OK so I've been shooting film for a few years (mostly MF but gradually getting there with LF t00) I have the technicalities OK, and I have a few good shots that wouldn't look terrible if framed, etc .
So, putting aside the technicalities, how do you turn your photos into some sort of comprehensive "body of work"? - some common thread or theme that is at least somewhat exclusive or characteristic to YOUR particular photography?
I just keep shooting and editing. The best work is still the best work years later.
Taking on a project with boundaries and rules usually helps focus an artist so that some work gets done. Limiting geography, materials, choices, etc.
Another thing that I like to do is to say "OK, one afternoon, one shot" and just try to get one really nice image in a limited amount of time (same goes for the Photoshop editing afterwards -- set a time limit.) Back in the day I used to use boxes of Polaroids working on studio shots -- and boxes of paper in the darkroom -- and could easily build a single image out into days of work. But it is much more realistic to say "this is worth 3-4 hours of my life" and stick to it.
Finally, sell off your extra equipment to fend off indecision. One camera/one lens. That will quickly help you develop a "body of work" with a consistent point of view. Maybe it is harsh, but think of all the great photographers who used just one camera/one (normal) lens.
If you can do one good picture in an afternoon, then you can do nine more in nine more afternoons. So in the course of a season (or whatever) you can be very productive.
I also like travel. I just shot for 36 hours in Nashville, some of the work is on my website. It was a good constraint.
Set boundaries for yourself by defining a series of projects.
Work to complete a project (including printing/mounting/distribution) in as short a time as possible. Start by selecting a subject/project that piques your interest the most. Work it. Set a goal of 12 to 20 finished images. Go onto the next well defined/bounded project.
Many projects didn't start out that way. Instead the photographer made a lot of photographs of various subjects over a period of time, sometimes years, and when going back through them found a common thread that could be used to create a project. That's probably not the ideal way to do it but it's how many projects have been put together. I don't know how many photographs you have but you might try spreading them out, putting them in stacks grouped in some manner or fashion (e.g. subject, lighting, colors, whatever) and see if you perhaps have at least the beginning of a project on which you can build.
Brian Ellis
Before you criticize someone, walk a mile in their shoes. That way when you do criticize them you'll be
a mile away and you'll have their shoes.
Agreed to all - but there's more to a body of work than just a common theme, isn't there? Atget's Paris was not just a bunch of photos of Paris, there was a particular style that makes his photos identifiable as an Atget, and I suppose historical-cultural significance to his work that sets it apart from everyone else who took a bunch of photos of Paris, right?
Course, perhaps it is true that he started out just photographing Paris, and it so happened that his photos turned into a body of work after many years and some promotion by Abbott... that would suggest that bodies of work are sometimes created spontaneously rather than deliberately, over a course of time as Brian says...in which case the best thing to do is take lots of photos and then let someone else put it all together after I've kicked the bucket!
On the other hand, O Winston Link's body of work was deliberately developed with a common theme of steam trains, and more specifically, the steam train as the symbol of the passing away of "old" view of the US which was dominated by small towns with drive-in theaters and main streets etc...
Last edited by cyrus; 17-Oct-2006 at 09:52.
Great advice from Frank P.
Brooks Jensen talks a lot about projects, common themes, presentation, etc in LensWork and has been discussing these issues for a long time. I highly recommend a subscription as well as the back-issue CD they offer. Probably the most inspiring photography magazine out there...even if you never looked at the portfolios, and that's saying a lot!
Paul
I second the LW subscription. It has helped me to focus somewhat on what I want to accomplish with my photography.Originally Posted by PViapiano
Paul, how is the quality of the images and production of the backissue CD?
Without noodling this thing to death...
I propose that if you do one project on a theme that really attracts you (lighting, subject, form, whatever)... produce to completed finished material 12 to 20 prints... sit back and really look at those images... being brutally honest about what you are looking at... solicit feedback from people you trust (if your ego can handle it)... that "your" view of the world may be identifiable... and that you will then be able to decide how next to proceed.
Repeat this process. Sometime later, look back and view your work as a "body".
The process cycle time may be as short as your time/energy/enthusiasm can drive.
Ron,
The quality of the LensWork back-issues CD is excellent. Issues #1-50 are on the CD as separate PDF files, complete with every page in the printed mag.
They are NOT scans with smudges and stray pixels, but look as good as the original pages. The photos look great at 100% and are not pixelated. I wouldn't recommend printing them, but for viewing on a monitor (I have them all loaded in my laptop, makes for a great reading reference/resource when traveling) they're great!
I also highly recommend LensWork Extended CDs...multi-media versions of the bi-monthly magazine, with more photos by the featured photographers, videos, audio interviews and commentary and more!
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