Like many photographers I own a number of different cameras. But to what extent do their mechanical attributes/limitations affect the way I work? In particular, do they affect my Vision or in any way control my Style? (What are your views…?)
I like to think it is Me rather than the camera I use that determines the type of images I make. But, if I think about making a picture and then ask myself how I want it to look, I am very aware that in my mind's eye the resulting image looks and feels totally different as I think about capturing it on one of the many different cameras I own. My approach would be quite different, say, were I to use a digital SLR when compared to shooting the same thing on film, on my Fuji 6x9 rangefinder, and, again, my approach with that one camera would be different if I chose Bergger 200 film as opposed to Delta 3200. Each film creates/promotes a style of their own.
On a recent shoot I took both a DSLR and my Hasslebad XPan. I found it impossible to work with both. It was like trying to pat my head with one hand while rotating the other hand over my stomach. My brain got totally confused and I had to think consciously (rather than visually and spontaneously) about what I was doing. I ceased being a photographer, immersed in his subject and a conduit for the image, and became a kind of art director instead – working to a brief. But perhaps there was more to it than that. Was it impossible for me to use the two different camera types because the film-based XPan involves me in a process of visualisation as opposed to the DSLR with which I am an image editor, constantly reviewing what I've photographed, responding to it and then re-shooting if needs be?
This experience got me thinking about the idea of working with just one camera. It sounds very limiting, but also very liberating. Perfect the art of working with that camera, so that it becomes an extension of oneself, and ultimately the only limitation is one's imagination.
So, how do I feel about the idea of selling the other cameras I don't need? My immediate response is that I have some kind of connection (or is attachment?) to them. As I think about this I realise my approach to photography is rooted in something beyond technique. I'm more interested in how photography can help me see the world. Having different cameras affects my viewpoint and this enables me to see things in a variety of ways, each from a different perspective, with one challenging the other. None of these views are right, nor is one approach better than the other. How, then, would I define my own style of photography, given that my multi-camera approach is so varied. Perhaps Style it is more to do with the intention behind the work? In this case, perhaps what drives my Style is the notion of Inquiry. Maybe it doesn't matter what camera or process I use…
Monday, 19 March 2007
SOME THOUGHTS ABOUT 'STYLE' – MINE AND YOURS…
What do we mean when we talk about 'Style'?
Is Style 'that' which simply differentiates the work of one photographer from another? Is it a result? A way that we the viewer can describe the difference between photographs, say, of similar subject matter made by different photographers? Or, is it an approach to making images? For example, does every photographer have a mantra (conscious or subconscious) that guides their work, that causes it to be different from others? In First Light, Joe Cornish talks about the importance of TLC (Timing, Lighting and Composition). If any of the three are absent, he won't press the shutter release. When we recognise one of his images, are we seeing the coming together of T, L and C, or is there something 'other' which is present? If so, what and how might we describe it?
I like what Weston wrote about a picture he made of Tina Modotti: "… a tear rolled down her cheek – and then I captured the moment – let me see f8 1/10 sec K1 filter – panchromatic film – how brutally mechanical and calculated it sounds – yet really how spontaneous and genuine – for I have so overcome the mechanics of my camera that it functions responsive to my desires – my shutter co-ordinating with my brain is released in a way – as natural as I might move my arm – I am beginning to approach an actual attainment in photography… The moment of our mutual moment was recorded on the silver film."
In my search for a greater understanding of Style, I've delved into any number of books – photographic, artistic and beyond. In 'Writers on Howard Hodgkin' I found a quote that might answer the above question about Joe's photography. It is by Edouard Vuillard (the French Post-Impressionist painter): "There is no art without poetic aim."
What do you think about Style? Please include your thoughts on the matter with your entry forms. Your comments, ideas and questions will help shape DV&S into an inspiring and thought-provoking book.
Is Style 'that' which simply differentiates the work of one photographer from another? Is it a result? A way that we the viewer can describe the difference between photographs, say, of similar subject matter made by different photographers? Or, is it an approach to making images? For example, does every photographer have a mantra (conscious or subconscious) that guides their work, that causes it to be different from others? In First Light, Joe Cornish talks about the importance of TLC (Timing, Lighting and Composition). If any of the three are absent, he won't press the shutter release. When we recognise one of his images, are we seeing the coming together of T, L and C, or is there something 'other' which is present? If so, what and how might we describe it?
I like what Weston wrote about a picture he made of Tina Modotti: "… a tear rolled down her cheek – and then I captured the moment – let me see f8 1/10 sec K1 filter – panchromatic film – how brutally mechanical and calculated it sounds – yet really how spontaneous and genuine – for I have so overcome the mechanics of my camera that it functions responsive to my desires – my shutter co-ordinating with my brain is released in a way – as natural as I might move my arm – I am beginning to approach an actual attainment in photography… The moment of our mutual moment was recorded on the silver film."
In my search for a greater understanding of Style, I've delved into any number of books – photographic, artistic and beyond. In 'Writers on Howard Hodgkin' I found a quote that might answer the above question about Joe's photography. It is by Edouard Vuillard (the French Post-Impressionist painter): "There is no art without poetic aim."
What do you think about Style? Please include your thoughts on the matter with your entry forms. Your comments, ideas and questions will help shape DV&S into an inspiring and thought-provoking book.
Friday, 16 March 2007
DIGITAL SUBMISSION REFERENCE PRINTS
Some of you have asked what size prints you need to submit with your digital picture submissions. Basically, I just need reference pictures (so that I don't have to open every cd while making the image selections). For this purpose, they only need to be 6x4" in size, or thereabouts. They don't have to be colour-managed, although it's best for them to look the way you want them to. And, if they are reference prints, then they can be printed on any surface.
Wednesday, 7 March 2007
WHAT KIND OF PICTURES SHOULD I SUBMIT?
Essentially we're looking for landscape images although you can also submit architecture/cityscapes/village life-type images as well. There can be people or the hand of the man in these images. Check out the Entry Form for technical details (eg digital file sizes/resolution, etc).
Some people have asked me to look at their work, to make suggestions about what to submit. I'd rather you made the choice as one of the main aims of the book is to reflect your views and opinions. Whatever images you choose will be right! Just be sure to contextualise your picture selection, for example you might like to explain how your selection reflects your vision or style. Or, maybe, there are lessons to be learnt from your selection, that you would like to share with other readers, that makes your selection particularly relevant. In which case, share these lessons with us.
The brief is very open to interpretation. Putting your slant on your image selection will help enable me include as many of you in the book as possible.
Some people have asked me to look at their work, to make suggestions about what to submit. I'd rather you made the choice as one of the main aims of the book is to reflect your views and opinions. Whatever images you choose will be right! Just be sure to contextualise your picture selection, for example you might like to explain how your selection reflects your vision or style. Or, maybe, there are lessons to be learnt from your selection, that you would like to share with other readers, that makes your selection particularly relevant. In which case, share these lessons with us.
The brief is very open to interpretation. Putting your slant on your image selection will help enable me include as many of you in the book as possible.
Friday, 2 March 2007
WHAT MAKES DV&S UNIQUE?
DV&S really is different! Unlike other books, its contents aren't based on a pre-determined plan, other than it will be 160 pages long and 230 x 260mm in size. Instead, I am letting your images, thoughts and questions, together with the authors' responses, determine the content and help dictate the design. My thinking is that this will ensure the book is fresh in both its approach and content. Afterall, one of DV&S's aims is to be a conversation about photography, around the theme of Vision and Style.
Compare this approach to the usual way of commissioning books, in which ideas are turned into clearly defined book concepts. From these concepts, outlines are developed to which the photographers/authors have to stick. In this way the publisher knows that the books which are being written are the same as the ones that are being pre-publicised. No nasty surprises! In the case of the hardback edition of DV&S, as I am the publisher and since I trust you all to deliver great images and thought provoking comments, I'm not all all worried that it won't be anything other than a great book!
Compare this approach to the usual way of commissioning books, in which ideas are turned into clearly defined book concepts. From these concepts, outlines are developed to which the photographers/authors have to stick. In this way the publisher knows that the books which are being written are the same as the ones that are being pre-publicised. No nasty surprises! In the case of the hardback edition of DV&S, as I am the publisher and since I trust you all to deliver great images and thought provoking comments, I'm not all all worried that it won't be anything other than a great book!
YOUR FEEDBACK AT FOCUS ON IMAGING
It was great to meet so many of you at Focus on Imaging. Some of you had traveled quite a distance, with a number making our stand your first port of call. Thank you.
As the editor and deviser of WTL and DV&S, your feedback was invaluable (keep it coming, please). At Focus we got plenty of really positive comments on Working the Light and a huge interest in Developing Vision & Style. In fact so many of you took a DV&S entry form that by the second night I had to go back to London to get more entry leaflets, and to pick up extra copies of WTL as we were on the point of selling out.
Anyone who has visited such shows could be forgiven for thinking of them as soulless places, where a huge mass of people gather simply to get the best deal on the latest gear and where no serious, intelligent conversation about photography can be heard (ok I did buy a 2GB card for my D100 at a very good price!). Well, things were quite different. The conversations that David and I had with the visitors to our stand were about photography and the creative process, with little talk of cameras or techniques. It was inspiring to have such great conversations and this bodes well for the content of DV&S.
As the editor and deviser of WTL and DV&S, your feedback was invaluable (keep it coming, please). At Focus we got plenty of really positive comments on Working the Light and a huge interest in Developing Vision & Style. In fact so many of you took a DV&S entry form that by the second night I had to go back to London to get more entry leaflets, and to pick up extra copies of WTL as we were on the point of selling out.
Anyone who has visited such shows could be forgiven for thinking of them as soulless places, where a huge mass of people gather simply to get the best deal on the latest gear and where no serious, intelligent conversation about photography can be heard (ok I did buy a 2GB card for my D100 at a very good price!). Well, things were quite different. The conversations that David and I had with the visitors to our stand were about photography and the creative process, with little talk of cameras or techniques. It was inspiring to have such great conversations and this bodes well for the content of DV&S.
FAQ's
WHO CAN ENTER DV&S?
Anyone can - amateur or professional, and you don't need to have been on a Light & Land workshop. DV&S is open to all.
WHAT IMAGES SHOULD I SUBMIT?
I'm reluctant to suggest what kind of pictures we're looking for. We want the picture content of the book to be determined by you – by what is going in landscape photography, rather than by my editor's view of how that should look. You can be as inventive as you like with your picture submission, for example you might consider putting together a set of images which show the development of your vision and style during your time as a photographer. Or, if you work in a number of different styles, perhaps using different camera formats, then you could include a selection of each. Alternatively, you might wish to submit your very latest best images. But, don't forget, we want to read your comments about your vision and style(s) and if you've themed your pictures in some way, then do write something about it.
DO I HAVE TO WRITE SOMETHING ALONG WITH MY PICTURE SUBMISSION?
I would strongly suggest that you do - writing something (no matter how short) is a brilliant way of developing one's photography and the ideas behind it. And if you don't feel confident writing something, don't worry - you're not alone. We all find writing challenging! So just have fun with it. Remember, my job as editor is to pull together everything and to contextualise it. What you write will make the book unique among landscape photography publications. Also, it is my intention to use your comments and questions as discussion points for Joe, Charlie, David and myself so that we address the real issues of the day. And, if you have any questions for us, then do please include them.
WHAT IS MEANT BY VISION AND STYLE?
A very, very good question! Look at it this way: the title of the book is a talking point – a way to start a conversation about photography in which you can participate. The idea is to produce a book that 'speaks' about photography, rather than one which authors turn it into a possible lecture!
WHAT SHOULD I WRITE ABOUT?
Start by answering the simple questions in the entry form. From then on you are completely free to write about any aspect of vision and style that interests you. You might wish to write about the challenge of developing vision, or the way you have developed your style. You could write about your influences (photographic and otherwise). There are no boundaries and no right or wrong ways to write. Simply share what's important to you – problems and successes alike. As the editor and book designer, it's my job to knit together all your comments and to create the narrative content alongside you images together with the authors words. I can't wait!
CAN I SUBMIT B&W IMAGES?
Yes, please do. One of the aims of the book is to represent what is going on in landscape photography – b&w is still a big part of it. There are no boundaries. We want to see what photographic medium you work in.
DOES IT MATTER WHAT CAMERA I'VE USED?
No! Any camera will do - digital or film-bsed. However, do please check the entry form for information about picture formats and file sizes.
SEND ME YOUR QUESTIONS AND I'LL POST THE ANSWERS
Anyone can - amateur or professional, and you don't need to have been on a Light & Land workshop. DV&S is open to all.
WHAT IMAGES SHOULD I SUBMIT?
I'm reluctant to suggest what kind of pictures we're looking for. We want the picture content of the book to be determined by you – by what is going in landscape photography, rather than by my editor's view of how that should look. You can be as inventive as you like with your picture submission, for example you might consider putting together a set of images which show the development of your vision and style during your time as a photographer. Or, if you work in a number of different styles, perhaps using different camera formats, then you could include a selection of each. Alternatively, you might wish to submit your very latest best images. But, don't forget, we want to read your comments about your vision and style(s) and if you've themed your pictures in some way, then do write something about it.
DO I HAVE TO WRITE SOMETHING ALONG WITH MY PICTURE SUBMISSION?
I would strongly suggest that you do - writing something (no matter how short) is a brilliant way of developing one's photography and the ideas behind it. And if you don't feel confident writing something, don't worry - you're not alone. We all find writing challenging! So just have fun with it. Remember, my job as editor is to pull together everything and to contextualise it. What you write will make the book unique among landscape photography publications. Also, it is my intention to use your comments and questions as discussion points for Joe, Charlie, David and myself so that we address the real issues of the day. And, if you have any questions for us, then do please include them.
WHAT IS MEANT BY VISION AND STYLE?
A very, very good question! Look at it this way: the title of the book is a talking point – a way to start a conversation about photography in which you can participate. The idea is to produce a book that 'speaks' about photography, rather than one which authors turn it into a possible lecture!
WHAT SHOULD I WRITE ABOUT?
Start by answering the simple questions in the entry form. From then on you are completely free to write about any aspect of vision and style that interests you. You might wish to write about the challenge of developing vision, or the way you have developed your style. You could write about your influences (photographic and otherwise). There are no boundaries and no right or wrong ways to write. Simply share what's important to you – problems and successes alike. As the editor and book designer, it's my job to knit together all your comments and to create the narrative content alongside you images together with the authors words. I can't wait!
CAN I SUBMIT B&W IMAGES?
Yes, please do. One of the aims of the book is to represent what is going on in landscape photography – b&w is still a big part of it. There are no boundaries. We want to see what photographic medium you work in.
DOES IT MATTER WHAT CAMERA I'VE USED?
No! Any camera will do - digital or film-bsed. However, do please check the entry form for information about picture formats and file sizes.
SEND ME YOUR QUESTIONS AND I'LL POST THE ANSWERS
Tuesday, 20 February 2007
WIN A £725-00 LIGHT & LAND COURSE
Developing Vision and Style is offering a main prize of £725 to one lucky entrant and five other prizes worth £125 each.
As an entrant to DV&S your name could be picked to win a place on Eddie Ephraums' Light & Land Book Publishing Workshop. The course is on the magical Gower Peninsula this September 23-27. You would just have to get yourself there. It promises to be a great time, with everyone working on a photo project of their own, just a walk away from the hotel, down on the beach. Drawing on Eddie's experience as a commissioning editor, self-publisher, photographer/writer, he will work with you to help devise your project and turn it into an artist-style book to take home when you leave. The workshop is also a great opportunity to talk about how you can develop other current photo projects. (Full details can be found on Light & Land's website.)
Five other lucky entrants, who submit work for inclusion in DV&S, will have their names picked out of a hat to win a Collector's Edition of DV&S (or WTL, if you prefer) with a print of your choice (Charlie's, Joe's or David's), worth £125 each.
As an entrant to DV&S your name could be picked to win a place on Eddie Ephraums' Light & Land Book Publishing Workshop. The course is on the magical Gower Peninsula this September 23-27. You would just have to get yourself there. It promises to be a great time, with everyone working on a photo project of their own, just a walk away from the hotel, down on the beach. Drawing on Eddie's experience as a commissioning editor, self-publisher, photographer/writer, he will work with you to help devise your project and turn it into an artist-style book to take home when you leave. The workshop is also a great opportunity to talk about how you can develop other current photo projects. (Full details can be found on Light & Land's website.)
Five other lucky entrants, who submit work for inclusion in DV&S, will have their names picked out of a hat to win a Collector's Edition of DV&S (or WTL, if you prefer) with a print of your choice (Charlie's, Joe's or David's), worth £125 each.
Monday, 19 February 2007
WHY DEVELOPING VISION AND STYLE?
As the commissioning editor, responsible for devising DV&S, I wanted to create a book that prompted a debate, which got photographers thinking and talking about critical aspects of their work – something which would help us all explore and further develop our ideas.
The fun thing about being a commissioning editor is one gets to play with ideas. However, in my parallel role as editor, I have to face the consequences. In this case, I rather wish I had chosen a simpler, less challenging topic for discussion. My concern (soon to be giving way to sleepless nights as deadlines loom!?) is that the subject is quite challenging (too alienating?) to inspire people more used to expressing themselves through images. I hope I am mistaken, that people will take up the challenge and put pen to paper, to answer some of the questions in HOW TO ENTER DV&S (posted 16 February 2007). Otherwise 160 pages is a lot to fill…
The commissioning editor (and photographer) in me clearly felt the world of landscape photography needed a challenge, a jolt – its cage rattled. Looking around at the (same?) kind of landscape pictures that are being produced (especially my own) I really do believe that we need a DV&S type-book to help us get to the root of what we are doing, that explores how we see (vision?) and the way in which we depict that vision (style?), before we are ready to explore what to do with it, such as why landscape?' (Incidentally, I"m thinking about 'WHY LANDSCAPE?' as a title for the third book in the series.)
Now, if you're still unsure about taking part, and you'd rather wait till DV&S comes out, to simply 'listen' to the debate, that's absolutely fine (although, personally, I believe the best books are conversations of one sort or another, in which authors and readers take part). But, spare a thought for the authors. Even successful and highly respected photographers like Charlie, Joe and David, who one would think are 100% clear about their vision and assured about their style, have concerns just the same as the rest of us. They feel equally challenged by DV&S, both as authors and as photographers, but experience has repeatedly shown them the benefits of rising to a challenge and engaging in debate. They know their photography will see the benefits of taking part. So, too, does the commissioning editor, now that I have persuaded him to take part! I hope you'll be inspired as well, and join in the lively conversation that is DV&S.
The fun thing about being a commissioning editor is one gets to play with ideas. However, in my parallel role as editor, I have to face the consequences. In this case, I rather wish I had chosen a simpler, less challenging topic for discussion. My concern (soon to be giving way to sleepless nights as deadlines loom!?) is that the subject is quite challenging (too alienating?) to inspire people more used to expressing themselves through images. I hope I am mistaken, that people will take up the challenge and put pen to paper, to answer some of the questions in HOW TO ENTER DV&S (posted 16 February 2007). Otherwise 160 pages is a lot to fill…
The commissioning editor (and photographer) in me clearly felt the world of landscape photography needed a challenge, a jolt – its cage rattled. Looking around at the (same?) kind of landscape pictures that are being produced (especially my own) I really do believe that we need a DV&S type-book to help us get to the root of what we are doing, that explores how we see (vision?) and the way in which we depict that vision (style?), before we are ready to explore what to do with it, such as why landscape?' (Incidentally, I"m thinking about 'WHY LANDSCAPE?' as a title for the third book in the series.)
Now, if you're still unsure about taking part, and you'd rather wait till DV&S comes out, to simply 'listen' to the debate, that's absolutely fine (although, personally, I believe the best books are conversations of one sort or another, in which authors and readers take part). But, spare a thought for the authors. Even successful and highly respected photographers like Charlie, Joe and David, who one would think are 100% clear about their vision and assured about their style, have concerns just the same as the rest of us. They feel equally challenged by DV&S, both as authors and as photographers, but experience has repeatedly shown them the benefits of rising to a challenge and engaging in debate. They know their photography will see the benefits of taking part. So, too, does the commissioning editor, now that I have persuaded him to take part! I hope you'll be inspired as well, and join in the lively conversation that is DV&S.
Friday, 16 February 2007
HOW TO ENTER DV&S
(Closing date March 31, 2007)
ENTRY FORMS are now available. Go to developingvisionandstyle.com and click on the link "Download a Developing Vision & Style entry form".
• You can submit a maximum of 6 pictures that you believe represent your vision and which can act as discussion points about your style.
• On the question of vision and style, we want you to respond to as many of the following questions as possible (in a sentence, or a paragraph or more each). Also, please ask any questions you believe are relevant to the DV&S debate – and answer them too! Your contributions are vital to the success of making DV&S and making it a really useful resource book for all photographers:
- What does vision mean to you?
- How would you describe your vision? What is it based on? Is it evolving? If so, in what way?
- How do you try to convey your vision through the pictures you make?
- What does style mean to you?
- Do you have a style of your own? How would you describe it? Is it evolving? If so, in what way?
- Might style enhance/limit creativity? If so, how?
- Has digital photography affected vision and/or style for better or worse?
- Which photographers do you admire? What is it about their vision and/or their style that inspires you?
- Are there particular images of Charlie’s, Joe’s and David’s which have inspired you with their vision – why? Do the ‘trio’ have recognisable styles? If so, can you describe them?
- What can we learn from looking at the work of other photographers?
- You may have other questions that you'd like to address, too, in which case go for it!
• Also, please add any further thoughts about 'Vision' and 'Style', as well any questions for the ‘trio’ which could relate to their work as much as yours.
USEFUL LINKS
Also, to make the book a really useful resource, it would be great if you could include any useful weblinks, books/articles you’ve read, or other sources of inspiration on the subject of vision and style. They don’t have to be just photographic links.
ENTRY FORMS are now available. Go to developingvisionandstyle.com and click on the link "Download a Developing Vision & Style entry form".
• You can submit a maximum of 6 pictures that you believe represent your vision and which can act as discussion points about your style.
• On the question of vision and style, we want you to respond to as many of the following questions as possible (in a sentence, or a paragraph or more each). Also, please ask any questions you believe are relevant to the DV&S debate – and answer them too! Your contributions are vital to the success of making DV&S and making it a really useful resource book for all photographers:
- What does vision mean to you?
- How would you describe your vision? What is it based on? Is it evolving? If so, in what way?
- How do you try to convey your vision through the pictures you make?
- What does style mean to you?
- Do you have a style of your own? How would you describe it? Is it evolving? If so, in what way?
- Might style enhance/limit creativity? If so, how?
- Has digital photography affected vision and/or style for better or worse?
- Which photographers do you admire? What is it about their vision and/or their style that inspires you?
- Are there particular images of Charlie’s, Joe’s and David’s which have inspired you with their vision – why? Do the ‘trio’ have recognisable styles? If so, can you describe them?
- What can we learn from looking at the work of other photographers?
- You may have other questions that you'd like to address, too, in which case go for it!
• Also, please add any further thoughts about 'Vision' and 'Style', as well any questions for the ‘trio’ which could relate to their work as much as yours.
USEFUL LINKS
Also, to make the book a really useful resource, it would be great if you could include any useful weblinks, books/articles you’ve read, or other sources of inspiration on the subject of vision and style. They don’t have to be just photographic links.
5 GREAT REASONS TO TAKE PART IN DV&S
Just in case you're in any doubt about taking part (or why there is an entry fee) here are at least five great reasons to participate that I can think of…
1) Every entrant will receive a hardback, Light & Land limited edition copy of the book, worth £25 (the cost of entering)
2) Every entrant gets their name and weblink included in the book, so readers can check out other great work that you do and make contact with you (great PR for your photography)
3) If selected for inclusion, your work will be showcased in this beautifully printed, properly colour-managed book, alongside renowned artists, like Joe, Charlie and David (what better accolade than to be published alongside your peers?)
4) You get to express your ideas – for example what 'Vision' and 'Style' mean to you – and we want to get as many of those thoughts into print as possible (how often does one get a public platform for ones ideas?)
5) You can help shape the book (and the world of landscape photography) by asking the authors any questions you like about vision and style and related topics (it's great to take part in the wonderful conversation that is landscape photography!)
and there's another great reason too…
… Developing Vision and Style is offering a main prize of £725 to one lucky entrant and five other prizes worth £125 each
As an entrant to DV&S your name could be picked to win a place on my Light & Land Book Publishing Workshop. The course is on the magical Gower Peninsula this September 23-27. You would just have to get yourself there. It promises to be a great time, with everyone working on a photo project of their own, just a walk away from the hotel, down on the beach. Drawing on my experiences as a commissioning editor, self-publisher, photographer/writer, I will work with you to help devise your project and turn it into an artist-style book to take home when you leave. The workshop is also a great opportunity to talk about how you can develop other current photo projects. (Full details can be found on the Light & Land website.)
Five other lucky entrants, who submit work for inclusion in DV&S, will have their names picked out of a hat to win a Collector's Edition of DV&S (or WTL, if you prefer) with a print of your choice (Charlie's, Joe's or David's), worth £125 each.
To qualify, you must get your entries to me by March 31, 2007. Good luck!
1) Every entrant will receive a hardback, Light & Land limited edition copy of the book, worth £25 (the cost of entering)
2) Every entrant gets their name and weblink included in the book, so readers can check out other great work that you do and make contact with you (great PR for your photography)
3) If selected for inclusion, your work will be showcased in this beautifully printed, properly colour-managed book, alongside renowned artists, like Joe, Charlie and David (what better accolade than to be published alongside your peers?)
4) You get to express your ideas – for example what 'Vision' and 'Style' mean to you – and we want to get as many of those thoughts into print as possible (how often does one get a public platform for ones ideas?)
5) You can help shape the book (and the world of landscape photography) by asking the authors any questions you like about vision and style and related topics (it's great to take part in the wonderful conversation that is landscape photography!)
and there's another great reason too…
… Developing Vision and Style is offering a main prize of £725 to one lucky entrant and five other prizes worth £125 each
As an entrant to DV&S your name could be picked to win a place on my Light & Land Book Publishing Workshop. The course is on the magical Gower Peninsula this September 23-27. You would just have to get yourself there. It promises to be a great time, with everyone working on a photo project of their own, just a walk away from the hotel, down on the beach. Drawing on my experiences as a commissioning editor, self-publisher, photographer/writer, I will work with you to help devise your project and turn it into an artist-style book to take home when you leave. The workshop is also a great opportunity to talk about how you can develop other current photo projects. (Full details can be found on the Light & Land website.)
Five other lucky entrants, who submit work for inclusion in DV&S, will have their names picked out of a hat to win a Collector's Edition of DV&S (or WTL, if you prefer) with a print of your choice (Charlie's, Joe's or David's), worth £125 each.
To qualify, you must get your entries to me by March 31, 2007. Good luck!
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