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  1. #31
    Gim
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    Eddie didn't need no stinking diagram. I think, put the sun behind your head...move head...take picture. My best guess.

    Quote Originally Posted by cliveh View Post
    Thanks for that Gim, or should that be Jim. Now can someone explain that in the form of a lighting diagram?

  2. #32
    cliveh's Avatar
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    Quote Originally Posted by Gim View Post
    Eddie didn't need no stinking diagram. I think, put the sun behind your head...move head...take picture. My best guess.
    I'm sure Eddie didn't, but myself and others may benefit from a visual representation of the lighting employed. Particularly as this is daylight as mentioned in previous posts.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  3. #33

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    hi clive

    >---------- X

    the light is parallel to the lens not an angle down to the subject or from the side at an angle, but straight on ...
    if he used a bulb flash on his SLR, he probably removed the flash from the side mount and held it across the top of the camera above the bellows to the subject.

    there were papers back then that had graphite like tones ... some of ilya1963's azo prints have that same look to them .. really beautiful stuff.

    john
    im empty, good luck

  4. #34
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    Quote Originally Posted by jnanian View Post
    hi clive

    >---------- X

    the light is parallel to the lens not an angle down to the subject or from the side at an angle, but straight on ...
    if he used a bulb flash on his SLR, he probably removed the flash from the side mount and held it across the top of the camera above the bellows to the subject.

    there were papers back then that had graphite like tones ... some of ilya1963's azo prints have that same look to them .. really beautiful stuff.

    john
    Thanks John.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  5. #35
    clayne's Avatar
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    You guys crack me up with the "oh there are no good papers available now which are capable of what they had back in the day" stuff.

    PLEASE!
    Stop worrying about grain, resolution, sharpness, and everything else that doesn't have a damn thing to do with substance.

    http://www.flickr.com/kediwah

  6. #36
    George Papantoniou's Avatar
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    Quote Originally Posted by jnanian View Post
    hi clive

    >---------- X

    the light is parallel to the lens not an angle down to the subject or from the side at an angle, but straight on ...
    if he used a bulb flash on his SLR, he probably removed the flash from the side mount and held it across the top of the camera above the bellows to the subject.

    there were papers back then that had graphite like tones ... some of ilya1963's azo prints have that same look to them .. really beautiful stuff.

    john
    So, are you suggesting that he used an SLR and bulb flash ? Seriously ? And it had a bellows ??

  7. #37

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    Quote Originally Posted by George Papantoniou View Post
    So, are you suggesting that he used an SLR and bulb flash ? Seriously ? And it had a bellows ??
    The SLR John is referring to would have been one of these;
    http://www.graflex.org/articles/series-d/

  8. #38

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    Quote Originally Posted by clayne View Post
    You guys crack me up with the "oh there are no good papers available now which are capable of what they had back in the day" stuff.

    PLEASE!
    +10

  9. #39

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    Quote Originally Posted by George Papantoniou View Post
    So, are you suggesting that he used an SLR and bulb flash ? Seriously ? And it had a bellows ??
    weston used a graflex slr ( i think 3x4 ? ) which had a small bellows
    usually the flash attached to the side ( at least with super d's i see images
    with side mounted flashes ..
    like the graflites on the speed graphic ... same orientation .. )
    but my guess is he held the flash over the lens plane ..

    but who knows, i certainly have no idea what he did or how he did it, its just a guess

    Quote Originally Posted by clayne View Post
    You guys crack me up with the "oh there are no good papers available now which are capable of what they had back in the day" stuff.

    PLEASE!
    hey clayne .. not saying there aren't papers available today that can't do that sort of stuff, im saying that some of the papers were "different"
    and rendered differently. the portrait lady i worked for used to tell me that some papers had a tooth to them ...
    so if areas were too dark you could abrade them with fine grit sand paper and even rub graphite into the emulsion ...
    i've tried to do that with every paper i have had since 1988, and it didn't really work ...
    not better, but different ...
    im empty, good luck

  10. #40
    cliveh's Avatar
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    Quote Originally Posted by jnanian View Post
    hi clive

    >---------- X

    the light is parallel to the lens not an angle down to the subject or from the side at an angle, but straight on ...
    if he used a bulb flash on his SLR, he probably removed the flash from the side mount and held it across the top of the camera above the bellows to the subject.

    there were papers back then that had graphite like tones ... some of ilya1963's azo prints have that same look to them .. really beautiful stuff.

    john
    John, re the flash you mention, I notice on Gim's/Jim's previous post from the daybooks - "Also, in the daybooks, Weston mentioned that he never uses artificial light...only natural light." Do you think he could still get this line effect with natural light parallel to the lens? I'm still a bit confused about how he did this.

    Also, can someone enlighten me as to what he meant by - "My best work is more analogous to architecture and sculpture than to painting. I made a posterior view, in flat, but very brilliant light, which outlines the figure with such a definite black line, that even photographers swear I have pencilled the negative,--I have used this light before on the dancing nudes."

    Surely if you pencil the negative, you produce a white line when printed, not black.
    Last edited by cliveh; 07-04-2013 at 04:27 PM. Click to view previous post history.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

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