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  1. #1

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    George Tice in latest issue of View Camera

    View Camera magazine is pretty much useless these days, but the latest issue is devoted entirely to previously unpublished urban landscape work by George Tice. It is interesting to see, because some of the photographs are clearly alternate photographs (different camera positions) he must have made while making some of the photographs that ultimately appeared in his published urban landscape stuff.

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    Coming out in one year with two portfolios of major, living photographers (Caponigro & Tice) is not what I call useless. Glad to see this improvement in the magazine in both quality of reproductions and quality of photographers featured.

    As to Tice, the portfolio made me realize that I need more of his books to better understand his work. Now if I could just find a workshop with him (don's see any for him in the Maine listing).
    van Huyck Photo
    "Progress is only a direction, and it's often the wrong direction"

  3. #3

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    Just got my copy of View Camera mag. and liked George Tice's photos. This mag is one of the better dedicated analog magazine's there is around any more. Very good reproductions of large format photography. Recently subscribed and happy I did.

    Mike

  4. #4

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    Quote Originally Posted by doughowk View Post
    Coming out in one year with two portfolios of major, living photographers (Caponigro & Tice) is not what I call useless. Glad to see this improvement in the magazine in both quality of reproductions and quality of photographers featured.

    As to Tice, the portfolio made me realize that I need more of his books to better understand his work. Now if I could just find a workshop with him (don's see any for him in the Maine listing).
    That has been on my wish list for a while. The best workshop I've taken so far was with John Sexton, but I would absolutely love to take one with Tice. He's one of my favourite printers, maybe my absolute favourite. I wonder if I could get enough people together, if perhaps he would agree to do a workshop (I don't think he does Maine anymore).

    If you're interested in more of his work, I'd strongly suggest Urban Landscapes (2002). What a book. It is a good cross section of his career, and the print quality is excellent. It also contains his most popular and well known New Jersey urban images. It is a much more fair way to evaluate his work, particularly as a printer. While I enjoyed the images in View Camera, there was something odd about how they were printed (I'm not talking about the magazine printing, but how they original prints must have looked) - particularly the night scenes that had blown out highlights and stuff. That is not normally how his stuff looks.

    Point taken regarding View Camera. I agree this has been a pretty good year so far.

  5. #5

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    That has been on my wish list for a while. The best workshop I've taken so far was with John Sexton, but I would absolutely love to take one with Tice. He's one of my favourite printers, maybe my absolute favourite. I wonder if I could get enough people together, if perhaps he would agree to do a workshop (I don't think he does Maine anymore).
    Agreed. With Tice, should it be a location or a printing workshop? For New Jersey location, it would be a 20hr train ride (I don't fly anymore). Probably worth the effort.

    Michael, thanks for the suggested reading. I have a few Tice books, but ordered his Urban Landscapes.
    van Huyck Photo
    "Progress is only a direction, and it's often the wrong direction"

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    Cool. I'd be curious to hear what you think of the book.

    My understanding is that most of what he did in the Maine workshops was printing. I could be wrong about that though. It would be 8-10 hours for me by train to NJ, but even if it was 20 for a different location I'd do it in a heartbeat. I have so many questions for him!! I wonder if we could get a group going from APUG...

  7. #7
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    I have had the great fortune of studying with Tice back in the 70s. A friend showed me his book Paterson and I was immediately a fan. My friend and I were only a couple miles from Paterson, the City, sitting in his basement apartment smoking . . . well any way, we were both dedicated B&W large format photographers at the time, both born and raised in NJ, close by Paterson. When I heard Tice was doing a Master Class in B&W Printing at the New School in NYC, I got very excited. There was a required portfolio review that one had to participate in order to enter his class. I got in and the result was it forever changed the way I printed and the way I view B&W prints. To this day, 30+ years later, I gave my students a handout entitled, George Tice's Five Considerations When Judging Print Quality. I ran in to him last year at some gallery opening in Chelsea, and mentioned this to him. I think he was humbled a bit when I told him. This is a man who relates to photography and B&W printing, like it was a sacrosanct, or zen like pass time.

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    I stopped subscribing a few years ago but may have to get this issue if I can find it in Australia. I think it's only distributed through Gold Street studios now.
    I have one of his prints Shaker Interior in pride of place on my wall at home. I'm told he's had a lot of success in recent years with his large platinum prints. A lifetime of dedication and struggle to become an overnight sensation as they say!
    http://www.afterimagegallery.com/ticeplat.htm
    http://www.tonyeganphotography.com/index.html
    "Those are my principles, and if you don't like them... well, I have others." Groucho Marx

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    artonpaper: I couldn't agree more. Although I haven't had the opportunity to meet him or work with him, the countless hours I spent studying the images in his books did more for my printing than any other book, photographer or course I can think of. It was also a revelation for me when I first discovered his style of printing. Prior to that I strove for the more typical "west coast" style, but my prints never looked quite right to me given the subject matter. Tice's prints changed everything for me. It made me work extremely hard at generating the type of print I had always subconsciously been after - one that might not necessarily be an immediate attention-getter, exquisitely detailed, but in a more subtle way that grows more and more interesting with repeated views.

    However there are still many things I wish I could discuss with Tice in person. So many questions.

    Tony Egan, I'm lucky enough to own a few Tice prints and they are indeed treasures. I don't own a lot of original art but the few Tice and Sexton prints I own are just amazing to have.

  10. #10
    artonpaper's Avatar
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    My ex has a 16 x 20 of the White Castle night shot. I hope she's enjoying it.

    Tice's class was interesting. It was lecture with some demonstration and a final critique. Our assignment was to bring in 10 prints to the first sessions, and reprint them using what we learned in class. We never actually made prints during class. We were expected to work on our own. I think less than half the class did the final reprint. It was taught in a classroom with desks, and when he wanted top show us a demo, he set up a couple of folding tables with an enlarger and trays.

    He also demonstrated Pt/Pd printing, using a clip on light with a UV taning bulb in place. Those bulbs no longer exist. I seem to remember he used Crane's stationary to print on. He had awesome visual aids. For instance he made an 8 x 10 inch grid of 2 inch squares monted on a board, of a variety of papers coated with Pt/Pd sensitizer and exposed and developed. The results made up one image, with every paper reacting in its own way, side by side, amazing.

    Every week the best visual aids you would ever want to see. For instance he brought in a negative printed on every available brand of paper all toned in the same toner. Then he brought in about ten prints on one paper, toned in every available toner. He brought in one image printed through every f stop on the enlarger with the appropriate exposure adjustments. He brought in 9, 8 x 10 negatives, I think an image of a water tower, that made a full spectrum of over exposed, normal, and under exposed, coupled with over developed, normal, and under developed. He brought in prints he made from original negatives by Steichen, Weston and Atget. On and on.

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