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But I hope Jimi Hendrix would have had the good sense to skip drum machines.
Well, Hendrix did often play a Flying V with humbuckers, especially later in his career. So we know about that. Jimi also endorsed the Sunn Orion, which was a solid state amp. So we know about that as well. I'm betting that with his love for effects, unique tones, and technology, he probably would have embraced digital amps and effects as well.
Most professional artists don't really care as much about the tools as the product. Amateurs are the ones who obsess over gear. Pros tend to focus more on the quality of their output, however it's accomplished. In fact, I know several professional musicians, and they all pretty much play whatever gear they're paid to play (endorsement deals). Sure, they have personal preferences, but they're no where near as hung up on gear as most hobbyists.
Ahhh...if he was born later we'd have a PhotoShop Mortensen Pubic Hair Removal Tool!William Mortensen would have loved digital. Since he was willing to do whatever it takes to get the final result, including scratching his negatives with a razor.
I REALLY appreciate the Knowledge/Experience that many of our members seem to have.Ahhh...if he was born later we'd have a PhotoShop Mortensen Pubic Hair Removal Tool!
Do you think they would have preferred Light room over darkroom?
For me, the Darkroom is like Narcotics.I think I prefer the slower and meditative approach of the Darkroom. I once spent an evening with Brett Weston, and he said that he really looked forward to the time spent in the darkroom. It gives you time to think, contemplate the Final print.
For me, the Darkroom is like Narcotics.
It puts you in a special, quiet, Dark Place.
There is NO other drug that can take you there.
Meditative.?
I would say Mr Weston drove that nail squarely from the head.
Do you know Will Agar.?Had a great evening with Brett. He also enjoyed the Guinness that I brought along.
Cara couldn’t stop talking about grandkids. I was charmed for the chance to meet and talk, but we didn’t talk shop.Had a great evening with Brett. He also enjoyed the Guinness that I brought along.
The answer is obvious to anyone who has actually read his comments:
1. "I eagerly await new concepts and processes. I believe that the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them" (as above) He would use the technology he felt would be appropriate to his vision.
2. He would be able to more easily print his pictures. He often regretted time in the darkroom as opposed to being out making photographs, but not entirely as the "print is the performance". Also, he did a major amount of his printing when health problems would not permit much else (he was spending at least half-days in the darkroom less than two weeks after his pacemaker implantation. That's not a minor thing.)
3. He would not pump out reams of prints. He was completely aware of the idea of limiting volume to increase unit price. If DR prints sold for more, he'd probably do that. And remember also, he did catalog shoots till he could sell the "art" for enough, and had the kids out of school...
He also was quoted as saying "Digital prints had no soul." Although that was early on and not often requoted.
I don't know Vaughn, even if they don't have a "soul", I swear that I have struggled with some difficult ones that must be possessed!Images/prints have no soul
In Popular Photography I believe. And No I don't suppose anything, although I am not sure that "the beautiful digitally scanned reproductions of Ansel's work in books" were pre 1984. My pre 1984 books are a bit dated looking by today's standards.Where was that quoted, and by whom?
Do you suppose the beautiful digitally scanned reproductions of Ansel's work in books he approved "had no soul?" That's all most have seen of his work, after all.
Soul-less assholes...I have met many. I can tell which ones they are -- their paper envelopes are turning brown from the fires of hell...I don't know Vaughn, even if they don't have a "soul", I swear that I have struggled with some difficult ones that must be possessed!
That is one of the qualities of inkjet prints -- copies are or can be so close to identical -- and what is in the book is damn close to what is on the wall. That can be good and bad.
Images/prints have no soul...the question is can they transmit the quality of the artist's soul? That is up to the quality of the artist...not the medium.
Reproductions in books of Adams' work is what inspired me to put down my pencils and brushes, and pick up a camera.. I never saw an original print (Clearing Winter Storm) until a couple of decades after I got into photography.
I am glad you converse directly with Ansel on a daily basis. He did use Polaroid for testing and color film. He expressed in his books on his color work that he did not like that color was less tolerant of manipulation and could "go out" easily. Therefore he still preferred black & white. Since you talk to him on a regular basis, please capture your conversations on your smart phone and post them here. We look forward to those conversations.
That is one of the qualities of inkjet prints -- copies are or can be so close to identical -- and what is in the book is damn close to what is on the wall. That can be good and bad.
Images/prints have no soul...the question is can they transmit the quality of the artist's soul? That is up to the quality of the artist...not the medium.
Anyway darkroom prints can also be made close to identical, if image most of manipulation is done with masking... ok, not the regular case.
Of course we also have a 3rd way, printing with a Lambda/Lightjet, this can also be done on FB, still not common in FB because not every lab knows how to do it...
'Authenticity' is overvalued, especially when the composer was not a great/ emotionally monotone performer of their own work.
And how is this different from inkjet in terms of automatic reproduction? BTDT and seen the differences with optical prints. A Rodagon G is better still.
Well, authenticity ca be both overvalued or overlooked. It won't make an art better, but when authenticity is combined with a great work then it shines. I have a thought, Sally Mann.
Me also BTDT, yes, it's also a kind or reprography. A Rodagon G is better but also a "no letter" Rodagon is also better. Probably a Rodagon G is better than regular in wide open situation. A friend (really skilled and experimented) has a G 300 and he says that he finds notdifference in murals when lenses stopped as usually, . Me, what I checked is that the no "letter" 210 outresolves the information in the negative by a wide margin.
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