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Thread: Masters

  1. #91

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    Ed, I do not think you will have many subjects that want to be rendered in your definition of a perfect negative. I define a perfect negative as one that prints with relative ease the subject as PRE-visualised at the time of exposure by the photographer. A high contrast scene, a low contrast scene, a full range of tones scene, etc. are depicted in the negative and will print as the photographer had in mind with a minimum of fuss. NOW if there is some fuss in printing, if there is no time for previsualisation, instead it becomes a question of post-visualisation, or darkroom work is called for, then the negative is no longer that which is perfect. What is perfect is the print, or rather the darkroom skills of the photographer. Both methods are valid, both methods yields the same result in my view. The difference is only in what you prefer doing more of.
    Francesco

  2. #92

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    Quote Originally Posted by jdef
    Talk about nonsense. How exactly does one PRE-visualize the subject at the time of exposure? Post-visualize? "Perfect" negatives? Orwellian photography 101? Get a grip. A negative is a means to an end, and a good one facilitates that end. Save your artspeak for your artist's statement.
    I gave my opinion POINDEXTER! And now you have given yours. Nevertheless I will do as you say and "get a grip" on condition that you "get a life".
    Francesco

  3. #93

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    Yep, Ansel Adams was the buffoon who decided it was a good thing to previsualize as useful technique...what did he know??.....

  4. #94

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    Quote Originally Posted by jdef
    Yes, Jorge, Ansel Adams was a literary giant, with a positively presidential command of the language.
    Ah, oops, sorry, please tell me where I can find one of your books to compare...

  5. #95

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    Uh huh, just what I thought.....

  6. #96
    Ed Sukach's Avatar
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    Quote Originally Posted by Francesco
    I define a perfect negative as one that prints with relative ease the subject as PRE-visualised at the time of exposure by the photographer.
    I have *NO* problem with that mode of operation. Whether consciously using the "Zone System", and "previsualiztion" or some form of it; or doing much the same thing UNCONSCIOUSLY, is *fine* in my book. Everyone is free - with especial emphasis on "FREE" - to operate in whatever mode they choose.

    I took exception to the absolutes, and the inference that a "perfect negative" (whatever the hell that is) was absolutely necessary ... that if one did not reach "perfection" in producing the negative, all the rest was some sort of "cheating". Add to that the comment that because I would allow a level of manipulation in the darkroom, I was some sort of dolt - that I did not know what a perfect negative was -, and that I was "demeaning" the activity we call photography - and you might have an idea of why I responded as I did.

    The knowledge and skills involved in learning the "technicals" are a good thing, in GENERAL. However, one does not have to be a "Master" (whatever the hell that means - I'll assume extreme proficiency) to be able to produce Fine Art - that is, work that enraptures the experiencer... no more than absolute adherence to the "Rules of Composition" is an absolute requirement.

    Previsualization is - in GENERAL - a good thing. What do you think of my "Abstraction #27" - where there was very little previsualization, and a LOT of subconscious involvement? I have, and will continue to exhibit this work... and, seriously, I don't think I've cheated - not even a little bit.
    Carpe erratum!!

    Ed Sukach, FFP.

  7. #97
    lee
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    is it a full moon? or is it just the crazies time to play? Jeeze!

    lee\c

  8. #98
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    Quote Originally Posted by Ed Sukach
    The knowledge and skills involved in learning the "technicals" are a good thing, in GENERAL. However, one does not have to be a "Master" (whatever the hell that means - I'll assume extreme proficiency) to be able to produce Fine Art - that is, work that enraptures the experiencer... no more than absolute adherence to the "Rules of Composition" is an absolute requirement.
    I think sometimes we get too caught up in this quest for "excellence". While excellence is not a bad thing - it is why we all do traditional photography, rather than digital - carried to an extreme is is counter productive. In my case, I did very little with my photography for years because of this; I compared my work to Muench, Adams, Dykinga, etc and found it didn't measure. Now, I realize that I look to them for inspiration, but do the best I am capable of doing, and remember that there will always be critics, who are not necessarily the "experts".
    Robert M. Teague
    www.visionlandscapes.com
    www.apug.org/forums/portfolios.php?u=2235

    "A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; a man who works with his hands and his brain and his heart is an artist" -- Louis Nizer

  9. #99
    Ed Sukach's Avatar
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    Quote Originally Posted by lee
    is it a full moon? or is it just the crazies time to play? Jeeze!
    lee\c

    That's an interesting comment. Just what here is "Crazy"?
    Carpe erratum!!

    Ed Sukach, FFP.

  10. #100

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    Quote Originally Posted by jdef
    Yeah, you got me good, Jorge. Yours is a cutting wit.
    we are even then, since I am stunned by your literary presence.



 

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