MOTELS

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these are shit mate
maybe go out and put some effort into your work, good to see you posting photos tho
ta

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the 2 people in this photo are a john and a prostitute whom I encountered waiting for a room at the motel - it was about 2:30 in the morning and the clerk said that every room was occupied for the next hour and a half. no vacancies.

the guy leaned in to tell me that the other hourly spot across the street was also fully booked, estimated wait time of two hours. i told him that there was a place a couple blocks down the street called the Paradise Motor Inn (whose sign you can see in the OP image) and that they might have rooms. in response he leered at the bored-looking whore leaning against the wall next to him and drunkenly half-shouted, "my nigga, I'm tryna get into paradise myself," jokingly grabbing towards her tits.

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>>3073126
you dont know what its like out there, in the cold streets...

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>>3073142
i could be merked at any second and yall dont even appreciate it... s m h

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Your idea isn't half bad. Chasing these people that are searching for happiness in the grungiest way possible

However your presentation of this idea is incredibly cliche and half assed. When you explained what happened here >>3073138
your story was far more interesting than the photo itself

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hey faggot. sup.

i appreciate that you post print scans. not all frauds are this dedicated.

now, about the pics. i think you actually have some workable material in there, but its lost in a sea of SHIT, trim the fuck down of it to 8 or 6 pics.

I've lost 45s of my life, looking at this simili-artistic shit

>>3073150 #
>>3073150 #
this is a fair criticism. i think this is a view shared by a very significant majority of the board, since it's often the only sort of response I get at all when I post.

but i want to point out that my goal here is not to convey anything about the reality of these motels and their residents/customers. it certainly isn't to tell a story about how people chase love or whatever else. (i recognize now that it may have been a mistake to include the brief story I did; i didnt mean for it to feel like a part of the set. it's just a weird little story that i thought yall might find amusing).

these pictures are supposed to convey an impression of what these places are like, in a very general and abstract and gut feeling sort of way, not tell you anything about the realities of particular things that happened while i was there with my camera. i am trying to make photos that are sketchy and strange, even hostile in getting rid of familiar shit that you could use to orient yourself, and which in this way reflect the sketchy and strange and hostile nature of the setting and subjects i'm dealing with.

maybe i'm not very successful at that either, but if you look at these pictures hoping for clear images that give you insight into what happens at these places of course they will be miserable failures. they are supposed to be like these hyperreal motels themselves, a reflection of the real that turns everything up to 11.

that sounds stupid and pretentious but it's final exams time for me and im sort of running on empty, so i'll just trust that you can figure out what i'm trying to say. love you babe

It's like you can't decide between emulating Moriyama or Nakafuji Takehiko

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>>3073210

These plebs can offer criticism but ask them to step up and actually put footwork in to go shoot in some seedy shit like that, FFS I live in Queens but you can't pay me to go out there and do this.

However. While it is understood that you want to convey the feeling, if I walked into a gallery and saw these photos, I wouldn't understand the methodology nor idea behind the entire shoot. I'd most likely deduce you're shooting grungy street shots.

As someone who shoots NYC streets too, you should remember that while your locations are grungy, you need to also convey where, and who. Many of your shots are of parking lots, or cars. or the exteriors when if I were you, I'd make sure all of those shots show where exactly the cars are, where the shots are taken, and get braver approaching the women. Literally earning one woman's trust by empathizing with her life choice to have to be a prostitute can make a breakthrough with your photos.

My girlfriend says it looks like while it is abstract, she literally cannot figure out where the area is or what the subjects are.

The "gut feeling" part should come from tension of seeing the implications of what this place provides, not simply shooting the cover that most can imply or infer from what they may know about motels and prostitutes. If you want to convey this idea, get more invasive, and less abstract in the parking lot.

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>>3073220
>CapturedSociety
lmao this clown again. well done, OP.

>>3073227
Hi stalker, how are you doing today? :3

>>3073219
>Nakafuji Takehiko
damn - i never even heard of this guy, but his stuff seems pretty cool. thanks anon. my favorite of the provoke crew is takuma nakahira.

>>3073220
withholding context and clarity from the viewer forces them to fill in the blanks by drawing from their own understanding of what a motel is and what it represents - i.e. what "most can infer from what they may know about motels and prostitutes". so the pictures become glances at a hyperreal motel, more motel-y than any motel that ever existed in reality, because we've built our understanding of it not from boring informative documetnary images but from our understanding of this Platonic ideal motel that could never exist in real life.

it's a delicate balance between providing too much information, so that the images simply document and present facts, and not enough information, in which case the set is meaningless abstraction because there is nothing to draw from in interpreting it. i thought that i got it pretty close, but if you and your gf can't analyze and interpret the photos at all maybe it needs a little tweaking.

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>>3073243
i cannot tell if you're serious.

thanks for the laughs.

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>>3073281
sure, I guess i'm serious, though it's not like that sort of thinking is the main motive force behind my work. more like something I like to think about when I've read too much critical theory in the past couple days and feel a pressing need to pseudointellectually masturbate all over the board. ; - )

How do you decide on a subject?

How do you decide when to click?

>>3073337
im not quite sure what sort of answers you're looking for; there's no unique or complex techniques involved.

i just skulk around these places late at night watching people come and go, and when I see something that feels to me like it might be an evocative or striking or useful image i take my camera out of my pocket and fire off a couple shots (usually from the hip - it's important to be discreet because most people in these motels would be displeased at finding that someone was secretly photographing them without permission. maybe even violently displeased).

dont listen to any of these faggots your work is great

put it into a photobook and ill buy it. prefferably A5 format.

>>3073465
that is nice of you to say but I am happy to hear constructive criticism - even if I don't completely agree with a comment or suggestion, discussing it puts me in a position where i am thinking about the work and its significance in a rigorous and in-depth way, and i think that's helpful.

And I am still working on this project - ideally, I would like to have double this number of photographs or even a little more before i call it quits. but you'll be the first to know if i find a publisher once it's finished ;^)

>>3073112
>>3073138
There's a reason people haven't responded well to your work, what are we actually supposed to be looking at?

>>3073142
>>3073143
>>3073210
>>3073243
It's almost as if no matter how many excuses you make or how many times you try to reduce your work to something that should make it easier for a set of photographs to match what you are saying, they still fail to.

>it's a delicate balance between providing too much information, so that the images simply document and present facts, and not enough information, in which case the set is meaningless abstraction because there is nothing to draw from in interpreting it

Congratulations you've successfully put yourself far on the end of "meaningless abstraction because there is nothing to draw from in interpreting it"

While contemporary photography projects like this can rely heavily both on written description and the images, these images contribute absolutely nothing to the overall project. They could have been taken just about anywhere and made blurry/high contrast/noisy then slapped next to all of what you've written and they would have the same effect.

Honestly I hope someone takes the idea you've presented here and just does it better than you because you've taken something worth pursuing and completely botched it.

>>3073609
just to be clear, are you literally saying that these pictures seem to you to be so abstract as to be literally incomprehensible? you cannot recognize cars and people and buildings and signs? because i've shown the actual prints to quite a few people i r l and nobody i can recall has been tripped up by more than a couple images.

>>3073210
Really interesting Idea, but surrealism doesn't mean shaky camera pointed slightly downward. Try to frame things better and differently. Other than that I think it's pretty good, if you add the some stories, maybe not even true, or maybe even unrelated, then I think you got a nice body of work.

>>3073486
Firstly, asking for "constructive criticism" on /p/ is probably the most counter-constructive thing you could do. As long as you are satisfied with your work, go with it. It is an expression of your own identity, not /p/'s. Its 4chan ffs. If you need confirmation and support, produce something first so you can build your own audience.

Secondly, you don't need to find any publishers to start a small volume project like this. You can just use a service like Blurb. A 200-page A5 photobooklet with an opening essay would do great for both your photographs and your subjects. I'm really looking forward to hearing from you again big boy. xo

>>3073652
Also, what camera are you using? Maybe you should really consider a minox 35 or a rollei 35, they will have good enough image quality, and they are really sneaky cameras, also pretty cheap for what you get.

https://www.flickr.com/search/?user_id=25850987%40N03&sort=date-taken-desc&text=Minox%2035GT&view_all=1

In the link are images made with the minox 35 GT, I think. Not mine but I do own it and it's great

>>3073652
i m o adding stories would make this seem like something its not (i.e. a way to convey stories about these joints) which would make it even more confusing and impenetrable. these photos def fail at story telling. the story attached to >>3073138 was probably a mistake to include; i meant for it to be briefly interesting and funny, but clearly not an actual part of the project/set.

>>3073657
i just like to talk with people about this stuff whether they like it or hate it. i'm not insecure about it; i've been posting threads like this since i started working on this project last Fall and nobody has yet managed to convince me to throw everything onto a bonfire.

and i don't like the idea of vanity publishing. even if the quality was great, which i've never heard of blurb and similar services, i figure that if a publishing house - with the expertise and manpower and money and connections to print and advertise and distribute photobooks - thinks they wouldn't be able to make a profit off selling your work, you probably won't have better luck trying to do it all alone without any help or resources.

i guess the only time it would make sense to me is if you want to run off an ultra-limited run so that you can give copies to your closest friends or something.

>>3073662
i use an olympus pen. i have used half frame cameras almost exclusively for several years now, actually. i love half frame.

>>3073636
As in the photographs themselves have been completely abstracted away from the actual meaning of the series. You have blurry cars, people, buildings, and signs, and I'm supposed to care about the by-the-hour motels of the Bronx from that? Your photos do nothing to connect the subjects to the implicit content. Stop trying to defend yourself and just accept that you need to do better, these photos are not as good as you think and they do not work together as a series. As I said, I think that the idea is fine but if you think you can do justice to that through these photos you will be sorely disappointed.

>>3073679
I'm with this guy here, desu you're now really reaching to push your concept without realizing it's literally completely lost in a world of the same old thing.

We cannot deduce anything about what you wanted from your work, without your explanation. That's the skinny, mate. Don't take it personally, just accept none of us will ever reach God-tier as always another way to take photos will be invented.

>>3073679
a lot of the things you're using as examples of failures and shortcomings are things that i like and have been aiming for deliberately. i think that proves that we're disagreeing not because of a lack of understanding on either of our parts, but because we just want different things from photography.

i'm perfectly happy to leave it at that for now. but i will point out that i'm probably not even a third of the way done with this project, so you can look forward to complaining about the final product a few months from now.

just out of curiosity, though, how do you generally interpret a photograph? between "normal" photographs, how do you pick a good one or a bad one? I'd be curious to hear your answer, since I had a theory about how the answer could relate to your response to this and similar series.

>>3073727
It still stands that whether or not you did what you intended, the results are failing.

Do you consider these to be "normal" photographs? I understand you saying "normal" photographs to be snapshots of daily life that people capture. However, what you are doing is going out of your way multiple times using a specific kind of camera for a specific kind of look and taking multiple photographs with a specific style in mind. This is fine, and this is a different kind of "normal" photography that lots of people here practice. The problem with your work is that you have taken a socially charged concept and botched its execution. You are focusing on by-the-hour motels and their users. Why would you tell us this if you aren't going to capture anything at all related to this initial concept?

>>3073357
>when I see something that feels to me like it might be an evocative or striking or useful image
>it's important to be discreet because most people in these motels would be displeased at finding that someone was secretly photographing them without permission. maybe even violently displeased
>>3073243
>withholding context and clarity from the viewer forces them to fill in the blanks by drawing from their own understanding of what a motel is and what it represents ... Platonic ideal motel that could never exist in real life.

These statements seem contradictory. How can a specific moment/event/thing at the location want you to capture a striking and specific image if your goal is to withhold context and clarity? It sounds like the whole point is that these images are NOT supposed to be striking for the sake of the last part I quoted.

In my opinion you are disrespecting the driving force behind this concept. I'm not saying you have to take Mary Ellen Mark or Bruce Gilden style photos of the people there, but this seems like a first attempt at some sort of pseudo-journalistic BFA project

>>3073357
>i just skulk around these places late at night watching people come and go, and when I see something that feels to me like it might be an evocative or striking or useful image i take my camera out of my pocket and fire off a couple shots (usually from the hip - it's important to be discreet because most people in these motels would be displeased at finding that someone was secretly photographing them without permission. maybe even violently displeased).
this is why your pictures are trash. you're too much of an awkward sperg to frame an image or even hold the camera steady enough not to get massive blur, so you end up with blurry, badly framed images that you then try to justify as intentionally abstract to create mystery. you're not fooling anyone faggot, all of those images would be miles better if you actually took the trouble of composing, framing and shooting steadily instead of awkwardly snapping from the hip out of fear of getting "found out". yeah, derelict motels are a nice subject, but this execution is shit

>>3073210
You may be over-thinking this. Or you may have allowed your technical deficiencies -- not meaning that personally -- to lull you into making pictures that have almost no visual resonance.

I -- just me -- would advise cranking the ISO up so you capture some detail and reduce motion blur, accepting the noise to convey the sketchiness.

>>3073112
This project is fucking awful

1. It's poverty porn
2. You lure us in with promises of seedy fucks and doped up cucks, but deliver grainy shots of railings and doors
3. The aesthetic is meme af
4. There's too little story telling through the images

Delete all this, set out again and don't be a fucking pussy.

needs more whores. less blur.

kill yourself

if youre so fond on being a Daido copycat, you should at least get some whores in the room and photograph their cunts or something. raunchy shit. but youre such a coward all we get are doors and parked cars.

>no drugs
>no guns
>no sluts

Snapshits from a locked car, the thread

As with the others, I can smell the fear on these images and I think any audience that you inevitably show these to will think the same. The potential is there but do yourself a favour and get up in that shit, get risque and give us something Interesting to catch our eye on with the next 2 / 3rds because currently Its just to heady and theoretical lacking any of the real expressive or reactionary punch It needs to be memorable.

Remember as a photographer especially in a expressive form like this your identity is plastered all over your work and from this I see someone who would like to be the kind of guy with sand enough to theorize and actually get out there and all up in this shit but is too craven to commit to the really freaky.

Regardless, I always enjoy your threads NO1. It brings out the bitter faggots, gives me something to chew on that isn't the sauce-less drivel. Keep coming back.

Oh yeah BTW post that video of your prints on that thot's pierced titties again, I remember liking those and wanting to see them again.

>>3073113
>>3073115
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>>3073141


SOME of these might be good if they were in focus AT ALL. I mean I get that you're kind of sneaking around and getting pictures of the seedy motel/hotel but why not just stand still for a second more to get a coherent shot. These look like "drive-by" photos where you just kept walking as you released the shutter. Maybe the out of focus, blur look is a theme in your work since it happens in almost all of your photos. But I have to say that none of these pictures are composed very well either. I have no sense of where or what I'm looking at. Some of these feel very voyeuristic which is kinda cool since your subject matter is prostitution but without a clearer picture of what I'm seeing I'm just not really getting it. These don't need to be sharp pictures with the best lenses, but I'm just saying these photos are just too sloppy to feel like a coherent narrative/project.

end ur lyfe pal.

>>3073112
I see the text in the catalog and read it, I check out the op pic, then I click on the thread and everything was ruined, do you really seriously think these pics you took while moving were good in any way? Only you know what they are because you took them nobody ever will take their time to decipher what kind of legs or wall you photographed, it is uninteresting and an insult to photography to be honest

pretty cool project desu.

even though im not really a fan of the grungy out of focus i get how you're implementing it in this project, after reading your description.

but you have to be really careful with doing that, because i can't tell if you're a shy, technically inept photographer attempting to justify your bad work, or doing it on purpose. And many people will assume the former, let's be real. I have doubts about your ability.

you could also revisit this project with a determination to take technically better shots and see where that takes you.

I wouldn't have the bravery to do this so it's cool.

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>>3074280
>even though im not really a fan of the grungy out of focus i get how you're implementing it in this project
the thing with the provoke aesthetic is that it tricks many untalented faggots into thinking they can do such photos too. fact is, there needs to be already a good photo behind all the grain an contrast, all the technique does is to enhance even further the energy, but there must be something of value behind, otherwise its just some chickenshit masquerading as an art project.

Grin and blur can be nice, but it's not really doing anything in these pictures. It's just there to be there, and it's getting in the way of the content.

It's too hard to tell what the picture is of without the words next to them. That's a fail in my opinion.

You might have seen some neat stuff, but 0% got across to the viewer.

File: IMG_2734.jpg (132KB, 1000x652px) Image search: [Google]

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You need subjects my man.

http://www.artcoup.com/books/its-all-good-2/

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2MB, 1920x1080px

>>3073243
You are far on the side of too little information. As others have stated, this could be because of anxiety.

>>3074202
>>3074215

Fortunately, getting into these subjects is easier than you'd think. Most people want to talk about themselves and will do so if given the opportunity. Next time you're at the motel, introduce yourself.

It took me like one Craigslist post and 30 minutes of smalltalk to take this photo.

>>3076538
would be nice if you could hit the focus though senpai

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2MB, 1920x1080px

>>3076544
I agree. It's a frame from a hand held video, but at least I was in the same room.

>>3073310
/p/ can't withstand someone actually doing a good job

>>3073220
>literally cannot figure what the subjects are
>>3073679
>Your photos do nothing to connect the subjects
>>3074055
>story telling
>>3074321
>You need subjects
I need an easy digestible image with a nice big round subject to content myself in the fact that I have no idea how to appreciate formalistic aspects of photography :)

>>3074320
>Grin and blur can be nice, but it's not really doing anything in these pictures. It's just there to be there, and it's getting in the way of the content.
You too mega? Why?

>>3074280
>because i can't tell if you're a shy, technically inept photographer attempting to justify your bad work
>I wouldn't have the bravery to do this so it's cool
You're contradicting yourself

>>3073657
Wait. A sane comment?

>>3076558
>mega
oh its a newfag episode

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>>3076538
It's art now.

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>>3076661
that grain emulation looks pretty fucking good.

>>3073123
This one's alright

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157KB, 1080x1080px

>>3076667
Snapseed surprises me every day. Here's a "look" you can import.

>>3076661
This is actually damn nice and makes the photo a million times more impresive, what did you use for this?

>>3076676
Snapseed

0. Crop to 3:2 ratio
1. Lens blur
2. Drop saturation
3. Increase contrast
4. Film grain A01
5. Film grain B03
6. Increase brightness a little bit.

See
>>3076673
>>3076676

>>3076679
I appreciate it, my dude

>>3076673
it was about damn time. does it do slide film emulation too?

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>>3076681
Idk, I've never shot slide film.

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succ/10

>>3073210
I think we get that these places are sketchy and even potentially hostile. But the images presented do not convey much of anything except low light shaky camera, little to no composition and virtually no visual significance, resonance or tension.

A photograph that needs an artistic statement to make it comprehensible is not what most of us strive for. Which is probably why you get so much negatory.

>>3073220
Thanks for contributing a garbage photo to a thread for someones project.

>>3073220
fucking trash, kill yourself