Hi Chuck,
In practice however, and to be very fair, when
someone comes to Re:Voir or Light Cone or
Collectif Jeune Cinéma, or Canyon, or Lux, or
CFMDC, or Arsenale or etc, looking for high
quality images of avant-garde films that they
distribute, these archives and the passionate
people who work there are only too happy to help
and (only sometimes) charge a modest access fee
which goes to the filmmaker.
It's really the obvious best way and street legal
and insures that the photos are of the highest
quality, taken directly from film positive or
negative, and that the artist knows where his or
her images are being printed. Sometimes
filmmakers are happy to know about things like
that.
And it's really disheartening to open a book on
film to find lousy photos grabbed from interlaced
or compressed video. We should always encourage
stills and reproductions to be of the highest
quality.
These are not opinions, this is just the way the world works.
Pip
At 3:58 +0000 1/10/15, Chuck Kleinhans wrote:
you don't have to spend much time in the
experimental film community to run into artists
who have a vastly inflated opinion of
themselves, incredible insecurities, and just
plain nuttiness. They may never answer you,
insist on reviewing everything you are saying
about them for pre-approval, or want to gouge
you. (I am speaking from personal experience
with some of these folks.)
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