I was cameraless this week. It was great. Sort of. Okay, maybe not completely cameraless. I still had four 35mm stills film bodies, three mini DV cameras, and five high speed film motion cameras, all sitting on the shelf, along with the water housings for those. But I loaned my Canon 5DM2 system out and sold my Rebel T1i, in preparation for buying the new RebelT2i. (Wow, that Rebel was so new it had only seen 3000 frames before the new one was released.)
Canon (along with Apple) has been blowing my mind the past few years. We spoke, they obviously listened.Â The application of technology and digital imaging, has created the ability to produce massive amounts of content. But this creates some big questions:
Where does that content go? What makes yours special? Does your content meet that unspoken, and often unseen bar of international standards?
A career is a function of time. Effort is applied and what comes out these days, is useable digital content-data. You can convert that pliable data into a variety of projects in short order.
I had an e mail tet a tet with photographer Brian Nevins this week about post production. Brian and I both share a bar that is similar for our work and subjects. â€śHey Brian, how is your post production list looking?â€ť Answer:â€śOh hopeless. I just seem to keep getting further behind.â€ť We cyber groaned in unison.
Right now, I have 7 stills shoots and 6 motion picture projects, in various stages of post production. More work is being thrown my way daily. I must be very careful, or I will find myself homeless with probably one of the most phenomenal collections of stills and motion imagery that I could ever imagine.
Why? Production is shifting. Usages are changing. Now, more than any time in History, publishing is having a demand to screen content placed upon it, that is heavier than ever. Everyone who owns a camera is a “photographer” and those voices, they all scream out â€śLook at meâ€ť, often without really knowing that, um, maybe you may not want to do that.
Of course some get through on occasion, by virtue of salesmanship and persistence. You can see some amazingly low bar crap go to print, web, TV, Theater or Gallery. But over all, the access to the market that the web affords and which shifts in demand have created, offers the potential to embarrass one’s self globally in a very short period of time. But what this also does, is make the truly great work stand out. A lot is on the line for publishers these days as many companies teeter. Edit staff can annihilate a publication’s value in a very short period of time.
The market is not stupid, though it can be naive. It self levels.
Authenticity, now more than ever, is the most valuable of commodities, along with content quality and validity.
Seth Godin writes here about the slush pile. That great pool of self spawned, unsolicited content. It is one of the better things I have read about being a creative, as it describes a bar, direction and potentiality measure, for content creators.
So back to my post production I go. 60 hours down this week, in front of the large 32â€ť monitor I use. The surf was pumping. Offshore and warm. Spring has arrived overnight. Weird yet perfect for us, as this weather and swell combination combination rarely occurs this time of year. I got six calls to shoot the last few days, and wanted to.
â€śSorry I loaned my cameras outâ€ť was my soft answer. Clickety clack goes the keyboard. â€śSave asâ€ť was selected in Photoshop about 1500 times and â€śRenderâ€ť hit, in Final Cut, a lot. Whew. Life choices in the click of a mouse.
Here is aÂ piece of music which a close friend sent along. The message in it struck a deep chord with me. Southern Cross. If you read through the gallery descriptions, you may figure it out. It is descriptive of our lives, she and I. It may be said of many whose lives tie to the sea.Â I cherish my friends.
The gallery below is illustrative of Spring, Diversity, and Authenticity. Click on the images for a larger view and description, if you like.