ROB DURSTON PHOTOGRAPHY

Archive for June, 2011

Derry and her new Peace Bridge

I like Derry.

Squinty McSquintsalot

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I’ve been there probably a dozen times in the past 3 years. this time we are here to grab aspects and details of the opening day of their new Peace Bridge. The £14.6 million bridge was funded by the EU’s PEACE III programme and constructed started back in January of 2010. It a pretty sweet looking bridge and I’m mighty impressed with the design that Wilkinson Eyre did on it.

The phone lately has been pretty much consistently ringing; quote/bids, confirmations and cancellations. I’ve been getting them all but there no complaints because it is all working itself out. I’m also in the middle of writing a large art proposal for the government here. It will be a year long project and then tour for another year. I’m hoping to shoot it all on 5×4 black and white film and print it myself on silver based fibre paper. I’ve been getting back into the darkroom, little by little. Taking it slow so all my past memories doesn’t come pouring down on top of me and make me feel overwhelmed. I used to do lot of darkroom work back in the 90’s and enjoyed it for the most part, till I started getting socially deprived by spending all my waking hours there. There is a feeling you get after standing/sitting in the darkroom for 10-14 hours by yourself, then going out in public and mixing in with all the daylight people.

Well must start prepping for a project in Dublin, so I will leave you with this final image of the Peace Bridge.

Wilkinson Eyre Architects' Derry Peace Bridge

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Wonderful Machine

 

Wonderful Machine

I have been “repped” by Wonderful Machine out of Philadelphia for about six months or so now and we just got our first project from them. It’s a decent little gig for a Canadian news publication. Should be cool.

Wonderful Machine is kind of a strange critter in the whole field of photographer sales agents/representatives.

On one hand you have the usual reps; the guys who walk into agencies and push your portfolio across creative/art directors/buyer’s desks. These are the people who sell you or another photographer they might rep to creatives in the industry by showing off the best aspects of you to the client and how you fit in with specific clients or project imaging needs. The big ones in photography are Stockland Martel, Art + Commerce, Art-Dept and Jed Root to name a few.

Then there are the small boutique agencies; the ones that really offer up the service that some of the big ones miss out on. A little more personal and inviting, they don’t have the huge artist power necessarily that the above ones might have but that doesn’t mean their artists aren’t as creative. Over the years I have circled around these ones; I have had the orientation meetings and come close to signing paper but they have never come to fruition. Sometimes they have pulled out (like the time another photographer barked that I was too similar to his style even though we shot totally different genres) or sometimes it has been myself who felt the timing wasn’t right or the deal itself was slanted one way. I do love these guys, you can ask them questions and have meeting and show off work to them and they are always honest and genuine. I hold no grudges or ills against any of them. On the contrary, I respect their word and judgements over almost anyone else in the industry. They are almost always on the front lines; building relationships on both sides of the desks, helping the artists hone their work to fit with market demands while finessing connections with the agencies and the creatives who are making the work that the artists are looking to do. Some examples of these are Marilyn Cadenbach, Christy Deddens at Deddens & Dedeens, Anne Desrochers at Klax-On-Nez, Kate Ryan at KateRyanInc and the wonderful Andrea Stern at Stern Rep.

At the other end of things are the Alt Picks, Black Book and Source Book options. they allow for a free listing in exchange for a limited number of images and info to be listing amongst hundreds if not thousands of other artists. You can pay for a membership to the sites that offer you more image and enhanced features; allowing you access to other members contact info etc. I personally never found the benefits of being stuck in the middle of students, amateurs and potentially any no talent ass clown with a camera. You get what you pay for and I don’t expect anything back from the sites, even though I am listed there; web presence everyone. I can see the benefit to being in there publications, there are still some art buyers and creatives who look through the books and actually research artists before embarking on a big project but at the thousands of dollars the pages in the books command, I see my hard earned earnings going towards more immediate and discernible marketing avenues. Some of the better examples of the work book type of publications/websites are WorkBook, Black Book, Le Book, AltPick and recent new comer Adbase’s Found Folios.

Now this is where Wonderful Machine sort of twists the standard rep model and turn it into something for the 21st century. They don’t take a percentage of my work, instead they charge me a monthly fee to promote my business to their list of potential clients; a list much larger than I could ever produce from all my contacts. They do this through direct contact (email and standard post mailers), website listing (their own site plus all of the other “source books” listed above), portfolio events for clients, ads in industry publications and many other ways. They also off me a consulting service. If I need help with a big quote, perhaps in a location I’m not familiar with, they can help and give me a more realistic quote that has a better potential to be accepted by the client. Another service I have taken advantage of already is their photo editing consulting. When I have needed to pare down a set of images beyond what I have felt comfortable with (you sometimes lose touch with the images, looking at them day in day out until they meld together into one big inseparable mass of colour and shapes). They have been able to look at them with no bias and come to a judgement on the images that I wouldn’t have been able to reach.

I have to hand it to the dozen or so staff at WM, they have done a great job for me so far, lets keep this ball rolling now.

R


Just for fun

A couple of quick shots of some flowers before we get pummeled with projects this week. I wanted to have something that I could maybe print up for Olivia’s mother to hang in her house. Not sure if they work for her but maybe for us if she doesn’t like them.

The quality out of this lens and film combination is very sweet and smooth.


Apocalyptic Calotypes

I had a little break in shooting so what should I do besides feed the horses?

Shoot more.

I had E.E. Kelly come into the studio, looking to do something different and I think I delivered. I was looking to create a more sinister, end of the world feel; maybe something like Sandra Bullock if she starred in Mad Max as Max.

We shoot a couple of frames in the studio, showing the starkness of the shaven head and the strength of her body with just one light and some negative fill. Then we went outside into the “zone”. Olivier had been burning some rubbish, like he usually does, and it made for a very moody surrounding. Dust, smoke and fire with all the rubble made the two frames we shot feel like we were in another time for a moment. That is until the locals started pouring in when they heard there was a girl being photographed. Both images were shot on Harman Direct Positive, wide open at f4.7 and process in standard b&w chemicals.