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  1. #41

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    Gore Vidal said of Truman Capote when TC died that it was a good career move.

  2. #42

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    Quote Originally Posted by Jim Chinn
    I agree that everyone has to find there own comfort zone with technique, but it becomes easy to be paralyzed by it also. I went on a little road trip one Saturday and drove about 80 miles with my 4x5 to photograph some machinery I had seen on another day. How it happend I don't remember, but I dropped my light meter I had had for several years and it broke. Crestfallen, I was stumped. Wasted all that gas and time. then of course I thought for a moment, used the sunny 16 rule, opened up one or two stops to ensure I got good exposure in the shadows. Amazingly, the negs turned out about perfect or as well as they would have been with a meter.
    Jim,
    Need your permission to copy your reply, put it in waterproof plastic, hang it from a chain around every one of my students neck and insist that every one of them read it at least 3 times a day. five times for extra credit
    Jack B

  3. #43
    David A. Goldfarb's Avatar
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    Somewhere Art Morris recounts a similar tale. In his early days of bird photography, he discovered the sunny 16 rule when his camera meter didn't work, so he read the instructions on the film box about "full sun, no clouds," etc., and his slides were perfect.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
    Photography (not as up to date as the flickr site)--http://www.davidagoldfarb.com/photo
    Academic (Slavic and Comparative Literature)--http://www.davidagoldfarb.com

  4. #44
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    Quote Originally Posted by RAP
    Don't we wish our images were half as over rated as AA's?

    The point is that learning technique and craft leads to control, control leads to intuitition, intuition to creativity. In photography, the zone system facilitates that.

    RAP,

    I think AA would be quite pleased with that statement --- I think he would say you have successfully grasped the essential benefit of what the ZS is all about, that's how I feel about it anyway, therefore I agree with your comment. To me, it is a form of control that transcends from a mostly mechanical approach in the beginning to what is ultimately meant to be a completely intuitive interaction that guides you from what you see through the viewfinder to what you wish to express on the negative and therefore, the print.

    AA:

    "It is not my intension to impose my "vision" on others, but to assist in the development of creative expression, whatever form that may take, by offering some suggestions on ways one may think about light and subject matter.......Once the craft is under intuitive control, the creative objective is more positive and assured. Proficiency of craft should by no means be considered the goal in itself."

    As I see it, AA's use of the ZS in making a photograph is ultimately just as intuitive as anyone else's when it came to getting the information on the negative-----I know that's what I am working toward. Again, I think AA would say, If I could pose the question to him today, yes, you understand the essential idea. I just hope we don't get into a discussion of one professional's sense of intuition versus anothers.

    Adams and Weston were very different photographers as we all agree. Each had a vision that served the respective photographer superbly-----for the life of me I can't understand why it should be any more complicated than that.

    Chuck

  5. #45

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    "Actually, it was Minor White's idea."

    Please give Fred Archer some credit for the Zone System also.

  6. #46
    df cardwell's Avatar
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    Quote Originally Posted by WarEaglemtn
    "Actually, it was Minor White's idea."

    Please give Fred Archer some credit for the Zone System also.
    I think you're quoting me ! Thank you.

    I had nothing to say about Fred Archer because the quotation was in response to a kindhearted jest relating my approach to photography to the finer point's of Spinal Tap's unique sound.

    I only wanted to reply in a similar, jesting tone, and suggest that 12 tones was not my idea, but came from a chance comment by Minor White. It had to do with the difficulty a photographer was having trying to hold shadow detail accented by black, have separated midtones, while all along the way managing several steps of light gray. White suggested that he think of there being 12 steps from Black to White, and ( insert boring technical hocus-pocus here ): and that chance comment was exactly the thump on the head that I needed to get a grasp of the Zone System in order to make it serve me and the way I saw things and felt about them.

    Fred Archer was not there. Ansel was. I was way in back, waiting to be thrown out. Alas, Mr. Archer passed away a few years prior to this, Mr. White and Mr. Adams too soon after.

    Indeed, Mr. Archer was significant influence on Adams, and was a wonderful photographer. Please overlook my too frequent lapses of clarity.
    "One of the painful things about our time is that those who feel certainty are stupid,
    and those with any imagination and understanding are filled with doubt and indecision"

    -Bertrand Russell

  7. #47
    photobearcmh's Avatar
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    Exactly why from day one is have been important to me to be an artist first, a photographer second. Everything I do technically serves one purpose, to convey emotion. It is all just means to an end. "course that is what works for me.

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