Projects or whatever catches your attention?

Projects or whatever catches your attention?


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I've just come back to this. I think that in a sense 'Projects' (in the loosest sense) are unavoidable, even if the project is ourselves (which ultimately, it always is). There are patterns to what we shoot, what catches our eye and how these journeys evolve.

Projects are not necessarily shot in one go, but can coalesce over long periods of time. Understanding these patterns, rhythms, stochastic leaps in approach followed by boring deeply into individual ideas, are all part of the creative journey.

This may seem like a strong opinion, but I wonder if a person has really achieved anything (internally validated, rather than externally) if they could not bundle together some of their photographic activities under a 'project' or 'extended series' or 'book'? The alternative is to shoot randomly and I don't think that is truly possible. We can't escape our own limitations.
 
Technically, I'm in the "both / either" category but I really want to move more towards the projects space. I accept I won't ever be 100% projects only as I think I'd find that artificially limiting - and why wouldn't I want to shoot what's of interest to me and in front of me when I have a camera handy? However, getting a roll of film processed and realising there 6, 7 or 8 entirely separate subjects on it that will eventually need scanning and filing can be a bit daunting (and no, I'm not going to go 100% digital to get around that one).
 
I'm also trying to work on two long term projects. I find it difficult to always find the needed time and commitment but I keep pushing towards that goal. My ultimate dream would be the completion of a long term five year project.
 
I shoot a lot for stock photography to:

a. Pay for my equipment, and

b. Give my photography the cover of authenticity, justifiable and sane

Even so, I don't have projects so much as general themes, most of which center around what's available in my area. Even so, I am undisciplined and shoot whatever attracts my interest at the time.
 
Shooting two formats allows me the option of both.

For 4x5 format I am shooting a general theme of Rocks, Water, and Trees and will generally seek out locations by scouting or research. Also seek areas without too many tripod holes off the beaten path.

for Digital and 35mm film I tend to shoot other items or more details than I do with the larger camera. I might shoot a roll at a classic car show or garden or urban area as the opportunities present themselves. I rarely photograph people except for family snapshots.

If traveling its a tough call which to take unless I know the area.
 
I start with some basic facts; first of all, I'm not a professional photographer. I don't take photos for others, I only take photos of what interests me personally... This kind of thinking helps me stay grounded and only follow what I truly desire.

My photography routine is the same as the first day when I went out with the intention of taking candid photos. I went downtown and took photos on the streets, without really knowing what I was doing. At that time I didn't even knew what I was doing is called street photography.

As much as I like to have a wide range of subjects or projects, the simple fact is that I only have one subject, which street photography.
 
At that time I didn't even knew what I was doing is called street photography.

It probably wasn't called street photography as is today's vernacular. It was documentary photography which is the term I still use.

On the question of project vs whatever, I sometimes like to have an end point in mind whenever I am shooting. But I am just as likely to grab a single shot just because it catches my eye. And, sometimes, that single shot ends up becoming part of a long term project I am working on.
 
Current project: making tiny videos that juxtapose stillness and motion to illustrate the epigrams of the Argentine writer Antonio Porchia.

http://vibbidi.com/users/681572898800833

For me, a nice way to explore the v-capability of the Sony A7 as well as its wifi uploading, while trying to remain close to the meditative stillness of the fixed frame. Porchia's best epigrams are deeply resonant, honest and dignified on their own, but this AV juxtaposition permits me (and, I hope, most viewers, since most will have not read him) a different access and perspective than silent reading.
 
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