Respectfully I disagree. I believe one needs to have full confidence in whose teaching he accepts. I mentioned that particular book because if you read comments on it, you will want one. It is plainly THE book ot have of his work. I took the plunge and lost all confidence I could possibly have in his judgment. A lo of it has to do with either you aim at excellence (which to me is ALL the time as best possible) or yoiu use some of your well known and recognized work (like the mentioned silt canyons) and then fill the book with pretty average pics that fall far outside what one would expect from the cover. it is not uncommon, but it does show where the focus was, and it had nothing to do with quality (I mean the photos and what show not printing of it). As I said this how I feel about it and the reason why I no longer follow whatever good he may have to say on technique or process. I am not suggesting he does not know how to put out quality print, I am saying he is all over the place with presentation, too many fillers if you will. If you take for example a John Sexton book, you know he wants to have you enjoy every one of the photographs.I think your comments are wildly off point, and betray an extremely limited perspective on Bruce’s work, output (both in silver gelatin and books), passion and personal presence. I say this as a person who has attended his and other great photographers’ workshops, owns many many monographs by great artists, and owns many original prints from various photographers including Bruce and several assistants and direct descendants from the Ansel Adams lineage. I would invite you to dig further before levying such reductive commentary.
Respectfully,
Leo
Visual Symphony draws viewers with the cover of one of his famous shots of slit canyons (which BTW appear to me faked up with artificial lighting, but that is just my opinion and it does not take away visual impact of that particular series).
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