I was going to get that book but after reading quite a few reports about binding problems I decided not to. I don't know if the quality has improved in that area more recently or not.
Fine art Printers are sometimes so good that other printers (for example 10-20 years later) are not able to get the same result. I was looking some documentaries about HCB and about Moriyama Daido where on the end printers took a photo of the original print and do the reprint from that, not from original negative.
Super XX was grainy, but it had a longer straight line than any typical current film
My Tarheel friend, is that by chance a Technics turntable in your avatar...curious?
According to Voja Mitrovic, the printer who produced the work of HCB, Koudelka and other Magnum greats, modern fibre papers are incapable of producing the tonality of old bromide papers. Salgado stopped using Tri-X because he said the new formulation wasn't as silver rich as the old stuff. Bearing in mind they must have used thousands of sheets and rolls over the years, there's probably something in their fears.I think this is just Internet myth with no basis in reality. I have never seen any data to substantiate this urban legend. Modern films make a straight contrast line and do it to tremendous densities with lower grain, higher speed, and better sharpness than anything available 40 years ago. Why would film get worse?
Let's be clear about one thing:You could buy the very same camera ,use the same film and get the same developer,paper and all the rest as HCB.Heck,you could even fly to Paris and roam the very same streets as he did.None of it will make your photograph as good as his.His photographic genius was not in what he used;It was in how he saw and his timing when to photograph,and that is a combination of talent and practice,practice,practice.Keep working it and all the best to you
Let's be clear about one thing:You could buy the very same camera ,use the same film andget the same developer,paper and all the rest as HCB.Heck,you could even fly to Paris and roam the very same streets as he did.None of it will make your photograph as good as his.His photographic genius was not in what he used;It was in how he sawand his timing when to photograph,and that is a combination of talent andpractice,practice,practice.Keep working it and all the best to you
What I had in reference to was not about composition, subject matter, lighting or where the photos were taken but rather about the tonal range, sharpness and great DOF on most of the photos with a 35mm camera and the available film at the time. In many I saw he had to have used f11 to have gotten the depth he did and there was no blur in most of them, some there was if someone moved at the instant of exposure indicating to me the speed must have been maybe 1/30th or 1/60th of a second.
According to Voja Mitrovic, the printer who produced the work of HCB, Koudelka and other Magnum greats, modern fibre papers are incapable of producing the tonality of old bromide papers. Salgado stopped using Tri-X because he said the new formulation wasn't as silver rich as the old stuff. Bearing in mind they must have used thousands of sheets and rolls over the years, there's probably something in their fears.
PS: don't want to start yet another APUG discussion on the dangers of x-ray
Let's be clear about one thing:You could buy the very same camera ,use the same film andget the same developer,paper and all the rest as HCB.Heck,you could even fly to Paris and roam the very same streets as he did.None of it will make your photograph as good as his.His photographic genius was not in what he used;It was in how he sawand his timing when to photograph,and that is a combination of talent andpractice,practice,practice.Keep working it and all the best to you
http://erickimphotography.com/blog/2011/09/09/my-time-with-henri-cartier-bresson-by-ishu-patel/
... Since he mostly shot in shaded areas he set his F stop at 5.6 or 8 and shutter speed at 1/60th to 1/125th of a second ...
http://erickimphotography.com/blog/2011/09/09/my-time-with-henri-cartier-bresson-by-ishu-patel/
... Since he mostly shot in shaded areas he set his F stop at 5.6 or 8 and shutter speed at 1/60th to 1/125th of a second ...
Hence the PSGood because this was discussed a few days ago.
Guess location is a factor. You're located in Tennessee right?You can't always pick the light you want when there's things going on you want to photograph. I have noticed that what seemed like around 80% of his photos were in diffused lighting, as on an overcast day. What if there was an event, a photo essay you had been assigned to cover and the sun was out the entire time? I prefer an overcast day as well but seldom get my wish.
What if there was an event, a photo essay you had been assigned to cover and the sun was out the entire time? I prefer an overcast day as well but seldom get my wish.
I find it normal that when you photographing people that you avoid direct sun
I totally agree with that but as I said, you don't always have a choice unless you coerce your subject into the shade. A good for instance is when they held the Miss USA pageant here back in the mid 80's. Afterwards she was walking about outside and crowds of people were taking pictures of her. The sun was out casting ink like shadows. If you planned on getting a shot of her you took it where she was. I doubt anyone could have convinced her to step in a less sunny place so they could get some pictures.
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