The interesting thing about grain is that there are now applications for digital shooters to simulate the grain patterns of various films.
In this image, http://www.photogrowth.com/images/bl...hael_Kenna.jpg MK pays homage to Bill Brandt, http://www.stanford.edu/group/ww1/sp...u/snicket.jpeg
Originally Posted by Marc Leest
So it might be worthwhile checking Mr. Brandt out.
Michael used 35mm cameras at first -- often setting up one camera and beginning the exposure, then setting up another camera somewhere else. So many of his well known early work did have a healthy grain structure!
In his workshop literature he gave corrected exposure times for both Tri-X and TMax 400 (which was fairly new at the time), so it sounds like he had worked with both - can't say, cause I don't know, what he uses now.
At least with LF landscape, a bad day of photography can be a good day of exercise.
Such photographers are lightheartedly referred to as "Kennabes" Many have an easy time with marine subjects, because, I suppose, marine subjects can be intrinsically elemental, and thus lend themselves to "minimalism". But Kenna brings his vision to everything he photographs which include utterly disparate subjects many of which are detailed and complex. How does he do it? Well...he's an original, that's how. "Kennabes" can't quite keep up most of the time.
Originally Posted by DanielStone
Considering that fine art photography has long since moved on to huge color images that are sometimes staged, often deliberately and rather brittley ironic or otherwise "smart", that Kenna is so widely disseminated and popular is a tribute to the authenticity of his vision. As with AA, like him or not, he's enough of an original to be long remembered and emulated.
If someone were to tell me that one or more of my photographs were truly beautiful, and reminiscent of either AA or MK, I'd be very, very flattered.
IMHO what Kenna did, others are wasting their time emulating. Its not even a school of thought but a very specific technique/look which IMO leaves no room for others. Kenna did it; its done. Everyone else who tries will only look like Kenna.
I like Kenna's work, but something does leaves me feeling constrained and as if I am looking at somewhat repetitive work. Maybe it is because the style shows through more than the subject a lot of the time and the style is quite fixed so always there and so you always feel like you are seeing something you have seen before. Kennabes just make it worse! Still, nothing but respect for an incredibly talented and accomplished photographer.
I agree with John, there's a range to Kenna's work that people often overlook.
The minimalistic landscapes are the most obvious example, but he has done other sterling work. His monographs 'Calais Lace' on old French Lace factories and 'Impossible to Forget' on Nazi camps are memorable and distinctive. Both books are treasured possessions.
There's a wholeness and integrity to his work that I think is often lacking in the 'Kennabe's'.
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Someone commented that a photograph I posted here reminded them of a particular Wynn Bullock picture. I liked it before, but it suddenly became my favorite photograph.
Originally Posted by jovo
"Having seen an exhibition of MK's work in his home town of Bangury"
As a fellow 'Widnesian' I must point out that MKs actual home town (where he was born and grew up) is in Widnes, Cheshire in the UK.
William Ralph Dean - Inspiration to four generations of my family
Originally Posted by GFDarlington
Apologies for getting that wrong, happy for the record to be put straight.
I thought that I remembered it being said at the exhibition that Banbury was his home town, obviously not however there was some personal connection to Banbury that prompted him to exhibit there - wish I could remember it now. The location was so odd - the town musuem (not a "real" gallery) that
there was a definate reason for it being there.
Anyway, happy to be corrected and my hazy memory of the reasons takes nothing away from my enjoyment of seeing his prints *live*