Your most recent discovery
I'm curious to hear about some of your most recent discoveries in photography. I mean anything you've seen that gave you that sort of manic desire to make pictures, or just really appealed to you aesthetically. Something exciting.
It doesn't have to be a photographer per se. It could be a book, a photographic movement, a style, or even a process or technique.
It can also be a rediscovery, a return to something etc. So it doesn't have to be something or somebody contemporary or new at all.
I cannot reveal who this is , but a young photographer has built in my estimation one of the largest darkrooms dedicated for his own personal work that I have ever seen.
This young man's darkroom when finished will be able to output and mount 5 ft x 7ft silver gelatin murals without even breathing hard.
All of his equipment is new, and ready to start producing work this fall.
I thought my darkroom was big but do I ever have penis envy over this one.
I have only seen darkrooms of this scope back in the early 80's when I worked at Jones and Morris Photo Enlarging , where we had monster rooms and horizontal enlargers to make huge murals.
This is amazing young man will definately help keep the Silver Tradition alive for many years to come. I will let him come forth in his own time about himself and work , but I am completely blown away with this young man and his darkroom.
Also Whiteys post about the Isenburg collection coming to Toronto, one I have never heard about this collection as well of AMC group here in Toronto, I am aware of Mike Robinson and he is a teacher at Ryerson and wondering if this collection is slated for this new gallery along with the Black Star Collection
Sounds like it might be even bigger than Clyde Butcher's ridiculously gigantic darkroom. I've only seen photographs and some video but everything from the trays to the titanic Saltzman enlargers is just huge.
Actually it is much larger and all brand new equipment. One 11x14 horizontal and one 8x10 horizontal laser aligned to a monster vacumn wall.
I cannot tell you how odd this turn of events is to me.
Originally Posted by Michael R 1974
Well, it's nice to have the money for that I guess.
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Originally Posted by Michael R 1974
Although I have been familiar with Richard Avedon's work for a number of years, it was only recently that I became aware of his In the American West project. I had seen many of the pictures before in magazine's and compilations of his work, but it wasn't until I got a copy of 'Avedon at Work, In the American West' by Laura Wilson did I really understand the relevance of the pictures together as a whole. Reading about his working style, why he was photographing the subjects he did, the way he undertook the whole project including the importance, and attention to detail of the final print, has been hugely inspirational to me. It made think hard about what I photograph and more importantly what is important to me to photograph.
Other influences, can pop into your conscience out of nowhere. The current episode of 'Film' on the Framed Network highlights Belgium portrait photographer Jan Scholz. I'd never heard of him before the weekend. Its interesting to see how he's used social media, FlickR, Facebook etc to get his work out there. I like his pictures and style of shooting and the way he seems to flick almost randomly from format to format on a single shoot to get a different aesthetic. This is something I've never considered doing but will try now.
***Although I have been familiar with Richard Avedon's work for a number of years, it was only recently that I became aware of his In the American West project. I had seen many of the pictures before in magazine's and compilations of his work, but it wasn't until I got a copy of 'Avedon at Work, In the American West' by Laura Wilson did I really understand the relevance of the pictures together as a whole. Reading about his working style, why he was photographing the subjects he did, the way he undertook the whole project including the importance, and attention to detail of the final print, has been hugely inspirational to me. It made think hard about what I photograph and more importantly what is important to me to photograph.***
What is even more incredible about this body of work is that he took over 15000 8x10 negatives and edited down to around 116 images, I can be corrected on this.
But these numbers are quite remarkable if you start thinking about 1. buying 15000 sheets of film and 2. processing contacting and editing.
This project was done over a relatively short period of time ,, In the book you refer to Avedon later in life was quoted as saying he wish he never quit this project.
I agree , and would love to look at the out takes,, would take a few days though.
I have been looking again at W. Eugene Smith’s Minamata series:
Minamata is photography telling a story - photographed with passion and printed with passion. No words necessary, it is a theater of images, a great tragic drama. Very inspirational to me now.
I have been printing primarily on matte papers for the last few years, and intend to keep doing so. But the other day I made three portraits on glossy paper, intended for a local collaboration among photographers, and it struck me how strong those blacks looked. I was very taken by the beauty and richness of those very low tones.
Very simple, but to me a very interesting moment. My main reason for using matte paper is mostly how it feels in my hands, and how there are almost no undesirable reflections. But those blacks are not quite the same...
"Often moments come looking for us". - Robert Frank
"Make good art!" - Neil Gaiman
"...the heart and mind are the true lens of the camera". - Yousuf Karsh