In reading through some of the responses to the first post, what might be obvious hasn't really been mentioned. Most of Ansel Adams most published work was with single sheet film holders. There is a different process in a world where you can handle and adjust individual images in the processing phase that might (at best) be a memory to many of us from previous years. The detailed notes, scene descriptions, etc. were a tool for the pre-production of the negative, and helpful for the print phase but a primary reference for development and processing. This can get lost in the world of 10 or more exposures being your processing equivalent to a single sheet.

Roundabout way of saying that unless you have interchangeable backs or bodies, the nuances of processing the negative are missing in the current practice of "batch" negative development. For many of us, we are limited to expanding tonal range for an entire roll of exposures through exposing at 1/2 of ISO speed and "pulling" one f-stop in processing (as an example).

I don't know if this helps explain the Adams "environment", but it was a very different era from current practice. I recently read a book by Adams that was titled "40 images and how I created them" or something along those lines (from the Library) and it was instructive because Adams went into details related to the environment, lighting, time of day, etc. that really put perspective into pre-visualization. A good read.

FL Guy

Quote Originally Posted by DF View Post
I guess that's what's so great about photography. You can excell at it reguardless of whether you're left-brained or right. 'Course if you left-leaning, it'll show in your photos - aesthetically that is.