Evans: Among the Stacks

Two books after reading the Chauncy book. The Stott book is satisfying. It took me to places and situations that encouraged further readings. “Foursome” provided a view of people I had wanted to like, since I like their work. Instead, I’m glad I didn’t know them. At least the “them” of this book.

The work isn’t the life, it is the life after death. The artist, even life-artists are never the artwork. We do not become fully merged. In many cases that is best, or so it seems.

Is it possible that people hate art because they hate artists? That they don’t understand them; maybe they want to be them, but can’t. Perhaps, the art-haters do so to suppress their impulses to move across the floor, pass thru life differently. In watching those who fail, I’ve discovered a core set of failure points. It is far easier to fail, the ways are so widely shared, so easily shared that we have more failures — those passed by. Many creatives are cowards — at least timid.

The first failure, as well as the lasting, strongest defense of the long term anti-artist is simply that they don’t trust words. They form them, sometimes that is all they do — these are words without the driver of thought — without the strength of self awareness. Many of those people don’t trust words, as well, these days, they don’t trust pictures.

  • The Last Years of Walker Evans ISBN: 0-500-54210-4
  • Walker Evans: A Biography ISBN-13 ‏ : ‎ 978-0618056729
  • Walker’s Way ISBN: 1576873625
  • Walker Evans, James Mellow. ISBN 046509077X

My work is closer to Strand, yet my life, my way, my acceptance is Evans.

Chasing Clouds

walking with clouds. everyday, seemingly, I walk looking up then down. clouds and shadows.

walking between cloud and shadow.

either they’re getting faster or i am getting slower.

Separations: start here

notations on making separation negatives. bits from the past intended for today.

DSChromeCN
R252970
G586199
B4747b98
wratten filter numbers

direct seps are easiest, but you create “time seps” as well — trichromie.

contact seps are easier than enlarged seps. 
learn what standard light is -- then you can begin to translate "old" literature. Use the theory and experience of those who made their living in labs.

contact: standard light
 standard light - tungsten -
first, early innovator lab: Evans & Peterson Color 
K&M filtermatic and K&M Point Light … Omega ULE system
3 FC = .3 density from a 3.0 wedge density
AIM ~= .4 shadow negative

using silver density steps will introduce you to the “green problem” — aka, green gaps
calibrate with color strips &&& silver wedges

derive “Relative Exposures” of the sep set
29, 61, 47b

notes from tabula rosa: super XX to Tmax. XX is twice over. convert those historical refs to current start points. Oh. use HC-110 B at 72F
—
visual evaluation/ no densitometer, make a BW print onto known paper.
print the Green Sep, unless GREEN is the dominant scene color. (then use red)

—
First seps from: DuPont Fine Grain Pan (20x) easy

Grain of seps: 1975-80)
Plus-X -- lowest, best enlargement
Sep Type 1 (reciprocity notes)
XX - highest grain
         -Green: less exposure longer Development
—
DS Base exposure: (working with ‘factors’)
(25) Red ~=~ 1
(58) Green +1/3
(47) Blue + 2 2/3
OR take blue as the base exposure, then apply ND filters to the RED & GREEN exposures.

— newton ring 
offset powder // gum glass
watch RH of film room.
don't mix exposure, storage, processing stages in same room.
—
tmax contact [at asa 6]
29	24 sec
61	14 sec
47b	135 sec

—
HC 110 A,B  // C,F
DK50  st, 1+1 // 1+2, 1+3
D76	st, 1+1 // 1+3
Seps // masks
from back in the day:
Dupont 16D  6,7,8,9  == for gammas of .6 to .9 /.Sure made it easy.
--
watch how you dry the seps. angles matter. never force dry (use "secret" dryer)
learn how to mix D76 so it doesn't "shift" on you. Oh, avoid those who don't know how.

########

two shoes

  • the path is the destination
  • the destination isn’t on any path
  • MA (japanese)

###

PS. what do I currently use? Ilford: delta, ortho plus, fp4+ — not Kodak. I have it. Have used it. don’t now.