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  1. #21
    bjorke's Avatar
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    Quote Originally Posted by clay View Post
    I'm surprised no one mentioned Bill Brandt.
    You just weren't reading closely

    "What Would Zeus Do?"
    KB • PhotoRant • PhotoPermit • APUG flickr Robot

  2. #22
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    Oops. Guess I missed the first page. But glad to see we are in violent agreement.

    .... else pull it off in quite the same way -- not even Callahan or Brandt.
    I just want to feel nostalgic like I used to.


    http://www.clayharmon.net - turnip extraordinaire

  3. #23
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    Quote Originally Posted by clay View Post
    But glad to see we are in violent agreement.
    haha! I glossed over it too, so I'm glad someone highlighted it. So I've been browsing Brandt pictures this morning.

    I'm getting what I want here. I realize now that people who know more about Gibson technique probably thought I was specifically looking for work that used very nearly the same style. In reality, my interest is ore broad, aiming for work that has the same basic high contrast, grainy, uncomplicated composition.

    It's now been a month or two since I went through the Gibson book, but I think another aspect of his style is to photograph his subject so as to create a speculation, on the part of the viewer, about what's happening outside the frame. I really like that, but would probably find it very difficult to do well, even occasionally.

  4. #24
    Jeremy's Avatar
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    Dave, I think I have the book detailing Gibson's technique on my shelf. If it hasn't already been packed for the move I'll grab it and do a little write up if you're interested.
    Let's see what I've got in the magic trash can for Mateo!

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  5. #25
    Dave Krueger's Avatar
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    Quote Originally Posted by Jeremy View Post
    Dave, I think I have the book detailing Gibson's technique on my shelf. If it hasn't already been packed for the move I'll grab it and do a little write up if you're interested.
    That would be great! I've heard bits and pieces from reading the forums. I understand he uses Tri-X at less than box speed, and develops in Rodinal. I have experimented with that technique using HP5 and was astonished at the results printed using a #5 filter. The grain and stark contrast was very similar to what I saw in "Deus ex Machina", although the reproduction in the book may be different from a real Gibson print. In any case, I plan to continue experimenting along those lines, which is quite a switch for me since I have always considered grain the enemy.

  6. #26
    Jeremy's Avatar
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    Quote Originally Posted by Dave Krueger View Post
    That would be great! I've heard bits and pieces from reading the forums.
    Dave, we're packing to move and the fiance already packed the darkroom books so I don't have access at the moment. Can you send me an email reminder to go through the book for you after the 6th of August?
    Let's see what I've got in the magic trash can for Mateo!

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  7. #27
    bjorke's Avatar
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    The "Darkroom" book is available in the University of California library system, fwiw

    I might also suggest, as a variation, Steve Pyke.

    "What Would Zeus Do?"
    KB • PhotoRant • PhotoPermit • APUG flickr Robot

  8. #28
    Dave Krueger's Avatar
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    Quote Originally Posted by Jeremy View Post
    Dave, we're packing to move and the fiance already packed the darkroom books so I don't have access at the moment. Can you send me an email reminder to go through the book for you after the 6th of August?
    Sure! Will do. Thanks!

  9. #29
    bjorke's Avatar
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    SOme here may enjoy this essay by Stacey Oborne on Brandt, btw

    "What Would Zeus Do?"
    KB • PhotoRant • PhotoPermit • APUG flickr Robot

  10. #30
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    Have been under the weather, but was unpacking books today and the next one to go on the shelf is the Lustrum Press Darkroom book!

    So...

    Having learned from the lithographic process I now go directly to contrasty subject matter and expose for the narrow contrast ratio I desire. I overexpose and overdevelop and, in the process, pick up grain and contrast. This yields a dense negative, but through the years I have found that I prefer them this way. A dense negative offers a range of possibilities that, when explored, yields greater content.
    To develop Tri-X, I use 10cc of Rodinal for every roll. If I am developing two rolls of film in a two-reel tank, I fill the tank with water at 68 degrees to within a quarter of an inch of the brim. Then I pour in in 20 cc of developer and stir. This is generally considered too harsh a solution, but it gives me the quality I desire. An eleven minute development time with agitation every minute and a half for ten seconds yields a contrasty negative having the appearance of blocked highlights. Thinner negatives, finer grain, longer development... I've tried all of these approaches, but the only negative that I consider interesting in terms of its potential is the overexposed, over developed one.
    Let's see what I've got in the magic trash can for Mateo!

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