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  1. #21
    MurrayMinchin's Avatar
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    Hi Jack, welcome aboard APUG

    Robert,

    I hear what you're saying, in that you prefer to 'walk down the sunny side of the street'...I'm just glad there are people like Moller who can face the ugly side of Humanity, and come back with photographs so such events don't just disappear with time.

    Murray
    _________________________________________
    Note to self: Turn your negatives into positives.

  2. #22
    roteague's Avatar
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    Quote Originally Posted by MurrayMinchin
    Hi Jack, welcome aboard APUG

    Robert,

    I hear what you're saying, in that you prefer to 'walk down the sunny side of the street'...I'm just glad there are people like Moller who can face the ugly side of Humanity, and come back with photographs so such events don't just disappear with time.

    Murray
    Yes, I am glad that someone documents these kind of things, so we don't forget. Generally, I look at photographs as a means of remembering what is good and right in the world, but to totally ignore the reality of the world, and its evil, would be like burying your head in the sand. It is truly sad the evil that people are capable of infliciting on each other.
    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

  3. #23

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    Thanks one and all for the comments (and I hope to see more!) in this thread. One of the interesting things about being a publisher is to see how different people react differently to the various portfolios. We (admittedly stragetically) strive to make LensWork an anthology so there is a variety of work in each isse -- we don't publish two landscape portfolios in the same issue, for example. This tends to make each issue a mix of content. And, it goes without saying that there will be some who rave about one portfolio, some who dislike the same portfolio, and others whose reactions are focussed on a different portfolio altogether. I guess this is what makes the world go 'round. It is fascinating, however, to sit in my seat and receive the emails from both ends of the spectrum - "I love it" next to "Why did you publish that" from people who are both passionate about photography.
    Thanks again for all the feedback. (I do read every one -- and have the staff do so, too.)
    Brooks Jensen
    Editor, LensWork Publishing

  4. #24

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    Oh, and I should have added my perspective on Evans' work . . .

    I've always been a sucker for photography that shows me the world in a way that helps me see it from a new point of view, that challenges my world view. Like many, I suppose, I don't want to be challenged too much :-) but a stretch is good for the soul. Evans' work gave me pause -- I think partly because of the rich, Zone II and Zone III tonalities that were unexpected and a bit moody; partly because of the little twists of time and context -- like when he includes some element that is there but easily overlooked (e.g., the after-market drain pipe on page 25).

    I was also captivated by his simple use of bizarre angles that are, in almost every photograph, anchored on one side. See page 24 where the column on the right is justified to the edge of the frame, but the entire left of the images is wildly tilted. Wonderful! He does this visual trick a lot and I just loved it. Wait until you see the images on the EXTENDED CD version (where there are over 100 images) and how many times and different ways he uses this same visual device. I'm sure he's not the first to do it, but I thought his approach was very interesting and visually fun. Sure, his images aren't as socially meaningful as Moller's, nor as classicly beautiful as Ross', but I thought his portfolio deserved a wider audience and am glad we could include it in this issue of LensWork.

    Brooks Jensen
    Editor, LensWork Publishing

  5. #25
    bjorke's Avatar
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    I subscribe (mag and Extended) because it's the thing that it is. I'm glad Brooks does it.

    I'm still stunned (in the "into unconsciousness" way) by rocks and trees though

    "What Would Zeus Do?"
    KBPhotoRantPhotoPermitAPUG flickr Robot

  6. #26
    donbga's Avatar
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    Quote Originally Posted by Jim Chinn
    I agree with Murray that the Moller portfolio was the best part of the issue. The Evans work was boring to me. I have seen a couple of Ross prints in person and they were quite beautiful, but I think I am burned out on the Adamesque landscape as his work presented in this issue did not really interest me. I think I will leave this issue on the shelf.
    I think his limited use of gray scale palette does reflect his admited influence of Roy DeCarava. When I intially looked at this portfolio briefly at the B&N magazine rack I immediately thought of DeCarava though I missed his (Evans) reference to the influence.

    Since receiving my issue yesterday, I've been peeling through all of the portfolios slowly, savoring all of the work. As always I look forward to receiving the Extended Edition.
    Don Bryant

  7. #27

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    Well FWIW I made good on my earlier comment -- I just subscribed for 3 years and took the extended too

    Keep up the good work!

  8. #28
    roteague's Avatar
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    I've considered buying the extended version of this issue, primarily because of the Alan Ross portfolio/interview. I won't subscribe to the magazine, simply because digital B&W (and digital photography in general) looks ugly to my eyes.
    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. #29

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    Quote Originally Posted by donbga
    (for that matter I don't know how he printed the work for this portfolio, I assume it is some type of digital output since it began with digital output.)
    what makes you think he printed the work for reproduction in the portfolio? It was more likely all on a CD with a few reference prints.

  10. #30

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    I have'nt had a chance to really sit down with my copy yet, but on a quick look through, the Ross portfolio was certainly the more boring one in this issue

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