Switch to English Language Passer en langue française Omschakelen naar Nederlandse Taal Wechseln Sie zu deutschen Sprache Passa alla lingua italiana
Members: 70,972   Posts: 1,558,698   Online: 851
      
Page 13 of 13 FirstFirst ... 378910111213
Results 121 to 126 of 126

Thread: Masters

  1. #121
    mikewhi's Avatar
    Join Date
    May 2004
    Location
    Redmond, WA
    Shooter
    8x10 Format
    Posts
    808
    Images
    9
    Quote Originally Posted by Ed Sukach
    I will take the plunge, and start (I hope this is OK) a thread titled "Aesthetics". .. where we can, hopefully express our emotional reactions to different images.
    God bless you for the effort and good luck. If my prediction holds out, it'll be a pretty short thread and\or short of meaningful content. It's a tough subject for any of us to tackle. I'll try to contribute, but I'm sure\hope I'll ruffle some feathers.

    -Mike

  2. #122
    mikewhi's Avatar
    Join Date
    May 2004
    Location
    Redmond, WA
    Shooter
    8x10 Format
    Posts
    808
    Images
    9
    Maybe it's simple because you can do it. Can you take a temporal 3-D color scene and see it as a non-temporal 2-D B&W scene in your head?

    Many Many people cannot do that. To some it's a total mystery.

    If I run across the reference again, I'll post it but I don't have time to go thru my books looking for it. It's just an old quote that stuck with me.

    -Mike

  3. #123

    Join Date
    Sep 2002
    Shooter
    Multi Format
    Posts
    653
    "then rediscovery through the lens"

    But why not "rediscovery in the darkroom?" For the life of me, I don't understand why all the major creative decisions must be fixed at the point of exposure and exposition in the darkroom -- perhaps far away from the original photographic conception -- is a somehow cheaper creative act. Or a mark of failure, even.

    For me, there's discovery in the field, followed by discovery on the
    "ground glass," followed by discovery in the darkroom ...and that's what makes the process so interesting from start to finish.

    Now, I agree that technique should at least be adequate to make the original visualization transferable to print form. But it usually takes far less than a "perfect" negative to allow for that. AA's book "The Print" details many darkroom tricks that were used to make up for negative failings. No big deal.

  4. #124

    Join Date
    Sep 2003
    Location
    Düsseldorf, Germany
    Shooter
    8x10 Format
    Posts
    1,021
    Images
    1
    Quote Originally Posted by jdef
    Wether or not one subscribes to EW's approach, it has to be acknowledged that he came to it honestly, and didn't simply adopt another photographer's methods.
    Way of Working is not Method of Working. I do not really find anything in the Daybooks that details his methods that anyone can simply adopt as their own. I actually only finished reading this book two weeks ago. It is the only book of EW writings that I own.
    Francesco

  5. #125

    Join Date
    Sep 2003
    Location
    Düsseldorf, Germany
    Shooter
    8x10 Format
    Posts
    1,021
    Images
    1
    You should really read the book. And if you already have, you should read it again. In this way you can actually say something intelligent and objective about what is contained in it. I am using EWs definition of Way of Working and your veiled attempt to diss me for quoting EW shows more about your insecurities than a delusion on your part that "way" versus "method" is a desperate argument.
    Francesco

  6. #126
    Art Vandalay's Avatar
    Join Date
    Sep 2004
    Location
    Vancouver BC
    Shooter
    Multi Format
    Posts
    287
    Images
    3
    Quote Originally Posted by mikewhi
    Art, you're trying to force a point where there is none to be made.
    1) "then you're screwed if you change your mind". The point is that you don't change your mind. Once you realize what you want, that's is what you go for. The expeience of it is so strong that you simply don't change your mind. Peopel who post-visualize in the DR, those are the ones who constantly change their minds.
    2) "What happens if the paper you're using suddenly disappears?" Well, obviously, you use a different paper. The characteristics of top-end FB papers aren't so drastically different that a negative is suddenly useless if that paper disappears. When graded Brilliant went away, I switched over to Seagull with no problem, still print the same negs on Seagull as I did on Brilliant. Some sligt re-calibration is necessart to determine the range of the new paper, but you won't find it much different than the other top-end brand.

    You've got no point here and you're arguing up a blind alley. You don't have any experience inthis type of photography so I'd suggest you stop trying to invent reasons why it can't work when the best photographers of all time have made it work for decades and decades.

    -Mike
    So in other words it's just a myth. Thanks for clarifying that for me (eyes rolling heavenward).

Page 13 of 13 FirstFirst ... 378910111213


 

APUG PARTNERS EQUALLY FUNDING OUR COMMUNITY:



Contact Us  |  Support Us!  |  Advertise  |  Site Terms  |  Archive  —   Search  |  Mobile Device Access  |  RSS  |  Facebook  |  Linkedin