An Interesting Twist to the Image a Day Concept

One of the magazines that I read featured the image above as the lead in to an article in a recent issue. I was of course more interested in the photograph than the article. It was created by Eirik Solheim, a Norwegian photographer, and originally described in a post on his website here. Essentially what Eirik did was to fix his camera in place and then over the course of a year took 16,000 photographs from that same spot. Of these he selected 3888 images from which a strip one pixel wide was taken to build the composite shown above. Very cool effect and has me wondering about other possibilities.

He also goes on to describe how he made time-lapse videos showing a years worth of photographs in a minute or so. Check those out here and below.

Friday Inspiration: Michael Eudenbach

I think one of the challenges that we all have as photographers is showing the everyday in new and interesting ways. Michael Eudenbach is one photographer who seems to make doing this easy, making photographs that I always enjoy looking at. His photograph of the bow of Endeavour, shown above is a particular favorite. Michael has a talent for finding a unique way of representing the scene in front of him, resulting in photographs that make you feel as though you’re part of the action. You can find more of Michael’s photographs here. Check out the video below that shows one way that Michael uses to find unique viewpoints. For personal feedback on your images you can find Michael on PhotoSynesi

Michael Eudenbach from Wind Powered Productions on Vimeo.

Editions and Pricing

As I gear up for the exhibition at the RMSP gallery, whether to limit the edition size of the prints displayed and how to appropriately price them has been something I’ve been giving some thought to.

Let’s start with limited editions. I struggle to understand the physical reason to limit editions of photographs. When prints were made from an object, such as a metal plate or a wood block or a potato then that object would wear and as such the quality of the print would degrade. In that case limiting the number of prints to the number of good prints that could be made makes sense. For a photograph and particularly a digital photograph this argument doesn’t hold water and so the reason to limit an edition is to help control the price. Buy now before they’re gone for ever! Buy one of the first 10 before the price steps up. That kind of thing. I have little experience with this kind of motivation to buy from a sellers perspective, as a buyer it doesn’t interest me. If what I’m buying is reasonably priced then I’ll buy it, otherwise I won’t. Limiting the edition doesn’t impact that choice for me. Brooks Jensen has an excellent piece on what size an edition should be. You can find the pdf of that here.

It seems common practice even amongst early career fine art photographers to both edition work and also to charge what one could argue are significant prices for their work. I’m not against making a living from photography, far from it but I do wonder whether the price prohibits any work getting sold at all. For instance are you more likely to sell 10 prints priced at $25 or one at $250? Perhaps when you have an established customer base that you know will support your pricing it makes sense but until then what to do? I’m not much of a salesman and as such what is important to me is not wringing every last dollar out of the transaction but making people feel like they got something that was worth at least the dollar amount that the paid.

The actual price should be dictated in part by your fixed costs – this will be different for everyone, but if you’re having someone do the printing for you then you ought to at least cover that cost, if you’re printing yourself then the base price will be fixed by the materials, paper, ink etc., your time and any other overhead – the cost of keeping the lights on and the printer running. How much beyond these costs you want to go is largely dictated by how much do you want to make and how much do you think the market will pay. I think that the answer is that there’s not one answer but to have something that will work for people with a variety of budgets from $20 to $1000 and more.

The scheme that I’m circling around has, I hope, something for everything. Paper sizes from 8×10 to 24×36 with options for print only, ready to frame and framed. The pricing scheme that I have in mind at the moment would give me a range of ~$20 to ~$1500. As I said above I don’t see a reason to limit editions and so for now I don’t plan to limit my prints.

So what do you think – reasonable or crazy? I’d be interested in hearing your thoughts.

Friday Inspiration: Sally Mann

Sally Mann has used a large format camera to photograph the deep south since the 1970’s producing bodies of work that cover portraiture, architecture, landscape and still life. Perhaps her most well known work was ‘Immediate Family’ which focused on her three children who were all under 12 at the time. It’s release was met with controversy, including accusations of child pornography – many of the photos were of her children playing and swimming naked at the families summer cottage.

Sally Mann has received many awards including being named ‘America’s Best Photographer’ by Time Magazine in 2001, she’s a Guggenheim fellow and three times a National Endowment for the Arts fellowship awardee.

Check out the 2006 documentary of Sally Mann, her work and her process ‘What Remains’ below.

Book Comment: Landscape Meditations

I find that I can learn as much from looking at books from other visual artists as I do from photographers. One such example is ‘Landscape Meditations’ by Elizabeth Mowry, that I found recently while browsing in a local bookstore. From the introduction I knew this was a book I would gain something from when I read:

‘when one uses an idea already expressed by others, it becomes unequivocally necessary to take the idea deeper, further or in a different direction to avoid finding oneself on an inevitably dead-ended plateau with unfulfilling work that echoes refrains from someone else’s songs.’

This and other ideas in the book are very much in line with my thoughts for what I’m trying to do with my photography, to have my personality come through in my work. How to get there is a struggle that involves working hard and intentionally. I feel as though Landscape Meditations provides some framework for the exploration for those things that catch our attention, the themes that run deep in our work.

The book begins with a brief historical survey of those artists that have worked in series before launching into the 10 chapters that form the bulk of the book. The general format for each chapter is an introduction, the work and finally a section titled ‘Thoughts: artist to artist’. I found myself reading the ‘Thoughts’ sections for all the chapters first and then going back and reading the chapter through.

Thoroughly enjoyed the book and is one that I’ll keep coming back to.

Flowered Up

For a number of reasons I’ve been relatively house bound for the last couple of weeks. Finally last weekend I took some of the flowers that had been sent to the house. I don’t normally gravitate towards photographing flowers but I was getting slightly stir crazy. While our house is relatively dark, the garage gets a really nice light in the afternoon. So I took the flowers out into the garage, set up the camera and flowers in the entrance of the garage and spent a happy hour photographing the flower arrangement. Of the many images I captured this was the one that I like the most. As usual, I’d be happy to hear your thoughts.

25 Photography Books I'd Take to a Desert Island

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As you can probably tell from the photo above, my book collection is getting a little out of control. While I would have a hard time paring it down and parting with any of the books I thought that it would be a fun exercise to select 25 ‘how-to’ books to hang on to. I decided to select a set of ‘how-to’ style of books. Some a very practical nuts and bolts of how to use Lightroom or Photoshop, some point the way ‘how-to’ using examples from the authors, some feature exercises designed to help you find your way of capturing images, some ask more questions than they answer and finally some help with talking about your work and sharing it with the world. These are all books that I still find useful, although not necessarily ones that I would recommend to someone who’s just picked up a camera. I’m sure this would be different to your list and would be happy to hear what you would have included. A ‘top ten’ from my collection of art books, monographs etc. in the coming weeks.

Scott Kelby’s 7-Point Sytem for Photoshop CS3
Adobe Photoshop Lightroom – Martin Evening
Adobe Photoshop Lightroom – Scott Kelby
Adobe Photoshop CS5 for Photographers- Martin Evening
Adobe Photoshop CS5 for Photographers: The Ultimate Workshop

Adobe Photoshop Masterclass: John Paul Caponigro
Welcome to Oz
The Photoshop Darkroom
George DeWolfe’s Digital Photography Fine Print Workshop
B&W Printing: Creating the Digital Master Print

The Photographer’s Eye
The Photographer’s Vision
The Photographer’s Mind

Visual Poetry
Photographing Childhood

Within the Frame
Visionmongers

The Moment it Clicks
Examples: The Making of 40 Photographs

Landscape Within
Landscape Beyond
Finding the Picture

Criticizing Photographs
Why Photographs Work
Publish Your Photography Book

Friday Inspiration: Press Pause Play

I stumbled upon the documentary ‘Press Pause Play‘ this week. I’ve mentioned here a few times that this is an amazing time that we are living through in terms of the ability to create and get things out into the world and to do that on your on terms. Press Pause Play asks the question ‘Does democratized culture mean better art or is true talent instead drowned out?’ While heavily weighted towards the music industry I think that the comments from people like Moby and Seth Godin are relevant to anyone involved in the creative arts. Check out the full documentary below.

PressPausePlay from House of Radon on Vimeo.