The procedure is the same, no matter the materials I begin with a proof, a test. From film or sensor, rolls or sheets. It was how I began, it is how I work now.
From the ‘index’ of images come the next round. In this project these small prints will be cut apart so that multiple edits can be made.
Then, the decision: is more needed? It usually is. In ongoing long-term projects the end is never found. At some point, it is best to consider the closing will never come.
Make, select, edit; endlessly, or until you are satisfied enough to set it aside.
Involving others in this cycle is hazardous. In most cases they will not be at the same level of understanding as you, so may over, or under commit; too loud, or soft a reaction. At this stage this project has about 150 images. It is just begun yet already has several directions possible.
Fortunately, it doesn’t have to be published. There is no deadline: no show, no editor waiting. Only the cold glow of the table asking:
it has passed you.. is beyond you you lacked the dedication, the skill, imagination, maturity and self awareness, .. something was lacking you’ve become bystanders to your own history channel neglect, ego, and freezer burn you’ve killed off new growth by over-harvesting the patriarchy's platitudes
//// ctein was a high profile, low production, solo printer... rocks, rockets and rockers with a few hundred prints similarly, charles cramer, also well know, has said he made around a thousand prints, mostly reprints of a few popular images.
\\\\\ cycle is same, with final stage being those who remain no longer make new work, even additional work. the entrants are quick exits. become sclerotic, deadened vision and lost haptics some generous, others not so, since they seem intent on recovering from a lifetime of failure. posture and bark out claims of authority when all that is needed is show over
///say the next dye transfer printers don’t go to Yahoo or Groupio for a reason: no applicable information. there are now, new teachers: capable of demonstrating a hybrid operation; one without 3 types of non-made film, ie, pan highlight, pan mask, separation 1, as well as matrix film OR matrix in gecko manner.
/// particularly the high post, low print personae
==== buy to test buy to store
==== buy to freeze: frostographers
==== buy to test: analographers
=== tiers of .. action v commitment. knowledge community.. density of terminology.
casual
dilettante
diligent
what gallery layers exist, like sport teams?
athletic measures local —> global —-> record book
some names are changed to protect the foolish from direct embarrassment ========================= // post of equipment available for sale by friend and expert//
// then Call I’ll try to keep my ears open. I am frequently in correspondence with young folks wanting to learn general masking, either b&w, or now, color neg. Condit gear was the best, and with some patience, someone will need it. I’ve successfully turned some of them on to similar offerings. Getit while you can! Might be a good idea to note general condition, since matched, clean gear is what one needs. Are the various punches and registration pins all matched? Drew
// then Response Dear Drew,
Forgive my obtuseness, but I’m not sure what “matched” means. I can tell you that this is all gear I was using to make 4 x 5 separations for the past 20 years, so if that answers your question, good. If not, you’ll have to put in terms I understand.
Clean? Of course it’s not clean. It’s darkroom equipment that’s been in use for two decades by me and who knows how long before that (I got it used). It works just fine, but cosmetically? It’s used. So far as I could ever tell, nothing is damaged, save for the broken end on one of the four glass inserts (two duplicate sets) that I mentioned in the original e-mail, which doesn’t intrude into the working area for 4 x 5 seps.
Again, though, I may be misunderstanding what you’re concerned about.
If someone is seriously interested, I can make photographs and send them along.
I’d much rather sell it through our circle than put it up on eBay. Much less hassle, and I prefer to deal with friends rather than strangers (or, at least, acquaintances of friends).
——– added edits from notepad.
lookers lurkers
zombies
ratio: 178 / 20
atLuLa claim 1.2 mm yet most onlin 750 in 2008 april 07
all about camera
abstraction:
What lens mostly used for abstract or macro with LF?
he first one reminds me of an astro-photograph, a nebula or some-such.
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Ultrastable color system of Charles Berger, and about Tod Gangler of Seattle, and perhaps John Bentley
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///
why they resist change
sunk cost. lost opportunity. failed skillset.
location dependent subjects
opposed to loud space. eye movement
Lik Briot LuLa style is a shock to their reverence. closet conservatives
Re: Ansel Adams: Do you fight or embrace his influence on your landscapes?As I think Robert Adams said somewhere (might be "Beauty in Photography" or it might have been in personal correspondence), photography is always new because the world we photograph is always new from moment to changing moment. But he was big on the idea that photography should be about the world and not our own petty preoccupations.Thanks,KirkparulrMy bigger point with all this ... that the more you're aware of your influences, the more choice you have in how to respond to them. One choice is to actively expand the sphere of your influences. Which I think is called education.— early(iest) postaug 2004 about schneider 210mm lens
and the only active “expert” merg ross
aug 2002 begins with request for shopping source
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