Quote Originally Posted by stavrosk View Post
What is so amazing about his portraits other than the people he photographed?
If you have the opportunity, see for yourself sometime. I knew of him, but was not a fan, till there was a karsh exhibit nearby last year, and my affinity for B&W photography drew me.

In all aspects, Karsh "had it together" to produce exceedingly masterful portraits on silver gelatin paper. He was stupid expensive in his day, but we've sort of lost appreciation for his aesthetic in the past two generations.

His work is far different than the pop-celebrity-fashion-photo culture that someone growing up in the 1980's or 1990's would imagine. More museum quality dutch painting inspired than rolling stone inspired.


Back to the original topic. I'm always up for challenges. And I like to excel at what I'm working on at that time. I'm still working on things that have lots of potential left to develop. I like to go beyond what other people have done, rather than strictly emulate something that's already been done, [before moving on to emulate again]. When I get done with those projects, I'd be up for trying some people photography with people I don't know quite so well.

What hasn't been mentioned, and is challenging, is trying techniques or processes outside of your comfort zone. If you've never done alt process variations, that's a good skill to develop that can expand what you see when you photograph; thinking about how the image will translate to various final mediums. Some photos that are kinda dull on silver can make a really special van dyke or cyanotype, and the inverse is true as well. The soft focus and/or old lens aesthetic is another good challenge. Going from crisp "safe" sharp realistic images such as in architecture or grand landscape, to blobs of light and dark and lenses that actually change focus when you stop down is getting outside of your comfort zone; sort of changing of religion from mainstream ansel adams to something more obscure and misunderstood.