Category: the fora

all that stuff people say online

Everyone loves a secret

Posted on Posted in da net, dye transfer, overnight notes, the fora

They dilute their experience with delay — lots of delay. I love a mystery. Dye Transfer printing was never a secret. Just because you didn’t know, maybe weren’t curious during the age of full supply and support, doesn’t mean it wasn’t there.

Is it better thinking a conspiracy kept you from learning dye transfer, than that you were lazy. How is that you are able to lecture the gathering about the insides of the process? An unlived life, so fully formed.

Some secrets are a fantasy of the person keeping themself ignorant… printing is an experience augmented by theory, not theory spiced with a bit of experience. Don’t read the bathroom wall.

Frog Prince manual: go ahead read it. You will learn a bit about “traffic” of a small commercial lab. Notice that much of the reference matters aren’t included — they are on the wall of the lab. That’s where I’d expect them to be. Mikey’s excitement is that he found a manual from a lab. In 1990, he could have had lab books by the box load. He still wouldn’t have made a print. Kissing toads isn’t the secret to knowledge.

https://www.photrio.com/forum/threads/making-commercial-color-separation-negatives-of-transparencies-for-the-kodak-dye-transfer-process.212574/

Arrogance, particularly absolute arrogance, is a rotten board in the ladder to knowledge. I was tempted to create a login and respond. Nope… this is good enough. Keep it local.

Would you join the board to inform, perhaps hoping to correct? Don’t. They will not appreciate, nor use. M. Gareleick has been under the belief that there exists a secret book, a fountainhead of all knowledge. That lacking this knowledge has kept him from making dye transfers– For some reason Kodak, and the Kabahl of commercial labs maintained these secrets to dominate the marketplace. I suppose this was meant to keep weekenders obliged to order prints from one of the Super Labs.

Ever wonder about all those dye transfer workshops held — passing out worksheets, booklets, quarterly newsletter subscriptions. It is 1980, you could learn to make matrix film… even how to use other sheet film in place of Kodak Matrix film… even for collotype.

Complicating the conspiracy: they shared it among themselves -(and)- they kept it from each other — they used it to make — better (and) worse prints than those who didn’t learn from the exclusive meeting room at Kodak Park. To get in, you had to ask. Most classes were never full.

Reads like the “worst of times, best of times…” of conspiracy novels.

I don’t believe they want to learn Dye Transfer. They want to explain why they failed to learn Dye Transfer when it was a Kodak product.

Along with the “secret knowldge” is the foundation of enlightenment…

a sidebar on inspired knowledge

The better (only) way of growing a small group is in a closed table. Open the gathering to those capable of adding more than they subtract, otherwise intensity is lost.

bee shit

Posted on Posted in as written, creativity, fact, overnight notes, the fora

Keeping the image from falling too far. “the misty territory of truthful fiction”

imagery stimulates the creative.. often stepping across the boundary setup by prior makers. An image type, structure, content, will make it into another mode. Ads/Art/Commerce/Collection.

People who like photographs to be of things, make photographs of things they like .. The things they like often are places; often large places, with large cameras. These same photographers rarely make photographs of people … frequently they avoid people.. 

When presented an image, an object, a picture of people … people presented without adornment, without background ,so that your attention is directed towards only that person..if you don’t like that type of person, you won’t like that photograph.  You probably won’t like the photographer. You may feel confronted, intimidated.

Too often, a hardened view becomes a prejudice. Unexamined, so extending into more matters. Their prejudice extends deeper than their aesthetic matters, it has to vilify, not only them ,but those like them, even those who like them — a prejudice down to explaining the glasses. Maybe even cameras, cities

We know, of course, these critics  don’t apply such level of scrutiny to themself. Instead they conform. Limiting what they know to when they were 30.

Richard Avedon [1923-2004] , in 1979, was commissioned by the Amon Carter Museum [Fort Worth, TX, aka Cow Town] to produce photographs attentive to to people with overlooked occupations — to summarize the West. The overlooked westerner. Laura Wilson, a Dallas photographer, worked with Avedon on the project.

[ Richard Avedon died in San Antonio, TX, on assignment…]. His work, in overview, is here.

>> I like the picture. Obviously, it was staged; most beekeepers don’t wear their bees. But it’s still a natural picture – its natural bee behavior. I think those who were against Avedon before…are the ones who were most vocal about this picture when it comes out.— Ronald Fisher. Not from “.. some place up north…” Still selling Vacant Acres honey[2024]

Initial contact. Davis, California, which, even to this day is in the West, not the north… within CA is is east of San Francisco.

Richard Avedon – Ronald Fisher, Beekeeper, Davis, California, May 9, 1981, printed 1985

Note: Bay Area Avedon: “A career retrospective that covered all areas of Avedon’s photography, it was Avedon’s initial collaboration with the curator and museum director David Ross.  The first of Avedon’s photographs from In the American West debuted at Berkeley, an oversized portrait of Boyd Fortin, the rattlesnake skinner.  The show was disrupted (though not closed) when Avedon’s 30-foot-long mural of Andy Warhol and Members of the Factory was vandalized by a visitor who tossed an iodine-filled balloon at Warhol’s head, destroying the photograph. ” — UNIVERSITY ART MUSEUM, BERKELEY, CA, 1980

Links, refs:

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It took years for Carnie to see behind the mask: