Being engaged in a creative endeavor sometimes seems like a decent into an extremely bipolar world. All the ups are extremely up and all the downs are really down. You can always look back and see all the hills you’ve climbed and feel great. You accomplished those feats! Then you look ahead and see people standing on top of hills that look so difficult to climb, you’ve never tackled anything like that before. At your sides are people offering encouragement believing you can climb those hills. Also at your sides though are other climbers that look more dedicated and better equipped. Oh well, if selling art were easy it’d probably be a Girl Scout fund raiser.
Another such paradox is booking shoots. On the one hand I’ve worked with a few great models recently and local interest in my work is increasing in my town’s talent pool. Yay! That is really awesome and I’m looking forward to being rather busy on that front. On the down side I usually attend DEAC shoots. Despite being a rather established photographer with a decent portfolio and some good shoot ideas, booking time slots to work with models has been like pulling teeth with far more rejection than success. I guess I just have to put my nose to the grindstone and keep at it.
Speaking of noses to grid stones and their always being a new hill to climb, a while back I was organizing my work, looked at a *pile* of framed prints and thought I was pretty awesome. That was until I saw this blog post and thought “Damn!!!! I want to be there someday!” Then I started looking through Ed Templeton’s blog and though it was so awesome it deserves a link of its own:
There’s some fantastic work there (film work at that!). Lately I’ve noticed that my admiration of other artists has shifted from “Wow, I wish I made that!” to “Wow, I’d like to accomplish that!”
I often find myself torn between quality and quantity. These days, especially since digital, there seems to be the expectation that photographers should turn out *tons* of work every year. This is harder to accomplish shooting film than in the digital world. Right now my darkroom workflow is geared towards quantity, but after screaming through 500 sheets of Kodak Polycontrast IV 8×10 glossy paper, I still feel like I have accomplished anything awesome. I guess that’s what the next 500 sheets are for.