Ian and Matt
I feel very strongly about the approach at the enlarger... I do agree that knowing the approach as a teaching tool in books is appropriate and valuable.
FWIW .. on very large projects that I sometimes work on I scan the work prints and put small colour prints into a very large sketch book. I keep track of the editions , who purchased , and in one of my clients case beside the picture I write things like, when asked to print this image again , insist on printing the whole edition as this image is extremely hard , and I do not want to do a one off print again of this image.
Or I will put down things like easy print. or hard print.
but never do I make dodge and burn lines as that should be second nature for me at this point.
I need to center myself on the enlarger , have my tools within reach and just get crackin.
I define a top end printer as one who makes their sole income from printmaking.
I also know there are many top end printers who do not , some of them here , but my experience/comments are biased to the printers who work for others.
Originally Posted by ROL
At the Louisville, KY View Camera Conference (about 2007 or 8) Alan Ross gave a lecture/workshop on how he has worked with twenty Ansel Adams images, making 80,000 prints as of that date, using print maps. He showed examples of how he set these up so he could repeatably make those twenty images as Ansel did. He now works with Photoshop and prints digitally.
You might check through his website to see if he published anything that would satisfy your needs. http://www.alanrossphotography.com/ansel-adams/
After 80000 prints John I would think he would remember how to make the prints... Just saying
Originally Posted by jp80874
Maybe I have misunderstood the term, “printmap.”
As I understood at the conference, and my 72 year old brain is trying to remember, Alan Ross had constructed an overlay for each of the twenty pictures that let more or less light go through in various areas, that would then achieve the AA look. How much of an over all burn he did before this and how much dancing around with dodging tools he did beyond this I don’t remember. The impression I got was there was little of the latter.
He then said that with Photoshop this was no longer necessary. At that point I phased out thinking of the famous AA quote that the negative was the score and the print was the performance. It all felt like a cheap record after the revelation of the process.
Don't worry Ralph, Its on my Christmas list.
It doesn't sound arrogant to me at all, just a different approach. Maybe not that different in the end. The more I think about it I guess I don't really need my written instructions as much as I think I do. But in some cases there may be quite a bit of repetitive testing involved (to get just the right amount of detail into a lightbulb, for example - overly fussy, I admit) and I like to have a "head start" on certain elements the next time I print the image.
It just sounds to me like your process is much more "fluid" than mine. I can't really work that way. It's simply not my nature. Hopefully the end result is the same - a great print, one that is truly satisfying. I think there are different ways of getting there.
As an aside, I'd like to see some of your work one day, and maybe show some of my own prints. Actual prints, not crap scans.
Sorry if this thread got kind of hijacked, but it's an interesting discussion. I wish we had more printing threads. It's my favourite part of the process.
Originally Posted by Bob Carnie
You are exactly right about seeing the prints and not scans... but I can tell by your subject matter and approach that they are difficult prints. But I do believe
that after your testing, making a bunch of them , going into the darkroom now is more instinctive or *fluid* .
I have a show with 40 silver prints in Springfield Mass for a month opening October 20 . Then I have the work going out to Calgary in Feb for a month for the Exposure festival. *calgary's version of contact* I would love to show in Montreal but I have zero connections in your neck of the woods.
Right now I am on a mission to show as much of my work as possible so I have built a rather large portfolio to mimic the larger print show and I am shipping it around to different cities hoping some gallery curator's like the work enough to give me a show.
I believe this is the only way to get your work known and appreciated, by having the work ready at a moments notice to show.
I took off all forums other than the darkroom and film here on APUG , along with the four people I put on Ignore over 8 years. As I agree the best threads
are the ones about printing , so when I open up APUG the pages of new posts are very limited.
i strongly second the suggestion bout the bartlett book, great examples and ow they were printed, but he was going a bit over the top in some cases. nevertheless,a great application of print maps, more practical than the ansel adms book.