual difference between the two that the pro photographer often denies, or skirts.

An amateur does it for love and a pro (pro-stitute) for money, it’s that simple at it’s core. From the French: Amateur: “one who loves.”  Link (Links to an external site.)  Once you make a ‘living’ solely from your photography you become a Pro by default, it is no longer a choice, you are no longer considered an amateur any more.

I have been an amateur photographer all my life.  However, my insecurities, fear, perceived failure, peer pressure, and pressure to perform has finally won out; I’m ashamed to say, i’m being cajoled into becoming a ‘pro’  But hey. . . I’m game for something new. I’m a pro in my current occupation. I’m there, doing that, so at least I will have some past experience to guide me in my future endeavours, albeit at the time I need to draw from that experience, it may be useless,out dated or not apply. There is always the chance that it may be better the second time around.

Instead of trying to erase lines between amateur and pro, (it cannot be done, because the pro thinks with the head, and the amateur with the heart and ne’er the twain shall meet) Consider who makes the more amorous image. Get rid of the discrimination here.  Base it on the work not the label.

MagrittePipe (1).jpg

©Magritte. “This is not a Pipe.”

This is where it got real for me. I have never as yet seen an amateurs work at the Tate, Moma, Pompidou or any of the greats. (nothing for me is an absolute, there is always the exception, but for arguments sake let me give a hypothetical statistic of 99.999999999999% never.)

All works there are from seasoned pro’s with brand, pedigree and provenance. Some are so seasoned, they are no longer with us. As I would like to exhibit at one of these, I sadly have to give up being an amateur, I don’t see any way around it.

I went to a prominent museum here in Los Angeles, to figure how to get an exhibit. Knowing no-one, in shear desperation, I asked the cleaning lady mopping the floors what I should do. She was about 65 and had worked there for 40 years, I figured she knew a thing or two.

She told me to go to Christie’s in Beverly Hills and have my work appraised. And, if it was valuable enough I can get it exhibited. . . Enough said.


WEEK 2: Reflections (Coursework)

I work both in film and photography, and have felt that neither discipline has been satisfying for me in it’s own right and could not seem to get to the core of the problem. Now that I am reading and reserching the material, and doing course tasks, it is becoming clear what the problem is, and what I have been encountering, I’ve understood it conceptually, but not practically.

Continue reading WEEK 2: Reflections (Coursework)