Why Street? It sounds ridiculous!

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Article Dedication

in Honor and Memory of

Anthony William ‘Tony’ Jones aka Tony ‘Indiana’ Jones

Tony was an early travel mentor of mine. As a young kid starting out, he generously breast-fed me a diet of comisionistas and barequeros on the Avenida Jimenez

<><><><>

Since I have a lifetime ban from the Rangefinder Forum I will discuss the Why Street? topic here. My comments are in green.

From the Rangefinder Forum… 

Devin Bro
B-9's Avatar
Join Date: Jul 2009
Location: Michigan
Posts: 1,453

Why? Street

You know what frustrates me?

“It’s not good for shooting street”

“I only shoot street”

“Street photography”

“It will be great for those who do street”

It sounds rediculous!

Hello, My name is Devin, I’m a street carpenter, I only work with wood on the street, my Estwing 16oz hammer is ideal for street carpentry, but my sledge is just to bulky and people really notice how large it is when I’m hammering wood in the street.

I love my cameras (tools) and taking photos is the product of my love. I couldnt care less about anyone’s opinion of my photos. I am not a photographer! I am an Artist with many tools.

This is a fad I see on EVERY video about a new camera. It’s apparently a new criteria for manufacturers.
Why is this such a fad these days? “Street”

The ‘street photography’ designation is not ridiculous. If you were a dedicated street photog you would realize this B-9. It is very small minded of you to think that all photography is the same and uses the same tools. You should know that a rough carpenter is not the same as a finish carpenter or a chair maker. They each have their own skill set and tools.

Zig Ziglar, the wise man from Yazoo City, Mississippi used to ask…”Do you want to be a wandering generality or a meaningful specific?”

Unless we know what our specialty is, how can we become meaningful in our work B-9?

sad-buskers-nyc-2016-daniel-d-teoli-jr

Sad Buskers Times Square

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

by Daniel D. Teoli Jr. (Candid infrared flash photograph)

Street photography is popular because it can be participated in right out of our front door. Photogs need something to shoot and street is one of the easiest genre to get into. Street photography is also time honored, empowering and very rewarding to do.

But I take it from your post you are not taking issue with people taking photos on the street, you are just upset with the concept of using street photography as a marketing concept and possibly as a legitimate field of photography.

From the very beginnings of photography, photographers have been fascinated with the candid photo.

Click on image for hi res version

Nowadays, the camera companies need an ever growing customer base to keep buying cameras, so they market to a hopefully growing segment of camera consumers…the street photographer. But, street photography is just one of the many dozens of categories that photography specialties can be categorized in.

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr. (Candid)

Just because one can produce well in one genre, it does not mean they can produce as well in all areas.  Just like medical specialties, cooking specialties, construction specialties, we have specialties in photography.

Pages in category “Photography by genre” Wikipedia

A

(Looks like they are missing Infrared Photography and Infrared Flash Photography in the Wiki list.) 

Registered User
Arbitrarium's Avatar
Join Date: Aug 2016
Posts: 87

Just another buzzword to draw in the easily-influenced and those desperate to be part of a clique.

But as a genre of photography it’s as good a word as any for urban, people-focused photography.

However, yeah… describing one camera as being better or worse for street (sorry) photography is a load of garbage.

__________________

Not true.  Some cameras are more conducive to candid street work. But, what other than misinformation can we expect from someone like this?

Take a look at Arbitrarium’s street work:

https://www.instagram.com/arbitrarium/

This is why I harp on the smug camera fondlers. They think they know everything under the sun when it comes to all aspects of photography and the reality is; they don’t know their ass from the proverbial hole in the ground.

The fondlers dispense the wrong information and the young gun photogs coming up lap it up as gospel. No wonder we have such shitty street photography on the photo forums.

Lost Princess Copyright 2013 Daniel D. Teoli Jr. mr

The Lost Princess

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

by Daniel D. Teoli Jr.

In Weegee’s day the photog didn’t have to worry about being labelled a sexual predator when he shot stranger kids on the street. In 2017 things are very different. Weegee said there was no such thing as a ‘candid camera,’ there are just candid photographers. I would respectively have to disagree at least half-way with Weegee and say every camera is not the same when it comes to their ability to be good as candid street cams.

But Weegee came from an age where he did it all with a 4 x 5 press camera, so he was used to making due with a 9 pound monster. The flip side of the coin is as Weegee said. Even if you give a small camera to a incompetent street photog they wont be able to do any good with candids.

1936 Temple of Dreams Daniel D. Teoli Jr. Archival Collection m

Daniel D. Teoli Jr. Archival Collection

https://danielteolijr.wordpress.com/2015/04/28/the-red-dot-is-not-your-problem-you-are-the-problem/

<><><><>

You never know when your fast, street shooting skills will come in handy. I was driving to the airport and drove past a homeless tent encampment in L.A. No place to stop, already late for my flight…I shot it through my car’s windshield while driving.

In the Shadow of City Hall

From The Americans…60 years after Frank artist’s book

by Daniel D. Teoli Jr.

…and the fast street skills you develop on asphalt are readily transferable when you go indoors on carpet…

Happy Hour

Selection from On the Fly artist’s book by Daniel D. Teoli Jr.

I’ve been a street / doc photog for 48 years. My photographs are in over 130 museums and curated collections around the world.

Partial Listing:

http://photohostsnapshots.tumblr.com/post/123975547363/los-angeles-county-museum-of-art-california

I’ve got nothing to sell you, no agenda to push, so I am not going to feed you a lot of bullshit. I’m not trying to get you to buy my book or come to my seminar. I’m not pretending to be a ‘rumor mill’ that is secretly funded by the camera companies. You don’t have to PayPal me $5 to support my ever growing family. I am just telling you the truth, as I can best discern it to be, according to my experience as a street photographer.

Yes, you can do street work with most any cam, but if your goal is candid photography, some systems are just not best suited for it. It is like forcing a cook to use a machete to peel potatoes instead of a paring knife. They are both knives, yes you could use it if you must, but they are not really fungible.

https://danielteolijr.wordpress.com/2015/05/13/what-is-the-best-camera-in-the-world/

little-dicky-lucky-chops-2016-daniel-d-teoli-jr-m

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

by Daniel D. Teoli Jr.

<><><><>

No Arbitrarium, street photography is not always a clique, for many of us it is our life. Yes, they have meet-ups with hoards of camera fondlers roving the street for photo ops, but these are usually not serious street photogs.

Bikers Mardi Gras #14 Copyright 2014 Daniel D. Teoli Jr.

Selection from Biker’s Mardi Gras artist’s book by Daniel D. Teoli Jr.

The gift that photography provides me is a way to make sense of my world. I don’t do photography to make money or to try and ‘change the world’ for the better. I am not a god, I don’t claim to know what is better. But, I can freeze time to get a better look of it at home.

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr.

You see,  if freezing time is in your blood, being a do-gooder or making $ does not matter.  If your dedicated to your art, you must produce and keep producing, whether you have an outlet or not to make $…or even have any practical use for your output.

EPSON DSC Picture

Faces of Gentrification

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

by Daniel D. Teoli Jr.

Art is the way many of us make sense of our world. A wordsmith sifts it all through their brain and writes a book or article, a musician composes a song, a poet pens a poem, an artist sketches a drawing or does a painting, a photog shoots a pix, a sculptor forms a statue, a choreographer creates a dance. We each express what is in us and make sense of our world through our art.

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr.

Georges Simenon summed up how it is for the writer and this can go for any of the arts as well.

“Writing is considered a profession, and I don’t think it is a profession. I think that everyone who does not need to be a writer, who thinks he can do something else, ought to do something else. Writing is not a profession but a vocation of unhappiness. I don’t think an artist can ever be happy.”

Irrespective of recognition, fame and riches, dedicated photogs all have one thing in common…we know photography is our life blood and as long as we can keep pressing the button and freeze time, we fell the better for it.

Weegee on the subject…

“Sure. I’d like to live regular. Go home to a good looking wife, a hot dinner, and a husky kid. But I guess I got film in my blood.”

<><><><>

Registered User
css9450's Avatar
Join Date: Mar 2007
Location: Chicago
Posts: 642

Quote:
Originally Posted by B-9 View Post
I like Urban over Street to categorize photos.

Urban works for me. I don’t do “people” photos but I shoot a lot in blighted parts of the big city. I don’t call what I do “street”.

__________________
Nikon S2, S3, F, F2, FM2, FA, N90S, D80, D7000, D750, Sony a6000, Canon IIf, Leica CL, Tower type 3, Zorki 4, Vito B, Perkeo II, Rollei 35….

css9450 is offline

Fair enough.  You call your work urban – I will call my work street.

Street work is mainly about candid photography of people on the street. If you ask for permission and pose the subject then it is termed as street portraits. But, just because you are good at street portraits it does not mean you are good at candid street work and vice versa.

Cornered Copyright 1973 Daniel D. Teoli Jr.

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr. 

Within this genre we can always mix in a few photos that do not have live people in them. But if someone wants a book on street photography they usually are not looking for a book full of statues and sunsets, which both are also on the street.

selection-from-americans-60-years-after-frank-2016-daniel-d-teoli-jr-9

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

by Daniel D. Teoli Jr.

Registered User
Join Date: Jan 2013
Location: Des Moines, IA
Posts: 24

I think documentary could be a good way to describe street photos. I see a lot of images labeled street that really don’t have a punchline but do a good job documenting the scene.

NeonKnight is offline

Sure, street is a form of social documentary photography, but a dedicated book on street photography should not be all about interior documentary photography. We can mix in a few with our street work, but don’t overdo it.

New Year’s Eve…Skid Row Bar

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr. (Candid)

Here is the Hierarchy of Documentary Photography which I developed:

1. Candid events unfolding as they happen.

2. If it cannot be perfected or obtained as a candid, then the photo must be posed.

3. If it cannot be perfected or obtained as a posed photo, then it must be staged with the proviso it is a recreation of past events, preferably with the actual persons reenacting the events.

4. Figments of the imagination. Varies in documentary value.  Can be based on pure speculation or a recount of events.

<><><><>

DIANE ARBUS 1967 by FRED McDARRAH

1967 photo of Diane Arbus taken by Fred McDarrah

Just because you have documentary talents it does not mean you have great candid street talents. Diane Arbus was a good example of this. She was good at befriending oddball people and taking street portraits, but she was not known for candid street work. Her gear picks were also not the best for candid street shooting.

Arbus was not the only woman ‘street photog’ that bulked up on gear…

Mary Ellen Mark with street camera setup

2010 Internet photo of Mary Ellen Mark

If the photog specializes in street portraits then almost any cam will do. The photog can take their time to get the shot. The criteria is; if the camera can record the scene then it will work. 

26Whoop-Whoop 123 Daniel D. Teoli Jr. mr (9)

Selection from 180: The Circular Fisheye at Large artist’s book by Daniel D. Teoli Jr.

The problem with some of the so-called street cams is they do not have fast enough auto focus or you can’t adjust the controls fast enough to get the shot. As a street photog, we don’t have the luxury of retaking missed shots. 

<><><><>

Registered User
PunkFunkDunk's Avatar
Join Date: Feb 2017
Posts: 27

So much of street photography seems to me to confuse subject for content, including so-called “masters” like Meyerowitz. Artistically, he has nothing to say. Where Evans’ great achievement was apprehending the distinctiveness of the American vernacular, both its zenith and swift decline, in the built environment — which is to say, figuring the uniqueness of the confluence of a ‘new world’ frontier character, the verve of black culture as it evolved in America and, later, the ascendency of consumer capitalism upon daily lives — well, Meyerowitz and his attendant fan boys then and now give us meaningless compositions of serendipitous emptiness, “moments”, neither decisive nor determined, to reveal more than that which we can see. Which is fine, I suppose. After all, real artists are rare. For the rest of us, the street is where we belong. And as Seinfeld noted, “not that there’s anything wrong with that!”

The thing the art community likes about the Meyerowitz’s, Eggleston’s and Winogrand’s of the world is their work does not offend anyone. It can be shown anywhere. Meyerowitz is also a very good public speaker, so he is in demand for speaking events.

Hakenkreuz in a Dress copyright 1973 Daniel D. Teoli Jr.

Hakenkreuz in a Dress 

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr. (Not staged – an American Nazi in her bedroom)

There is a reason I list myself as an ‘underground’ social doc photog. My work is unacceptable for public viewing, shows and exhibitions. I am snubbed at every turn due to prejudice, censorship and societal conventions. Be that as it may, I don’t do social documentary photography for other’s approval.  So, whether snubbed or loved, I only have to please myself with my work.

BMG Project Infrared Flash 2015 Daniel D. Teoli Jr mr - Copy

Multitasking

Selection from Piercing Darkness artist’s book

by Daniel D. Teoli Jr. (Candid infrared flash photograph)

<><><><>

From the DP Forum…. (They banned me after a few days.)

“Welcome to the Documentary and Street photography Forum, the place to discuss techniques and share galleries and tips related to documentary and street photography.” 

Techniques and tips related to documentary and street photography sums up why a photog needs to label and be clear about their niche they are specializing in. Street photography, museum quality street photography that is, requires special techniques and skills.

Selection from Piercing Darkness artist’s book

by Daniel D. Teoli Jr. (Candid infrared flash photograph)

Just because I am shooting infrared flash at night it does not mean I am invisible. I still have to have outstanding candid skills to get the photo. Since infrared flash does not work at great distances, using it means I have to work very close to my subjects. 

A lot of the so-called street work produced nowadays is done by camera fondlers.

https://danielteolijr.wordpress.com/2015/08/07/the-camera-fondlers-delight-pimping-their-cam/

The camera fondlers can’t produce anything worthwhile since they have never put in the time to develop advanced street skills. Through ignorance they tend to dismiss other’s work, concepts and techniques as we have seen in B-9’s post.

I spent 4 years+ just on developing my infrared flash techniques and street skills. Yes, they are 2 distinct skill sets. One set is for the technical aspects of infrared flash photography, the other set deals with candid techniques for using infrared flash. 

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr.

With regards to gear…almost any of the modern day auto focus cams will beat a rangefinder or manual focus SLR for speed of focus. But, few of the modern day cams will beat a manual cam for on the fly, instantaneously, with no shutter lag shooting in bad light.

21Whoop-Whoop 21 Daniel D. Teoli Jr. mr

Selection from Whoop-Whoop artist’s book by Daniel D. Teoli Jr.

It is not that I am stuck on old SLR manual focus lenses and rangefinder designs for retro snob appeal, but these 2 components are what is required to ‘get the shot’ in many of the situations I find myself in. Couple the manual ability with a compact footprint…and you have a great street cam

In the old days, all our cams were manual design. We never thought anything about it. So the camera companies didn’t go out of their way with promoting cameras as street friendly. You had small cameras, medium cameras and big cameras. But they were all manual cameras and the only choice you had was to decide on size.

12Whoop-Whoop 38 Daniel D. Teoli Jr. mr

Selection from Whoop-Whoop artist’s book by Daniel D. Teoli Jr.

If you have the money, Leica has perfected what is needed in a documentary camera eons ago. Impeccable manual controls, simplicity, reliability and a small footprint.  The compact Leica especially excels at low-light, manual focus and / or zone focus work.

The other benefit of the Leica is straightforward manual controls like shutter speeds and aperture. You can adjust the controls without even looking at the camera, you can just count the clicks.

This is not revolutionary stuff…focus, aperture and shutter speed and the rule of 16 was how it had always been back in the day…until the camera fondling engineers complicated the equipment.

The worst invention they ever made was the shutter program dial. The menu driven cameras are so complex nowadays, I would love to shoot the M43’s if they were Leica-like, but I can hardly figure out how to adjust them.

26 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr.

Selection from De Wallen: Amsterdam’s Red Light District artist’s book

by Daniel D. Teoli Jr. (Candid)

Another nice thing about the Leica is you can zone focus a Leica by not looking at it. You feel the protrusion on the lens and adjust it to a predetermined spot correlating to the focus scale. 

For those on a budget, a used Fuji-X does offers some of the same benefits as the Leica with limited manual controls. But in low light, the Fuji has terrible low light autofocus and most of their lenses are dumbed down when it comes to manual controls.

Selection from Peephole: Peering Into the World of 1970’s Hollywood and L.A. artist’s book by Daniel D. Teoli Jr.

If you are not shooting in tough lighting conditions or fast, on the fly shooting, then most any modern day digital cam will produce to one degree or another. Some may be better than others with ‘this or that’ feature, but it usually boils down to the photog, more so than the cam.

Alan Watts used to say we define ourselves by our enemies. He used the beatniks and squares as examples. That is what the opening post by B-9 smacks of. I find this attitude all over the photo landscape…if I can’t compete, then my ego demands I must condemn.

<><><><>

Now, besides cameras, there is another aspect of doing museum quality street work we have not discussed. That aspect is the attitude and personality of the street photog.

Weegee gives us the bottom line

Backup audio link:

https://archive.org/details/WeegeeTellsHow

There is a high chance the hardcore street photog is going to have a different attitude, personality and ego than an anal landscaper or star trail photog. The street photog may not be as anal as the tripod photog when it comes to technical aspects, but their nature shows a different anal aspect when it comes to their personality.

grand-central-station-ny-2016-daniel-d-teoli-jr-m

Grand Central Station NYC

The street photog may have to work outside of normally accepted societal conventions if they want to get the shot. As such, that special ‘anal aspect’ the street photog must posses can be summed up in the vernacular thusly…success on the street sometimes involves being an asshole.

The photog usually does not set out to be an asshole, but when you concentrate only on ‘getting the shot’ it is a natural offshoot of the process. And this need to be an asshole only comes about if you insist on in-your-face, candid photography like I do. On the positive side, the better you are at candid work, the less asshole-ish you need to be.

st-patricks-cathedral-nyc-2016-daniel-d-teoli-jr

St. Patrick’s Cathedral NYC

If you’re OK with doing the garden variety street photography you see on photo forums, the asshole issue should not be a problem for anyone. Just shoot from the hip far away or get a long telephoto lens, stand across the street and blast away.

But the majority of this type of photo forum street work I see smacks of…’Hey look at me, I just shot a mishmash of strangers on the street that don’t mean anything to anyone.’ These photos usually only hold interest to the photog that took them and possibly the people in the photo.

Order Women Like Pizza Daniel D. Teoli Jr. v29 mrOrder Women Like Pizza Copyright 2014 Daniel D. Teoli Jr.

Order Women Like Pizza – Las Vegas (Candid)

The confused, mishmash of strangers on the street is what I try to avoid…and I avoid it by getting personal with my subjects. And getting personal with strangers is where the need to be an asshole comes in.

De Wallen Postcards copyright 2014 Daniel D. Teoli Jr. mr

Selection from De Wallen: Amsterdam’s Red Light District artist’s book
by Daniel D. Teoli Jr.

You will have to decide if what I have laid out here is right for you. What I have told you is how I do it, but it is by no means the only way to do street photography.

When I was a young photog growing up in L.A. I wanted to be a fashion / studio photog. One day it sunk in I had no talent for those areas. I decided to move on to street and social doc photography and never looked back. That was a day of enlightenment for me. If you are dissatisfied with your photography you will need your own day of enlightenment to see where your talent lies.

Good luck in finding it!

<><><><>

The Flappers -Daniel D. Teoli Jr. Archival Collection (1)m

Selection from The Flappers

a 6 volume artists’ book series

by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/07/01/announcing-the-flappers-artists-book-series-by-daniel-d-teoli-jr/

A complete listing of artists’ books by Daniel D. Teoli Jr.

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

<><><><>

De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Announcing placement of the Encyclopedia of Ink Jet Printing with Rochester Institute of Technology Image Permanence Institute.

Tags

, , , , , , , , , , , , , , , , ,

A 12 volume set of the Encyclopedia of Photographic and Fine Art Ink Jet Printing Media has been placed with Rochester Institute of Technology Image Permanence Institute.

Previous sets of the Encyclopedia have been placed at The Center for Creative Photography Department of Conservation, The Rijksmuseum Research Library in the Netherlands, The Rare Books and Manuscripts Library Ohio State University and The Amon Carter Museum of American Art Department of Conservation.

Encyclopedia of Ink Jet Printing Daniel D. Teoli Jr. mr 1 Encyclopedia of Ink Jet Printing Daniel D. Teoli Jr.  mr 2

The 12 volume Encyclopedia is currently the world largest set of hand-printed contemporary artists’ books ever made. More importantly, it is a very important and unique reference collection for archival research and those interested in ink jet printing.

http://encyclopediainkjetmedia.tumblr.com/

<><><><>

De Wallen Graffiti copyright 2014 Daniel D. Teoli Jr.

Whether you call it camera fetishism or camera fondling…it is all the same disease.

Tags

, , , , , , , , , , , , , , , , , , , , , , , ,

 Article Dedication

In honor of

Robert “Radio Bikini” Stone & Donna Ferrato

<><><><>

Over at the Rangefinder Forum they were discussing camera fetishism. Whether you call it camera fetishism or camera fondling…it is all the same.

Registered User
Join Date: Nov 2015
Posts: 13

Is the Leica obsession a fetish?

HNY everyone

Over the course of 2015 I acquired a couple of Leica lenses and an M3, all of which I use and enjoy. Yet since obtaining these tools, I’ve also developed a strange obsession with other lenses, bodies, etc. The 28mm summicron ASPH, the noctilux, the M-240, etc. Although an objectively low-earning type, I could probably afford buy an M6 and a 35mm lens, or whatever, which I would also use and enjoy. But my real question is whether or not the fixation on Leica merch and glass, tools if you will, is a fetish.

Does anybody else spend large amounts of time looking at pictures of cameras and lenses that they’ll probably never buy, even if they could? Is it a fetish? When I was a mechanic, I remember snap-on tools had a huge pull, but for whatever reason, maybe the marketing/ad dept, they never captivated my desire and imagination to such a profound level.

While I must say these tools have fostered a newfound interest (and ability to pursue) in composition, the darkroom, B+W photography, and I have educated myself the best I know how, something about the desire for more gear and the fascination with expensive glass feels oddly perverse. Sometimes you’re up at four AM and reading Overgaard or looking at the classifieds here and it just feels a little off.

The Rangefinder Forum gave me a lifetime ban a few years ago, but I still like to check in to see what the camera fondlers are up to even if I can’t post. Really, it is the best of both worlds for me. I can read the forum and comment exactly like I want to without censorship here. And I don’t have to listen to the head camera fondler that runs that forum.

Camera Fondler copyright 2015 Daniel D. Teoli Jr. mr

Well, I may have been the first to coin the term ‘camera fondler,’ but it is NO joke. I find the vast majority of the photogs on the photo forums are not serious photogs and fall into the camera fondler category. They spend more time fingering their cams and getting hard-ons than pressing the button.

We can see this in poor mgrinnan’s post. He wants to be a great photog, but the best he can do is read the want ads and fantasize about what to buy next. In short, instead of looking for opportunity to press the button more, he is looking at camera porn and drooling to acquire more equipment.

A common trait with the fondlers is this…they feel they can never produce anything worthwhile with what they got. They always blame their equipment and never themselves for their shortcomings. They believe if they only had ‘this cam or that lens’ – then they could produce!

Here is the deal…

If you don’t produce anything worthwhile photographically, then just admit to yourself your a collector / fondler. There is nothing wrong with being a fondler. The damage comes when the fondlers make themselves out to be experts at photography and dispenses the wrong information to the young guns coming up. That is the issue I have with the fondlers.

Here is an example…

One fondler on the photo forums said “why doesn’t Leica get rid of the rangefinder and shutter speed dial and put auto focus and a program dial on the M.”

Fondlers…do you ever wonder why your photos look like they do? Believe me fondlers, auto focus and a program dial has nothing to do with how my photos come out.

21Whoop-Whoop 21 Daniel D. Teoli Jr. mr

https://danielteolijr.wordpress.com/2015/11/16/shooting-from-the-hip/

I was first exposed to the fondling notion after I inherited a few thousand dollars of silver when my mom died. I joined a precious metals forum and asked about disposing of it. After reading the posts there I discovered the precious metals devotees like to take their gold and silver and fondle it.

I was looking for a good tactical flashlight and joined a flashlight forum…same thing. Many members amass flashlights not to use them, but to fondle them.

You would never think so, but flashlight fondlers can spend tens of thousands of $ on their lights.

The SureFire HF4B Hellfire (circled in red) cost $4989.99 just for it!

Some flashlights that didn’t cost very much when issued now go for thousands of $… like this Surefire U2 Porcupine

Custom made flashlights can cost $1500 to $3000+ each…

Guns…same thing… lots of gun fondlers….they love to play with their guns, but never get round to shooting them all.

Flashlight and gun photos are from the internet.

Well, I must confess that every year or so,  I pull out my Hassy SWC to look it over and ‘dry fire’ it a few times. I give it a few minutes of fondling and reminiscing. I think back to the old days when the SWC was my mainstay.

Crazy Copyright 1975 Daniel D. Teoli Jr. mr 'Sunlit Slipper' Copyright 1973 Daniel D. Teoli Jr V16. 56 img525-Print V8 MR 50 img028-view V19 Print Final MR 36 img183-V8 MR 24 'Gypsy Woman' Copyright 1973 MR

But, I can’t develop too much of a hard-on for fondling the Hassy. I got 3 years of photos I have not even looked through yet. That is the curse of digital…makes it easy to produce prolifically.  So, I have to decide whether to be a serious photog or be a serious camera fondler.

…No, I don’t believe in marinating photos a la’ Eric Kim style. I’m just too overloaded with photo projects to have the time.

https://danielteolijr.wordpress.com/2015/09/29/the-real-truth-on-marinating-your-photos/

Well, there are worse things in life than being a camera fondler. There is nothing embarrassing about coming clean.

I mean…you could be into collecting soiled women’s panties for a hobby.

Araki – Tokyo Lucky Hole

http://nypost.com/2015/08/16/i-pay-my-bills-by-selling-my-used-panties/

Backup link:

https://web.archive.org/web/20170221151637/http://nypost.com/2015/08/16/i-pay-my-bills-by-selling-my-used-panties/

Here is the confession of another camera fondler…from the Rangefinder Forum

Fuji fan
lxmike's Avatar
lxmike is offline
Join Date: Jun 2008
Location: Co Durham NE England
Posts: 1,854

What is your most tactile camera

Rather embarrassingly l have owned far too many cameras and have chopped and changed far to many times however part of the fun is that l have come across a few great beasts that have been great to just sit with and hold. Another member on a different thread highlighted that sometimes a camera just by being there creates a need to fondle it, to hold it…l get this l really do, sometimes l use the excuse that l am just exercising the shutter speeds but deep down l know that l really just need to hold a certain camera, why because certain cameras just need to be held…and so what camera do you just hold, or what cameras have you used that were so special just holding them made you feel good…….just realised that maybe on rereading this thread l need to get out more or get therapy for me to hold a Barnack is a joy, holding and playing with my IIIf gives me great pleasure

__________________
Fuji X Pro 1, XE-1, X100, 35/1.4, 18/2
Leitz IIIf BD, Elmar 3.5/3.5, Summar 5/2
Zorki 6, J12 35/2.8
Kodak Retina 1a

Jesus…tactile?

He really developed a hard-on for his Leica…didn’t he. Well, at least this guy is honest. That is more than can be said for most of the fondlers out there. If the fondlers could realize one message from this post it is this. There is tremendous enjoyment when you can become settled and satisfied with your gear and are free to just produce iconic work.

A mistake I see many of the young gun, camera fondling photogs make is using big, bulky straps and half cases for their cams. They like to pimp their cams with loads of unneeded crap that weighs them down and makes their cam harder to use.

This camera fondler from the Fuji Forum (they banned me) spends more time changing shutter buttons than actually pressing them….

http://photohostsnapshots.tumblr.com/image/113425792748

Cartier-Bresson on what is needed for doc work…

http://photohostsnapshots.tumblr.com/image/113425839873

The camera fondlers are on an endless search for the perfect cam that somehow is just beyond their reach and is the ONLY reason why they can’t produce anything worthwhile.

All the while the fondlers load their cameras up with fancy push buttons, thumbs up, custom skins, hand made straps, leather half cases, fat grips, screen protectors and ever other goddamn thing they can think of to put on a cam to bloat their ego and make their cam more useless.

I see some camera shoulder bags selling for $750. An expensive bag will boost the fondlers ego when their photos won’t do the job. I don’t give a shit what cams I use or the bag I carry them in…as long as they do the best job they can for me freezing time.

http://photohostsnapshots.tumblr.com/image/113429026918

Of course, when I bring this subject up on the photo forums…they ban me. I’ve been thrown out of a number of forums just for using the words camera fondler. People do not like their bubble burst.

https://danielteolijr.wordpress.com/2015/07/03/photography-forums-are-not-run-for-love-of-photographythey-are-run-for-love-of/

Gamblers Anonymous on the subject of what may drive the fondlers compulsion…

~~~~~~~~~~~

“A lot of time is spent creating images of the great and wonderful things they are going to do as soon as they make the big win. They often see themselves as quite philanthropic and charming people. They may dream of providing families and friends with new cars, mink coats, and other luxuries. Compulsive gamblers picture themselves leading a pleasant gracious life, made possible by the huge sums of money they will accrue from their ‘system’. Servants, penthouses, nice clothes, charming friends, yachts, and world tours are a few of the wonderful things that are just around the corner after a big win is finally made.

Pathetically, however, there never seems to be a big enough winning to make even the smallest dream come true. When compulsive gamblers succeed, they gamble to dream still greater dreams. When failing, they gamble in reckless desperation and the depths of their misery are fathomless as their dream world comes crashing down. Sadly, they will struggle back, dream more dreams, and of course suffer more misery. No one can convince them that their great schemes will not someday come true. They believe they will, for without this dream world, life for them would not be tolerable.”

~~~~~~~~~~~

OK, the camera fondler may not be a compulsive gambler, but they surely fit into the compulsive spending category. Many addictions share this same dream world addiction. They need their drug of choice to use as an escape from the reality of life.

If you read the camera fondler’s threads on the photo forums they are always about ‘What did you buy?’ and ‘What are you planning to buy?‘ Why don’t they write about, ‘What did you shoot?’ and  ‘What are you planning to shoot?’

The only good thing about the fondlers is they keep the cam companies in biz with their continual spending. More than a few guys on the Leica forum wanted to spend $20,000 for a Leica with no screen when it was first introduced. They felt the screen was the root of their problems. The ‘screen’ was the only reason why they took shitty pix….SAD.

https://danielteolijr.wordpress.com/2015/04/28/the-red-dot-is-not-your-problem-you-are-the-problem/

Camera Fondler 2 copyright 2015 Daniel D. Teoli Jr. mr

Well enough ‘Sontag theory’, lets get back to earth with practical application…

Personally, I use a shoulder strap less than 5% of the time. The only reason I would use a shoulder strap is when I need to carry and use 2 cams.

This is how I roll most of the time…

http://photohostsnapshots.tumblr.com/image/119353544033

The camera fondlers want the most ego boosting strap they can get. They gravitate towards expensive, bulky, wide, handmade, custom leather and sometimes very bright straps.

I prefer minimal bulk with my wrist straps. The camera fondler would never go for one of the little straps I use. No ego boost nor would they trust their cam with it…the strap could break!

I put the little straps I use to the test. They have a 30 pound bursting strength and will hold 25 pounds with no problem.

http://photohostsnapshots.tumblr.com/image/124404314748

Joel Meyerowitz recounts a story of Cartier-Bresson throwing his Leica in the face of a drunk to stun him while retrieving the cam with the shoulder strap. I can’t say the little wrist strap will take that abuse and not break. But barring that use, they have never let me down and I have owned many dozen of them.

Listen up camera fondlers, anal pixel peepers and fanboys…

All things being equal, it is the photog and not the cam that brings in the iconic shot. If you wish to improve your photos do more button pushing and less gear fondling.

BMG 2014 Daniel D. Teoli Jr. mr

When it comes to having soemthing to fondle…get a boyfriend or girlfriend to fondle and use your gear for what it was intended for…freezing time.

Further reading:

https://danielteolijr.wordpress.com/2015/04/11/if-youre-out-there-shooting-things-will-happen-for-you-if-your-not-out-there-youll-only-hear-about-them-jay-maisel/

https://danielteolijr.wordpress.com/2015/05/15/being-at-one-with-your-camera/

https://danielteolijr.wordpress.com/2015/05/13/what-is-the-best-camera-in-the-world/

<><><><>

Photographs used herewith are taken from the following limited edition artists’ books by Daniel D. Teoli Jr.

Whoop-Whoop!

Encyclopedia of Photographic & Fine Art Ink Jet-
Printing Media – 12 Volume Set

Peephole: Peering into the World of 1970’s Hollywood and L.A.

Portfolio: Peering into the World of 1970’s Hollywood and L.A.

Bikers’ Mardi Gras

180: The circular fisheye at large!

Gender Benders from the 1970’s

<><><><>

Selection from The Americans…60 years after Frank

a limited edition artist’s book by

Daniel D. Teoli Jr.

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

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

<><><><>

De Wallen Graffiti 2014 Daniel D. Teoli Jr.

.

.

Using YouTube to showcase your photos

Tags

, , , , , , , , , ,

Article Dedication

in Honor of

Paul Senn & Hans Staub

<><><><>

Beside blogs, photo hosting sites, forums, shows, lectures, books and guerrilla (warfare) post cards…YouTube can be a good venue for you to get your art / photos out there.

I didn’t make this music video, Polichinela Azul made it with no direction from me with some of my CC licensed photos.

Crazy music by Suckdog! Well, the video creator did a great job, as my pix fit the music to the proverbial T.

Backup-up link to archived video:

https://archive.org/details/DanielD.TeoliJr.ArtMusicVideoByPolichinelaAzul

(Video on Internet Archive plays best by download.)

When you put your work out there under Creative Commons, sometimes things work out and other times they don’t. It is just like our own work, we don’t always produce winners. In this case, I was really impressed and pleased by Polichinela Azul’s work.

<><><><>

little-dicky-lucky-chops-2016-daniel-d-teoli-jr-m

Little Dicky

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

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/

De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Anytime someone tells you NOT to shoot something cause they don’t like it and it is legal to shoot…that smacks of pretention on their part.

Tags

, , , , , , , , , , , , ,

Article Dedication

in Honor of

Henri Cartier-Bresson & Susan Meiselas

<><><><>

From the Rangefinder Forum…

_______________________________________________

Jake writes:

Currently looking at morality in regards to identity within photography for my final project at college and have come across this article regarding a photojournalists coverage of a stoning and whether he should have taken the image from a moral standpoint. If you could give the article a read and write down your opinions for me to use in my research that would be great:

https://www.theguardian.com/artandde…to-sean-ohagan

Cheers,
jake

________________________________________________

My Reply:

a-shadow-in-time-daniel-d-teoli-jr-archival-collection

Daniel D. Teoli Jr. Archival Collection

Morals, values and laws vary all over the world. In Muslim countries an adult male can marry a child – in the US they would go to jail. In Amsterdam you can have sex with teens – in the US you will go to jail. In America the women can dress pretty much as they like – if they do it in some locals it can get them disfigured and maybe killed.

When push comes to shove, generally speaking the only thing that counts is the law. Whether the consensus is ‘like or dislike’ it does not matter to me and it should not matter to the dedicated artist either.

Anytime someone tells you NOT to shoot something cause they don’t like it and it is legal to shoot…that smacks of pretention on their part.

To base my photo on what others like would mean I do my photography for others and not myself. Since I pay my own way, I shoot for myself and not for others. The job of the photog is to document and freeze time. Therefore do your job and leave pet personal prejudices at home if you want to be the best photojournalist you can be.

selection-iconoclastic-explorer-d-d-teoli-jr-a-c-m

Daniel D. Teoli Jr. Archival Collection

Here is the Hierarchy of Documentary Photography which I developed.

1. Candid events unfolding as they happen.

2. If it cannot be perfected or obtained as a candid, then the photo must be posed.

3. If it cannot be perfected or obtained as a posed photo, then it must be staged with the proviso it is a recreation of past events, preferably with the actual persons reenacting the events.

4. Figments of the imagination. Varies in documentary value.  Can be based on pure speculation or a recount of events.

<><><><>

Someone mentioned ‘ethics’ in the mix over at Rangefinder Forum. Like it is OK if you have good ethical reasons to shoot certain offensive subjects and it is not OK to shoot if you don’t have good ethics. Ethics, exploitation or any other excuse you can come up with does not matter in the least when it comes to documentary photography.

The photograph does not require a pure heart for the button to be pushed. All it requires is for the button to be pushed to freeze time and be a witness to history.

These were taken by NAZI’s. How important are they as a witness to history? The camera did not require an investigation into ethics or motive of the photographer for them to be priceless.

https://en.wikipedia.org/wiki/The_Holocaust_in_Ukraine#/media/File:Einsatzgruppen_Killing.jpg

The last Jew in Vinnitsa

https://danielteolijr.files.wordpress.com/2015/03/0c981executionsofkievjewsbygermanarmymobilekillingunits1942.jpg

German soldier shooting a woman with a child in her arms, Ivanograd, 1942

Many times the artist, using their art, tries to make sense of the world with their medium. That is another area that should not be begrudged to the artist.  Again it is all based on the law, not on other people’s prejudices.

<><><><>

In summation…If it is legal, shoot what you like. Forget the critics that will try to tear you down…march to your OWN beat or you will have to shoot what the CRITICS browbeat you to shoot.

https://danielteolijr.wordpress.com/2015/05/10/opinions-are-like-assholes-everyones-got-one/

<><><><>

iconoclastic-reporter-daniel-d-teoli-jr-archival-collection

Daniel D. Teoli Jr.Archival Collection

Selection from Iconoclastic Reporter artist’s book by Daniel D. Teoli Jr.

<><><><>

De Wallen Graffiti 2014 Daniel D. Teoli Jr.

 

No wonder the film photogs seldom produce anything good nowadays.

Tags

, , ,

What the poor film photographers have to go through…just for a good ego massage.

Why not put getting the shot first? No wonder the film photogs seldom produce anything good nowadays.

From the Rangefinder Forum…

Registered User
iridium7777 is offline
Join Date: May 2007
Location: ct
Posts: 193

how can you afford film anymore?

so i left my film rangefinder about 4 years ago, being 100% film shooter prior to that.

it’s crazy that Leica film RF prices stayed the same and I was looking at second hand M6s and MPs out of curiosity… and then I started looking at film developing and scanning prices

Seems like most Walgreens where i used to do quick develop/scan only for about $4.99 no longer even have film machines.

I’ve found a few specific Film developing places but their prices now range from 10$/roll to develop/scan for lowest resolution to 20$/roll develop and scan for resolution for 8×10.

And then I’ve looked at prices of film… my beloved Fuji either does not exist anymore or the prices are about 10$ roll of slide and at minimum $5 per roll for color film.

at these costs it’ll run me about 15$-20$ per roll to shoot film. I looked through my old photo journal and i did about 50 rolls per year, so that’s $1000 per year and probably things are going to keep getting more difficult and pricier.

is film becoming more of a nostalgic side hobby that’s only sustainable on the side, or those that do majority of film now develop and scan their own to keep the costs down? seems like mainstream options are dwindling…

Announcing placement of the Encyclopedia of Ink Jet Printing with the Amon Carter Museum of American Art

Tags

, , , , , , , , , , , , , , , , ,

A 12 volume set of the Encyclopedia of Photographic and Fine Art Ink Jet Printing Media has been placed with Amon Carter Museum of American Art – Department of Conservation.

Previous sets of the Encyclopedia have been placed at The Center for Creative Photography Research Library, The Rijksmuseum Research Library in the Netherlands and the Rare Books and Manuscripts Library Ohio State University.

Encyclopedia of Ink Jet Printing Daniel D. Teoli Jr. mr 1 Encyclopedia of Ink Jet Printing Daniel D. Teoli Jr.  mr 2
.

http://encyclopediainkjetmedia.tumblr.com/

The 12 volume Encyclopedia is currently the world largest set of hand-printed contemporary artists’ books ever made. More importantly, it is a very important and unique reference collection for archival research and those interested in ink jet printing.

 <><><><>

De Wallen Graffiti copyright 2014 Daniel D. Teoli Jr.

On image appropriation – The backstory on ‘The Birth of Nobuyoshi Araki’ – The driving force behind the bohemian artist.

Tags

, , , , , , , , , , , , , , , , , ,

Article Dedication

in honor of

Walter Theodore ‘Sonny’ Rollins & Charlie ‘Yardbird’ Parker

<><><><>

Here is an interesting article called ‘Doing a double take on image appropriation’ that discusses artists using found images to make art from.

http://www.bjp-online.com/2017/03/doing-a-double-take-on-image-appropriation/?

Back up link:

https://web.archive.org/web/20170303214420/http://www.bjp-online.com/2017/03/doing-a-double-take-on-image-appropriation/

Also see:

https://en.wikipedia.org/wiki/Appropriation_(art)

With my own work I seldom use other photogs photos to make my photos with. Being highly skilled at what I do, I got tons of museum quality photos I have taken.

39 De Wallen Copyright 2014 Daniel D. Teoli Jr. mr

Selection from De Wallen: Amsterdam’s Red Light District artist’s book (Candid)

Generally I do straight photography, I  am not into ‘mental masturbation’ photography, so I generally don’t need to look outside my body of work unless it is for generic photos to illustrate a blog post. (a)

Although in the rare case I do I use other photogs photos, it comes under the auspices of ‘fair use’ and I don’t make any $ from their use.

https://www.copyright.gov/fair-use/more-info.html

Here is a recent example…

The Birth of Araki concept and post processing from found photographs by Daniel D. Teoli Jr. m

The The Birth of Nobuyoshi Araki

Concept and post processing of found photographs by Daniel D. Teoli Jr.

I had written to Araki to make me a low res version of a concept I had of Araki popping out of a vagina, but I got no reply. (Maybe Araki is a part time museum curator?) So in 2016 I made The Birth of Nobuyoshi Araki from found photos, for my own use.

I had tried to pay a professional Photoshopper to make The Birth of Nobuyoshi Araki for me. (I am an old film photog and have limited computer skills. I don’t know how to use Photoshop, I just use Lightroom.) The Photoshopper never came through, so I was inspired by the photo below, with the use of cutouts, to make The Birth of Nobuyoshi Araki.

Daniel D. Teoli Jr. Archival Collection

Here is an example of ‘mixed media’ so to speak. I shot the guy in Vegas handing out escort girl cards and made a border with the cards around the main photo.

Order Women Like Pizza Daniel D. Teoli Jr. v29 mrOrder Women Like Pizza Copyright 2014 Daniel D. Teoli Jr.

Order Women Like Pizza is the world record for how close you can get and shoot a candid circular fisheye photograph. (I have them going down to a few inches from the subject…all candid.)

<><><><>

There is an area of other people’s photos or image appropriation that I do work in a lot and that is as Curator for the Daniel D. Teoli Jr. Archival Collection.

The copyright law makes certain allowances for use of other’s photos for editorial and educational use. To me, when you start selling other’s art as your own, that goes beyond fair use. But that seems to be how it is done in 2017.

In the cases of this vintage found photography, the photographer is most likely dead, the photos are generally not copyrighted. And in any case I have the proprietary right to take photos of my property…to wit, a photo of the actual photo I have bought or acquired.

Another area of image appropriation is when the photog includes preexisting art or photos into their photo and it makes up the bulk of their photo. For example here are a few photos from De Wallen and The Americans…60 years after Frank artist’s book projects…

<><><><>

Now, getting on to the driving force behind the bohemian artist….

Being a born bohemian, I have always concentrated on doing my art rather than trying to make a living. Consequently I’ve never earned / had much $ to blow on projects.

My Keyboard

If I can get by with some food, a roof, some SD cards and batteries I’m good. But that is how it usually is with most artists. Money is one of those irritating needs that can sidetrack an artist from concentrating on doing their art.

Bo·he·mi·an
/bo’heme?n/
noun: Bohemian; plural noun: Bohemians; noun: bohemian; plural noun: bohemians
1. a native or inhabitant of Bohemia.
2.a person who has informal and unconventional social habits, especially an artist or writer.
“the young bohemians with their art galleries and sushi bars”  (Well, you probably wont be eating at sushi bars if your a broke bohemian.)

Throughout history artists’ have always been on a different wavelength than the rest.

https://danielteolijr.wordpress.com/2015/11/29/artists-are-on-a-different-wavelength-than-the-rest/

In the opening article on image appropriation, Prince was right when he talked about being freer with your art when you have no $ and assets to go after. I was talking with a young gal in her mid 20’s. She was a physicians assistant and making over $100K a year. She also liked modeling and showing off her beauty. I suggested some photo ideas to her and she said “I can’t do that, I’m a professional.” So, there you have it. Being proper and being bohemian don’t mix well.

I’ve always dedicated myself to photography irrespective of if the project was going to be profitable or even saleable at all. That type of thinking never enters the picture. If a project interests me in exploring with my camera, that is all the motivation I need. If an artist has their basic living expenses more or less met, they don’t give money much thought. Their mind is concentrated on their art.

“Poverty denotes the lack of necessities, whereas simplicity denotes the lack of needs.’ ~ Dervla Murphy  

Most artists don’t do art to make lots of money, they just care about producing their art. Consequently, I’ve never had or owned much. I own no real estate, drive old cars or lease the cheapest car I can find. I use old cameras, computers and printers. I have no big job, social security can’t be attached, so not much to go after. So $ and lawsuit threats have nothing to do with producing our art. Actually, risk of going to jail or even death threats don’t stop the bohemian artist.

“Sure. I’d like to live regular. Go home to a good looking wife, a hot dinner, and a husky kid. But I guess I got film in my blood.” ~ Weegee

Now, no one is saying it would not be nice to make some money from art. But for me it would have to come as a ‘no effort’ offshoot from my own work and not as the prime goal. The only time money comes into the discussion with me is when I ask the question…do I have enough money to do a project?

W. Eugene Smith is a textbook example of the dedicated bohemian sacrificing life and family in order to do their art…

W. Eugene Smith mr (2)

This was Smith’s famed ‘jazz loft.’ I think the rent was $40 a month.

W. Eugene Smith pawn ticket

When Smith needed some cash he would pawn cameras and lenses. I had read when Smith died he had $18 in the bank.

W. Eugene Smith mr (3)

Smith made use of a broken window as matte box.

W. Eugene Smith mr (1)

W. Eugene Smith’s photo through the broken window pane.

When I first started in the late 60’s I got by on very little. I just needed a 100 feet of expired film from Freestyle, a few 10 cent film cassettes and a gallon of D-76, Dektol and fixer.

A roll of 100 feet in-date Tri-X from Pan Pacific Camera on La Brea was about $7. If you were broke, Freestyle used to sell repackaged movie film for about $2.75 to $3.50 per 100 foot roll. For the real cheapskate, Freestyle had 100 foot rolls of oddball film for about $1.50. Your BW chemicals were about a buck a gallon for Microdol-X, D-76 and fixer.

freestyle-ad-1963-daniel-d-teoli-jr-archival-collection-m

Popular photography July 1962 Freestyle Sales Co. advertisement

Those were the days…everything was a lot cheaper back then, so panhandling a quarter or a buck went along way.  You could even get a meal for a buck or under in the 1970’s. Nowadays photography is a real money sucking activity.

72 img206-Print V5 +5 - 5 0 MR

Los Angeles Diner 1971

In an intro to his review on Amazon of  Among the Bohemians: Experiments in Living 1900-1939 by Virginia Nicholson, Lleu Christopher distills what fuels the bohemian life.

“Nicholson has a genuine appreciation for the bohemian spirit, and acknowledges the sacrifices made by many obscure artists, poets and others existing (often marginally) at society’s fringes. For some, the idealistic decision to forsake conventional society for a life dedicated to art, romance, poetry or perhaps a vaguer idea such as beauty or authenticity was never rewarded with any kind of material success. Was there any compensation for those living such marginal lives? Nicholson makes the case that for many, a life dedicated to art, romance and freedom is its own reward. For those who embody the bohemian spirit, material comforts and security are not worth the price of suppressing one’s creativity and individuality.”

free-poetry-busker-nyc-2016-daniel-d-teoli-jr-m

Free Poetry  Busker Subway NYC (Candid)

Here is how Cartier-Bresson described it…

“I prowled the streets all day, feeling very sprung-up and ready to pounce, determined to ‘trap’ life – to preserve life in the act of living.”

The gift that photography provides me is a way to make sense of my world. I don’t do photography to make money or to try and ‘change the world’ for the better. I am not a god, I don’t claim to know what is better. But, I can freeze time to get a better look of it at home.

You see, if freezing time is in your blood, being a do-gooder or making $ does not matter.  If your dedicated to your art, you must produce and keep producing, whether you have an outlet or not to make $…or even have any practical use for your output.

Art is the way many of us make sense of our world. A wordsmith sifts it all through their brain and writes a book or article, a musician composes a song, a poet pens a poem, an artist sketches a drawing or does a painting, a photog shoots a pix, a sculptor forms a statue, a choreographer creates a dance. We each express what is in us and make sense of our world through our art.

Georges Simenon summed up how it is for the writer and this can go for any of the arts as well.

“Writing is considered a profession, and I don’t think it is a profession. I think that everyone who does not need to be a writer, who thinks he can do something else, ought to do something else. Writing is not a profession but a vocation of unhappiness. I don’t think an artist can ever be happy.”

Irrespective of recognition, fame and riches, dedicated photogs all have one thing in common…we know photography is our life blood and as long as we can keep pressing the button and freeze time, we fell the better for it.

<><><><>

(a)  OK, every once in a while I will do a little mental masturbation…

Selection from The Broken Leg Variations artist’s book 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/

 <><><><>

Anal photo collectors value the signature more than the photo.

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Article Dedication

in honor of

Jack Delano & Alvin Langdon Coburn

<><><><>

Years ago I had written to a photo collector that impressed me with an article they had written. I offered them a present of a couple of 11 x 14 prints of any of my photos. They wrote back saying they didn’t want anything since they never heard of me.

If they said they didn’t like my photos, that is fine. But to only go by a name told me the anal photo collector is more interested in collecting names and signatures than in the love of photography and the actual image itself.

Unsigned photos are not worth much. An ‘unsigned’ vintage contact print by Lewis Hine sold for $110.16 in January 2017.

lewis-hine-no-sig-sold-110-16-1-17

I’ve seen some very shitty work out there priced in the thousands of dollars just because of a name and signature. If your idolized by the art world, even your shit is golden.

Here is one of Winogrand’s beauties with a price tag of $3500.00 in 2017. The signature is worth more than the photo, if it was an unsigned Winogrand it may sell for $25 to $35. If it wasn’t by Winogrand, it would not even be worth $5.

https://danielteolijr.wordpress.com/2015/09/26/generic-photography-is-pretty-much-worthless-nowadays/

winogrand-women-are-beautful winogrand-signature

Towards the end of Winogrand’s life he had a driver cart him around L.A.’s Miracle Mile while he shot thousands of random photos out of the car window of anyone on the street.

Winogrand didn’t care what he signed his name to, virtually any photo would do. All he cared about was printing $. Once Winogrand learned he could print $ he went on a shooting spree taking over a million photos…of garbage.

Here is one from Robert Frank with an asking price of $9000 in 2017.

signed-robert-frank-photo robert-frank-signature

If the print was not by Frank and signed…it would not even be worth $5.

Here are 2 unsigned vintage 1967 Vietnam era photos by Eddie Adams. They are printed on 1 sheet and sold for $32 (including shipping) in 2017.

Below is a signed, dye transfer print of The Who by Jim Marshall. It is priced at $7000 in 2017.

If it was unsigned it may bring a few hundred dollars. If it was not by Jim Marshall, then probably less.

the-who-jim-marshall-dye-transfer-print

Wow, we sure were limited with the IQ in the film days. Goddamn that stuff was fuzzy…wasn’t it.

the-who-jim-marshall-dye-transfer-print-3

the-who-jim-marshall-dye-transfer-print-2

Well, nowadays we got it much easier with digital…

little-dicky-lucky-chops-2016-daniel-d-teoli-jr-m

Little Dicky selction from The Americans …60 years after Frank by Daniel D. Teoli Jr.

If Marshall had shot Little Dicky it would sell for thousands. Same exact photo but without the Marshall signature and name…it is worthless according to the anal photo collector that collects names over photos.

Now, speaking of dye transfer prints, let me tell you a little about them…generic dye transfer prints are not worth much. You can pick up vintage dye transfer prints like this one below for $5 to $10 each or less. I had bought a group of 25 vintage 1950’s dye transfer prints for my archival collection for $65.

dye-transfer-printing-from-the-1950s-daniel-d-teoli-jr

From Dye Transfer Printing from the 1950’s – Daniel D. Teoli Jr. Archival Collection

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

From Dye Stability Testing of Color Imaging Media: Edition II by Daniel D. Teoli Jr. Archival Collection

If you do collect dye transfer prints, don’t display them. The above 1950’s samples were exposed to 6 months of sunlight. The dye transfer prints started to fade noticeably in 3 months of sun exposure.

But dye transfer prints do have good dark storage fade resistance. So don’t hang your $7,000 Jim Marshall dye transfer print on the wall or it will fade on you. Always hang a facsimile copy of your photo to display. Dye transfer prints are some of the worse color imaging media for dye stability there is.

Well, lets get back to black and white…

Below is an unsigned 8 x 10 inch inkjet print of Weegee’s Lovers at Palace Theater. It was printed around 2015 and authorized by ICP and Museum Editions. It sold for $26.50 on Amazon including shipping in 2016.

If it was vintage, silver gel and had Weegee’s signature, it would be worth tens of thousands of dollars. Weegee’s signed, vintage work sells for $15,000 to $45,000 per photo on average.

Below is an unsigned photo by Alfred Eisenstaedt of starving cattle in Jaipur, India. It sold in 2017 for $50 including shipping.

Alfred Eisenstaedt - Starving Cattle Jaipur India

Below is an unsigned photo by Tina Modotti entitled Woman of Tehuantepec. The original was shoot in 1929, this print was made in 1996. It sold for $99.75 including shipping.

Tina Modotti - Woman of Tehuantepec $99.75

Below is a photo by Berenice Abbott entitled ‘Tempo of New York.’ Print is of vintage era and unsigned. It sold for $120 including shipping.

Berenece Abbott Changing New York $120

Below is a 1968 photo by Diane Arbus of Cathy Aison. It is vintage and unsigned, but it has been authenticated by the Estate of Diane Arbus. It was sold with related ephemera for $3765.75 including shipping.

If it was unsigned and not authenticated or have supporting ephemera, then it may only be worth a few hundred or so. If it was not by Arbus, it may sell for $10-$15…just for the topless / pregnant interest.

Cathy Aison by Diane Arbus 1968

Here is the sales description for the Arbus photo…

Diane Arbus VTG c.1968 Estate STAMPED Pregnant Nude RARE 11×14 Photo w/Magazine

Photographer: Diane Arbus
Title: “Cathy Aison Waiting for Ezra Pound”
Size/Media: Approx. 14″ x 11″ Glossy double weight fiber silver gelatin
Dates: (Shot c.1968, Printed c.1968) w/ Estate stamps and notations/signature by Arbus’ daughter Doon, as well as light pencil. Notations in an unknown hand on verso.

Vintage portrait of graphic designer and animator Cathy Aison, nude & pregnant c.1968 by Diane Arbus. This image was published in the literary magazine Unmuzzled Ox in 1986 (a copy of the magazine is included in this auction) and was described as “Cathy Aison waiting for Ezra Pound”.

This is a vintage print which was gifted to Aison c.1968, and was authenticated by Arbus’ Estate in 2005.

Cathy Aison by Diane Arbus 1968 2

Cathy Aison by Diane Arbus 1968 3

Diane Arbus ephemera 2

Diane Arbus ephemera

Below is a signed 1967 photo of Diane Arbus taken by Fred McDarrah.  As of yet it did not sell and has an asking price of $2300.00

DIANE ARBUS 1967 by FRED McDARRAH

Jesus, those female photogs went out of their way to carry round monster street setups…didn’t they.

Well, it wasn’t only Arbus…

Mary Ellen Mark with street camera setup

Mary Ellen Mark  (Internet Photo)

Below, verso of photo of Diane Arbus by Fred McDarrah

DIANE ARBUS 1967 by FRED McDARRAH 2

If collectors have a hard-on for you they will even buy your magazine articles. Below is one by Diane Arbus for a fashion mag. It has not sold as yet, but is priced at $33 including shipping for 2 pages from the magazine.

Diane Arbus magazine article 2 pages $33

Estate stamping is a big money maker for some archives. While it does not bring the potential in price up to signed prints, a rubber stamp will still do wonders for a photo that should sell for next to nothing.

Magnum sells contemporary, unsigned, estate stamped photos for a few thousand dollars each.

Here is one example out of many prints they have on sale:

A Llama in Times Square NY 1957 - Igne Morath
.
.
A Llama in Times Square NYC 1957 by Igne Morath
.
An open edition, estate stamped, unsigned 11 x 14 contemporary silver print for $2000.00 each.
.
The NY Times is also selling the same print in the larger 16 x 20 size for $2500.00
.
.

<><><><>

With my work as the curator for The Daniel D. Teoli Jr. Archival Collection, most of the photos I acquire are unsigned and the photog is unknown. I don’t care who shot the photo – all I care about is the image…

a-shadow-in-time-daniel-d-teoli-jr-archival-collection

Daniel D. Teoli Jr. Archival Collection

The Flappers artists' book 2016 by Daniel D. Teoli Jr.

Daniel D. Teoli Jr. Archival Collection

selection-iconoclastic-explorer-d-d-teoli-jr-a-c-m

Daniel D. Teoli Jr. Archival Collection

feeding-the-slave-daniel-d-teoli-jr-archival-collection

Daniel D. Teoli Jr. Archival Collection

g-dobkins-atlantic-city-mirror-trick-photo

Daniel D. Teoli Jr. Archival Collection

Girl Peeing in Pisspots Collage 1910 Daniel D. Teoli Jr. Archival Collection

Daniel D. Teoli Jr. Archival Collection

 vernacular-snapshot-aesthetics-daniel-d-teoli-jr-archival-collection

Daniel D. Teoli Jr. Archival Collection

If the diver was shot by Winogrand and signed it would be worth many thousand $. But in 2016, being unknown and unsigned, it was $1 at a swapmeet .

The Flappers -Daniel D. Teoli Jr. Archival Collection (9)m

Daniel D. Teoli Jr. Archival Collection

7-enaging-the-enemy-frigate-ddtjac

Daniel D. Teoli Jr. Archival Collection

1960 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (125)m

Daniel D. Teoli Jr. Archival Collection

Girls of the Beat Generation Daniel D. Teoli Jr. Archival Collection

Daniel D. Teoli Jr. Archival Collection

The Flappers -Daniel D. Teoli Jr. Archival Collection (4)m

Daniel D. Teoli Jr. Archival Collection

1948 DNC Temple of Dreams Daniel D. Teoli Jr. Archival Collection (60) m

Daniel D. Teoli Jr. Archival Collection

If the political convention was shot by Robert Frank, was signed and was part of his Americans project it would be worth hundreds of thousands of $. One of Frank’s vintage photos from the Americans sold for near 3/4 of a million $. And that was a while back, prices have gone up since then. Same photo, being what it is, without the Frank signature and pedigree, sells for $3 in 2017.

http://www.brianappelart.com/art_writing_robert_frank_2007_oct_17.htm

Backup link:

https://web.archive.org/web/20160904231104/http://www.brianappelart.com/art_writing_robert_frank_2007_Oct_17.htm

sex-machine-1930s-40s-daniel-d-teoli-jr-archival-collection-m

Daniel D. Teoli Jr. Archival Collection

iconoclastic-reporter-daniel-d-teoli-jr-archival-collection

Daniel D. Teoli Jr. Archival Collection

While it is nice, there is no need to know the author of a photo unless your an anal photo collector…iconic images always stand on their own.

The other benefit to building a collection of unknown, found photography is that it can be done on a very meager budget. Many of the photos I acquire cost just a few dollars each or less.

<><><><>

beatnik-daniel-d-teoli-jr-archival-collection

From Girls of the Beat Generation

A forthcoming 6 volume artist’s book series by social documentary photographer Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/04/21/girls-of-the-beat-generation-artists-book/

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/

De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Engaging the Enemy Frigate…preview

Tags

, , , , , , , , , , , , , , , , , , , , , , , , ,

Article Dedication

In honor of

Fred  ‘Cinerama’ Waller & Paul Mantz

<><><><>

dsc00919-2-m

Engaging the Enemy Frigate, is a hand-printed artist’s book of vintage homosexual erotica from the Daniel D. Teoli Jr. Archival Collection in a limited edition of 50 signed and numbered books and 2 artist’s proof books.

The book is 124 pages in length with 62 photographs. It is finished with frosted clear plastic covers with hand rounded corners, marbled end sheets and spiral bound.

Book size: 5-½” x 6-½”

Maquette is shown for illustration – all specifications are pro forma.

ISBN: 978-0-9967108-4-8

dsc00922-3-m

dsc00923-m

dsc00924-m

1-enaging-the-enemy-frigate-ddtjac-m 3-enaging-the-enemy-frigate-ddtjac-m 5-enaging-the-enemy-frigate-ddtjac-4-75-t-x-4-w 7-enaging-the-enemy-frigate-ddtjac 11-enaging-the-enemy-frigate-ddtjac 13-enaging-the-enemy-frigate-ddtjac5-25-x-4-75 15-enaging-the-enemy-frigate-ddtjac 19-enaging-the-enemy-frigate-ddtjac-4-5-x-4-75-m 23-enaging-the-enemy-frigate-ddtjac 25-enaging-the-enemy-frigate-ddtjac-m 31-enaging-the-enemy-frigate-ddtjac-m 37-enaging-the-enemy-frigate-ddtjac-6-m 39-enaging-the-enemy-frigate-ddtjac-m 41-enaging-the-enemy-frigate-ddtjac-6t-v-m 43-enaging-the-enemy-frigate-ddtjac-m 45-enaging-the-enemy-frigate-ddtjac-6-t-2-vm 47-enaging-the-enemy-frigate-ddtjac-2-m 51-enaging-the-enemy-frigate-ddtjac-m 53-enaging-the-enemy-frigate-ddtjac-m 67-enaging-the-enemy-frigate-ddtjac-m 79-enaging-the-enemy-frigate-ddtjac-put-m 83-enaging-the-enemy-frigate-ddtjac-m 89-enaging-the-enemy-frigate-ddtjac-m 91-enaging-the-enemy-frigate-ddtjac-4-50w-m 93enaging-the-enemy-frigate-ddtjac-m 105-enaging-the-enemy-frigate-ddtjac-m 123enaging-the-enemy-frigate-ddtjac-m     dsc00926-2-m

<><><><>

Joe at Doorway - Gender Benders from the 1970's 1974 Daniel D. Teoli Jr. m

From Gender Benders from the 1970’s

a limited edition artist’s book by

Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2015/05/16/genders-benders-from-the-1970s/

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

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

<><><><>

De Wallen Graffiti 2014 Daniel D. Teoli Jr.