following another’s footsteps makes you a tourist not a guide
You may miss the plot, the arc of what came before, and think the ending is the story.
You begin in the footsteps of others; you walk behind them before you make your own path. you follow their path, retaking their footsteps, you learn how to do it: you follow the technical. the technical, if it’s amidol and azo, lead you into a narrowing market space; an expensive place in which you have to solve technical and the economic, before you can set yourself free enough to solve your own problems; the problems that you define. This dalliance keeps the romance without requiring esthetic commitment. To keep yourself from realizing this, you rationalize the affair, calling it Printmaking.
The Printmaker Excuse
thinking that the problem to solve is just a printmaker one, your task becomes making yourself into a printmaker. this is codeword for saying you don’t have to have an image concept, an origin aesthetic; rely upon an aesthetic concept that’s been done. You can follow the prepared guidebook. Picture types come prepared with payment. you already know what you’re going to point the camera at. Maybe a rock, or sunset, a girl..
How bout a girl on a rock at sunset
Unless you are a Carnie. Most long time participants in online photo forums limit their discussion to method and technique. They never understand this limits their growth. Carnie is one longtime dedicated participant. He serves as archtypical printmaker. As he notes: Now I just have to think of a subject.
The simplified process of Weston becomes a complicated process without a manufacture. Mistaking the wand for the magic. No one bemoans the end of Weston’s light bulb, neither do they ask the type of contact frame used. Charis on a dune, with perfect drop shadow is more important than bulb, camera, developer, or paper. Translation is never better by reading a more accurate dictionary.
Take What You Need
Rather than taking from Weston the specifics, take the general, the bigger constant — work simply, but work a lot. Use what is at hand until it runs out. Then find another.
What Weston did was point his camera well. He, also, was first on the calendar; it was his footprint you saw on the dune. If you’re going to follow, follow the awareness, not the technical. — that is the artist’s move, not the salesman’s gambit.
References & Notes
early printing was platinum requiring contact prints, which he abandoned when it became scares and expensive. He switched to Azo and Amidol in California. [Newhall 1984, p. 110.]
- weston bad portrait studio .. retail portraits need retouching . big neg makes easier
- contact prints on slow paper
- paper no longer produced
- weston switches paper, but keeps camera
- improves exposure quickly adopting Weston meter. more single negative exposures. cheaper, easier field work.. more images
- At Pt Lobos he worked on the edge of the coast.. a long distant horizontal — down was detail, up was the line — the distance marker.
webionaire links AMIDOL CHLORIDE PAPER
- amidol tales: https://wp.me/p6UdTM-2Af
- azo zombi: https://wp.me/p6UdTM-2FS
- easy amidol: https://wp.me/p6UdTM-2zf
- chloride papers: https://wp.me/p6UdTM-1MR
[3 of 3: Nov 10, 17]
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