Equipment Matters?!

Does equipment matter?

Equipment does matter! — sometimes it does; sometimes it doesn’t. For most people, even photographers, photographic equipment gets in their way, Even if their way is the standardized imagery of the Kodakery.

Equipment Poor

is the phrase once used as epithet about those professionals who bought more equipment than they ever used; buying so much they rotated credit cards. They were made poor by their falling for the pitch of the Camera Monthlies sold at the camera counter. Salesmen could be relied upon to inform their customers about improvements to their vision that lay in their future — oh, and we have layaway.

Lollipops also fell into the trap of buying for something sometime in the future. These people were the ones caught off-guard when the tide changed.

Lollipops were the single person lab barely able to support themself. They may have had aspirations of becoming a mom-n-pop. Lollipops eventually realize they’re just a hobbyist on the brink of becoming a hobo. For most, the only professional thing they did was get a re-sale license

— ANSWERING every question the same. applying one answer for every situation. see it in one case, not the other. variable in the Sinar, not in the souping. BL mode. Cost of souping, not knowing that the person used the burst system to save more than direct cost, and that in that approach they hired an assistant, gaining even more work relief: they could answer phones and other small tasks. [ link site ]

two pathways taken. The first is more popular than the second. Note the view counts.

One sells — they are trying to make a living off of the adventure of photography

the other is the much harder, less certain way. Sometimes it works.

We will never remember the salesmen.

ming smith filmday


also: how the format trips many

Keeping Track: Labnotes

Working or re-working the print takes time. Sometimes the process is interrupted. I learned in a commercial environment where making things again and again was expected. Rather than start at zero each time, we kept logs; additionally we had first start points based upon prior testing. This involved standard light and such items I discussed in prior posts. We did so much work we had folders with job information, as well as notepads, rubbers stamps and clipboards with markers and pencils that had been tested to survive our lab process.

That was a long time ago; some of those habits stick with me. This is of importance to collectors because of ‘provenance’ — knowing about the image origin — where it may lie in the span of your other work.

Walead Beshty: RA4 process

Walead Beshty (b. 1976, London, U.K.) Walead Beshty was born in London, United Kingdom in 1976 and currently lives and works in Los Angeles. He studied at Bard College and received his Masters in Fine Art from Yale University in 2002.

https://www.thomasdanegallery.com/exhibitions/174/works/artworks4495/

“I tend to think of my work in terms of constraints, whether that be context, convention or material, and use their logics to generate the work. I guess that’s because I see life as an improvisation within constraints, and affirmative notions of selfhood, autonomy, freedom, etc., arise through the active negotiation with restriction.” Walead Beshty in Conversation with Hamza Walker on the occasion of Equivalents, Regen Projects, Los Angeles, 2018

Notions:

Objects are given meaning through use, and over time certain uses become naturalized. Through the accumulation of patterns of use, certain conventions become standardized. Painting, for example, has developed a certain set of base conventions (e.g. canvas, rectilinear form, wall as support, portability). These conventions form the starting point for a dialogue, an agreement regarding the nature of the communication that will be taking place. For example, if a painting has a ‘conventional’ relationship to the wall on which it hangs, we would be acting in bad faith if we were to discuss the paint on that wall as part of the work. In art, these conventions designate what is inside and what is outside of the work. The boundary between the work and its surroundings is manifest through its adherence to convention. [from: https://www.actionstakenunderthefictitiousnamewaleadbeshtystudiosinc.com/lesson-notes-for-an-introductory-lecture ]

YT: 2020.

june ’23 auction: Lot 17, Walead Beshty, Six Magnet, Three Color Curl (CMY: Irvine, California, September 6th 2009, Fuji Crystal Archive Type C) (WB06709), 2009, estimated at £15000-20000, sold at £44450