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Michael Grace-Martin

~ Photography, Art & Life

Michael Grace-Martin

Category Archives: Commentary

Photo Transience

11 Friday Apr 2014

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photography, transience

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With so many photo images being produced and put on display nowadays, each one is like a second in your life that you experience and then mostly forget as you inexorably move on to the next.

–MGM



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Future of Still Photography

05 Saturday Apr 2014

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future, photography

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Maybe the future of still photography is simply communication. Presenting a message or telling a story. Like movies, but without movement.

— Michael Grace-Martin (April 2014)



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Nan Goldin’s Photography

05 Saturday Apr 2014

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nan goldin, photography

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The thing about my work is nothing is prearranged, pre-thought, premeditated. In no way was I directing the pictures; they’re just fragments of life as it was being lived. There was no staging. When you set up pictures you’re not at any risk. Reality involves chance and risk and diving for pearls.

— Nan Goldin, 2003



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The Shifting Audience for Photography

04 Friday Apr 2014

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directions, photography

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Since the advent of the Internet and cameras in everyone’s phones and electronic devices, the number of photos in existence has absolutely exploded (in a recent presentation by Yahoo!, it was claimed that as many as 880 BILLION photos will be taken in 2014 if we continue on the current trend).

Of course, they’re not all great photos. But lots of people get started taking photos with their crappy phone cameras (or whatever they have), decide they like taking photos, purchase better camera equipment (which has become quite accessible both in terms of price and supply), and put up their website or storefront and start trying to sell prints, photo books, and/or photography services.

In economics terms, it’s quite clear that supply is exceeding demand for photography products and services. Or is it?

While it’s true that there are are more photographers out in the world trying to sell products and services to an audience of non-photographers that isn’t growing as fast, photography–as a subject of interest–has exploded right along with the explosion of photos and picture-taking devices.

Camera equipment sales are up (e.g., Canon Celebrates The Production Of 250 Million Digital Cameras) and the sale of photography “How-To” books (based on my observation of their proliferation at bookstores) is up.

What this means to me is that the audience for photography is shifting from non-photographer consumers to photographers as the consumers. Not only are photographers interested in doing photography themselves, but they’re more likely to be interested in the photography being done by other photographers.

So how does this audience shift affect the person trying to sell photography products and services?

I believe it’s photography as a service that gets impacted the most. There are millions of people with professional or semi-professional camera equipment (which has become quite affordable to many people) out in the world trying to make a buck with their equipment (as a sideline or to help pay for the equipment itself) who offer their services at low rates because it’s not their primary income-earning occupation. This adversely impacts the professional photographers trying to make a living as a full-time photographer. (This is an old story now and I’m not going to get into it any more than this.)

However, photographers trying to sell prints and books still have an audience, though it may be shifting over to an audience composed more of photographers than in the past. Photographers like to look at prints and photo books from photographers they admire because they inspire them to take better photos.

Of course, there’s the question of whether people more generally are buying fewer prints and books due to photos being so freely available on the Internet, where photographers can see them and (as photographers) be inspired by them. That’s a separate (though not unimportant) issue.

The new opportunity that has surfaced for photographers is selling their expertise and know-how to up and coming photographers who want to know more about the practice of photography and how to make better photos. This expertise and know-how can be transmitted via how-to books and ebooks, photography workshops, and/or tutoring or portfolio reviews.

Not all photographers are interested in ‘transmitting’ what they know to other less experienced photographers. Some experienced photographers just want to keep taking photos and selling their photos or photo services and making a living (photographers tend to be visual ‘observers’, of course, who may not feel comfortable interacting with strangers or with putting their knowledge into words).

The purpose of this post is to observe what’s happening (at least from my vantage point) versus making any recommendations to anyone. Sometimes just making a few observations can help people know what they need to do on an individual basis.

More observations to come…



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My Artist’s Statement Spoken by Kate the Cyborg

18 Tuesday Mar 2014

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artist statement, audio

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https://www.michaelgracemartin.com/main/wp-content/uploads/2014/03/artist_statement.mp3

 

(Ha, this isn’t really my artist’s statement. But it’s amazing how much it sounds like a real one…and it was created by one of those automatic artist statement generators you find on the Web…:p.)



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The Danger of Producing and Displaying Too Much Work?

17 Monday Mar 2014

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editing, photography

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Apparently, creating and revealing a bunch of work to the world does not necessarily diminish the gems that end up standing out. Many successful artists have *over-produced* and created many duds among their winners.

This seems counter-intuitive to photographers who have heard the admonishments from photo editors to only show your best work.

Instead of so much emphasis on editing as a way of getting rid of duds, there should be more focus on editing as the best means and opportunity for identifying the ones that will really shine.

Being too ‘stingy’ with your editing (i.e., holding back ones you’re not sure of) may actually end up hiding the photos you’ve taken that have the best chance of making a big splash in the world.

What’s really important? To continue to show your work no matter what.



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Automatic Photography

14 Friday Mar 2014

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photography, subconscious

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When photography becomes nearly an *automatic behavior* (after doing it for years), the photographer starts to capture things as though a message was sent from his/her subconscious instructing him/her to take the photo. This isn’t very different from words and whole sentences coming (seemingly) directly from one’s subconscious when writing.

–MGM



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Photography is a Ride

12 Wednesday Mar 2014

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photography, without end

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One of my biggest disappointments with photography that I had to come to terms with was this: no *one* photo is permanently satisfying.

Photography is a ride; there is no endpoint.

–Michael Grace-Martin



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How to Get Your Photography “Out There”

04 Tuesday Mar 2014

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marketing, photography, publicity

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So the other day I came up with some ideas for photos to take that I thought might turn out to be quite popular!  Then again, maybe they wouldn’t; how do I know?

I can put them up at my website (the one you’re at right now), link to them from my Facebook page and Twitter, and wait for the accolades and viral madness to take off!

However, it seldom happens that way. You get a few likes and some nice comments, and then…your photos just sort of fade away into the ether of the vast Internet and nothing tangible ever comes of it. Your new photos that you had such high hopes for are seemingly forgotten by the Web Masses within a day or two.

So it struck me that there’s probably a better way to Get Your Photography “Out There” after you’ve completed a new series of photos or come up with a great (at least you think it might be) one-off shot. But what?

That’s when I decided I would formulate it as a question and send it to some of the photographers and photography editors & writers I know and see what they do or see other successful photographers doing…virtually off the top of their heads (I didn’t give them much time to answer).

Here’s the question I asked:

Say you’re a photographer and have taken a photo (either a single photo or a short series of photos) you think might make a splash in the media (online and/or elsewhere). What’s the best way to ‘get it out there’ in a relatively big way and quickly?

Below, I list the responses I received. (Most of the people I emailed gave me a response; photographers can be quite generous…:D).

If anyone else reading this post has anything they want to add, please use the comment form at the end of this post to share your experiences. Thank you!
 

And now the answers from my esteemed respondents…

 
David Carol
Photographer, Columnist at PDN Magazine
(website)

The truth is I never think like that. But, if I wanted a large group of people to see my work, for example the show I was in last year at The Museum of the City of New York. I would email everyone I know in the media and ask them to help me out and promote it through their online outlets. That usually helps.

 
Aline Smithson
Creator and Editor of LENSCRATCH Blogzine, Photographer
(website)

There are a wide array of ways to promote an image or a series starting with all the social media outlets, like FB, Twitter, Tumblr, etc. Some photographers have garnered gallery representation from the posting of their photographs on FB or Instagram, while other prefer to keep imagery off pages where they lose control of the work.

I am a big fan of attending portfolio reviews when you have a new body of work to promote–the one-on-one exposure with significant reviewers can lead to many things.

There also are some outstanding calls for entry that allows work to be experienced far beyond gallery walls–some of may favorites are Critical Mass, CENTER, Center for Fine Art Photography, the Griffin Museum, Flash Forward, and PDN Photo Annual.

And finally, photographers can submit their work to blogs and magazines and hope to get published.

Just make sure your work is unique, has something to say, and is well executed. With the plethora of photographic images crossing our computer screens, it is getting more rare to find work that compels us to stop and take a second look.

 
David Bram
Editor of Fraction Magazine, Photographer
(website)

I would post a few small pictures along with a few sentences about the work on the Facebook page of the organization you’re trying to connect with. I would also tweet to the organization a link to the work (ie. “Hey @cnn, check out this tornado picture I just captured http://fractionmagazine.com/tornado”)

Almost all media outlets are now using both FB and twitter to connect with people and gather news.

 
Jonathan Blaustein
Photographer, Writer, Educator
(website)

Assuming a photographer is sitting on some genuinely important imagery, but is not already connected to a major media organization, I think I’d recommend Twitter. I’d suspect that tweeting a link to the images directly to a few important journalists, bloggers, and/or media outlets would get the right people’s attention.

 
Ruben Natal-San Miguel
Photographer, Photography Consultant
(Facebook, Website)

I always get my work out here. I ran my page on FB like a blog and since 95% of my Social Network here is Fine Art and Photography based (meaning Art Dealers, Curators, People in the Photography Industry etc, etc) words and images get out quicker. Also I like to include narrative, troubles and tribulations in order to get feedback and suggestions. I have gotten into exhibitions, art fairs and even gained representation from doing so. At the end of the day, it all depends what your social network is based on and how to manage it (or manipulated it).

 
Paris Visone
Documentary Photographer
(website)

You have to know the nerds behind the posting. For me, networking is key. Working hard and being nice is a deadly combination.

 



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Madonna, Nude Photography, and Me

04 Tuesday Feb 2014

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madonna, nude, photography

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What possible “relationship” could I have with Madonna?

Well, nothing huge. But I discovered that Madonna was a student at the University of Michigan until 1978 when she dropped out and relocated to New York City. I was a student at the University of Michigan starting in 1980; I missed being there at the same time by about 2 years I guess.

Apparently in 1977, Madonna was a dance student and posed nude for photographer Herman Kulkens for some drinking money (or whatever).

When I took up photography about 9 years ago, I photographed various things: my kids, landscapes, weddings, and…students at my large local university (in Upstate New York). Some of those students were dancers, and some of the photos were nudes.

So, it’s not like I photographed Madonna nude back when she and I were students at the University of Michigan. I wasn’t doing photography back then and she and I missed being students there at the same time by about 2 years.

But all the “ingredients” are there–in a weird sort of way–that were the molecules of history stirred up in a slightly different way, me photographing Madonna nude while we were both students at U of M seems nearly plausible….:p.

Sounds to me like a good plot for the old Twilight Zone TV series, don’t ya think?

Madonna 1977 by Herman Kulkens
Madonna 1977 by Herman Kulkens
Madonna 1977 by Herman Kulkens

Madonna 1977 by Herman Kulkens
Madonna 1977 by Herman Kulkens
Madonna 1977 by Herman Kulkens

Madonna 1977 by Herman Kulkens



Visit Michael's Art Photography Portfolio at SaatchiArt.com!

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