With our recent sweltering temperatues, getting out and shooting has seemed like a painful chore.
Welcome to the summer doldrums.
I’ve busied myself mostly with work (the day-job kind of work); with ferrying kids hither and yon as they do their summer activities; and with relays of visiting family and friends.
Creating new work has been slow lately. I’m keeping my hand in by editing and revising existing work, and sending it out into the world to further seek its fortune. To wit, I’ve submitted my project 52 Miles to the Conscientious Portfolio Competition 2010, and I’m buffing that same work also for Critical Mass. That deadline is a mere 5 days hence, so I won’t be idle. This body of work is mature and (mostly) stable, and I’ve showed it and worked it extensively in the past, so I’m 90% ready, already, to submit it. Being the compulsive sort, though, I’ll obsess about it some more before seeing if it has further legs with a new set of viewers.
I’ve also entered three images (this one, this one, and this one) to the Taylor Wessing Photographic Portrait Prize 2010 contest. This endeavor will be a bit of a logistical feat, since they accept only physical prints, which must arrive intact only during a rather small delivery window. If you can suggest the best method—packing and/or shipping—by which to convey three sleeved 13×19 images to London by August 6, please reach out. [Addendum: US Postal Service Express International did the trick.]
This may seem like a lot of activity, but it’s manageable. All of the images I’m sending out were shot on film. Partly because of film’s inherent limitations (you get 10 or 12 images per roll, and then you have to process and scan them), and partly by my nature, I tend to shoot relatively few images. I cull the ones with potential, and once they’re on my hard drive, work and rework them to my satisfaction (if that point ever arrives.) Thus, my images are mostly pre-organized and ready to go, in case an appropriate opportunity or venue for showing them should arise. Then it’s a matter of tweaking, and prepping for output and delivery. I don’t think I could work this way if I were shooting in the larger volumes that digital facilitates. (Not a knock on digital, BTW, so spare me the pitchforks and torches.)
I will of course keep you all posted if any of this sowing should yield a harvest.