How do photographers earn a living.

I found this is my draft posts, so although it was from a while ago I am sure you will enjoy it.

I received this email over the weekend and have forwarded it to a number of photographers, their responses are unprintable. This is for real, it is not a joke

To Whom It May Concern, 

I am contacting you, on behalf of a wonderful friend, regarding an unusual and exciting opportunity. 

Janet and her partner John are getting married in mid July, and have, very unfortunately, been hugely let down by their photographer at the very last minute. 

Janet and John are making their commitment at the Registry Office, at 11am, and then celebrating with friends and family at The pub, in Witney afterwards.

Therefore, a photographer would be required to attend and photograph the happy couple, preferably, from 11am until approximately 2pm. 

In exchange, the photographer would be welcome to use the photographs as they wish, for experience, a personal project or to extend their portfolio. 

As you can imagine, this is not something that this couple expected to be hoping for at this point, but they are such wonderful people, if there is anything one of your members would be in a position to offer, we would hugely appreciate it. 

Thank you so much.

Names have been changed to protect the anything but innocent

Have a look at this video, it will explain how photographers are often treated by prospective clients.

https://www.youtube.com/watch?v=R2a8TRSgzZY

The Why and How of Gregory Crewdson

When I went to see the Gregory Crewdson exhibition in London earlier in the summer, it was the opening day and I had a strange experience. I went with my friend David and we were looking at these fantastic images and I was trying to explain to David how I understood Gregory worked and the use of symbolism and atmosphere in the pictures. I was eulogising the work and the man, I think he is a genius. Then as I was explaining a man started to invade our space, he was in a suit but creatively scruffy, long hair and with a friend following. You know how it is at exhibitions, you sort of want the space to yourself and as I was in full flow was a touch put out by the intrusion.

Gregory Crewdson The Haircut, 2014 © Gregory Crewdson

We moved on the next picture and in a short while here was the man again, more lacking in exhibition etiquette I thought in my very British way. The man and his companion had moved to the 3rd picture on the wall so David and I hopped to the 4th. I was leaning in close to admire the exquisite detail in one of the images when they appeared again, the companion leaned in and pointed to exactly where I was looking and turned to the man and said, “That is so beautiful, you are so clever”

I had been irritated by the presence of a master, how stupid of me. I didn’t say hello, a bit embarrassed but I wish I had now.

Yesterday I found this film on YouTube where Gregory talks about his process and motivations and intentions, I so wish I had head it from him in person. The 30 minute film shows him orchestrating the actors, environment and atmosphere to capture the remarkable images he makes.

This is such a brilliant 30 minutes I would really recommend you watch

If I had seen this first I would have recognised him and maybe not have made a fool of myself by explaining to the master his works!

The great man at work

Gregory Crewdson working on The Cathedral of Pines

Sadly the exhibition of his recent work Cathedral of the Pines has now ended at the Photographers Gallery

Wim Wenders on his Polaroids – and why photography is now over

Wenders, too, now regards photography as a thing of the past. “It’s not just the meaning of the image that has changed – the act of looking does not have the same meaning. Now, it’s about showing, sending and maybe remembering. It is no longer essentially about the image. The image for me was always linked to the idea of uniqueness, to a frame and to composition. You produced something that was, in itself, a singular moment. As such, it had a certain sacredness. That whole notion is gone.”

The article in The Guardian is not one that will explain to you in detail why photography is now over, it is more the sense that for Wenders it left him behind when he gave his Polaroid camera to Patti Smith. The article is littered with the sounds of names crashing to the floor when dropped.

Why the Photographers Gallery would be bothered with showing pictures by someone who never thought of themselves as a photographer is beyond me. However, what do I know, I am sure all those names littering the floor and on the wall in the 3″ x 3″ white iconic frames will be enough to have hordes of people wanting to visit and buy a book or a postcard

If you want to read the article it is here

Heinz, 1973, by Wim Wenders Photograph: © Wim Wenders

Ephemera … Campbell Soups, New York, 1972. Photograph: © Wim Wenders

‘They were made from the gut’ … Valley of the Gods, Utah, 1977, by Wim Wenders. Photograph: © Wim Wenders/Courtesy Deutsches Filminstitut Frankfurt