Does Anyone Use the Wm Mortenson Method?

[bjorke]

That is, expose for the highlights in B&W and let the shadows work themselves out, so that you can leave the negs in the developer for an indefinite time and never worry about overdevelopment short of base fog?

[garryl]

You have checked out the article on Unblinkingeye.com and/or the pg.s 142-145 of
Barry Thornton's "Edge of Darkness"?

[smieglitz]

That is, expose for the highlights in B&W and let the shadows work themselves out, so that you can leave the negs in the developer for an indefinite time and never worry about overdevelopment short of base fog?

From what I've read, Fred Picker of Zone VI fame eventually evolved to exposing for Zone VIII but I don't believe he did the total development thing like Mortensen. I always found it ironic that a zonie singing praises of Ansel would also advocate an exposure technique shared by the Antiansel.

[bjorke]

You have checked out the article on Unblinkingeye.com...I had not seen this one before: http://unblinkingeye.com/Articles/Mortensen/mortensen.html based on a later Mortensen book than mine ("Projection Control" from the 30's)

thanks!

Has anyone on APUG done this? (BTW, I'd rate Gibson as a user/abuser of Mortenson's "unacceptable" 9-D combo)

[Bob Carnie]

Hi Bjorke

My first year in photo-college 1973, we were forced to do a negative ring a round and a paper ring around that looks alot like this article, I did not have a clue at the time the purpose of this experiment.
I think if I did one now I would have a better appreciation on push and pulls with over , under and normal exposures.
We also were forced to do a colour ring around from nuetral density and colour and the results are quite amazing.
Still do colour ring arounds with interns here and I will force them to do a black and white ring around after looking at this article.

[david b]

Wasn't Mortenson the arch-nemesis of the f64 group?

As for exposing for the highlights, I have done this on several occassions while photographing the new mexico landscape, and I have great results.

[mfobrien]

This post got me looking on my bookshelves. I have the first edition, 6th printing of Pictorial Lighting by Mortensen. A very neat book.

[garryl]

Wasn't Mortenson the arch-nemesis of the f64 group?

.

Well with at least two of the group- Adams and Weston. The rest of the group, I haven't run across their opinion in writings. In "letters and Images" you get a flavor of the caustic feelings of both. An in one set of interviews, Adams refers to Mortensen as the "anti-christ"of photography.

[garryl]

This post got me looking on my bookshelves. I have the first edition, 6th printing of Pictorial Lighting by Mortensen. A very neat book.
That is one of the two best sources for an explaination of his exposure system. I've noticed that the whole secret is the fact that rearly does he go over a lighting ratio of 4:1. He take a flat subject and expands the mid tones
and highlights. BTW, Barry Thornton did try the Mortensen technique with a ringlight("Edge of Darkness"; pg.s 142-145).

[rbarker]

While I often give highlight readings as much attention as shadow readings, I haven't tried Mortenson's technique as such. Sounds very much like "stand" development on steroids - parallel, perhaps, to the "aging" of food in Tupperware containers at the back of the fridge.

The technique does sound interesting, though, and potentially useful in certain circumstances. But, techniques, like tools, (I believe) should be used for the things for which they are effective, but not elevated to a religion.

The apparent conflict between Mortenson and the f64 boys strikes me as similar to the rivalry between the realist and impressionist schools in painting. Too much time spent narrowly thinking about technique, and not enough about producing images in styles befitting the subject.

[david b]

Could this be why Adams' work became more as examples of the zone system than artistic expression?

[rbarker]

Perhaps, but I think Adams was sincere in his belief that the Zone System enabled him to create images that were representative of his artistic vision. The politics and marketing of the time strikes me as being secondary. It's entirely possible, though, that the politics, marketing and fame dulled his vision and/or passion later in life, and thus dulled his later work, as well.

[bjorke]

The contention went both ways -- if you get the big "f/64" book it includes an article or two by Mortenson about how bad they were. Mortenson was very much a prisoner of his own notion that to be Art, photography needed to be Painterly -- that is, to ape the formal characteristics of the paint medium, not just the common ideas of compositional strategies or tone. He genuinely seemed afraid to let photography just be photography. So you see him doing things like the Metalchrome image on the PSA site, looking for all the world like a knockoff of Johannes Vermeer (because it is). This obsession with credibility by aping the past is painfully nouveau and a carryover of the worst sort of Academie mentality. Good grief, he paints-on brush strokes and makes little stone-chip markings with a razor on the prints. I'm sure he thought he was the modern Alma-Tadema mixed with Frans Hals right until the end. I think his front-light strategy mostly came from a desire to have redecing planes be darker while surfaces facing the viewer are lighter, rather like pencil-sketch shading.

All that said, I still think his ideas are useful ones to have in the available toolbox from time to time.

[juan]

15-years ago, or so, after reading Picker's ideas about exposing for the highlights, I gave it a try. It didn't work for me - I didn't have sufficient exposure in the shadows. I think the previous post explaining that Mortenson had a SBR of 4 is the key to his success with the technique - here in Florida with SBRs of 7-9 I needed more exposure and less development.
I agree that his ideas are useful to have in the toolbox.
juan

[mark]

I am not sure I understand. Can someone explain the technique to me, or point me to a place where I can read about it on the net. I have no access to a decent library and a ver small photobook collection.

[garryl]

>The contention went both ways -- if you get the big "f/64" book it includes an >article or two by Mortenson about how bad they were. Mortenson was very much a >prisoner of his own notion that to be Art, photography needed to be Painterly

Please, which book is this- curious minds want to know.

I think it was more of the times he was in. Mortensen came to photography out of the pictorialist training and into a Hollywood apprenticeship of D.W. Griffith. The era of epics of "larger than life" heroes, romantic plots, and grand sets.Of not portraying people as they were, but as they should be or could be- the total opposite of F/64.

[Rocky]

I have started to collect Mortensen books, just to get another viewpoint. It does seem that the basis of his method is to use flat lighting and then expand the midtones as stated in a previous posting.

I am going to experiment with his techniques and see what I get.

[garryl]

quick correction- it was Cecil B. DeMille , not D.W. Griffith. Sorry 'bout that chief.

[bjorke]

quick correction- it was Cecil B. DeMille , not D.W. Griffith.Either way, they were Alma-Tad and Leighton junkies :) and it shows... what we now call "Hollywood style" was clearly where that camp of Victorian-ish artists moved after their previously-ascendant styles were declared regressive with the birth of cubism/futurism/etc

(and hence we don't see Mortenson in German photomags and their American children like LIFE and LOOK -- though I would place Karsh in the same bin with Mortenson (and later Annie Liebowitz))

[bjorke]

...if you get the big "f/64" book... Please, which book is this- curious minds want to knowI'm pretty sure it's: "Seeing straight : the f.64 revolution in photography" published as a show catalog by the Oakland Museum, 1992. Editor Therese Thau Heyman, Fwd by Beaumont Newhall. Been a couple of years since I looked at it, but I'm fairly certain that's the one.