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March 31, 2008
My photoblog --RhizomesI--- is finally up and running. It needs some tweaking design wise and it needs to be bought into Thought-Factory network,. But it has the photographic quality and size that I desire. It was a quality that I never could obtain from using Movable Type here on junk for code, and it was that lack that pushed me into setting up RhizomesI
The photoblog and Flickr change the way I make my photography public. Junk for code will no longer be the main mode for my photography. This weblog has served its purpose of facilitating my return to photography after a long break when I stopped using film.
Gary Sauer-Thompson, Wilsons Promontory, Victoria, 2008
I'm not sure how many Australian photographers run photoblogs as opposed to weblogs about photography or producing e-books. Not many from what I can judge.
In this article on the future of photography Rob Haggart says:
You’ve got to make your photos available online for free. Anything that can be distributed digitally must now be distributed for free to remain competitive. Not for commercial use and not without attribution but fans should be able to distribute your photography for free and view it big on your website without watermarks and other barriers. It’s not like you don’t already do this it’s just that there’s a lot of hand wringing going on about the ability of consumers to scrape your photos off your website. It’s not necessary because they’re the fans you want to sell prints, books, lectures, clinics and personal commissions to. You should encourage them to look at and help you distribute your photography so you can bring in more fans. Don’t forget that some of those people will be Art Buyers and Photo Directors.
I am suprised by the emphasis on fans as the audience but then that is the way music works. So why would photography be any different?
Michael David Murphy response the The Future is Alor, ” on 2point8, says that Haggart’s future of photography:
will not be found in the hushed walls of the gallery, or in the download-disabled watermarked-protected sites of copyright-scared photographers. The future’s already out there, in cheaply printed print-on-demand books, in small collaborative global-web-ventures, in xerox copies taped to lightpoles, affordably editioned prints, and in sites like Mark Alor Powell’s.
I do know enough about the world of digital photography to be able to comment.
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