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Jim Bullard
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Many moons ago when I was a poor college student I read "Living Poor With Style" by Ernest Callenbach. As I recall the recommendation he made regarding cars was to buy a 1-2 year old car (after the initial depreciation) and drive it until the annual repairs were costing as much as or more than the payments would be on a new one. I believe the second cheapest way was to buy a new one and do the same. The book is still available on Amazon I see and it answers all sorts of questions like this. Well worth reading IMO.
Better idea: Make three prints on 8½x11 paper and put them in Itoya portfolios. Keep one at home and farm the other two out to your designated archivists. The folios will fit a bookshelf and can be looked at like a book without mangling the prints. In discussing with my wife recently how I should preserve my best work, that is exactly what we decided to begin doing. The other copies will probably be sent to our two children.
I am a bearded old grumpy guy and I too hate those wheels that look like chrome plated Conestoga wagon wheels.
Ya know... I wondered about that. Although I don't believe that an 'heir' should automatically receive rights to the creations of a relative he/she never knew and wasn't named in a will as the heir to those rights, law is a weird and complex thing. That whole issue might have played out in the "lost Ansel Adams negatives" had they not been determined to be by 'Uncle Earl'. Even so I suppose the niece could have sued for possession. I have a book of Vivian Mayer's work on order that hasn't been released. I suppose this means that won't happen.
In a traditional (but probably fanciful) America children grew up, got married lived no more than an hour away and had grandchildren that we parents could dote over. Then there is reality. Too many years ago for my taste our son emailed me from his first job (6-7 hours away) and said he was torn, he had an offer of an interview for his dream job working for New World Software. His current job was boring but relatively near while New World was all the way across the country in California. Reluctantly I advised him to go for it. He didn't own a home and had no children. If he wanted to chase a dream, now was the time. The alternative was for him to stay in the boring job and wonder when he was 40 or 50 "what if I had...". He went. Years later he ended up in Austin (the opposite of Kirk and his son). You never stop missing them but on the other hand it resulted in my going places and doing things I likely never would have otherwise just like his birth did. His dream didn't work out entirely as he envisioned (dreams never do) but he's done well. Roll with it guys. Life is what happens while you are planning other things. :-)
Mike, Regardless of the state of your vision (mine is deteriorating too) you can determine whether an area is totally black in Photoshop using the Threshold or the Curves tool. In a Threshold layer. Just move the slider back and forth* to see whether the whole area appears/disappears at once. If there are lighter areas they will show up as you move the slider. If there are lighter parts just select the area of the lighter bits (lasso them) and burn them in on the image layer then ditch the Threshold layer. *My grandfather was fond of saying that the expression should be reversed, "forth and back", since you can't come back until you have gone forth. Something to ponder as we go forth into a new week. :-)
Toggle Commented Aug 18, 2014 on 8/18/14 Morning Coffee at The Online Photographer
Not crazy. Just can't afford it, either the print or the airfare to Hawaii. If I had the money to travel I'd visit my son in Texas. I don't know anyone in Hawaii, well only one person and we aren't close friends. As for a print sale, I'm open to it if Mike asks. I've submitted stuff when he did ask.
That's okay by me. I hate (as in HATE!) April fools jokes anyway.
Toggle Commented Apr 2, 2014 on April Fool's Day... at The Online Photographer
This is the second time I've been offered a great deal on a used Miata and alas, like the first time I'm not in a financial position to do it (two mortgages). If you find a buyer for our old house I'll buy the car. :-)
Toggle Commented Apr 2, 2014 on Miata for Sale (OT) at The Online Photographer
So when do we get to see the pictures? "Real soon" like in The Adventures of Buckaroo Bonsai across the 8th dimension?
" I am thoroughly, thoroughly sick of Winter, more so than I have ever been in my life. I just want it to go away." You have a lot of company on that sentiment Mike. A whole lot of company.
Toggle Commented Feb 25, 2014 on Off-Topic Week at TOP at The Online Photographer
I just wrote my own blog post about this. I've been pondering why one would tie their sense of their individual style to the technical limitations of a given medium or in this case the limitations of a specific portion of the medium, a particular type of film. When we look at the larger art world most artists use different mediums routinely sometimes very different mediums. Think for a moment about Picasso who although known primarily as a painter also worked in such diverse mediums as sculpture and pottery. Like the vast majority of other painters he drew in pencil, charcoal, whatever. Granted the drawings of painters are usually preliminary to painted works but the point is that their 'style' is not tied rigidly to the medium to the point that they feel obliged to make the finished product look like a medium other that what it is. If they do so it is a matter of choice for aesthetic reasons, not something that they feel compelled to do to achieve a "consistency of look" to other work. For my own work I have long believed (with apologies to Huey Lewis) the the heart of photography is seeing. My style derives not from the materials I use so much as the way I see, record and present the things I choose to photograph. The media and techniques I use to create my images are simply a matter of choosing among the options that are available to me which will result as nearly as possible in the result I am seeking. In my early years I used a lot of Tri-X 35mm because it was the camera I could afford and the film that worked best over a broad range of lighting. If I could have shot a different ASA/ISO for every photograph choosing a lower speed and finer grain for more brightly lighted scenes I would have. I do a lot of photography while hiking. If I could find a camera that fit in my pocket and would provide the equivalent of ASA/ISO 50 8x10" film and I could afford it, you can bet that I'd use it. Art is in seeing and communication of our vision. The technology is just details
Toggle Commented Feb 5, 2014 on Survey says . . . at LensWork Daily
I remember reading the TOP article as well as some comments that he used that methodology because the grain in the ISO 400 & 3200 films he used to use were "part of his style", thus the work was more recognizably his. FWIW I think that when one's "style" becomes an impediment to producing the best possible images it is time for the "style" to change, or in more positive terms to grow or evolve. To me degrading one's images to a lower level of quality signifies getting stuck. The world changes, technology changes, growth and progress are the norm. I still like film but no longer shoot 35mm film because I couldn't get the results I wanted when that was all that was available to me. I can't imagine deliberately mimicking work that I was less than fully satisfied with in the past.
Toggle Commented Feb 3, 2014 on Salgado's Genesis and Grain at LensWork Daily
Take care. Get well. We'll find something else to do. ;-)
Toggle Commented Jan 14, 2014 on Blog Note at The Online Photographer
Winter didn't have any welcome in NNY. We got blasted by snow storms followed by freezing rain and sleet that left 7-8 inches of ice on our roof damaging our skylight and chimney when a thaw made it decide to slide off in one sheet. Then there was that Polar Vortex thing. We now have a more moderate system that almost seems tropical by comparison. I been thinking about making some prints (digital) but I'm so burnt out from just surviving that thinking is as far as I've gotten. Maybe I should fire up my ColorMunki. That wouldn't take much energy.
Toggle Commented Jan 13, 2014 on Winter Doldrums at The Online Photographer
I'd seen that one Mike. I even saved a copy. :-)
Toggle Commented Jan 8, 2014 on Shortest Post Ever at The Online Photographer
Congratulations and yes you do feel better not dragging around a lot of extra body weight.
I shoot digital in cold weather without problems, not as cold as -35° but down in the -20° range. OTOH I don't expose the camera to those temperatures continuously for any length of time. It stays under an outer shell garment or in my vehicle until I'm ready to shoot something. When I see something I want to photograph I set up my tripod and take the camera out as a last step. If you have to leave it exposed for a substantial time you could try using chemical hand warmer packets around it to keep it from getting too cold. I know they do wonders for my fingers at -20°.
Toggle Commented Nov 6, 2013 on Baby, It's Cold Outside at The Online Photographer
I like shooting. I like making prints (when my printers cooperate). I hate marketing and my sales reflect that. :-(
Toggle Commented Oct 16, 2013 on All We Want to Do is Work at The Online Photographer
I have a copy coming from The Book Depository but it is not in hand yet. I'll let you know after I get it. Have you seen "Small Island, Big Picture" by Alexandra de Steiguer. I recommend it highly.
I think it was Edward Weston who said something to the effect that if it wasn't within 50 feet of your car, it wasn't worth photographing. That said, sometimes getting away from the usual viewpoints helps break trough the catalog of views that you've seen and registered in some corner of your mind and that new view allows you to really see the subject for itself instead of a cliche.
Toggle Commented Sep 12, 2013 on Why Not from the Parking Lot? at LensWork Daily
As I think about it, the only camera that I've ever owned that was set up for vertical orientation was (is, I still own it) my Fuji GS 645 Pro. It took me a bit to get accustomed to turning the camera for landscapes. If I had my druthers cameras would all be square so you could just crop whatever (or not) from the image after shooting without having to flip the camera on its side.
Toggle Commented May 29, 2013 on 3:1 at LensWork Daily
I also lust after new cameras and lenses. My budget however acts as a 100th commandment to keep my from indulging my desires. Recently I've been wishing for a longer zoom lens, something that extends to at least 300mm. Coincidentally today I received emails from both Adorama and B&H announcing the new Canon 200-400mm f/4 L lens with a built in 1.4 extender. Upon clicking the link for more information any notion I might have had were quashed upon learning that the carrying case (a separate purchase from the lens) costs more that the most expensive lens I currently own. The lens price would buy a good used car. Ah well, it is fun to dream.
Toggle Commented May 15, 2013 on From Whence the Guilt? at LensWork Daily
I think maybe the judges in this competition have been spending too much of their free time hanging out in art galleries where stupid, unimaginative, amateurish, banal, vapid, and awful have become the norm. I had seen this before and, like you was astounded that it was published, much less a prize winner. My first impression was that it had been deliberately manipulated with excessive contrast to heighten the grittiness of the image and play up its ugliness. To my mind that suggests it was intended to send a message rather than just report what is. It was only a few years ago that a color image (from Haiti I think) which had been similarly manipulated to heighten its impact was disqualified for over manipulation. One has to wonder how/why the standard has changed.
Toggle Commented Mar 4, 2013 on Missing the Point at LensWork Daily
I agree on the use of the word "everything". Our local TV weather cast has a weather question every night and they often catch people by including "always" or "never" in the question. "Everything" is in that same category. It's not a black & white world and art is greyer than most of the world.
Toggle Commented Jan 25, 2012 on My Response to Mark Dubovoy at LensWork Daily