Bob,
I agree with most of what you write, especially
> So first, you have to be able to see a potentially strong picture.
> Then you have to make sure you get it. Make sure you exploit the
> potential to the full.
However, I thought the following was a little biased toward the negative,
assuming, and somewhat condescending:
>
> It might be instructive, if you've never done it, to go out and shoot a
> lot of film on one subject - and see if you do get 'results'. Chances
> are that if you haven't worked this way, and/or don't understand why
> photographers work this way, that you won't get results.
>
I'm not at all sure of the above. If those photographers, were limited to
10 rolls, or 20 rolls whatever, their shooting style would likely be far
different. I tend to think I get results when not shooting a lot of film,
more good results naturally if I shoot more. I also tend to think (don't
want to sound pompous) that, if I shot 1000+ rolls of film a year I'd have a
"busting at the seams portfolio" I'd be proud of (also be broke probably).
My point before was, I see stuff in NG and other magazines that's no more
than a grab shot, but because it fits in with the written text, is a shot
that gets published. Now it's possible that may be, because often NG
photographers shoot in more of a PJ style than of a fine-art photographer.
That thought was sparked by Mike's words:
> Great photographers are seldom
> professionals (even if they hire themselves out). Professionals seldom do
> the best photographic work. And professional work isn't much to aspire to,
> IMHO. I mean, we've all done it, we've all had to do it (I was a full-time
> pro for years), but what professional would do exactly the same kind of
> work if he or she didn't have to?!?
To sum it up, I was pointing to what I perceived to be an example of Mike's
statement which I think can be paraphrased as 'Pro's are often paid to
produce a product, not necessarily the best product'.
Tom C.
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