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  1. #81

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    The logistical problem was simple: just getting the contrast range on the film before the light changed. So there's the story of how he calculated that since he couldn't locate his light meter.
    But the darkroom trick in that era was water bath development. So he ended up with a highly compensated neg which produced a much softer more luminous print than what all this chatter is
    about. Nowadays, some of those earlier renditions of Moonrise actually sell for more because they
    are rare and allegedly even more "vintage". Then for some marketing, esthetic, or maybe personality
    reason he wanted something more dramatic and contrasty and differentially enhanced the negative.
    I thought it was overdone; but that more theatrical mode is what defines several of AA's most famous landscapes - inky black skies, high contrast. He certainly could make a poetic image at times,
    but I never would consider him as the best printer of the era. And thank goodness, he didn't have
    Fauxtoshop. Too many options just lead nowhere.

  2. #82

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    Quote Originally Posted by DREW WILEY View Post
    And thank goodness, he didn't have Fauxtoshop. Too many options just lead nowhere.

    Photoshop is simply another tool - and like all tools, can be used for good or bad.

    Someplace I saw an article where someone created a set of layers in Photoshop that implemented all of Adam's printing instructions.

    IMO, manipulation in any form is manipulation.

  3. #83
    Ken Nadvornick's Avatar
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    Quote Originally Posted by Prof_Pixel View Post
    Someplace I saw an article where someone created a set of layers in Photoshop that implemented all of Adam's printing instructions.
    Oh dear...



    Ken
    "They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they’ll still be there looking at you."

    — Diane Arbus, March 15, 1971, in response to a request for a brief statement about photographs

  4. #84
    ROL
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    Quote Originally Posted by Prof_Pixel View Post
    Photoshop is simply another tool - and like all tools, can be used for good or bad.

    Someplace I saw an article where someone created a set of layers in Photoshop that implemented all of Adam's printing instructions.

    IMO, manipulation in any form is manipulation.
    Hmmm... Prof_Pixel, another tool?

  5. #85
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    It is a good photograph because it is interesting to the eye and mind, and it tells a story if you allow it to. The vastness of space, the wind whipped human outpost on a barren rocky plain. Even the mountains are dwarfed by vast space. tiny crosses imply the hopeless vulnerability of humanity.

    Really, I cannot imagine how someone could conclude "that is not a good print."

    But to each his own...

  6. #86

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    Yes, PS is just another tool kit, rather than a single tool, and can be used by either a genius or a fool. Good for mimicking this or that; but how things evolved in the first place often gives them their
    historical importance. I was saw a remark in NG mag that when Timothy O Sullivan first saw a 35mm
    camera in old age he wished he'd had one when he went down the Colorado River in a wooden dory.
    Thank goodness, he didn't - or else instead of the iconic epic shots of his we now have, it would have been something more journalistic and Geographicky. Sometimes less is more. And for that reason, just about everyone I know who used PS responsibly is also someone who learned what they
    want in a darkroom first! Turn a kid loose in a candy shop with no supervision, and he'll eat enough
    to barf. And that's just about what most Fauxtoshop prints look like to me! Not the fault of the
    technology, but of having way too much horsepower in an automobile with a kid behind the wheel
    who probably couldn't steer a lawnmower. Slow down, folks, maybe you'll actually see something!

  7. #87
    Ken Nadvornick's Avatar
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    Quote Originally Posted by Hatchetman View Post
    It is a good photograph because it is interesting to the eye and mind, and it tells a story if you allow it to. The vastness of space, the wind whipped human outpost on a barren rocky plain. Even the mountains are dwarfed by vast space. tiny crosses imply the hopeless vulnerability of humanity.
    "...and it tells a story if you allow it to."

    This is exactly what I meant when I said "The viewing needs to be participatory."

    Ken
    "They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they’ll still be there looking at you."

    — Diane Arbus, March 15, 1971, in response to a request for a brief statement about photographs

  8. #88

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    Quote Originally Posted by DREW WILEY View Post
    Turn a kid loose in a candy shop with no supervision, and he'll eat enough
    to barf. And that's just about what most Fauxtoshop prints look like to me! Not the fault of the
    technology, but of having way too much horsepower in an automobile with a kid behind the wheel
    who probably couldn't steer a lawnmower.

    You know, I've seen some pretty horrific prints come out of darkrooms as well.


    Anyway, the point of my earlier posting was to question if if is the tools used to make a great image or the artistic vision of the photographer that is important. My money is with the artistic vision of the photographer.

  9. #89
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    Quote Originally Posted by Prof_Pixel View Post
    Photoshop is simply another tool - and like all tools, can be used for good or bad.

    Someplace I saw an article where someone created a set of layers in Photoshop that implemented all of Adam's printing instructions.

    IMO, manipulation in any form is manipulation.
    http://mosaicdesignservices.com/webg...ffectPSCS2.pdf
    Jim

  10. #90

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    Jim,

    That's one I hadn't seen.



 

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