rhl-oregon
Cameras Guitars Wonders
Vince: When can we expect the Vince Lupo Presets for Lightroom? Or Nik, or wherever you’re conducting experiments with grit and pixie dust?
In the meantime: If you could be persuaded to do your RFF colleagues a service, you could do a Chris Crawford (that soul of teacherly technical generosity, recently glimpsed here) who has shared here a lot of what he has learned in his photography career (thanks, Chris).
Shoot, you could offer photography/development workshops based on the New Mexico work, and I bet Steve, Chip, Randy, and others active or lurking here would show up. I would. Especially if Allen does a guest lecturer stint.
Re book publication: Of course you must see many photo books out there, if you are looking in that section of good bookstores. They can form a wall and stare you down. But none of these books are yours. And I’ve seen some of those books, recent photographers and the venerable ones, too, and they don’t overshadow your vision or your work. Maybe a limited edition clothbound Blurb is a good way to take the project beyond the exhibits, and put it in the hands of prospective publishers, as well as making it available to us.
I know there are photographers, still pretty young, with studio degrees and well-known/connected mentors, with requisite tech skills, real vision, and serious ambition (and 4000 Instagram followers) who are getting book publication with art presses, university presses, etc. So why not you? Surely several university presses in the West should consider your portfolio, though from what I know about university presses, there’s no reason university presses with art/photography interests elsewhere shouldn’t consider your work. It might be that you’d benefit from an essay, or forms of interspersed text, by a good writer (fiction, nonfiction, poet, historian....) who lives in that part of the West. Ed Abbey is gone; Scott Momaday may still be around; Cormac McCarthy would provide great prose for your work, but who knows whether he’d take that on? If he did, you could be on the best two million coffee tables in the USA. I think I’ve mentioned to you Alex Harris of the Duke University Center for Documentary Photography...as a photographer, he worked with Robert Coles on a book about the Hispano people of New Mexico. Alex is worth seeking out.
Enough kibitzing and artist locker room talk, though I imagine others participating in this thread root for you, and may have better ideas than mine. Here’s a parting thought: if Walt Whitman had decided to wait for the right publisher to recognize the scope and depth and grandeur of his vision, he would have died waiting—like Emily Dickinson. But he believed in his own genius, thank goodness, and published it, boosted it, and in that way earned greatness, reputation, and immortality.
Thanks everyone for how this thread has evolved.
In the meantime: If you could be persuaded to do your RFF colleagues a service, you could do a Chris Crawford (that soul of teacherly technical generosity, recently glimpsed here) who has shared here a lot of what he has learned in his photography career (thanks, Chris).
Shoot, you could offer photography/development workshops based on the New Mexico work, and I bet Steve, Chip, Randy, and others active or lurking here would show up. I would. Especially if Allen does a guest lecturer stint.
Re book publication: Of course you must see many photo books out there, if you are looking in that section of good bookstores. They can form a wall and stare you down. But none of these books are yours. And I’ve seen some of those books, recent photographers and the venerable ones, too, and they don’t overshadow your vision or your work. Maybe a limited edition clothbound Blurb is a good way to take the project beyond the exhibits, and put it in the hands of prospective publishers, as well as making it available to us.
I know there are photographers, still pretty young, with studio degrees and well-known/connected mentors, with requisite tech skills, real vision, and serious ambition (and 4000 Instagram followers) who are getting book publication with art presses, university presses, etc. So why not you? Surely several university presses in the West should consider your portfolio, though from what I know about university presses, there’s no reason university presses with art/photography interests elsewhere shouldn’t consider your work. It might be that you’d benefit from an essay, or forms of interspersed text, by a good writer (fiction, nonfiction, poet, historian....) who lives in that part of the West. Ed Abbey is gone; Scott Momaday may still be around; Cormac McCarthy would provide great prose for your work, but who knows whether he’d take that on? If he did, you could be on the best two million coffee tables in the USA. I think I’ve mentioned to you Alex Harris of the Duke University Center for Documentary Photography...as a photographer, he worked with Robert Coles on a book about the Hispano people of New Mexico. Alex is worth seeking out.
Enough kibitzing and artist locker room talk, though I imagine others participating in this thread root for you, and may have better ideas than mine. Here’s a parting thought: if Walt Whitman had decided to wait for the right publisher to recognize the scope and depth and grandeur of his vision, he would have died waiting—like Emily Dickinson. But he believed in his own genius, thank goodness, and published it, boosted it, and in that way earned greatness, reputation, and immortality.
Thanks everyone for how this thread has evolved.
