I've found after reading Ansel Adams's books, just knowing what value was placed where helps. For instance, placing 60 c/ft2 on ZVI means 30 will fall on V, and using the exposure formula, the information can be derived. In the above example, EI 64, at f/8, 1/30, or EI 125, at f/11, 1/30. It therefore follows, that at f/45 for EI 64 1 second is required, at EI 125 it's 1/2. Of course, he also included his n +/- offset. Since each film is different for each photographer, times aren't necessary, you just have to devise your own.
Trying to copy someone's "recipe" for developing their film can be a big stumbling block. Of course, if you own their meter, camera, lenses, etc, then it may work as expected. I've found it didn't for me! I basically expose for my vision and meter, placing things where I want them, not what may seem right to anyone else. That's the beauty of what we do! The knowledge of what anyone else did to make their images, therefore, serves very little purpose to my vision, as I can figure out what I need without their voices.
Last edited by kintatsu; 11-27-2013 at 06:56 AM. Click to view previous post history.
Reason: Poor Spelling and Clarity.
Publisher don't like to include irrelevant information regarding photography in books and lives because public like to read only photographers experiences. They love to read imaginary story and pictures. They don't like to read which camera photographer's used to captured great pictures and why they love to used that camera as well as what's features of camera. How they captured pictures? So that's why no one like to include additional information of camera and their techniques.
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I doubt this is true because I always want to know that stuff but then again I'm not normal lol
Originally Posted by ScarletBrown
~Stone | "...of course, that's just my opinion. I could be wrong." ~Dennis Miller
We know you're not normal Stone.
Originally Posted by StoneNYC
I doubt it's true also, but I think the reason has to do with the intent/focus of the book. Is the book about "the content/the pretty pictures" or is it a "how to".
Not saying it can't do both, it just normally isn't.
Mark Barendt, Ignacio, CO
"We do not see things the way they are. We see things the way we are." Anaïs Nin
I just was introduced to this photographer in another thread: http://www.craigvarjabedian.com/
One of the links on his main page is called Processes & Tools. Seems like what you are looking for. I think it is interesting to see what materials and equipment photographers choose.
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I would be more interested in why heor she took the picture and what the photographer is trying to communicate with it. equipment is secondary at best.
Originally Posted by horacekenneth
Bingo! He gets it!
Originally Posted by RalphLambrecht
Warning!! Handling a Hasselblad can be harmful to your financial well being!
Nothing beats a great piece of glass!
I leave the digital work for the urologists and proctologists.
I just flipped to the back of John Sexton's Recollections (which is getting very dusty) and re-glanced over the tech pages. With all due respect to this revered photographer, even for his own students, is there anything more arbitrary than f stops? I've seen interviews with him, he's a very thoughtful guy, and I'm sure the addition of that information is nothing more than a genre convention. I've only ever observed it with traditional landscape photographers, who are usually engaged in 'workshop culture', where it might be encouraged to jot this information on the back of every print. It's quite a finicky habit then.
This Craig Varjabedian guy linked (whose images are very nice incidentally) clearly comes from the same school as Sexton. I think it comes down to the old 'taking/making' anxiety of this classic landscape genre - as if focal length, speed, aperture, developer etc. are somehow 'evidence' which can be supplied in the event of being challenged!
'Cows are very fond of being photographed, and, unlike architecture, don't move.' - Oscar Wilde
It's my thought, that other than mentioned above, it limits one to use the information. By trying to copy what tools and techniques a photographer used you limit yourself to the status of a mimic.
By knowing why and the photographers thoughts, a better impression can be gained. You also have some understanding of how to approach a similar subject or situation, whether to make it different or express a similar attitude.
That's the beautiful part of Ansel Adams "Examples," the stories and recollections. His impression and thoughts at the time clarify the image. By knowing the values and where they were placed, you can calculate the rest of the expossure. He usually tells his development, N, -, or +, so without giving you his development time, he tells the experienced photographer what to do with scenes like that if they wish to make something similar in expression or values.
He does the same in his Basic Photography series, which makes it a more useful tool than saying "I shot this at f/8, 1/60 and that's how you do it!" Remember, in photography, there is no true right and wrong. Right is what works for you.