--- ClassicVW@xxxxxxx wrote:
> Do you mean every black and white print, or every
> B&W Ansel Adams print? I'd
> agree with the latter being the case, but not
> necessarily the former.
>
> Look, maybe I don't take 14 paragraphs to explain my
> feelings and that is
> part of my problem, but I feel AA was more of an
> artist than a photographer
> because of all the 'artistry" that went into the job
> after the photo was
> taken. The final print was _not_ the accurate
> depiction of the scene as shot.
> The camera was just the _first_ tool he employed in
> getting to the final
> result.
>
> If a painter uses a trowel to get the paint on the
> canvas as his _first
> step_, does that make him a mason?
>
> George S.
>
> Steve.Gullick@xxxxxxxxxxxxxx writes:
>
>
> Every B&W print you see exhibited will have been
> manipulated to a greater or
> lesser extent. Every one!!
>
> The idea is not to make the picture more exciting,
> although it often does,
> but to try to give a more real impression of what
> the scene was really like.
> Film cannot record as much detail as the human eye
> so it has to be helped a
> little.
Just got to weigh in on this. Ask yourself everone,
how many times have we all been very excited about a
scene that you just took a picture of only to be let
down when you pop the neg in the enlarger and run off
a "straight print". "That's not what I saw!" is often
my reaction. So what do we do? You go back and work
with the neg, burning, dodging, a slight shift of the
easel, a small change in density or contrast perhaps.
I think even a "great photographer" would do this or
have a great printer do it for him. When I first
started learning basic darkroom work in the 70's
maniplation of the final print was just part of the
education. Just my $.02 John Robison
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