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Re: [OM] ( OM ) Photographic manipulation & Ansel Adams

Subject: Re: [OM] ( OM ) Photographic manipulation & Ansel Adams
From: Joel Wilcox <jowilcox@xxxxxxxxxxxxxxxxxxx>
Date: Sun, 30 Jun 2002 09:12:28 -0500
At 09:03 AM 6/30/2002 -0400, Greg you wrote:
snip
That said, it appears straight photography does allow for the dodging, burning, and manipulations in exposure and development intrinsic to Adams' work. Among the first to call for and define "straight photography," art critic Sadakichi Hartmann in 1904 wrote "I do not object to retouching, dodging, or accentuation as long as they do not interfere with the natural qualities of photographic technique." (see Newhall, pg 167).

Hope this helps,

Greg Logiodice
www.gplphotography.com

Hi Greg,
Good to hear from you.

This discussion is starting ring a few bells. One of the things the f/64 group was reacting to by the very choice of name is the shallow DOF, stylized, salon-type of photography made early in the 20th century. Perhaps it was photography as an imitation of Impressionism that they didn't like.

The other historical conflict this discussion reminds me of is regional. I believe the f64 group -- being primarily LF and landscape/nature oriented -- simply had nothing to offer most New York photographers, where the smaller formats and street photography predominated. I vaguely recall a story about a photographer agonizing to Gary Winogard about development times, films, etc., and Winogard simply shrugging it off. He would shoot sometimes 500 frames in an outing. Capture something and then deal with the "manipulation" problems later. Classic street attitude.

I've tramped around in some of the vantage points St. Ansel found for his photographs and there is often a realization that the photograph was really "made" long before the shot was taken. The spot he found seems often the only way to realize the image we have come to know. The vantage point and its discovery almost makes the photograph inevitable. This is not a style that does anything for most urban photographers I suspect.

I think the region and what it offers as subject-matter (in addition to one's temperament) has a lot to do with whether you will find photography more of a contemplative or a pragmatic activity. I suspect that accounts for some of the differing positions presented in this discussion.

Joel W.


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