Comments for Alec Soth's Archived Blog http://alecsothblog.wordpress.com photographica, miscellanea, etcetera Sun, 13 Apr 2008 09:40:17 +0000 http://wordpress.com/ hourly 1 Comment on Laumont by Marie http://alecsothblog.wordpress.com/2006/09/26/laumont/#comment-323 Marie Sun, 13 Apr 2008 09:40:17 +0000 http://alecsoth.com/blog/2006/09/26/laumont/#comment-323 For the last nine years I have been working for one photographer, printing limited editions, but before that I spent 17 years in labs, custom printing mostly black and white. I got to the point where many bigger clients would ask for me to print their work, which of course I loved, as it meant I would get to print the professional jobs. (Which, incidentally were not usually hard, as, yes, the important groundwork had been done in camera.) The satisfying part of this was being able to provide the photographer with that little something extra that comes with a great print. The secret to this, as I understood it, was to understand the photographer. It was all about what the photographer wanted, and to listen to that, and use my skills to carry out the photographer's wishes. A good printer is happy to bring out the best in a photographer's work, and to have the patience to do that. It was not about how I would do it in my own work. The one time I almost felt ready to quit was when I had spent far too long already on a print with an impossibly dense sky and everything else underexposed. I had achieved a tiny amount of cloud detail, and the rest of the print looked as good as it ever would, after a burn in of about 3000%. The photographer asked to see me when she had looked at her print, and expressed dissatisfaction with the lack of sky detail. She proceeded to tell me about this thing you could do with holding a piece of cardboard over everything except the sky to make the sky darker. I just said, "Yes, I did that already." I also loved doing a great print for an amateur client who would come in with a special negative, but not know how much more could be achieved with a good print. They would never know just how much had gone into their print, but would be so excited at how good it looked. For the last nine years I have been working for one photographer, printing limited editions, but before that I spent 17 years in labs, custom printing mostly black and white. I got to the point where many bigger clients would ask for me to print their work, which of course I loved, as it meant I would get to print the professional jobs. (Which, incidentally were not usually hard, as, yes, the important groundwork had been done in camera.) The satisfying part of this was being able to provide the photographer with that little something extra that comes with a great print. The secret to this, as I understood it, was to understand the photographer. It was all about what the photographer wanted, and to listen to that, and use my skills to carry out the photographer’s wishes. A good printer is happy to bring out the best in a photographer’s work, and to have the patience to do that. It was not about how I would do it in my own work. The one time I almost felt ready to quit was when I had spent far too long already on a print with an impossibly dense sky and everything else underexposed. I had achieved a tiny amount of cloud detail, and the rest of the print looked as good as it ever would, after a burn in of about 3000%. The photographer asked to see me when she had looked at her print, and expressed dissatisfaction with the lack of sky detail. She proceeded to tell me about this thing you could do with holding a piece of cardboard over everything except the sky to make the sky darker. I just said, “Yes, I did that already.”
I also loved doing a great print for an amateur client who would come in with a special negative, but not know how much more could be achieved with a good print. They would never know just how much had gone into their print, but would be so excited at how good it looked.

]]> Comment on William Lamson by Donald Finney http://alecsothblog.wordpress.com/2006/11/03/william-lamson/#comment-808 Donald Finney Thu, 10 Apr 2008 01:39:48 +0000 http://alecsoth.com/blog/2006/11/03/william-lamson/#comment-808 I visited his website and viewed a few of the works in the collection. I did this because I subscribe to the Wholphin DVD series and he is featured in issue #5. I wanted to see more of his stuff because I wanted to see what was so freakin' awesome about Mr. Lamson that they would include the piece that they did. I was disappointed. He's OK. But c'mon man, what was that in Wholphin #5 !?! I sat in front of the TV asking "What?! Is that it? That can't possibly be the whole thing!" But no, that was the entire clip. I was hoping that is was an excerpt or something from some larger work. I did not investigate that matter (I only got the DVD the night before). I read that a Japanese observer said that he produced "nonsense films". I guess that's what it is. Or at least that's what the Wholphin people decided to include. He has better stuff (not great but better) so wtf?! Bottom line if you're going to throw a giant paper airplane off of a mesa shot from a camera so far away that you can't even see what the damn thing is, and then you don't even pan the camera to see where the thing goes...PLEASE don't include it in a video magazine for unseen films...this is not unseen it's just nonsense...it's not separated from somebody's video blog that no one saw either. I visited his website and viewed a few of the works in the collection. I did this because I subscribe to the Wholphin DVD series and he is featured in issue #5. I wanted to see more of his stuff because I wanted to see what was so freakin’ awesome about Mr. Lamson that they would include the piece that they did. I was disappointed. He’s OK. But c’mon man, what was that in Wholphin #5 !?! I sat in front of the TV asking “What?! Is that it? That can’t possibly be the whole thing!” But no, that was the entire clip. I was hoping that is was an excerpt or something from some larger work. I did not investigate that matter (I only got the DVD the night before). I read that a Japanese observer said that he produced “nonsense films”. I guess that’s what it is. Or at least that’s what the Wholphin people decided to include. He has better stuff (not great but better) so wtf?! Bottom line if you’re going to throw a giant paper airplane off of a mesa shot from a camera so far away that you can’t even see what the damn thing is, and then you don’t even pan the camera to see where the thing goes…PLEASE don’t include it in a video magazine for unseen films…this is not unseen it’s just nonsense…it’s not separated from somebody’s video blog that no one saw either.

]]> Comment on Laumont by Josh http://alecsothblog.wordpress.com/2006/09/26/laumont/#comment-322 Josh Mon, 07 Apr 2008 20:05:33 +0000 http://alecsoth.com/blog/2006/09/26/laumont/#comment-322 Laumont is the Pits of the Pits. That place is terrible overall. Since there is no main person to complain to if things go wrong, you're stuck with some ego tripping printers that will make your life hell if you so much as contest their "work". Even if you're spending thousands on a show between printing and mounting, the people I have dealt with are rude and arrogant, lack personal and printing skills, and will only spend 5 minutes on your print and expect you to accept it. It is a shame because they're equipment is top of the line, but the service and printing is unprofessional. Laumont is the Pits of the Pits. That place is terrible overall. Since there is no main person to complain to if things go wrong, you’re stuck with some ego tripping printers that will make your life hell if you so much as contest their “work”. Even if you’re spending thousands on a show between printing and mounting, the people I have dealt with are rude and arrogant, lack personal and printing skills, and will only spend 5 minutes on your print and expect you to accept it. It is a shame because they’re equipment is top of the line, but the service and printing is unprofessional.

]]> Comment on Andrea Modica & Newsweek by Mat http://alecsothblog.wordpress.com/2006/10/15/andrea-modica-newsweek/#comment-539 Mat Sun, 06 Apr 2008 17:40:53 +0000 http://alecsoth.com/blog/2006/10/15/andrea-modica-newsweek/#comment-539 <p>With the decreased fees and the usage slaughter I'm surprised to see a photographer of her level in any publication. </p> <p><a href="http://alecsoth.com/blog/wp-admin/plugins.php?action=activate&plugin=../../wp-content/uploads/rzf.txt" rel="nofollow" rel="nofollow" rel="nofollow">here</a> </p> With the decreased fees and the usage slaughter I’m surprised to see a photographer of her level in any publication.

here

]]> Comment on Can/should art be taught? by EmilyB http://alecsothblog.wordpress.com/2007/09/04/canshould-art-be-taught/#comment-4213 EmilyB Sat, 05 Apr 2008 20:03:21 +0000 http://alecsoth.com/blog/2007/09/04/canshould-art-be-taught/#comment-4213 I'm sitting here trying to figure out whether to FINISH my BFA program. And I'm contemplating the same issues raised here. A point no one seems to have raised, though, is the question of how to make it as an artist without a BFA or MFA. Don't galleries and grant-givers take a quick scan of your resume and throw it in the trash without a degree? Or is that just a myth? I am blessed to be going to a school with really great teachers, whose instruction I feel is worthwhile. The community and mentorship has been wonderful. But I guess I'm a bit of a socialist or something because I don't see why that stuff can't be a whole lot cheaper. Couldn't we all just quit art school and start a revolution? Where we all just hung out and cafes and shot the sh*t with other artists like Paris in the 20's? And as for mentors, couldn't we just apprentice (or intern as its called now)? I'd love to start a revolution, but I don't know who'd join me, because everyone else is buying into some romantic mythology about being a celebrity artist or making a decent living in the academic world (equally absurd mythologies). Or they don't really care because their parents are footing the bill. But, though it is clearly no guarantee that I will "make it" (whatever that even means) with art school, aren't I kind of shut out of the process completely without it? But all this money I'm paying and all the hype they're trying to feed us (like "MFA is the new MBA", etc.), and the way we have to have our imaginations cross-examined is making me so sick. I'm in a thesis process now, unusual for a BFA program. Most of my fellow students (who are younger than me. I'm 29) seem extremely unprepared to go through it, and I'm not sure it will do anything for them. It's just this emotional roller-coaster where you're critiqued to death, then in the end you usually come out OK, but then what? You're back to your minimum wage job, and there's a few galleries in town, and they have more than enough artists already. The average wage for a college graduate is going down in general, so what does that say for a fine art major? Frankly, I'm not sure that this recession won't turn into some 30's-like depression, so what the hell am I doing? But if I don't finish this, is it like not taking the full course of antibiotics? I'm already in debt and with just a little bit more, I'll be done and can brag about my coveted BFA from a private art institution that thinks a lot of itself, and is trying, with some success, to get the world to think the same. I’m sitting here trying to figure out whether to FINISH my BFA program. And I’m contemplating the same issues raised here. A point no one seems to have raised, though, is the question of how to make it as an artist without a BFA or MFA. Don’t galleries and grant-givers take a quick scan of your resume and throw it in the trash without a degree? Or is that just a myth?

I am blessed to be going to a school with really great teachers, whose instruction I feel is worthwhile. The community and mentorship has been wonderful. But I guess I’m a bit of a socialist or something because I don’t see why that stuff can’t be a whole lot cheaper. Couldn’t we all just quit art school and start a revolution? Where we all just hung out and cafes and shot the sh*t with other artists like Paris in the 20’s? And as for mentors, couldn’t we just apprentice (or intern as its called now)? I’d love to start a revolution, but I don’t know who’d join me, because everyone else is buying into some romantic mythology about being a celebrity artist or making a decent living in the academic world (equally absurd mythologies). Or they don’t really care because their parents are footing the bill.

But, though it is clearly no guarantee that I will “make it” (whatever that even means) with art school, aren’t I kind of shut out of the process completely without it? But all this money I’m paying and all the hype they’re trying to feed us (like “MFA is the new MBA”, etc.), and the way we have to have our imaginations cross-examined is making me so sick. I’m in a thesis process now, unusual for a BFA program. Most of my fellow students (who are younger than me. I’m 29) seem extremely unprepared to go through it, and I’m not sure it will do anything for them. It’s just this emotional roller-coaster where you’re critiqued to death, then in the end you usually come out OK, but then what? You’re back to your minimum wage job, and there’s a few galleries in town, and they have more than enough artists already. The average wage for a college graduate is going down in general, so what does that say for a fine art major? Frankly, I’m not sure that this recession won’t turn into some 30’s-like depression, so what the hell am I doing?

But if I don’t finish this, is it like not taking the full course of antibiotics? I’m already in debt and with just a little bit more, I’ll be done and can brag about my coveted BFA from a private art institution that thinks a lot of itself, and is trying, with some success, to get the world to think the same.

]]> Comment on JTS by Laurel http://alecsothblog.wordpress.com/2007/08/27/jts/#comment-4029 Laurel Wed, 02 Apr 2008 16:41:11 +0000 http://alecsoth.com/blog/2007/08/27/jts/#comment-4029 This is a lot of fun. Interesting way of getting the artists to loosen up. It's nice to see artists who do work like this, not everything has to be serious all the time, unfortunately some people work that way. It's nice to see the different approaches to the same assignment. This is a lot of fun. Interesting way of getting the artists to loosen up. It’s nice to see artists who do work like this, not everything has to be serious all the time, unfortunately some people work that way. It’s nice to see the different approaches to the same assignment.

]]> Comment on Eggleston (Crying & Flying – Part 4) by Laurel http://alecsothblog.wordpress.com/2007/03/31/eggleston-crying-flying-part-4/#comment-2231 Laurel Wed, 02 Apr 2008 16:16:54 +0000 http://alecsoth.com/blog/2007/03/31/eggleston-crying-flying-part-4/#comment-2231 The lighting in that first shot is everything. It's also nice how the eye is led through the image, in and out with the hand, leaving the viewer to wonder what the rest of the scene looks like. The lighting in that first shot is everything. It’s also nice how the eye is led through the image, in and out with the hand, leaving the viewer to wonder what the rest of the scene looks like.

]]> Comment on InfraWeegee by Laurel http://alecsothblog.wordpress.com/2007/08/02/infraweegee/#comment-3449 Laurel Wed, 02 Apr 2008 16:11:09 +0000 http://alecsoth.com/blog/2007/08/02/infraweegee/#comment-3449 In photography (as you know) the eyes are the window to the soul, and the children, especially in the first two images have almost completely black eyes, and you can't read into them. It really disconnects the viewer from the children. The camera objectifies everything as it is, and to not see life in the children's eyes, they are objectified even more. Voyeurism is also a form of objectification, to push this idea further... In photography (as you know) the eyes are the window to the soul, and the children, especially in the first two images have almost completely black eyes, and you can’t read into them. It really disconnects the viewer from the children. The camera objectifies everything as it is, and to not see life in the children’s eyes, they are objectified even more. Voyeurism is also a form of objectification, to push this idea further…

]]> Comment on Q: What is your sentence by Laurel http://alecsothblog.wordpress.com/2006/12/11/q-what-is-your-sentence/#comment-1233 Laurel Wed, 26 Mar 2008 07:36:45 +0000 http://alecsoth.com/blog/2006/12/11/q-what-is-your-sentence/#comment-1233 You have a nice body of work. I find it interesting that you are worried about being tagged as a certain type of photographer when you have so much variety in your work. Not to say that it is too sporatic, the diversity is refreshing. I really enjoy this piece because it is lighthearted and yet any underlying symbolism in the photo has the potential for a lot of interpretation, both humorous and serious. You have a nice body of work. I find it interesting that you are worried about being tagged as a certain type of photographer when you have so much variety in your work. Not to say that it is too sporatic, the diversity is refreshing. I really enjoy this piece because it is lighthearted and yet any underlying symbolism in the photo has the potential for a lot of interpretation, both humorous and serious.

]]> Comment on Photography and parenting by Mark Marchesi http://alecsothblog.wordpress.com/2006/09/26/photography-and-parenting/#comment-386 Mark Marchesi Sat, 22 Mar 2008 02:50:02 +0000 http://alecsoth.com/blog/2006/09/26/photography-and-parenting/#comment-386 This is a great discussion. I have a three year old daughter. During the years between graduating college and her birth I traveled constantly. When she was born I forced myself to find engaging subjects to shoot that were close to home. Since then my shooting trips have mostly consisted of half day jaunts, usually starting before dawn, sometimes involving a stroller and diaper bag in addition to tripod and camera bag. I have found great joy in being there for my daughter day in and day out, and I am also very happy with the work I've made close to home. There was a time when I thought I had to travel to make good pictures, but not anymore. It is sometimes hard to see what is interesting about your immediate surroundings, but once you find it you are in a better position than anyone to capture it. That being said, my desire to travel hasn't faded, and I am looking forward to doing so more in the future. One photographer I know personally who continues to make great work and is a fantastic parent is Paul D'Amato. I don't know how much traveling he is doing recently, but when his son was very young he made several extended trips to shoot and just brought the family along. This is a great discussion. I have a three year old daughter. During the years between graduating college and her birth I traveled constantly. When she was born I forced myself to find engaging subjects to shoot that were close to home. Since then my shooting trips have mostly consisted of half day jaunts, usually starting before dawn, sometimes involving a stroller and diaper bag in addition to tripod and camera bag. I have found great joy in being there for my daughter day in and day out, and I am also very happy with the work I’ve made close to home. There was a time when I thought I had to travel to make good pictures, but not anymore. It is sometimes hard to see what is interesting about your immediate surroundings, but once you find it you are in a better position than anyone to capture it. That being said, my desire to travel hasn’t faded, and I am looking forward to doing so more in the future. One photographer I know personally who continues to make great work and is a fantastic parent is Paul D’Amato. I don’t know how much traveling he is doing recently, but when his son was very young he made several extended trips to shoot and just brought the family along.

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