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Mitch Alland
Guest
Thank you for the kind words John, Player and Lili.
Brian, when I responded to your posting above, for some reason I didn't see the pictures: possibly my ISP hiccoughed. It's difficult to see from small JPGs but, as I wrote in another thread — or was it here? — given the image quality the GRD2 produces, and with the flexibility of the 21 and 40mm EFL converters, in the end I may not have any interest in a camera with a larger sensor like the E420, although it does look dazzling.
Player, finding a publisher is hard work and the effort can be soul-destroying — I'm looking but haven't had much time to do so lately. And I've got to do another edit soon.
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
Brian, when I responded to your posting above, for some reason I didn't see the pictures: possibly my ISP hiccoughed. It's difficult to see from small JPGs but, as I wrote in another thread — or was it here? — given the image quality the GRD2 produces, and with the flexibility of the 21 and 40mm EFL converters, in the end I may not have any interest in a camera with a larger sensor like the E420, although it does look dazzling.
Player, finding a publisher is hard work and the effort can be soul-destroying — I'm looking but haven't had much time to do so lately. And I've got to do another edit soon.
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
Robert Campbell
Well-known member
Would you consider getting a [literary] agent to do this?
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7ian7
Guest
More nice pictures, Mitch. I like when they're snappy as an extension of the actual scene or conditions or information being communicated in the photo, as in the 1st and 4th pictures. I think clarity and gentler pp works best for "information" images, no need to "fake" it, and that this approach will sit well in context with your more impressionistic or mood pictures, the ones where blowing the highlights and pumping the grain almost function as a way for you to relate your emotional experience of the environment you're shooting to your viewers, without sacrificing crucial information.
Mitch, I don't generally respond to requests for criticism, because I don't want to be criticized myself. It's all so subjective, and many of us pursue the arts because this is a place where we can make our own decisions and live by them. I'm happy to offer you my thoughts, but in general I try to keep my opinions about others' work to myself, except to offer some big fat praise once in a while, and this despite truly enjoying what so many photographers are sharing here and on flickr on a regular basis. Ultimately, whether I like it or not, I figure we do what we do because that's what we wanted to do. No matter how technical things get around here, I always assume it is because we're all trying to find new and better ways of making the pictures we want to make.
Beyond making clients happy, which is gratifying in itself, the relationships in which I invite criticism are generally ones where satisfying another person's subjective viewpoint — which doesn't mean "selling out" — is integral to enlisting his/help in my cause, ie to get something sold or published.
That's why I think discussing your intent to make a book with a literary agent is an excellent suggestion by Robert Campbell. There is a conventional (and often infuriating) wisdom among editors, but in the end, in their weirdly uniform way of responding to any given proposal, and the criteria they espouse for what will make a bunch of content function as a book is very often kind of ... dead-on. A good agent thinks the same way, and if you find one you respect and work with him/her, beyond getting published, it could really help help clarify and narrow your goals, and maybe set some new opportunities for pictures in motion to achieve those goals, and "get out of the way" once it's become clear that your project has taken on a life of its own. Ultimately, it could help make the project more successful artistically. In my mind, the best kind of criticism comes from someone who puts it on the line: "If you do a, b, and c, then I will go to bat for you."
Otherwise, I think unadulterated over-the-top praise is incredibly helpful, especially from friends, and I'm being totally serious. And giving it feels good.
Anyway, keep on keepin' on. You have a lot of fans out here.
Mitch, I don't generally respond to requests for criticism, because I don't want to be criticized myself. It's all so subjective, and many of us pursue the arts because this is a place where we can make our own decisions and live by them. I'm happy to offer you my thoughts, but in general I try to keep my opinions about others' work to myself, except to offer some big fat praise once in a while, and this despite truly enjoying what so many photographers are sharing here and on flickr on a regular basis. Ultimately, whether I like it or not, I figure we do what we do because that's what we wanted to do. No matter how technical things get around here, I always assume it is because we're all trying to find new and better ways of making the pictures we want to make.
Beyond making clients happy, which is gratifying in itself, the relationships in which I invite criticism are generally ones where satisfying another person's subjective viewpoint — which doesn't mean "selling out" — is integral to enlisting his/help in my cause, ie to get something sold or published.
That's why I think discussing your intent to make a book with a literary agent is an excellent suggestion by Robert Campbell. There is a conventional (and often infuriating) wisdom among editors, but in the end, in their weirdly uniform way of responding to any given proposal, and the criteria they espouse for what will make a bunch of content function as a book is very often kind of ... dead-on. A good agent thinks the same way, and if you find one you respect and work with him/her, beyond getting published, it could really help help clarify and narrow your goals, and maybe set some new opportunities for pictures in motion to achieve those goals, and "get out of the way" once it's become clear that your project has taken on a life of its own. Ultimately, it could help make the project more successful artistically. In my mind, the best kind of criticism comes from someone who puts it on the line: "If you do a, b, and c, then I will go to bat for you."
Otherwise, I think unadulterated over-the-top praise is incredibly helpful, especially from friends, and I'm being totally serious. And giving it feels good.
Anyway, keep on keepin' on. You have a lot of fans out here.
M
Mitch Alland
Guest
Yes, Robert but the w=question is where? This type of a book might best be received in Japan, where more photo books are published than anywhere else, and where there is also more interest in Thailand because of some perceived cultural similarities — Buddhhism and monarchy — but this is of a tenuous nature. Also I speak just enough Japanese to be able just about to deal with an agent or publisher. Someone in Japan was going to help me but that hasn't worked out. It's hard to know where to start.
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
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Mitch Alland
Guest
Ian, I tend to value criticism from the point of view of being able to see things in your work differently than you may see it. It can also be fruitful to see why a critic doesn't like something that you like. One of the people who understood my project completely was a young French woman who is the fashion editor of the French Gala magazine, and of course she was professional. Her comments were very helpful.
On the question of an agent, as I wrote in the previous posting: where to find one: Japan?, elsewhere?, and how to find one?
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
On the question of an agent, as I wrote in the previous posting: where to find one: Japan?, elsewhere?, and how to find one?
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
Robert Campbell
Well-known member
My copy of the Writers' and Artists' Yearbook is a bit out of date. You could try these, if you haven't already - only the first seems to be listed in the book.
Hamish Macaskill
The English Agency (Japan) Ltd.
Sakuragi Bldg. 4F
6-7-3 Minami Aoyama
Minato-ku,
Tokyo 107-0062
Japan
Telephone: 03-3406-5385
Fax: 03-3406-5387
Email: [email protected]
Tachi Nagasawa
Japan Uni Agency, Inc.
1-27 Kanda Jinbo-cho
Chiyoda-ku,
Tokyo 101-0051
Japan
Telephone: +81-3-3295-0301
Fax: +81-3-3294-5173
Email: [email protected]
Solan Natsume, Senior Agent
Tuttle-Mori Agency Inc.
2-15 Kanda Jimbocho
Chiyoda-ku,
Tokyo 0051
Japan
Telephone: 03 3230 4081
Fax: 03 3234 5249
Email: [email protected]
There is also the Orion Literary Agency in Tokyo - it may be the same as Japan Uni Agency, Inc.
phone no: 03-3295-1405
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7ian7
Guest
Your open-minded attitude is admirable.
Agents who handle illustrated books at all are few and far between. For the major trade publishers in America, a lot of the time it's actually book packagers — all in one setups that basically hand the publisher a finished, print-ready book. They're smart too, and worth exploring.
If there's a recent book similar to the one you're interested in publishing, I'd investigate who was behind that one; author/publisher/editor/agent. It may end up taking you writing a letter to a kindred photographer who has already been published and turns out to be capable and open to championing your cause, to get you a sit down with the right person. If that woman at Gala gets you and what you're about, it make take figuring out (and then spelling out to her) a more specific way she may be able to help you (as opposed to a hail mary, Helllppppp!) that she is unaware of — something bite-size, again probably an introduction.
In the end, who knows, some editor trolling flickr could respond in a big way; end of story. But it may not be productive to count on that happening. I do know one thing, the gestation period for these kinds of projects can last ten years or longer, more than you'd ever have planned or wanted them too, and in the end it isn't wasted time; deepening perspective evolving over time can lend a palpable authority to your work. Try not lose heart.
Agents who handle illustrated books at all are few and far between. For the major trade publishers in America, a lot of the time it's actually book packagers — all in one setups that basically hand the publisher a finished, print-ready book. They're smart too, and worth exploring.
If there's a recent book similar to the one you're interested in publishing, I'd investigate who was behind that one; author/publisher/editor/agent. It may end up taking you writing a letter to a kindred photographer who has already been published and turns out to be capable and open to championing your cause, to get you a sit down with the right person. If that woman at Gala gets you and what you're about, it make take figuring out (and then spelling out to her) a more specific way she may be able to help you (as opposed to a hail mary, Helllppppp!) that she is unaware of — something bite-size, again probably an introduction.
In the end, who knows, some editor trolling flickr could respond in a big way; end of story. But it may not be productive to count on that happening. I do know one thing, the gestation period for these kinds of projects can last ten years or longer, more than you'd ever have planned or wanted them too, and in the end it isn't wasted time; deepening perspective evolving over time can lend a palpable authority to your work. Try not lose heart.
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7ian7
Guest
Nice, B. That's generous.
Robert Campbell
Well-known member
I think you should distinguish between criticism and critique. Criticism is negative - in my opinion you are wrong [and I am the expert, so there!]
Critique is meant to be a positive experience - though easier to achieve in an objective rather than a subjective field.
In critique, firstly the critiquer accentuates the positive - what you have done well, and then [and this must come second] indicates areas for improvement - where you could do better. It isn't meant to be negative, but a more positive reinforcement.
Critique must have both of these components, otherwise is isn't critique but either applause or criticism.
You need not like the artist's style or aesthetic, but you can still offer a critique if you wish; what has been done well, what has been achieved and why; and then ask or suggest alternatives - of the why not such-and-such type or wouldn't it be an improvement if this were added/omitted etc.
And if you are looking for themes to hang critique around you can always fall back onto Kipling's list - who, what, where, why, when and how.
M
Mitch Alland
Guest
Thanks, Bertie, I'll have a go at that.
Ian, the trouble is that my project is similar in concept to some books by Moriyama Daido, one the greatest contemporary Japanese photographers.
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
Ian, the trouble is that my project is similar in concept to some books by Moriyama Daido, one the greatest contemporary Japanese photographers.
—Mitch/Bangkok
http://www.flickr.com/photos/10268776@N00/
Brian Mosley
New member
Hi Mitch, another issue which occurred to me this afternoon - out in the street with my E-3, was the shutter sound... you will be used to the tiny GX100 with silent shutter - the E-420 will have a DSLR sound.
To be honest, seeing the quality of your shots here I'd say you have the perfect photographic tool for your purposes!
Well Done, and thanks for sharing.
Kind Regards
Brian
To be honest, seeing the quality of your shots here I'd say you have the perfect photographic tool for your purposes!
Well Done, and thanks for sharing.
Kind Regards
Brian
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7ian7
Guest
That's hardly a problem, Mitch. Don't they say opportunity is where the competition is? Anyway, the reverent way you talk about Daido, if there really are similarities, they may be perceived as an homage.
I hear you, Bertie. I was raised under a terribly acute degree of artistic and creative criticism, a truly debilitating degree. I am way way more wary of going there than the average person, I guess. I learn from images with characteristics I'd like to emulate by looking at them and sometimes making direct comparisons with my own work. When I'm inspired by an image that has been posted here, I feel lucky that each photographer is generally open about including technical and philosophical details about his/her methodology and approach. It can be very inspiring.
My understanding of how an image should/can look evolved tremendously over the course of working in a lab on pictures shot by famous photographers. Processing approaches are less personal than actual image-making, even if the two things do overlap, and I'm very interested in talking about that kind of thing. I've learned a lot on the web, and on this forum.
Anyway, I don't mind at all if anyone else is holding crits here; I'm just less likely to participate in that kind of thing, and hope if someone sees my work at some point, they can limit themselves to saying "nice" things, however silly that sounds. If I'm doing something crazy wrong, chances are having it pointed out on this forum won't save me from myself! And there's a good chance that the element someone here thinks could make a picture better, someone else somewhere else will say is making it worse.
That's why I try to limit who I receive crits from to people who know me and my work really well, and more importantly are actually invested in my success.
Ok, gotta go. I'll check in tomorrow.
I hear you, Bertie. I was raised under a terribly acute degree of artistic and creative criticism, a truly debilitating degree. I am way way more wary of going there than the average person, I guess. I learn from images with characteristics I'd like to emulate by looking at them and sometimes making direct comparisons with my own work. When I'm inspired by an image that has been posted here, I feel lucky that each photographer is generally open about including technical and philosophical details about his/her methodology and approach. It can be very inspiring.
My understanding of how an image should/can look evolved tremendously over the course of working in a lab on pictures shot by famous photographers. Processing approaches are less personal than actual image-making, even if the two things do overlap, and I'm very interested in talking about that kind of thing. I've learned a lot on the web, and on this forum.
Anyway, I don't mind at all if anyone else is holding crits here; I'm just less likely to participate in that kind of thing, and hope if someone sees my work at some point, they can limit themselves to saying "nice" things, however silly that sounds. If I'm doing something crazy wrong, chances are having it pointed out on this forum won't save me from myself! And there's a good chance that the element someone here thinks could make a picture better, someone else somewhere else will say is making it worse.
That's why I try to limit who I receive crits from to people who know me and my work really well, and more importantly are actually invested in my success.
Ok, gotta go. I'll check in tomorrow.
Robert Campbell
Well-known member
Mitch,
His books are about Japan aren't they? Yours are of Bangkok. Both in B/W - but so what?
I had a quick look at your Flickr book project. It wasn't entirely clear to me what your theme was; there are street scenes and nudes, for example.
What are you trying to portray, and why? - I suggest that any agent will want you to be quite clear about what you are trying to achieve - perhaps even to the extent that you have to actively seek out subjects - if you haven't already -as well as fortuitous pix.
Daido's pictures, as I understand, are printed very large; this by itself is unusual for Japan. I read elsewhere that a photographer was asked to make smallish prints for his exhibition in Japan and large large ones for the US. It seemed that as houses/rooms are small in Japan, so the prints must be sized appropriately; so I don't know just what statement Daido was making with his outsize ones.
helenhill
Senior Member
FAVORITE SHOT is #1
Leaves me wanting to know what the buzz is all about
Lolipop man taking in all his friends facial expressions....Its wonderful
and of course Shot 4
but I fell in love w/the two people crouching & looking under the 'Naked' sign (but found the girl in the forefront to be an intrusion.)
Cheers ! Beautiful tonality......Helen
Leaves me wanting to know what the buzz is all about
Lolipop man taking in all his friends facial expressions....Its wonderful
and of course Shot 4
but I fell in love w/the two people crouching & looking under the 'Naked' sign (but found the girl in the forefront to be an intrusion.)
Cheers ! Beautiful tonality......Helen
jonoslack
Active member
I know nothing - well, not much, but I've just spent 1/2 hour going through your book project as a slide show, and I think it works. Just love the nude followed by the lamp shades at the end.
Inevitably a question - why is it that after a nude shot you have a plant shot, followed by a shot of fish? I know it isn't quite universal, but I guess it isn't accidental, and I'm too dense to understand the connection!
I guess the thing that hits me in the face is that you really have abandoned the 'process' for the image . . . .I'm so jealous!
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7ian7
Guest
Mitch, Bertie is right-on with his line of questioning. It may feel exasperating that your aims or intent won't be as obvious or clear to some others as they are to you, but clarifying your vision for those who aren't connecting the dots straight away is a process that will ultimately make the project even stronger.
Jono's jealousy is such a sweet compliment! That's the thing, ultimately what makes your book a book is you saying it's one (worked for me), and the bravado you exhibit in taking your work that seriously will serve you well.
Jono's jealousy is such a sweet compliment! That's the thing, ultimately what makes your book a book is you saying it's one (worked for me), and the bravado you exhibit in taking your work that seriously will serve you well.
Robert Campbell
Well-known member
There is at least one locally:
Supanya Pratum
Tuttle-Mori Agency Inc.
6th FL., Siam Inter Comics Bldg.
459 Soi Piboon-Oppathum (Ladprao 48)
Samsen Nok, Huay Kwang,
Bangkok 10320
Thailand
Telephone: (662) 694-3026
Fax: (662) 694-3027
Email: [email protected]
I don't know anything about them.
jonoslack
Active member
Thank you Ian - it was meant as one, and it's nice that it was appreciated as such!