Motivation

[Rob C]

Well, Rob, you sound kind of deflated. You really shouldn't be. You obviously have talent, you have experience, and you have the ability to write exceptionally well. There are a thousand different things you could devote your talents and energies to that would be worthwhile, perhaps more worthwhile ultimately than anything you have ever devoted yourself to so far. You just have to focus on all the possibilities, not on all of the difficulties.

Best of luck to you,

Jack

Well, if that last paragraph doesn't move it, then nothing will!

I have to admit, I instantly recognize the difficulties in everything; until now I'd seen that as a sort of self-preservation mechanism... maybe I was mistaken.

Thanks for your time and views.

Rob C
 

[Rob C]

Update to the above.

Thinking it the dawn of a new era, pour moi, the somewhat unexpected drizzle that greeted me this morning came like a signal from heaven. Yes! Summer is dying and fresh seasons await! So, I filled the black, virgin Lowepro Stealth Reporter D200 AW with a D700 and 24mm for the very first time and went off to lunch, with the grand intention of doing my version of the Café de Flore shot that has grinned out at me from the cover of Paris Mon Amour (sorry, Jeanloup, but gotta try, and as this is Spain and not Paris, then perhaps plagiarism doesn't come into it...); I even took along an umbrella so that nothing could stop me.

Obviously, by the time I had eaten in one establishment run by an expat Frenchman and moved on to the one in the town square where the non-action of the empty tables was to be re-enacted, the friggin' summer was back.

So, what do I think of the bag? First of all, the pad on the shoulder strap slides all over the place, and I spent much walking time shifting the damn combination this way and that. Secondly, the multiplicity of pockets inside it (I had removed the main spacer so that the camera could go in) caused real difficulties when I tried to find my mobile and also my wallet.

Conclusion 1. As I had feared all along, a new departure (that used to be the name of a brand of American bicycle brakes - you peddled backwards to stop) into 'steet' is going to demand more equipment; more expensive hardware is de rigueur, at least an M body - probably film - and a brown paper bag in which to carry it. Of course, as with the Café de Flore, that's not original either: in Blow Up it was a paper bag but with a Nikon F...

Conclusion 2. Photography is best enjoyed in the thinking about it.

Ain't nothin' simple but me?

Rob C

[JohnKoerner]

Well, if that last paragraph doesn't move it, then nothing will!

In truth, if you don't make something happen, then nothing will make something happen for you. All the talent, experience, and perspective in the world are useless without the will to put it all together and do something constructive.

I have to admit, I instantly recognize the difficulties in everything; until now I'd seen that as a sort of self-preservation mechanism... maybe I was mistaken.

I can see the focus on the difficulties in your writings ... perhaps it is now best to begin focusing on the possibilities ...

The paradox is (and all truth contains paradox), 'recognizing' difficulties can be critical, yet it is only useful insofar as said recognition enables you to prepare for difficulties, to go around them, or to bridge them in some way. Being consumed by difficulties, however, is something totally different. The focus should always be on the passion, not the problems. Focusing more on the difficulties than the mission only creates paralysis, not production.

As the saying goes, "Never sum-up all the obstacles; instead always keep your eye directly on the goal."

Thanks for your time and views.
Rob C

No problem.

I was just thinking, perhaps the best way to spark a drive within yourself is marry your proclivity for writing with the passion you clearly have for what you used to do, by creating some sort of book (bio or even a novel) about fashion photography. Not only would you keep alive all the fond memories that you so obviously have, but you could provide more to them with the kind of insightful commentary that only the hindsight of time, perspective, and a wistful appreciation can bring ...

Something to think about anyway ...

Cheers,

Jack





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[Rob C]

Well, Jack, between you and Keith, I have been pushed into creating a new gallery within my website. There's zilch in it yet, so don't bother looking, but the intent is established.

I now have to do something - if I remember how to do it, or even what it is supposed to be that I'm going to be doing...

Ciao -

Rob C

[Justinr]

The obvious answer to Why? is surely, Why not?

The role of photography has changed considerably over the past few years and can no longer be so easily classified according to the old trinity of pro, enthusiast and occasional snapper. The use of cameras has mushroomed as they have become cheaper and the inconvenience of development has been eradicated. They are an accessory to the young having fun, an extension to the PC for those who like techie things and a method of expressing an innate creativity to those who seek a painless outlet for the artist within. It could be argued that photography was always about these but digitalisation has empowered us all in the ability to produce instant images without the disagreeable process of study or contemplation, and boy does it show at times.

Look at the photo magazines and the relentless message is 'we are all as good as pro's now, just so long as we all buy the latest whizz bang wallop box.' The distressing thing is though that in many scenario's there is an element of truth in that. The photo's I have seen of the Munster 100 Road Race taken by fully kitted out media pass types were no better than I have seen on a couple of forums. But where the going gets tough such as tricky light or studio work then there is still room for a person with some knowledge of the craft, it's just that consumers and customers of photography no longer appreciate this.

So why should anyone take a photo if they are not being paid for it? For the sheer pleasure of doing so. We cannot deny people this experience and nor can we insist that they must demonstrate a certain standard before being allowed to roam with a camera. A more pertinent question is how do those who have made money from it continue to do so in these new circumstances, a worrying question as I note the increasing numbers of closed high street studios and brides with an uncle who's got a 'good' camera and so on. Whether is able to use it to any great effect is a question rarely addressed.

[Rob C]

It's a funny thing, but even though I always believed that my own philosophy in both professional and 'personal' work - I hate that term; it sounds so bloody pretentious to me - was pretty well one and the same, this has been brought home to me ever so much more strongly over the past couple of days. The catalyst has been the creation of my third gallery in the website (gallery not up yet, so don't bother) where the original intention had been to post a collection of stuff that wasn't really connected in any manner or means with my working life. To my surprise, I discovered that I was actually selecting pics which were either from model tests, more old calendars or even just material from that golden era when I had the unappreciated luxury of a personal muse, a wonderful girl who was every bit as interested in Vogue, Harper's, Nova et al as was I. And my wife didn't have a worry in her head. You can't buy that.

Anyway, what I discovered was that pretty well everything I do/have done falls into much the same mould, be it women, objects or landscapes. For some reason, I have shied away from city shots; perhaps I needed to study karate. Or flower arranging.

This may or may not be obvious to anyone else, but to me, it screams out identity, however much I would have liked to broaded the definition of that - as applied to my own oeuvre; seems to me I do the same basic shot all the time. Is that all there is, for any of us?

Rob C

[fredjeang]

I can see beauty, some magic, in the corner of my street, in every single step, no doubt. But it does not specially means that I want to catch it with a camera.
I read some lines here about beauty, well, beauty is just one possibility. Motivation for some can be the harsh and the ugly (many Magnum photographers) that become esthetic in the right hands.
I point esthetic and not beautifull.
Others will find motivation in war images, sports action, catastrophies reportages etc...You can meet esthetism in war, but I can't call that seeking for beauty.

In my daily experience, I just know two types of photographers. The one who shoot constantly whatever are the reasons and conditions. And the ones who shoot only on assignments.

But don't get me wrong; it does not mean that the photographers who shoot only on assignment (this can also be an auto-assignment) are just commercial and not artists...that would be a big mistake to beleive so.

Many posters here had the feeling that Rob has a sort of general negativity because his lack of motivation. I see more an healphy feeling of an experienced being who does not want to fool himself with false motivations. It is not negativity IMO, it is an authentic tragedia (in the noble way).

We all make one single image. What we do is only infinite variations of the same story. That is what we are made of, that has something to do with our real nature, perception and sensitivity.

Rob is obviously not a street or landscape shooter.
But the point made by John, that there are models for free does not work either because Rob also shoot on assignment, for a precise purpose. At least that is what I feel and that is why I think that motivation (lack of) in this case has a profund meaning and has to be respected.

When the studio lights are down and the people gone and you are in the middle of this silence...who has ever experienced that feeling?

And when the studio lights are gone forever because there is no more client, do you really think that taking the Nikon for a walk or invent a fake fashion work with amateur girls will bring back motivation?

IMO, the really good thing someone in Rob's position could do is finding motivation in spreading the archives, all the imagery of a full and well lived pro life. I think that the clew might be somewhere here.

All IMO.

[Rob C]

I can see beauty, some magic, in the corner of my street, in every single step, no doubt. But it does not specially means that I want to catch it with a camera.
I read some lines here about beauty, well, beauty is just one possibility. Motivation for some can be the harsh and the ugly (many Magnum photographers) that become esthetic in the right hands.
I point esthetic and not beautifull.
Others will find motivation in war images, sports action, catastrophies reportages etc...You can meet esthetism in war, but I can't call that seeking for beauty.

In my daily experience, I just know two types of photographers. The one who shoot constantly whatever are the reasons and conditions. And the ones who shoot only on assignments.

But don't get me wrong; it does not mean that the photographers who shoot only on assignment (this can also be an auto-assignment) are just commercial and not artists...that would be a big mistake to beleive so.

Many posters here had the feeling that Rob has a sort of general negativity because his lack of motivation. I see more an healphy feeling of an experienced being who does not want to fool himself with false motivations. It is not negativity IMO, it is an authentic tragedia (in the noble way).

We all make one single image. What we do is only infinite variations of the same story. That is what we are made of, that has something to do with our real nature, perception and sensitivity.

Rob is obviously not a street or landscape shooter.
But the point made by John, that there are models for free does not work either because Rob also shoot on assignment, for a precise purpose. At least that is what I feel and that is why I think that motivation (lack of) in this case has a profund meaning and has to be respected.

When the studio lights are down and the people gone and you are in the middle of this silence...who has ever experienced that feeling?

And when the studio lights are gone forever because there is no more client, do you really think that taking the Nikon for a walk or invent a fake fashion work with amateur girls will bring back motivation?

IMO, the really good thing someone in Rob's position could do is finding motivation in spreading the archives, all the imagery of a full and well lived pro life. I think that the clew might be somewhere here.

All IMO.

Caramba! Wish I’d said that.

Well, hoping not to hog the limelight, I have just some minutes ago put some more stuff up in the Biscuit Tin part of the website, some of which is old and some of which comes from my walk around Pollensa town and, then, the port, two Sundays ago.

I don’t find it fits any strict sense of ‘street’ at all, but I guess it’s still personal observation, whether of things, places or, perish the thought, people who don’t know me. The trouble is, there is just such a lot of choice in life, whether in what you do, whom you befriend and vice versa; even more confusing or, perhaps, complicating, is the sense that what instantly says something to me because of what may have been experienced years and years ago will probably strike nothing, not a chord nor even a sour note with anyone else.

Does that mean that when we go out there, doing something without a commission, that we must shoot something that others will recognize, will instantly see as symbolic of a commonly shared sensation? Is there room for the individual eye, for the inner vision that cannot be shared? Does that render it redundant? Are all of the great masters’ iconic pictures iconic just because they fit a standard conception of something?

The artist who is before his time – is he really, or is it perhaps that his time arrives because somebody, somewhere, decides that he’s fresh meat? Exploitable? Collectible?

I was going to watch a movie on tv tonight…

Ciao

Rob C