Drop the ego and open your minds! Nobody knows everything, we can all learn until the day we die.

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Article Dedication

in Honor of

Barbara Kruger & Grandma Moses

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One small minded photog on the photo forum (a camera fondler) said he does not look at other photogs work. He felt he didn’t need any outside inspiration, he could do it all by himself. That is what ego can do…it can blind you! Nobody knows everything, we can all learn until the day we die.

Martin Munkacsi inspired Cartier-Bresson to take up street photography. On the other end of the spectrum, Munkacsi also inspired Avedon with his fashion work.

Compare Avedon’s homage to Munkacsi’s original…

avedon homage to munkacsi

Personally, I get inspiration from most anyplace. We just have to keep our eyes and mind open to receive the inspiration.

Here are a just a very few of my fav photogs that have inspired me over the years…

Lisette Model, Robert Frank, Mary Ellen Mark, Henri Cartier-Bresson, Michel Chelbin, Les Krims, Maggie Steber, Don McCullin, Salgado, Irving Penn, Diane Arbus, Gail Halaban,  Cristina Garcia Rodero, Alfred Eisenstaedt, Bruce Davidson, Robert Doisineau, Jane Evelyn Atwood, W. Eugene Smith, Martin Munkasci, Larry Fink, O. Rufus Lovett, Weegee, Robert Capa, Judy Dater, Ray Metzger, Erich Salomon, Harry K. Shigeta, Emmet Gowin, Jill Freeman, James Nanchez, Helen Levitte, Shelby Lee Adams, Brassai, O.Winston Link and William Mortensen.

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Selections from ‘Rainbow Girls of the Beat Generation’

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Article Dedication

In Honor of

Werner Weiser & David ‘Stereo Realist’ White

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Beatnik 1959 2- Daniel D. Teoli Jr. Archival Collection lrBeatnik 1959 - Daniel D. Teoli Jr. Archival Collection j

Rainbow Girls of the Beat Generation D.D. Teoli Jr. A.C.

Selections from Rainbow Girls of the Beat Generation

Part of the 6 volume artist’s book series Girls of the Beat Generation by Daniel D. Teoli Jr./ Daniel D. Teoli Jr. Archival Collection

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This is what you photogs should strive for online. Decent res and a mini, unobtrusive, classy watermark.

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Here is a photo someone had sent in from LinkedIn by photog Anne Geier.

https://500px.com/anne_geier

This is what you photogs should strive for online. Decent res and a mini, unobtrusive, classy watermark. (If you even want a watermark.)

Some of you send in crappy photos to start with, make them low pixelated res, then they have a giant, ugly watermark all over it. With my own work, I use no watermarks. I’m sure you will agree my photos are not easily confused with other photogs work. And a simple Goggle image search will let the inquirer know who is the author of the photo.

C’mon, your sunsets and roses are a dime a dozen. People can go on Flickr, Wiki Commons or Google and get millions and millions of roses and sunsets for free. For some reason photogs seem to think their photo is the end-all. Seldom is it the case.

Don’t sent in low res, common as dirt, giant ugly watermarked pix. It just shows you don’t know what you are doing and are a beginner.

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Wanna get into the Wikipedia? Just come up with $300!

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I complained to the Wikipedia that they had no article on me, even though I hold many world records in photography and am the world leader in infrared flash street photography.

This is what they wrote back…

“…as to an article on you!  We have a huge backlog of requests for biographical Wikipedia articles.  I think the list is in the tens of thousands of names long so far.  No one wants to write them all— which can be very disappointing.

If you are truly notable, and are interested in getting an article written up on you, you may be able to achieve this via a paid edit.  The usual charge is around $300, and is negotiated with individual editors, not with Wikipedia.  If this interests you, please let me know.”

Well, money makes the world go round.

selection-from-americans-60-years-after-frank-2016-daniel-d-teoli-jr-10

The Soda Fountain – a bronze memorializing civil rights sit-in  Wichita, KS

Selection from The Americans…60 years after Frank artist’s book by Daniel D. Teoli Jr.

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

 

The Wikipedia can be totally wrong…sad thing is they don’t even want the truth.

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Article Dedication 

in Honor of

Alexey Brodovitch & Paul Himmel

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I tried to make an edit to correct the wrong information at the Wiki for

https://en.wikipedia.org/wiki/Dye-transfer_proces

(If link does not work Google ‘Dye-transfer process Wikipedia’

The article says:

‘The dyes have excellent light and dark fastness.’

Dye Transfer print fade test after 6 months of sun Daniel D. Teoli Jr. mr.

That is wrong, Eastman Kodak dye transfer prints fade rapidly in the light. Dye transfer prints are some of the worst color imaging media there is for dye stability when it comes to fading from light exposure. I’ve tested dye transfer prints from many decades and the results are the same.

I corrected the wrong information to read:

‘Although the dyes have good dark fastness, they have poor light fastness.’

Here is the link I added showing the proof:

https://danielteolijr.wordpress.com/2017/02/28/anal-photo-collectors-value-the-signature-more-than-the-photo/

The edit I made to add the right information was changed back to the wrong information immediately after I corrected it.

The Wikipedia can be totally wrong…sad thing is they don’t even want the truth. I wrote to a couple of Wiki links to complain…nothing ever changed.

Eventually I did receive a reply as to their policy. Here is part of what they said:

“The information you have provided may very well be true, and if so then our article should be changed to reflect that truth, but we don’t allow our editors to include original research in our content— we rely on published reliable independent sources like books and newspapers.  If you can find a source that supports the claim you are making, including it should not be a problem— but you can’t use YOU as the source!  Even if what you have and know is truth.”

But, what I don’t understand is where is the published data that the original author wrote that proves dye transfer prints have excellent light fastness?

Well, on another Wiki note…

Wiki Commons deleted a couple hundred of my photos I donated to them. They didn’t want them for ‘educational and editorial uses,’ they demanded they could be used commercially as well. What a waste of time. They still send me emails asking for $$ to donate to them.

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GOTJ 57 2014 Daniel D. Teoli Jr.

Selection from The Americans…60 years after Frank artist’s book (Candid)

by Daniel D. Teoli Jr.

A complete list of artist’s books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

 

 

Collection areas for the Daniel D. Teoli Jr. Archival Collection

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Over the last couple months I’ve been working on organizing the Daniel D. Teoli Jr. Archival Collection. I have to balance working on the Archive along with work I need to do for my own photography. The first step was to make a list of areas or scope that the Archive collects in.

Here are the collection areas for the Daniel D. Teoli Jr. Archival Collection

Pre-Jazz Era
Roaring 20’s – Flappers
1930’s – Depression Era
1940’s – WWll – Bobbysoxers
1950’s – Beat Generation
1960’s – Hippies
Fashion
Majorettes
Women’s Hairstyles
Majorettes
Christmas
Vintage New York City
Before Photoshop / Retouched Photos
Of Historical Interest
Macabre
Yawning
Newsworthy
Vintage Press Photos
Politics
Nixon
JFK
McCarthy Era
Vintage Football
Press Photographers
Roadside Americana
Stereo Photography
Hand Colored / Painted Photos
Gender Studies
Vintage Nudes
Upskirts
Vintage Pornography
Sexual Deviants
Crossdressers
Homosexual Erotica
8mm and 16mm Vintage Pornography
Vintage Medical Photos
Sleepers
RPPC’s
Propaganda
Outcasts
Underground Social Documentary Photography
Vernacular Snapshot Aesthetics
Vintage Circus
Vintage Night Photography
Whimsical
Comix / Comics

The Birth of the Beatniks Daniel D. Teoli Jr. Archival Collection

The Birth of the Beatniks

Selection from The Beatniks artist’s book by Daniel D. Teoli Jr.

 Daniel D. Teoli Jr. Archival Collection

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

An Example of Epson’s Color Correction Scan Option

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Article Dedication

In Honor of

Walter Gropius & Staatliches Bauhaus

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Taken in part from Photo Restoration artist’s book by Daniel D. Teoli Jr.

 

Test shows a vintage faded photo that was scanned with Epson’s color correction scan option.

Epson scan no color correction D.D. Teoli Jr. A.C..jpg

Above: Raw Epson scan with no color correction

Epson scan with color correction D.D. Teoli Jr. A.C..jpg

Above: Raw scan with Epson’s color correction option applied

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Above: Epson’s color correction scan post processed in Lightroom. The photo could be further worked in PhotoShop.

Selection from Rainbow Girls of the Beat Generation artist’s book by Daniel D. Teoli Jr. / Daniel D. Teoli Jr. Archival Collection

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Collecting Digitally

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Article Dedication

n Honor of

James Watt & Chester Floyd Carlson

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Many times the archive may not be able to get the original item for the collection. In those cases, a digital copy may be your only option. While digital copies are not the same as having the original…it is much better than having nothing.

A lot of curators are closed minded to collecting digital copies. I’ve found collecting digital indispensable to my archives mission. In the example below, the post card collector did not want to sell the item, but he was agreeable to selling me a hi-res scan of it reasonably.

Later on I found out cards like this sell for $250 to $350 each. So even if he did want to sell it, it would have been above my budget. That is where collecting digitally can help round out the missing unaffordable / unobtainable links to a collection.

Klu Klux Klan Daniel D. Teoli Jr. Archival Collection m

With the digital collection, a curator can order up inkjet prints and could conceivable install a show in a fraction of the time it would take to beg and borrow prints from other museums. And if a museum wished to borrow an image , how much easier can it get that to drop box or email the image.

The photo departments in the art museums are on a perpetual complaint that they do not have any space for new acquisitions. (Well, maybe that is the ‘easy let down’ as an excuse to snub the photographer that is trying to make his or her way into the museum’s permanent collection. ) In any case, digital again comes to the rescue.

But, digital collecting seems to be too radical thinking for an art museums to adopt. Personally I’ve used this ‘digital only’ technique to produce a few artist’s books and have found it to be a very good method indeed.

There are some drawbacks to collecting digitally. One of the drawbacks to collecting digitally is the digital copy is not worth much…if anything. Museums and galleries have to spend lots of money on conservation, security and so forth. So they only like to collect artwork with signatures and high value.  That is one of the excuses they use anyway.  Really, what they collect is more ‘signature oriented’ than ‘art orientated’ many a time.

Further Reading:

https://danielteolijr.wordpress.com/2017/02/28/anal-photo-collectors-value-the-signature-more-than-the-photo/

Another issue is you don’t have a physical original. But this can be skirted around by printing out a letter size hard copy that can be scanned if you ever lose the digital files. If museums and archives shared digital files that would also be a great off site back-up safety net.

But, digital can also benefit an archive whereas having just one physical original cannot. In the early 2000’s a flood in Ohio wiped out 20+ years of my work. If it was all digitized I may have had high quality digital backups off-site. In my case, the one and only originals were all destroyed…prints, negs, chromes and ephemera.

https://danielteolijr.wordpress.com/2015/04/10/the-master-print-for-the-digital-photographer-is-what-the-physical-negative-is-for-the-film-photographer/

Since digital collecting can rapidly increase an archive with easy acquisitions, the curator has to be careful of not overloading the archive with too much material that can’t be dealt with. This is an area I have to be careful with. I don’t have any helpers to manage things, I have to manage things all my myself. So I ‘try’ to be selective.

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De Wallen Graffiti 2014 Daniel D. Teoli Jr.