i am done...perhaps premature...

In as much as "being done" has been being discussed as a sort of new beginning for practicing the art, I threw out those questions as a possible starting point to anyone in a like position.

Apologies if you found them overly analytical and way OT (been hanging around art schools for too many years where there is no such thing as being overly analytical).

Personally I don't believe you can get anywhere with out deeply trusting intuition most of the time.

Joe will be more than fine while the 40's repaired. Looking forward to see what you with the Hex in the meanwhile.

Steven
 
bill is the hijacker here...

but i'm just feeling petulant this evening...even though i think i may be way too old to be petulant.

pet·u·lant [ péchələnt ]


adjective

Definition:

sulky: ill-tempered or sulky in a peevish manner


and i'm not going to delete the thread🙂
 
bmattock said:
The photos I take for money satisfy and delight my clients, and that's fine. I'll keep the dSLR. The photos I take to feed my soul are terrible, and I want to smash everything to pieces and start over, only I don't know where to begin.

That's terrible, Bill. Yours is the deepest rut I've seen here on RFF so far.
 
Bill: akali beat me to it; if you don't know the work of Meatyard, look him up. He was a really interesting guy and his work is, IMO, riveting. I wouldn't worry too much about what other people think at this point.

sjc: Analysis is a good thing, I just get a sense that right now, Bill is not in a place where a lot of analysis would be all that important. Just my opinion, of course.

OK, back on topic. Joe, how do things stand with getting the lens repaired? 40-42mm is my favourite focal length right now, so I'd have been seriously bummed too. OTOH, this means when you get it back it will have had a complete spa treatment, right? 😀
 
Good luck getting the lens fixed, Joe!

Bill, can you begin a new thread to discuss your new direction, please? I too liked the image you posted and that you felt hinted at a new frontier.
 
one final update.

the lens was sent insured so we are looking into that process. i have to bring it to my post office and have them inspect the lens and then the usps contacts them. (i think)

gary at kinderman canada is ready to look at the lens for an estimate and check on parts availability.
no matter what, the lens will be repaired if at all possible and i'm thinking it's actually a simple fix as long as they have a spare focusing tab.
the glass is very clean and the cosmetics are great too.

joe
 
back alley said:
one final update.

the lens was sent insured so we are looking into that process. i have to bring it to my post office and have them inspect the lens and then the usps contacts them. (i think)

gary at kinderman canada is ready to look at the lens for an estimate and check on parts availability.
no matter what, the lens will be repaired if at all possible and i'm thinking it's actually a simple fix as long as they have a spare focusing tab.
the glass is very clean and the cosmetics are great too.

joe

Do they want you to bring in the box and packing material?

R.J.
 
bmattock said:
The photos I take for money satisfy and delight my clients, and that's fine. I'll keep the dSLR. The photos I take to feed my soul are terrible, and I want to smash everything to pieces and start over, only I don't know where to begin.


Bill,

I read that at one point in his life Sci Fi writer Harlan Ellison forced himself to write 10,000 words a week for a year. Upon completion of this he burned all the writings and said "That was for practice". I sometimes wonder what was lost in the fire and then have to wonder what would have never been written had he not done this.

Anyway, you may be on to something when you talk about starting over.

Best Regards,

Bob
 
Trius said:
Bill: akali beat me to it; if you don't know the work of Meatyard, look him up. He was a really interesting guy and his work is, IMO, riveting.


Yes i'd second that his work is outstanding. I saw some of his prints 7" x 7" in a group show in London in the late 80's along with Duane Michals - both photgraphers blew the rest of the show out of the water. Both presented very small prints. It was the power and narrative of the images that carried it off.
 
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