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avandesande
03-10-2003, 07:55 PM
I will be making the treck to Allentown to see the 'Edward Weston: Life Work' exhibition. Allentown is about an hour west of New York.
These are all high quality and printed by Edward himself. If anyone is interested in in meeting thre let me know. It would be nice to put some faces to some of the people here, and I am always interested in other's reflections on EW's work.

http://www.allentownartmuseum.org/gallery/...s/lifework.html ('http://www.allentownartmuseum.org/gallery/exhibits/lifework.html')

--Aaron

lee
03-29-2003, 01:42 PM
how did that pilgrimage work out down to Allentown? Interested bodies want to know.

lee\c

avandesande
04-14-2003, 10:53 AM
I was finally able to get out there. The lighting was pretty dim, but it was great finally getting to see some of EW prints.
All the prints were made within a year or two of the negative, so there were all made by Edward, and you are able to see his evolving vision (for final prints).

There were a few suprised for me, which makes me glad that I went.
-many of the prints I have not seen before. Anyone who has seen his work in the handful of books has seen only a small bit of his photos.
-His 4x5 nude and portrait contact prints were much nicer than they appear in the books, and are very viable for display on a wall.
-because of the short scale of the printing process, much of the dark tones are discarded in the book printing process. His prints are a much longer range and more 'colorful', the blacks hold detail.
-bookmakers shoot for a homegeniety in the print values (and adjust accordingly). EW's prints would often show a wildly different range, many much lighter or heavier than they appear in books.
-I particularily liked the few desert images that were on display. They were unbelievably beutiful.
-It was fun seeing little 'mistakes' in the images, focus problems at the edge of the image and the like. There is a trade-off between perfection and getting a photo (of anything).

I am starting to think that viewing prints instead of reproductions is important for any starting photographer.

--Aaron

Donald Miller
04-14-2003, 11:18 AM
Aaron,
I am starting to think that viewing prints instead of reproductions is important for any starting photographer. (Quote)

I agree with you that the study of photographs is vitally important to all of us. I know that it is for me. I remember the first time that I saw some of Howard Bonds images in a gallery and when I had the opportunity to view Charles Phillips work. Reproductions are so limited in there ability to transmit all of the information.

I spent the day yesterday, in an area of my state known as the Flint Hills. This is a portion of the 1% of the remaining prairie in existence in our country. A truly beautiful region in the spring. I have never photographed there and want to take the big cameras there in the weeks and months ahead. The difficulty that I have experienced in photographing there is one of "scale". The view can extend for miles with undulating hills, streams and trees in the low lying areas. I took some time this morning to review some of Paula Chamlee's work in Tuscany. I was once again made aware of her effective use of "form" and "tone" in her images. Her images made there convey a sense of "scale" that I wish to emulate.

I hope to someday view Edward Westons work. He and his son Brett have long inspired me through their highly developed vision. Thanks for sharing your experience.

fhovie
04-14-2003, 11:33 AM
</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (dnmilikan @ Apr 14 2003, 08:18 AM)</td></tr><tr><td id='QUOTE'> Aaron,
I am starting to think that viewing prints instead of reproductions is important for any starting photographer. (Quote)

I agree with you that the study of photographs is vitally important to all of us. I know that it is for me. I remember the first time that I saw some of Howard Bonds images in a gallery and when I had the opportunity to view Charles Phillips work. Reproductions are so limited in there ability to transmit all of the information.

</td></tr></table><span class='postcolor'>
I feel this way about images posted on the internet. I know the range of my prints and the details. They seem to really get reduced when put on a computer screen (from 11x14 silver to 6x8 glowing phosphous.) Then we try to evaluate our photos this way. It is like evaluating how a car looks from a text description. Or recognising a person from a text description. Then there is the whole digi sacred cow. I agree - prints have to be experienced first hand to really be appreciated.

David A. Goldfarb
04-14-2003, 03:17 PM
Edward Weston&#39;s prints have a luminosity and depth that just cannot be appreciated from reproductions. It&#39;s also important, I think, to see them in their original size--all small contact prints no larger than 8x10.

I occasionally contribute to online photo critiques, here and at usefilm.com, but I always feel like I&#39;m looking at the images in a colored, hazy funhouse mirror. You just have no idea what they really look like as prints.

I am fortunate to live in close proximity to galleries, and I probably get to see more real prints by great and not so great photographers than many people, but I never feel I do it enough.

fhovie
04-14-2003, 04:02 PM
I live close enough to the Getty Museum in LA so I can see exhibits there a few times a year. They had Jessica Lange there this winter. I am calibrated for large prints and I don&#39;t think anything there was over 8x10 - Probably more 5x7 than anything and I am sure it was all printed from MF negs. Nice detail - more of a profound PJ display than Fine Art - but it still filled the bill.

c6h6o3
04-14-2003, 05:06 PM
Jessica Lange, eh? Can&#39;t say as I&#39;m familiar with her work. Is she any relation to Dorothea Lange, the great documentary photographer and one of the founders of Aperture?

lee
04-14-2003, 05:39 PM
I know I posted something like that last one. but it is not there. Off to the darkroom to try and finish painting tonight. Maybe not, spent the morning tearing down a retaining wall and rebuilding it with the old RR crossties. Even rotten ones are real heavy.

lee&#092;c

Maybe tomorrow I will print&#33;