Re: brown skins

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I learned long ago that the only person to target on this list is you. You’re a young whippersnapper, you have skin as thick as mine, you have the vision to see things like your last PF gallery shot, and you don’t suffer fools gladly. Eve n better I know where you went to school, who taught you and I also some of your classmates. And before you start to vent steam, the foregoing is a compliment.  


Jan

On Mar 22, 2013, at 6:58 PM, Randy Little wrote:

I' take it that was targeted at Lea and not Tina.   




On Fri, Mar 22, 2013 at 3:55 PM, Jan Faul <jan@xxxxxxxxxxx> wrote:

I don’t think you have a clue. I used to shoot people for various publications, government agencies, and so forth. I won awards for them. 

Essentially, photographers exploit everything and everybody they shoot. It just matters about whether not they have permission and there are landscapes where permission is needed and rarely if ever given.

Somebody criticized my car-related shots as advertising and that’s wrong too. It’s called thinking outside the box.


JAn

On Mar 22, 2013, at 6:48 PM, Lea Murphy wrote:

Wow. 

Reading this email I have a hunch I know why you shoot landscapes.



the better you look the more you see

On Mar 22, 2013, at 5:40 PM, Jan Faul <jan@xxxxxxxxxxx> wrote:


Tina -

I know you do and to be honest, I see that is exploitation. When I think of somebody going to shoot brown-skinned people for whatever reason, the first two names which pop into my mind are yours and Ami Vitale. And then you put them on smugmug, where I suppose they get stolen like they would on flickr.
No landscape has ever asked me to pay for a picture or refused to smile and anybody who wanders into a shot is no longer there at the time of publication. Your brown faces might like that you respect them,  but the buyers don’t see that and are not buying your shot because you respect the brown-skinned people.


Jan


On Mar 22, 2013, at 6:13 PM, Tina Manley wrote:

Jan,

I photograph brown faces but not grinning for the camera.  I live with the families for weeks at a time and hope that my photos reflect my love and respect for them:




Tina

On Fri, Mar 22, 2013 at 5:40 PM, Jan Faul <jan@xxxxxxxxxxx> wrote:
The only two photographers I can think of who don’t shoot smiling brown faces even though they are on location, are Phil Borges and Mark Tucker. Even people who should know better can’t do a portrait without a grinning subject. 
I’d put Dick Avedon on my ‘few smiles’ list, but he is no longer shooting portraits.


Jan

On Mar 22, 2013, at 1:10 PM, karl shah-jenner wrote:

From: "Jan Faul" <jan@xxxxxxxxxxx>
To: "List for Photo/Imaging Educators - Professionals - Students" <photoforum@xxxxxxxxxxxxxxxxxx>
Sent: Thursday, March 21, 2013 9:46 PM
Subject: Re: Brutal Review of PF members exhibit on March 16, 2013



One of my objections to photographers shooting the locals while traveling is that there is a preponderance of smiling faces aimed at the camera while we as viewers do not know if they are smiling because the photographer has just given them $50, promised them a trip to Disneyland, or other inducement to smile. I dislike portfolios of brown-skinned foreigners smiling  at the cameras it reeks of everything bad about Yuppies.




http://www.grumpyoldsod.com/hypocrisy.asp

touches on the subject somewhat..

well, a bit.

I thought it interesting

k


Art Faul

The Artist Formerly Known as Prints
------
Stills That Move: http://www.artfaul.com
Camera Works - The Washington Post
art for cars: panowraps.com
.








--
Tina Manley, ASMP
www.tinamanley.com


Art Faul

The Artist Formerly Known as Prints
------
Stills That Move: http://www.artfaul.com
Camera Works - The Washington Post
art for cars: panowraps.com
.







Art Faul

The Artist Formerly Known as Prints
------
Stills That Move: http://www.artfaul.com
Camera Works - The Washington Post
art for cars: panowraps.com
.








Art Faul

The Artist Formerly Known as Prints
------
Stills That Move: http://www.artfaul.com
Camera Works - The Washington Post
art for cars: panowraps.com
.





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