Lenswork #56

Guitar Village

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Guitar Village

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Beach Barista

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Beach Barista

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In the Old Town

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In the Old Town

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The Longest Day

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The Longest Day

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Bad Copy

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Bad Copy

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Sjixxxy

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LensWork #56, which was to be our Dec-Jan issue this year, will now become our Jan-Feb issue to kick-off this new publishing schedule. This will not affect subscribers in any way -- subscriptions are tracked by issue number, not by date. Current (and new) subscribers will be mailed their issue from Portland, OR on December 24th. Expect West Coast deliveries between Christmas and New Year's, East Coast deliveries the first week in January.

Anyone get theirs yet, becuase I haven't. Just thought I'd do a quick polling here before bugging thier staff.
 

jp80874

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Bought Issue #56 at Borders Books over the weekend.
I must get around to subscribing.

Great article about Linda Butler’s traveling exhibit
“Yangtze Remembered: the River Beneath the Lake”.
The exhibit just closed in Cleveland and will be opening
outside of Boston.

John Powers
 

Akalai

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Mine arrived last week and I live in Australia! :wink:
 

Ole

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Mine, too, arrived last week - in Norway.
 

David A. Goldfarb

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Mine came last week in New York. The Olivier Meriel portfolio has been provoking interesting reactions over on photo.net and the Q&A forum at lfphoto.info.
 

Lee Shively

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Mine came last week, too. And the Meriel portfolio does look strange to me--as if there was something wrong the original printing.
 

Jim Chinn

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I was following the Meriel thread on photonet for awhile. It started to make me think about how easy it is as a phtographer to fall into the habit of looking at work from a technical standpoint and not an artistic one. After looking at the portfolio I don't believe his printing is sloppy or poorly executed.

I think the particular burning and dodging has been done for effect. He probably assumes the most of the audience will not be technically savy photographers but only people wanting to see art. He uses printing to add emphasis to his work. A non-photographer does not care, they are only interested in the image presents. A LF printer might cringe, someone going to a gallery might see magic.

Personally I could not draw any real opiniion on the printing unless I saw the work in person.
 

roteague

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Jim Chinn said:
I was following the Meriel thread ...

I think the particular burning and dodging has been done for effect. He probably assumes the most of the audience will not be technically savy photographers but only people wanting to see art.

I saw it, and thought it was c**p. Sad, his images have great tonal range, but he ruins them with that dodging/burning effect.
 

David A. Goldfarb

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It looked to me like the sort of thing that really needs to be judged from the prints. It's very easy for things to get heavier in print (I felt, for instance, that this happened with my own recent photograph in _B&W_), even though the reproduction quality of LW is quite good, and it's very hard to judge the effect of an 11x14" contact print when it's been reduced that much for publication.
 
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Sjixxxy

Sjixxxy

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Well, after not getting my issue after a certain date, they sent me a new one, and now I have it. :D

The Mériel prints grabbed me the most on the initial quick flip through. I dig the way he burned the shadow details to the point of just being pure black. I haven't read the other threads at photo.net on it yet, but I can imagine some folks getting their feathers ruffled that he gets exposure in a high prestige magazine by breaking the rules of what is a perfect print. I say good job. I wouldn't doubt that he had some massive dodge/burn records for the prints that would make Ansel Adams weep. So what if didn't stop with just enough to keep the detail in the shadows.
 
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