Reflections of a hobbyist

[Tony Karnezis]

I just finished reading Chris Jordan's latest post on the frustrations of a professional photographer (Ahhhhh, all the failures inbetween the "keepers"!), and I'd like to share my thoughts.

I'm doing my medical residency in San Francisco and unfortunately don't have the time to shoot as much as I would like. After using 35mm and MF during medical school, I moved over to large format and have been doing color landscapes in 4x5 for a few years on and off (mostly off). Though I have almost no experience with B&W, let along in contact printing, I'm fortunate to have squeaked into the October contact printing workshop with Michael Smith and Paula Chamlee. I'm extremely excited about the workshop, but I'm suddenly faced with having to learn B&W photograpic technique and generate a portfolio of B&W images over the next few months to show at the workshop so they can help me further my photographic vision. Vision? To be honest, I never really thought about it. I never had to until now.

This will be my first critique by experienced photographers, and I'm a bit anxious about it. I guess the only possible negative (pun intended) about the upcoming experience will be a humbling of my ego, and that's actually a good thing. All in all, I'm very excited about the workshop (just ask my friends--I won't shut up about it!).

What's the point of my blathering? Coming back to Chris' post, I'm beginning to realize how much artistic sense, technical skill, and perseverance it takes to be an excellent photographer, and how much of a risk it can be. Though photography means very much to me, my photos don't matter in a pragmatic sense. My food and rent come from medicine. I'm getting bent out of shape at the prospect of a little constructive criticism from those who are truly there to help me. I can't imagine how difficult it must be for many of you, especially those of you who have left financially rewarding careers like Chris Jordan and Rodney Lough, to have the frustrations and financial insecurity of being an artist.

Your photographs and this forum have really enriched my photography. See you in the field...

[Capocheny]

Tony,

Like a lot of us that have to work in other careers... photography usually comes secondary to putting food on the table and gas in the car (gotta have something to cart the camera and tripods around in!)

During my university days I took courses towards a medical research degree. While presenting research papers in seminars, many of us were grilled mercilessly and critically with respects to techniques etc, etc. And, I know some of these proctors were being critical "just for the sake of being a turkey and showing students just how much brighter they are than the student! I'm sure you've gone through many, many similar situations (and still are going through them during your residency).

If you can survive those situations... being critiqued by experienced photographers with the inherent desire to help you improve your vision will definitely be a breeze!

So, I guess the point behind my comments is that you should just go in and "have fun" knowing that you'll leave the seminar with some interesting insights.

Good luck...

[Chuck_1686]

If you aren't already doing so you may want to find some local group to meet with. This helps you get some good feedback with the bonus of seeing other people's work. Lot's of "unknowns" out there have a lot of experience to offer. And you find out you can't please everybody.

[Ole Tjugen]

Chuck, with "some local group to meet with", do you mean something like "Hello, my name is Ole and I'm a large format photographer" sort of thing? To help us live with the addiction? :)

[J Conrad]

Tony,

Fear not of your ego being bruised. You will be meeting with, not only two of the most talented artists and photographers of our times, but also some of the kindest, forthcoming and passionate individuals. While the critique is an important part of the weekend, the knowledge that you take in from these two and from everyone that attends is of paramount importance, as it will energize and expand your mind and ability to see . Bring work that you feel exemplifies your vision, fine tuning your exposures and printing technique will come with time. And, most of all, have a fun!

James

[Bill_1856]

Doc, the only reason you need to work on some B&W before the workshop is so you can better understand what you will see there. I was there three years ago, and can assure you that taking your best color work for critique will be just fine. I've been photographing for over 50 years, and going to that workshop was among the best $2000 I've ever spent. PS, don't just fly in and out, but allow a few extra days to enjoy and photograph in the area.

[Michael Kadillak]

I considered photography entering college and felt that engineering would be a better ace in the hole for me to earn a respectful living for myself and have a family. The passion for it never left I just felt that being pragmatic about my objectives and the best way to accomplish them were in order. It has taken me years to attain the knowledge base in large format but it has been worth it in every respect. Having finally completed my darkroom in the basement and with the ability to run my own day job from my house, I have the opportunity to finally kick it in gear and do what I want irrespective of the requirements of a "working" photographer. As a result, the pressure is completely gone and that is a very good thing. It is completely a personal satisfaction objective to grow and learn this art form.

Balancing out your brain with the creative side as in photography I feel is absolutely necessary in your life when your analytical is so very dominant as in the medical profession. It gives me something to look forward to while I am in the middle of a challenging project to think that I will be able to take a few days off and shoot. Yes I am sure that if I were a 60 hour per week shooter I would be significantly increasing the odds that I would be the beneficiary of some great images just based upon the statistics, but that is the compromise that we sometimes need to make.

Stay with it and get out when you can and I look forward to meeting you in October at the workshop. If you get out to Colorado, look me up. We have a great group of guys here to shoot with and it is a state filled with visual opportunities.

Cheers!

[Jim Rhoades]

Tony; I too will be attending the October workshop. After fooling around with photography for about 40 years I’ve found that the best part of a workshop is the critique. You learn as much or even more from seeing other people’s work and hearing their critique. Some of the best and most creative work I’ve seen was nothing more than MF contacts.

I took a BTZS course last summer and was quite disappointed that I was the only one that brought prints. A review of work and critique was not part of the course. You can learn much by showing where you’ve been (old stuff) and seeing where you’re going.

Do not be afraid of Mr. Smith’s critique. After all he said on this very forum how Ansel‘s enlargements were “crap”. Opinions are like --------, everybody’s got one.

[Ralph Barker]

Thanks for sharing your thoughts, Tony. As I'm sure you've found from participating in this forum, photographers tend to be eager to share their ideas and opinions - even if the opinions are sometimes misguided or ill-founded. But, as others have suggested, don't worry too much about the critique process at your up-coming workshop. No one ever died from a photo critique, although harsh critiques can make one feel small enough to fit conveniently beneath the nearest rock.

Artistic vision, or "style", comes, I think, from identifying one's true artistic motivation, developing a well-defined philosophy of life, and then mixing the two. I'm not sure if the ratio is important. In fact, I'm not sure that having a "style" is even important - unless one is doing photography as a profession. Then, it is important only for clients or art directors to categorize you conveniently. Considering the role that photography plays in your life, developing a style, or defining your vision too tightly, might actually be counter-productive.

Have fun at the workshop. It should be a rewarding experience. In the interim, if you need assistance with B&W techniques, there are several of us here in the SF Bay area who might be willing resources.

[Tony Karnezis]

Thanks for all your replies. Like Chuck recommended, I've looked into a photo club in Marin County. As some of you said, I'm definitely used to criticism from my medical and graduate studies. I know the print critique will be a very productive session. I'm looking forward to it. After communicating with Michael and Paula and reading what other participants have said about them as people and about the workshop, I'm really excited. Michael Kadillak, Jim Rhoades, I've seen your contributions to this forum; it will be nice to finally put names to faces. Michael, I'll definitely look you up if I come to Colorado. Happy shooting to all.

[Christopher Condit]

Tony, I can relate to your apprehension. Along with photography, I do some painting, and once I found myself in a watercolor class as a beginner, where the much of the student body were practicing professionals. Every week we put our stuff up on the wall, and every week I was humiliated. What kept me going was the thought: "I'm getting much more out of this class than these pros, who are already experts". You learn a lot more being at the low end than at the high end of the class.

[Rory Roopnarine]

I wouldn't worry about a little humiliation! A good doctor knows that one learns a lot more when humble rather than when one is overly concerned with possible assaults on the Ego. So go to that workshop and stimulate that cerebrum; a direct contradistinction to Medicine, which just stimulates the cerebellum!

[Ed Pierce]

I've found it hard in these situations to remind myself that it's not a competition. The object is not how my work stacks up against the others', rather it is to define where I am in my own artistic development.

Try not to sweat the preparation; it won't do you any good. You are what you are.

But it is often true that a workshop participant who demonstrates a willingness to work hard and a deep commitment to craft will get more attention than the others. Bring only the prints you truly love. Mount and mat them perfectly. Carry them in a good salon case.

And take notes! I still refer to my notes from the '92 Zone VI Workshop.