Life in Black and White


Life in black and white. It’s a good life, so far.

I have processed only a handful of rolls at this point, so it’s hard to tell for certain. Too early.  I screwed up my very first roll, I didn’t load it onto the reel properly.


You can see where the film pressed against itself during the developing. Lesson learned. And I haven’t made that mistake again. Yet.

It’s one of the many hazards of home developing.

I was able to mix the developer and fixer correctly, so there’s that. I am using boring old D-76 developer, for all you film nerds interested in the technical babble. I was using a stock dilution, and have only just moved to a 1:1 for my last two rolls.

I’m using water for my stop bath, which seems fine, and I’m not using a wetting agent, but I’m reconsidering that at the moment.

For the film itself, I started with 2 rolls of Ilford HP5+ 400, then 2 rolls of Kodak T-Max 400, and then my last two have been Kodak Tri-X 400. I need to go through all the selections again before I choose one and really stick with it. It was the Ilford that I screwed up during developing, so I probably shouldn’t have formed too solid of an opinion. That said, I am leaning towards not liking it, but I’m willing to give it another day in court before I completely discard it.

Man, I liked the T-Max. Look at those tones!


The Tri-X has been good, too.

Danielle sm

Different films do different things under different circumstances. This is all part of the learning curve. I anticipated the first 3-6 months of this was going to be about experimentation, it’s actually one of the reasons I’m glad I didn’t jump straight into medium format. Gotta learn to walk before you can run.

My Plustek 8100 dedicated 35mm film scanner has been pretty great, too.  Nice sharp scans, though I wish I could get bigger files with better resolution.  I actually want to start printing some pics soon, I would like to see what they look like in the real world.

Which brings me to confession time.  Yes, I still manipulate my photos in Photoshop.  However, I am spending far less time on my film scans than I was spending on my digital work.  I had accumulated a workflow in digital that often meant I was spending an hour or more on one shot.  Now, I do some spot removal, I adjust contrast, I dodge and burn, and I still do some light sharpening using a high-pass filter.  That last step is the only one that actually doesn’t belong, everything else is just a computer replication of the work I would have normally done in the darkroom anyway.

Anyone who thinks photographers shouldn’t use Photoshop doesn’t know the first thing about photography, it’s history, and how much manipulation when into working the negative.

james dean

James Dean in Times Square by Dennis Stock, dark room print notes by Pablo Inirio.

Again, this is all early stages. But I do know that right now, I would much rather pick up my film camera than my digital.

What did I want out of this experiment? I wanted to do more in the real world, and home developing and scanning has given me that. I wanted to get away from color, and get back to black and white. It’s been surprising how much that has thrown me off, how little I paid attention to lights and darks when shooting digital. Man, I got lazy.

I wanted my Instagram feed to look different that most other people’s.  I could see my photos looking like everyone else’s, and it bothered me.  Yes, I’m vain that way.

My only worry was that I thought an all black and white feed would be boring.  I was wrong. An friend of mine rightly commented, “I’m tired of the black and white…. said no one ever!” Indeed.

I’m shooting again this weekend, with a model this time.  My immediate short-term goal is to get more people in front of the camera.  If I’m brutally honest, some of my film automotive photography doesn’t look that different from my digital work converted to b&w.  But somehow the people look different.  People look better on film, more interesting.  More real.  Digital has a weightless quality to it that you don’t really notice until you capture someone on film.  There’s more volume with film, forms seem more substantive, more thorough.

But that’s just me, and I might be wrong.

Here’s to capturing the real.

Nancy 01 sm


365 Days of Instagram

Generator Photography is finally on Instagram.

It’s where all the popular kids are.  And, if I’m honest, that is part of the reason I wasn’t on it.  I’m that kid who likes to go to parties, but also likes to stand in a corner alone and feed my superiority complex by smugly judging everyone else.  Yes, I’m that kid.


By now Instagram is THE conduit for sharing your work, your life, your art.  Which is a shame, because as a photographer, I actually think that flickr is a better platform over Instagram.  Here are some things flickr has that Instagram doesn’t*:

  • Albums & collections: very easy to create and organize, makes finding things later on much nicer, just wish more people used collections though.
  • Tagging: Works very much like Lightroom and can even pull LR tags automatically. The ability to search my own tags and narrow down by tags, flickr even adds its own ones and you can search by predominant color in a photo. I can go to a list of all my tags when trying to find all photos from a particular camera, film, place etc. very useful.
  • EXIF: If photo has exif data it’s clearly displayed on the page and i can click through for extensive exif data as well. If a photo has GPS data in it there is a world map there and you can quickly drill down to where it was taken.
  • Privacy settings are varied enough and useful, public/private/friends/family, change who is allowed to comment or add tags.
  • Select what kind of copyright (or lack thereof) i want on photos, flickr has 9 different options to quickly select from.
  • Stats page for each photo with graphs and even where the viewers came from, there is also a summary stats page where i can see various things about all my photos. The Recent Activity page as well, lets me see if anyone has commented or favorited any photos so i can quickly respond.
  • Photos just look better on flickr.  There, I said it.

But while flickr is not in the death spiral it once was, sadly it is highly unlikely it will ever reach the level of popularity that Instagram has.

But, then again, Instagram isn’t just for photographers.  It’s for celebrities, and people who want to photograph their lunch, and their puppies, and their kids, the books they are reading, and sunsets. And a whole lot of other stuff.  It’s actually pretty cool, and I’m sorry my patronizing attitude stopped me from jumping in.

The question was how, exactly, should I jump into the pool?  I have many years of work behind me.  Do I post a large chunk of it all at once?  Only the best shots?  Or just make a clean break with the past and only post new work?  It was a puzzle.


The answer I came up with was 365 Days of Instagram.  What I will be doing is posting one photo on Instagram every day for 2017.  This will be in addition to the regular work I will be posting throughout the year.

365 Days of Instagram will accomplish two things.  First, it will mean I have fresh content every day. On social media, it seems like you are only as relevant as your last tweet.  Or your last post.  Usually, because of my 9-5 weekday work schedule, I can often go long periods without posting any new pictures. By guaranteeing one post every day, I know that my Instagram page will not be quickly forgotten and end up covered by dusty, internet cobwebs.

Second, even though this turns every day into Throwback Thursday, it will give me a chance to really go through my back catalogue and post stuff even regular, faithful followers of Generator Photography haven’t seen for a while.  And, after one year, all will have a wonderful, complete picture of my work and my art.

I couldn’t be more excited about this upcoming year.

Soon, I will post my thoughts about 2016 (sort of sucked…but not?), and what’s coming up for 2017.

Stay tuned, friends, good stuff is coming.


*This list is directly quoted from a Reddit thread in /r/photography, “Thought’s on Flickr’s Future?”  I would have given the author due credit, but they have since deleted their account.

2015 – The Plan In Review

1956 Merc 02 _sm

Back in January 2014, I did a post about my plan for 2014.

Then, in December of 2014, I wrote a review of how much of that plan I achieved in the year.  Turns out, it wasn’t much.

I actually didn’t make any plan for 2015 because of the epic failure rate from 2014.  That said, I thought I would start 2016 with another year in review, along the same basic plan, just to see how I’ve progressed.  Both, as an artist, and Generator Photography as an enterprise.

I’ll post the plan I came up with in the Jan ’14 blog, and I’ll follow with the results from 2015:

The Plan: “Get known: This means more than getting followers on facebook (or twitter, see below), it means really establish my brand as a premier automotive photographer. I have been dancing around the issue because I truly love doing other types of photography, specifically my urban and suburban landscape work. And there’s a part of me that doesn’t want to get “weighed down with labels”, or some other hippy-sounding, pseudo-marketing bullcrap. However, I really need to just bite the bullet and say, “I shoot cars, this is what I do.” Obviously, with the caveat, “And I’m really good at it.””

The Result: Good, I guess. As I said in the “2014 In Review” post, “As far as establishing “my brand”, I’m not too sure. Look, let’s face facts, I enjoy shooting much more than I enjoy marketing. And I’m a far better photographer than I am a salesman. I think coming to those to realizations are going to have an impact on my future goals.” This is truer than ever.  Every time I think about approaching a magazine for submissions, or trying to sell my services as a photographer, I just shrug and shoot something else.  I understand that being busy is far different that being successful.  I also understand that if I put as much work into networking and marketing as I put into shooting, I could make this work.  That said, I did manage to get my name out there a little more in 2015.  I should try to do even more in 2016.  We’ll see.

The Plan: “Get portraits: I understand that I just wrote about clearly defining my identity as an automotive photographer, but I would really love to start including people in my work. Some of my favorite shots I’ve ever done have been about people. It’s a challenge for my artistic side of the brain, and it will help me learn and develop techniques that I can carry over into my automotive photography.”

The Result: In 2014, the result was a “Total fail”.  However, in 2015, it took a sharp upturn.

Edith 02 _smSJ 01 smallTyrell 01 _smDanay 01 _sm

2015 became a watershed year for me in terms of getting people to pose for portraits.  There are a couple of factors for that, but I can tell you that I am dead chuffed with my portrait output, and I’m planning on 2016 to be even better.  Very happy.

The Plan: “Get legit: I would like to get a proper business license. Be, like, all official and stuff.”

The Result: Another Fail, just like 2014. It still is high on my “to do” list.  I’ll try harder this year, I promise.

The Plan: “Get twitter: I love the action I’m getting on facebook, but I just can’t help but think that more and more of my posts are getting lost in the facebook algorithm tap-dance. And as facebook continues to push for people to pay for posts, I really think I need to expand my social media presence. I’ll try to get this up and running in the next month or so.”

The Result: For 2015, Ok, I guess. I still don’t get twitter. I still haven’t come to grips about what I’m supposed to do with it.  And I don’t understand how I can not post on my twitter account for weeks, and somehow I still get followers.  It all just baffles me.

I’m going to open this up to all social media.  First, Instagram.  I’m not on it.  I probably should be, but I’m not.  But, as I said with twitter, I wouldn’t know what to do with it.  Post pics, like other people’s pics?  I already do that on facebook, tumbler, twitter, flickr, and hell, even 4-chan.  I’m not convinced that getting an Instagram account will accomplish anything different, or better, than whatever I’ve already been doing.

I’m not convinced that continuing to expand my social media presence is something I need to focus on in 2016.  What I might do instead of internet networking, I might have a go at real networking, with real people, who can make real results happen in the real world.  So I get real results, rather than fake internet points.

The Plan: “Get blogging: Do shorter blogs, and more of them. I tend to do long winded blogs every once in a while. I’m going to try to do far less writing but much more often.”

The Result: It was a push for 2014, and I’m going to say it’s the same for 2015. I think I’m ending the year where I started. I got some good posts in for the year, but I don’t think I gained any ground. But, again, didn’t lose ground either. So, push.

The Plan: “Get interesting projects: I want to shoot with more purpose. I like doing projects, many shots on one theme or idea. I have this great idea about garages. Stay tuned.”

The Result: Man, I still want to do that “People And Their Garages” project.  I’ve got about 3 real solid projects I want to pursue in 2016.

Like light painting. Man, I want to do more like this.

Star Path 01 _4

Stay tuned!

The Plan: “Get gear”

The Result: In 2014, it was an unqualified success.  I got my Nikon D610, and I got three prime lenses, a 35mm f/2, 50mm f/1.4 and 85mm f/1.8.

So, for the first time since, well, ever really, I was in a really good place with my gear.  I could honestly say that I had satisfied my G.A.S.

Of course, there are other lenses I would like (something super-wide, like a 20mm, and a real long lens for portraits, like a 135mm), but mostly I wasn’t wanting at all.  I’m serious! That was, until about middle of this year, when I bought a flash.

goodfellas bail bonds

Yes, that started something.  Because, once you get one flash, you need to buy a stand and triggers to get that flash off your camera.

Then, soon after that, you’ll definitely need a second flash.

Two Flashes _4

Of course, then you’ll need a 2nd stand, more triggers, and pretty soon you’ll be shopping around for light modifiers for your flashes.

bts 01.jpg

As of this writing, I’ve acquired my third flash, and I’ve got some other bits and bobs to go along with them.  It’s gotten ugly.

For 2016, hopefully, my G.A.S. will slow down.  With three flashes, I think I’m good.  There is one lens I’m planning to buy this year, but that’s about it.  We’ll see how that would have worked out at the end of 2016, however.

The Plan: “Get selling: Really ramp up my Etsy shop. And maybe even start selling prints through my main website.”

The Result: Another total fail. My Etsy shop is as empty and useless as Leonardo DiCaprio’s Oscar shelf.  This might change in 2016, maybe.

The Plan: “Get paid: I love shooting, I really truly do. And if this goes nowhere other than being a hobby for me, I’m totally OK with this. Nothing is going to stop me doing what I do. However, man it would be nice to get a paying gig every once in a while.”

The Result: 2014 was an utter failure, 2015 not so much.  I wasn’t rolling in dough, don’t get me wrong.  But I went from zero to a few.  Which, as you know, is progress.

So, there you have it.  In December 2014, I was pretty devastated about how little it seemed I had accomplished over that previous year.  In 2015, I’m actually feeling pretty great.  And, as a bonus, I’m actually excited about 2016.

My plan, overall, is to keep doing more and more portraits and model shoots.  Keep working with off-camera lighting.  Keep focused on more project-based shooting, rather than just go to an event and see what happens.  Shoot with more and more purpose.

Keep the G.A.S. down to a minimum, and keep working with more and more people.

Stay tuned, friends, good stuff is coming.  I guarantee it.

My New Favorite Photograph, Hipster Murals, And Why I Won’t Take A Picture Of Your Car When The Hood Is Up

88 - Copy

That’s my favorite picture I’ve taken in the last few weeks.

It’s not my most popular picture, not by a long shot.  In fact, it’s only had a handful of views.

I’ve had an interesting week. One picture I took at this same event has pretty much went viral.  That was a good picture of an awesome subject, but it’s nothing I would ever hang on my wall.  This shot?  This I would hang on my wall in a heartbeat.  I love this picture.

I see it printed large, around 5 feet by 8 feet, with high quality matte and frame, hung on the worn brick walls in a trendy loft of an upcoming designer or architect, along with a couple European designed pieces of furniture and vintage lamps.  Forget the rug, this is what really ties the room together.

For a long time now I’ve been focusing on automotive photography only.  I used to try to do a solid mix of urban scenes, suburban observations, architecture, people whenever I could and other subjects that interested me.  But, lately, nothing but cars.  There are a couple reasons for that.

First is location.  I live in Las Vegas, and I used to get a lot of my inspiration from Downtown Las Vegas.  I’ve written about my relationship with Fremont Street and Downtown many times before, so there’s no need to rehash that now.  Just know that, with all the changes that are happening, and how quickly change is happening, I have kind of lost my spark with Downtown.  It is no longer a source of inspiration for me.  The more upscale and popular it becomes, the more I lose interest in it.  That and, well, you can only take so many pictures of trite, rehased hipster murals before you become bored.

Second is time.  I’ve been dealing with some personal stuff lately, if you have been following me for a while, you will know.  In short, I just don’t have the time right now to go hunting and exploring for good pictures.  I like cars.  I’m good at shooting cars.  I know where cars will be most of the time, so I can just go and know that there will be at least something great I can work with.

Plus, cars have always interested me.  As far back as I can remember, I have taken pictures of cars.  I get this from my father.  He worked much of his life in aviation, and would take rolls and rolls of airplane shots at every air show he ever went to.  I’m not following some fad, or just starting this.  I’ve been doing automotive photography for a long time, I just haven’t realized it.

And, lastly, I know I can get views with good shots of cars.  It’s sort of a way of me selling out.  Which isn’t as awful as it sounds. I’ve thrown away all my youthful idealism about being a starving artist. Seriously, I’ve done it. Lived it. Moving on. Sell Out? WHERE DO I SIGN?

French playwright Ferenc Molnár said, “Writing is like prostitution .. first you do it for the love of it, then you do it for a few friends, and finally you do it for money.” I feel the same about photography.

But, while I admit to focusing on one specific, popular subject matter to get more people interested in my photography, I have not compromised on my goal.  My vision.  My passion.  I’m in it to make art.  However pretentious and highfaluting that sounds.  I see myself as an fine artist first, photography is just my medium at the moment.  I am not the normal kind of shooter.  I’m certainly not the normal kind of automotive photographer.  I’m not interesting in documenting every car at every meet.  I take sixty shots, I’ll post four.  A car show happens on Saturday, I might not get to processing the pics for a week.  Meanwhile, all the other shooters in this town have moved on.

That’s not a knock on the other photographers, not by a long shot.  There are a lot of really great shooters out there.  Especially here in Vegas.  I know, I follow a lot of them.  Almost every day I find myself looking at someone else’s photos and think, “Hot damn, that’s great.” Or, better, “Hot damn, why didn’t I take that shot?”

Because, again, that’s not what I’m about. If your hood is up, chances are I won’t take a picture of your ride.  Raised hoods just ruin the lines for me.  Nothing against your car, it’s still beautiful.  But it will rarely make a great photograph.  Which goes back to my previous point, I’m not in this to document your ride.  I’m in this to make art.  I love what everyone else is doing.  Hopefully, though, I’m doing something different.

Hard Rhythm


HARD RHYTHM – Photographs by Glenn Elliott

Man, I really dig that cover.

I know, it’s awkward for an artist to compliment themselves, but sometimes you’ve just got to express yourself, share what you are feeling.

And right now, I’m feeling positively giddy.

That’s because this book makes me smile.  Don’t get me wrong, I loved my previous books.  But, they made me nervous.  My first book, the North Dakota book Memorial Highway – One Week In The Peace Garden State, made me nervous because it was my first serious attempt at making something like this, and my first real presentation of my work for public view.  My second book, South Of Zion, made me nervous because of all I had put into it.  That was the accumulation of over four years worth of photographs.  That was work that has high aspirations; commentary, observation, and documentation.  South Of Zion is heavy.

On the other hand, Hard Rhythm was a joy to do.  Well, joyful, but not easy.  That title, for instance.  Man, I struggled for months with what to call this book.  I was going to settle for something like, “Cars”.  No, seriously, that was in the running for the title.  Eventually I thought about what makes me like cars.  What exactly is it about them?  Then I started thinking about how often we think of cars not as inanimate objects, but as having feelings, and thoughts of their own.  How cars make us happy, or let us down.  Or how, somehow, cars just seem to drive better after being washed.  They just….know.

I actually didn’t want to do a book of just cars.  Originally I didn’t think my car shots would be interesting enough, or strong enough, to warrant a book of their own.  But, two things have happened in the last couple of months.  First, my post processing has really taken off.  I have learned a lot of different techniques that have really allowed me to define my work.  I feel like I’ve always had a “style” in terms of composition, which I have talked about before, but now I see there is a “look” to my photographs as well.  And my car shots, especially, have been doing from strength to strength.

Second was that, while I love my first two books, I kept thinking about how basic they were.  My original motivation for doing a third book was to really push the boundaries in terms of design.  I wanted to explore more complex arrangements.  That’s code for “I wanted to do more fancy-schmancy stuff”.   Show off a bit.  But I just couldn’t make anything work.  Multiple shots per page, different color backgrounds, I tried it all.  Eventually, apart from some amazing two-page layouts, I stuck to my previous conventions.  I had felt defeated about that until someone told me, “Snazzy layouts are for disguising weak material.” You want people to notice the photos, not the layout.  Truer words were never spoken.

So, instead of layout being important, my attention turned to photo placement and order within the book.  This became the real turning point for me, when I realized that this book could be more than just a bunch of random car shots thrown together.  Working with that vision, only then did it all start to come together.  Take this paring for example:

Ford Chevy

These are two of my favorite parings in the entire book.  The compare/contrast is amazing:  Ford/Chevy, Mustang/Corvette, old/new, cool color/warm/color, it just keeps going on.   And I tried to work on these types of connections on every page.  Again, it’s just a fun book to look through.  It really does make me smile.

And, just so you know, this will probably be the last book I’ll be doing for a while.  Three in almost as many months is a hell of a roll, but I think I’ve done what I set out to do.  For now, at least.

In the first month of launching Generator Photography, I talked about how I enjoy taking pictures of cars.  That post was almost a year ago,  and it feels like it was a million miles away.  I would never have imagined how far my photography would have come in this time.  Or, how far Generator Photography has come.  If I can be really honest, I’m not that sure what the next year is going to bring.  All I know is that I am going to try to work harder, bigger and better than I have ever done before.  Creating Hard Rhythm has been a great motivator for me.

I hope you like it too.


On The Importance Of Background Checks

I don’t believe I’ve done any tutorial posts on this blog.  Mostly because I still feel like I’m learning something new every day.  Understand, I’ve been doing photography for a very long time now.  I’m old school, I’ve processed & developed film, developed color prints in a color darkroom, had my work in multiple shows.  I’ve studied, and worked hard to hone my craft.

I didn’t just wander into the camera section of Target and decide to take up photography.

That said, it’s a whole next level from knowing something enough to do it yourself, to knowing something well enough to teach others.  Don’t believe that “Those who can’t do, teach” crap.  The best teachers know their stuff a hundred times better than those who simply “do”.

I’m still not sure if I can teach how to take a decent photograph.  But today I’ll share some tips with you about how not to screw it up so much.

One word: backgrounds.

In my opinion, photographs are ruined by crappy backgrounds more than any other factor.  Bad lighting, missed timing, they’re nothing compared to a bad background.  And it’s such an easy thing to fix.  You don’t need a pro-level camera and a thousand dollar lens to make good choices about your background.

Here’s a comparison: look at this picture of a boss Mach 1:

Ford Mach 1

This was taken with my always trustworthy Canon A1000 Powershot point and shoot camera.  If you’ve been around car shows at all, you’ve seen this shot.  Heck, you’ve probably taken this shot.  There are a lot of things we can talk about here, but for me, what totally ruins this shot is the background.  First, there are about a dozen cars randomly strewn around back there.  Then, as always with car shows, you’ve got people just milling about without any purpose in your shot.  In short, everything behind the subject is a distraction.

Now, how about this, taken at the same show with the exact same camera:

1932 Ford 2

That is a 100% better photograph.  Here’s some of the choices I made:

1) Isolate your subject.  The biggest question you have to ask yourself is, “What am I taking a picture of?”  Whether it is a person, a building, a cat or a car, you need to make sure you understand what the focus of the photograph should be.  That doesn’t mean that it has to be in the dead center of the frame, but it does mean that you need to do whatever you can to reduce or take away anything that will distract the viewer from your main subject.

2) Change your point of view.  Most photos you have ever seen were taken from an eye-level perspective.  Boring, boring, boring, boring.  Try getting down a bit.  This should also help you isolate your subject by reducing the view of what’s behind your subject.  And, it’s a good way to get a unique perspective.

3) Try to find connections between the foreground and background.  Take a look at the first photo again.  As I said, there is no connection between the car and the background.  Now, take a look at the second.  Both cars have bright, warm colors, both have shiny chrome and both have the similar curves of the fender and the grill.  Here, there are a number of things that connect the foreground and the background.  Obviously, much of the time when you are out shooting you cannot control the placement of things, but you can walk around and look to see what’s what.  Sometimes connections are right there, and sometimes it takes an effort to see them.  But if you work at it, you can usually get something that compliments your subject rather than distracts from it.

4) Be patient.  I can’t emphasize this enough, especially if you are shooting in a public place.  People will often wander into your shot.  If you can, if at all possible, wait until they wander right back out again.  A great photo can last a lifetime, it’s worth it to wait a few minutes to make sure you get it right.

Remember friends, it’s important to check your backgrounds.

Here endth the lesson.






My Updated Site, What Gear I Covet, And How I’m Like Hot Topic

Soul Trash

As I have mentioned in several recent facebook posts, my main website has gotten a bit of a facelift.

Generator Photography

And, as I have also said, please drop by and let me know what you think of the revamp, I’m always open to honest critique.

The revamping of the site has also caused me to think about how I need to update the content.  My plan for that site has always been to be more of a portfolio site rather than something that was updated daily.  But, I know there is always room for re-evaluation.  And, because of all this, I have also come to wonder if some other things around the office here at Generator Headquarters need updating.  Specifically, my essay on Punk Photography.

Punk Photography

If you haven’t read that, I highly recommend you do, if for no other reason than I might take it down at any moment.

The essay can be broken down to describe two areas I think need to be shaken up in modern photography: gear and style.  I still adhere to those basic ideas.  I believe that great art can be made with the barest of equipment.  I also believe that far too much effort is concentrated on the sharpness and gloss of a photograph at the expense of it’s soul.

But, the more I read that essay, the more I have to be honest with myself.  It’s kind of a stretch.   Let me explain.

I used to say that Punk Photography is what I do.  The reality is that Punk Photography is what I’d like to think I do.  Or, more specifically, Punk Photography is what I am forced to do because I just can’t afford anything else.

The ugly truth is, if I had more money, I would get more gear.  A lot more. I would love an 85mm lens.  Hell, I’ve love a decent 50mm f/1.8 lens.  I would love to have an upgrade on my Photoshop Elements, I would love to have the latest edition of Adobe Lightroom.  I covet camera flashes, reflectors, and soft boxes.  I dream of one day doing a photoshoot where I don’t look like a complete newbie toting around just one camera, two lenses and nothing else.

And don’t even get me started on my desire for a full frame camera.

The cold, hard reality is that I don’t have any of that stuff.  And, the way things are looking, I’m not going to have any of that stuff for a long, long while.  I’m poor, and I ain’t making one single penny off my photography.

I’m not a Punk Photographer by choice, I’m simply a Punk Photographer by circumstance.  I’m not punk like The Damned are punk.  I’m punk like Hot Topic is punk.

So, does that mean I stop?  Give up?  No, because my success or failure of my art has never been about how much money I have, or how much money I can get for my work.  The success or failure of my art has always, and will always, be judged by the quality of the work that I create.

I want to create something wonderful.  Every time.  I just want to be a little more honest and transparent about my motivations.

If I could sell out, I probably would.  I’m just sayin’.

But, while I would love to have more gear, as of right now I am doing far more with less. Which is what I have been doing.  And what I will continue to do.  I know I do more with much less than many photographers out there.  I don’t sit around and mope about what I don’t have.  I accentuate the positive, and eliminate the negative.

I do what I love. And I work hard at it. Regardless of the cost.

Maybe that’s the most punk thing after all.