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FORUMS Photography Talk by Genre General Photography Talk 
Thread started 23 Feb 2014 (Sunday) 01:22
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Being too technical with your work?

 
cdifoto
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Feb 28, 2014 15:53 |  #196

airfrogusmc wrote in post #16724940 (external link)
Where are you getting this? I never said he was super human. Just find it really kinda sad that someone is so proud of his lack of knowledge and not having any desire to change that. Instead of lashing out and fully showing your lack of knowledge try to find out why his work is considered important. Oh thats right that takes real effort and a willingness to learn and a mind to comprehend :lol:

Again with the intellect bashing. Typical. Nothing better to argue as usual.


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jetcode
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Feb 28, 2014 15:57 |  #197

cdifoto wrote in post #16724798 (external link)
I didn't put anyone down. I merely said that the pseudo-intellectual tags are BS applied much later by people who weren't even around when the photo was created, and that Ansel Adams, by his own admission, "lucked out" with that iconic image in timing and fixed it in post. Like we all do.

I'm okay with the attacks though. Everyone who doesn't fall into line and has a conflicting viewpoint to the masses gets it. Every. Time.

I am with you on this and have had my own rounds here concerning this topic.




  
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airfrogusmc
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Feb 28, 2014 16:00 |  #198

You certainly are having some trouble comprehending because you are saying you read things that were never written and I don't need to bash. All anyone has to do is read your posts in this thread, thats the funny part. The sad part is you don't see it.

Back to topic and I'll say this again
You need to have enough technical ability to successfully and consistently be able to capture your vision without limitations.

It's funny how the well prepared get lucky consistently. It's all luck. How well prepared are you to take advantage of a lucky situation? Thats the key.




  
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cdifoto
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Feb 28, 2014 16:07 |  #199

airfrogusmc wrote in post #16724976 (external link)
You certainly are having some trouble comprehending because you are saying you read things that were never written and I don't need to bash. All anyone has to do is read your posts in this thread, thats the funny part. The sad part is you don't see it.

Back to topic and I'll say this again
You need to have enough technical ability to successfully and consistently be able to capture your vision without limitations.

It's clear that you're uneducated and ignorant otherwise you would understand what I'm saying.

Funny how that can work...


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airfrogusmc
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Feb 28, 2014 16:09 |  #200

cdifoto wrote in post #16724992 (external link)
It's clear that you're uneducated and ignorant otherwise you would understand what I'm saying.

Funny how that can work...

And so preceptive to...:lol::lol:




  
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airfrogusmc
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Feb 28, 2014 16:30 |  #201

jetcode wrote in post #16724784 (external link)
What's amazing about Weston is how simple his process was. The materials he used were rich in tone which declined steadily as corporate entities starting keeping track of cost to profit ratios. He used a single light bulb as his enlarger. He did most all his work in a 1 room cabin. He was penniless until late in his career when he was able to buy a house from a Guggenheim grant I believe. All that tone is from well exposed negatives and prints on silver rich materials. Well that and a careful eye for great prints. Saw a undocumented Weston in S.F. recently at Scott Nichols gallery. It is a one of a kind and is for the moment priceless. Scott has done very well for himself in the vintage photograph market.

I saw a very large exhibit of his years ago here in Chicago and and yes Joe to think a lot of the prints were just contact prints made in a closet with a bare bulb is amazing.

Do you get to the Weston gallery much? Last time I was in Carmel I spent several hours there talking photography with the curator and looking at Brett, Edward weston portfolios and got to see an original portfolio by Adams Yosemite and the Range of Light. It was a great experience.




  
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jetcode
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Feb 28, 2014 16:44 |  #202

airfrogusmc wrote in post #16725035 (external link)
I saw a very large exhibit of his years ago here in Chicago and and yes Joe to think a lot of the prints were just contact prints made in a closet with a bare bulb is amazing.

Do you get to the Weston gallery much? Last time I was in Carmel I spent several hours there talking photography with the curator and looking at Brett, Edward weston portfolios and got to see an original portfolio by Adams Yosemite and the Range of Light. It was a great experience.

Yes I do. Every time I pass through Carmel and they rotate their Adams collection. Last time I saw that Brett Weston of the Holland dike, his classic, and it was gorgeous in silver gelatin. Not a bad price either at $15k. I don't think Edward used an enlarger unless it was much later when he came into some money.

Regarding the subject of idolization I have a friend who watched Adams burn through a 100 sheet box of paper looking for the perfect print. If that doesn't sum up the existence of the elite nothing else will.




  
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Ruggo
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Feb 28, 2014 16:54 |  #203

dannequin wrote in post #16710130 (external link)
I have a thing that I feel I battle with.

It seems that with a lot of my work, I tend to focus on the right F stop, ISO, shutter, white balance -- to the point where I'm too technical that I feel like I don't feel like an artist.

For some people they can set minimal settings and aim their camera and produce amazing results that take little effort (in my opinion) -- I however, tend to over think and tend to obsess if something isn't perfect.

Is there any way to overcome this, or is it something that's tied to being a photographer?

In a nutshell they are your photo's, do with them, take them, however you wish.
If you want to have them critiqued, be prepared for a hundred different opinions.
In the end, the only correct opinion is your own.




  
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airfrogusmc
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Feb 28, 2014 16:55 |  #204

I heard a story that he had printed an entire exhibit that was to be at Stieglitz's American Place in New York and he made the mistake of judging them wet and they dried down to much so he reprinted the entire exhibit in a marathon session.

I was hoping that great gallery would still be there.

There's an amazing photography gallery in Santa Fe, Andrew Smith and last time I was there they had the running deer by Paul Caponigro print and there was an amazing exhibit of Herman Leonard. Huge prints of some of the jazz greats. There was this amazing photograph of Dexter Gordon. I'm sure you have seen it but to see it 4ft X 5ft was an experience...




  
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WaltA
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Feb 28, 2014 17:10 |  #205

dannequin wrote in post #16710130 (external link)
I have a thing that I feel I battle with.

It seems that with a lot of my work, I tend to focus on the right F stop, ISO, shutter, white balance -- to the point where I'm too technical that I feel like I don't feel like an artist.

For some people they can set minimal settings and aim their camera and produce amazing results that take little effort (in my opinion) -- I however, tend to over think and tend to obsess if something isn't perfect.

Is there any way to overcome this, or is it something that's tied to being a photographer?

I think its just like any other "creative" craft. Like playing a musical instrument.

Some have to struggle and analyze and worry about the technical aspects of their music. Others, after learning the basics, can produce the desired results with out thinking.

Depending on which group you fit in to, you need to adapt your obsession appropriately.


Walt
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OhLook
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Feb 28, 2014 17:22 |  #206

cdifoto wrote in post #16724798 (external link)
I didn't put anyone down. I merely said that the pseudo-intellectual tags . . .

See there, you said "pseudo-intellectual" again. You don't call that a putdown? Do you even recognize how ill-tempered your posts sound lately?


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jetcode
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Feb 28, 2014 17:29 |  #207

airfrogusmc wrote in post #16725082 (external link)
I heard a story that he had printed an entire exhibit that was to be at Stieglitz's American Place in New York and he made the mistake of judging them wet and they dried down to much so he reprinted the entire exhibit in a marathon session.

I was hoping that great gallery would still be there.

There's an amazing photography gallery in Santa Fe, Andrew Smith and last time I was there they had the running deer by Paul Caponigro print and there was an amazing exhibit of Herman Leonard. Huge prints of some of the jazz greats. There was this amazing photograph of Dexter Gordon. I'm sure you have seen it but to see it 4ft X 5ft was an experience...

Must of been fun shooting the jazz cats of NYC. I have Paul C's light meter with hand written "Weston" settings on it. Adams solved the dry down problem by utilizing a microwave oven. There are some videos of his home and darkroom on You-Tube. I have never been there but I have a friend who not only knew him but took several of his long workshops in Yosemite. He was standing there when Judy Dater shot Twinka and Imogen Cunningham at the tree. He's long time friends with Twinka. It's a trip. He's a walking catalog of all things in photography. Studied with Aaron Siskind, etc, etc, etc. Brooks buddies with Arny Freitag who shot all those 8x10 chromes for Playboy. He invented a signature lighting technique that got him a lot of commercial work.




  
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airfrogusmc
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Feb 28, 2014 17:39 |  #208

jetcode wrote in post #16725144 (external link)
Must of been fun shooting the jazz cats of NYC. I have Paul C's light meter with hand written "Weston" settings on it. Adams solved the dry down problem by utilizing a microwave oven. There are some videos of his home and darkroom on You-Tube. I have never been there but I have a friend who not only knew him but took several of his long workshops in Yosemite. He was standing there when Judy Dater shot Twinka and Imogen Cunningham at the tree. He's long time friends with Twinka. It's a trip. He's a walking catalog of all things in photography. Studied with Aaron Siskind, etc, etc, etc. Brooks buddies with Arny Freitag who shot all those 8x10 chromes for Playboy.

Yeah I had read the microwave thing to. I put one in my darkroom after hearing about that. It worked great.

Always a huge fan of Siskind's work. I think I mentioned this to you before but one of my professors got his MFA from RISD and studied under Siskind and Callahan. Callahan had a big exhibit here in Chicago and IIRC Eleanor was the new body of work and I got to meet him because my professor stayed friends with him until his death. I meet him before he had his stroke. Great guy and an amazing photographer.

Can you just imagine hang'n in the village and Siskind and Franz Kline come in to see Davis playing. What a great time for art and music. Guys like Rothko were playing with the idea of how color made you feel and Davis and Coltrane were playing with the way color sounded. I read that Sam Shepard, Kerouac, Siskind, Rothko, Davis and Coltrane were all influencing one another.




  
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WaltA
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Feb 28, 2014 17:47 |  #209

I've always been fascinated by Charles Babbage - who was at least a century ahead of his time. And he made all his equipment by hand.

Although the Difference Engine was designed for navigation calculations he soon realized that a more generic Analytical Engine would be applicable to many other fields.

Wait... I guess we should get back On Topic ....


Walt
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airfrogusmc
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Feb 28, 2014 17:52 |  #210

WaltA wrote in post #16725180 (external link)
I've always been fascinated by Charles Babbage - who was at least a century ahead of his time. And he made all his equipment by hand.

Although the Difference Engine was designed for navigation calculations he soon realized that a more generic Analytical Engine would be applicable to many other fields.

Wait... I guess we should get back On Topic ....

He's a good example of being both creative and technical.




  
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Being too technical with your work?
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