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.

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:…to-sean-ohagan



My Reply:


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. And even if it is not legal to shoot, many times we have to try anyway, if freezing time is our job.

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.


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 motives of the photographer for them to be priceless.

Einsatzgruppen Killing last jew in Vinnytsia

The last Jew in Vinnitsa

Nazis killing Jews Ivangorod 1942

German execution squad

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 pet personal 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.



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…

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

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

by Daniel D. Teoli Jr.

On the Rangefinder Forum they were discussing ‘how can you afford film anymore?’

I guess it never occurs to them to use digital, if film is causing them problems. I think many of the film photog are closet chemists. They like the process more so than producing iconic photos.

One photo forum camera fondling member said he would ‘give up photography altogether’ if they discontinued film – he would never shoot digital.

Why not put getting the shot first? What the poor film photographers have to go through…just for a good ego massage.

No wonder the film photogs seldom produce anything worthwhile nowadays.


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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

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

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.

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.

Back up link:

Also see:

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.

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.

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.

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.


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 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.