LensWork - July/August

donbga · Jul 16, 2006

Jim Chinn said:
I agree with Murray that the Moller portfolio was the best part of the issue. The Evans work was boring to me. I have seen a couple of Ross prints in person and they were quite beautiful, but I think I am burned out on the Adamesque landscape as his work presented in this issue did not really interest me. I think I will leave this issue on the shelf.

I think his limited use of gray scale palette does reflect his admited influence of Roy DeCarava. When I intially looked at this portfolio briefly at the B&N magazine rack I immediately thought of DeCarava though I missed his (Evans) reference to the influence.

Since receiving my issue yesterday, I've been peeling through all of the portfolios slowly, savoring all of the work. As always I look forward to receiving the Extended Edition.

Jack_Flesher · Jul 17, 2006

Well FWIW I made good on my earlier comment -- I just subscribed for 3 years and took the extended too

Keep up the good work!

roteague · Jul 17, 2006

I've considered buying the extended version of this issue, primarily because of the Alan Ross portfolio/interview. I won't subscribe to the magazine, simply because digital B&W (and digital photography in general) looks ugly to my eyes.

tim atherton · Jul 17, 2006

donbga said:
(for that matter I don't know how he printed the work for this portfolio, I assume it is some type of digital output since it began with digital output.)

what makes you think he printed the work for reproduction in the portfolio? It was more likely all on a CD with a few reference prints.

tim atherton · Jul 17, 2006

I have'nt had a chance to really sit down with my copy yet, but on a quick look through, the Ross portfolio was certainly the more boring one in this issue

donbga · Jul 17, 2006

tim said:
I have'nt had a chance to really sit down with my copy yet, but on a quick look through, the Ross portfolio was certainly the more boring one in this issue

I'll accept that kind of boredom any day, though I beleive the images shown are probably some of his more well know prints. And there was some repititive elements in several of the images and how they were printed.

donbga · Jul 17, 2006

tim said:
what makes you think he printed the work for reproduction in the portfolio? It was more likely all on a CD with a few reference prints.

What makes you think I said that he printed all of it. But we don't know do we. Either way we end up looking at printed images on paper and it doesn't matter to me how he submitted his portfolio.

tim atherton · Jul 17, 2006

donbga said:
What makes you think I said that he printed all of it. But we don't know do we. Either way we end up looking at printed images on paper and it doesn't matter to me how he submitted his portfolio.

I didn't say you did (you raised how he - not Lenswork - printed it)

Normal procedure with a digital portfolio/images is to submit the whole portfolio on CD with a couple or so reference prints to help ensure the mag calibrates their printing to the files.

tim atherton · Jul 17, 2006

donbga said:
I'll accept that kind of boredom any day, though I beleive the images shown are probably some of his more well know prints. And there was some repititive elements in several of the images and how they were printed.

well - its the same old same old for those who like to oil their dipstick with the help of some good old Ansel porn... ;-)

donbga · Jul 17, 2006

tim said:
I didn't say you did (you raised how he - not Lenswork - printed it)

Normal procedure with a digital portfolio/images is to submit the whole portfolio on CD with a couple or so reference prints to help ensure the mag calibrates their printing to the files.

Oh I agree with that! But that's just a sign of the times.

Jorge · Jul 17, 2006

I have always found it curious that those who deride and put down AA type of photographs are most of the time unable to make a fine print like them......wonder why that is?

bjorke · Jul 17, 2006

Jorge said:
I have always found it curious that those who deride and put down AA type of photographs are most of the time unable to make a fine print like them......wonder why that is?

Because it's not worth the effort to do something they're not interested in in the first place?

Bill Mitchell · Jul 17, 2006

Well, I've bought the last three issues (at Barnes & Noble), so I guess it's time to subscribe.
Was initially excited by the Ross photo on the cover, but after sitting down with the magazine felt it he's no AA, (West Coast School -- great prints, not really much content). Did enjoy the interview, however.
I enjoyed what seemed like the first couple of hundred Evans prints, but there were definitely too many, too similar in content (boring, in short order).
Once I had read the captions and blurb, I appreciated the Moller images, but they do not stand alone.
Not sure why the Bojan work was included.

hortense · Jul 17, 2006

LensWork - July and August

roteague said:
I just picked up the July/August LensWork (we finally got it on the shelves today).

...portfolio by Alan Ross was just too good to pass up - his work is the kind of B&W that interests me. "

Agree this is one of LensWorks top ranked issues. This include the GREAT editorials

Jorge · Jul 17, 2006

bjorke said:
Because it's not worth the effort to do something they're not interested in in the first place?

That is a good excuse.....

tim atherton · Jul 17, 2006

Jorge said:
I have always found it curious that those who deride and put down AA type of photographs are most of the time unable to make a fine print like them......wonder why that is?

Ahh - you're back in fine form Jorge - good to see you. Hope you are on the mend

why doesn't every composer chose to write like Puccini or Wagner? Or Evey violinist like Paganini?

(p.s. I also don't think you happen to know how well I can print - all those years I spent working in the darkroom producing exhibition prints.... )

But Kev is correct up to a point. While I can still turn out a damn good darkroom fibre print, azo contact (though a good few years since I did any platinum or POP) and a bought a good few years of AA calenders when I was in the grip of Zone fever, I know don't think there is one AA print that I could cheerfully live with day after day on my wall. His vision already seemed dated even as he worked and printed

But Atget's St Cloud or Parc de Sceaux or rue Lapin - any day!

Jorge · Jul 17, 2006

So if any other composer writes like Wagner or Puccini you are going to say it is boring? But this is irrelevant, just a red herring argument. While I agree I have never seen one of your prints on hand I took a look at your work from Guatemala or some such central america country.....I have to say that was not your best work.

But I will give you the benefit of the doubt and concede you are better than AA, Paul Caponigro and Michael Kenna put together. Does this make you the ultimate judge to tell us what is boring and what is not an keep posting it in different threads?

If so, let me ask you, are you the same Tim Atherthon as this site Dead Link Removed ?

Is this what you call engaging and interesting photography? I have the feeling that many of us would disagree with you, yet we do not pass judgement on this kind photography of intiated by Gursky and some of the other German guys which IMO has been copied to no end and also has become passè........

tim said:
Ahh - you're back in fine form Jorge - good to see you. Hope you are on the mend

why doesn't every composer chose to write like Puccini or Wagner? Or Evey violinist like Paganini?

(p.s. I also don't think you happen to know how well I can print - all those years I spent working in the darkroom producing exhibition prints.... )

But Kev is correct up to a point. While I can still turn out a damn good darkroom fibre print, azo contact (though a good few years since I did any platinum or POP) and a bought a good few years of AA calenders when I was in the grip of Zone fever, I know don't think there is one AA print that I could cheerfully live with day after day on my wall. His vision already seemed dated even as he worked and printed

But Atget's St Cloud or Parc de Sceaux or rue Lapin - any day!

tim atherton · Jul 17, 2006

BTW I don't deny Ansel was a great printer - just that it might have been better if, with a few exceptions, he was printing other people's work.

naturephoto1 · Jul 17, 2006

Sorry, Tim, but though I have never seen an actual Ansel Adams hand printed image, I would have to say that he was not only a great printer but a great photographer. And a great black and white photographer to boot. This comment coming from a color fine art landscape, nature, and wildlife photographer. Like his work or not he has had a substantial influence on a large portion of photography and in particular black and white and color landscape work. But as a friend has commented Ansel, like most of the rest of us printed work that we probably should not have.

Rich

tim atherton · Jul 17, 2006

naturephoto1 said:
Sorry, Tim, but though I have never seen an actual Ansel Adams hand printed image, I would have to say that he was not only a great printer but a great photographer. And a great black and white photographer to boot. This comment coming from a color fine art landscape, nature, and wildlife photographer. Like his work or not he has had a substantial influence on a large portion of photography and in particular black and white and color landscape work. But as a friend has commented Ansel, like most of the rest of us printed work that we probably should not have.

Rich

I guess one of the most memorable shows I saw at MOMA was the one of photographers who weren't influenced by Ansel Adams. So much in there inspired.

bjorke · Jul 17, 2006

tim said:
I guess one of the most memorable shows I saw at MOMA was the one of photographers who weren't influenced by Ansel Adams. So much in there inspired.

Wow, what was that show called?

Jorge, you KNOW Tim can absolutely be the authority on what's boring and uninteresting - TO HIM (whether you don't agree or I do, it's still his statement of opinion).

The argument that no one can criticize Ansel without being able to print like Ansel is a bit like, oh, saying one cannot criticize the occupation of Iraq without knowing how to fly a helicopter. http://en.wikipedia.org/wiki/No_true_Scotsman

Then again, I can't really expect logical conclusions when you claim no one would pass judgement on tim's stuff while calling it names in the very same sentence. Tsk.

I remain un-moved by rocks or trees, however. Unless they can be shown to have some broader function, or some sort of vision that I haven't seen rehashed in a thousand Sierra Club brochures and hotel lobbies. Like a new piano masterpiece in the key of C, I've no doubt that it can be done -- but not by simply dragging along in Ansel's wake.

(Apologies to Johnnie for lifting his pic)

Jorge · Jul 17, 2006

whether you don't agree or I do, it's still his statement of opinion

Yep, but that does not mean he has to shove it down our throats....

YOu remain unmoved by rocks and trees, I remain unmoved by failed attempts to tell a story with one pic which then require pages of explanations.......

tim atherton · Jul 17, 2006

bjorke said:
(Apologies to Johnnie for lifting his pic)

now THAT'S some of the buggering good stuff being done out there

roteague · Jul 18, 2006

tim said:
now THAT'S some of the buggering good stuff being done out there

As a photograph this image may succeed (debatable), but as a landscape photograph it doesn't - boring.

naturephoto1 · Jul 18, 2006

tim said:
now THAT'S some of the buggering good stuff being done out there

Tim,

As to the photo that your quote regards, way too busy and not impressed in the least. Not successful and fails as a Landscape.

Rich

LensWork - July/August

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