Construction

[BobDavid]

...analog negative to digital positive

[luxborealis]

Very effective, Bob.

[John R]

Very effective, Bob.

Yes, well done.

JR

[Eric Myrvaagnes]

Very effective, Bob.

It is indeed.

[RSL]

Interesting stuff, Bob. Nowadays how often do you see what's on the left side of that combination?

[Eric Myrvaagnes]

Interesting stuff, Bob. Nowadays how often do you see what's on the left side of that combination?

That's what Ansel called "previsualization," Russ.   

[RSL]

Yeah, I know about Ansel’s previsualization, Eric. I practically memorized his books back in the sixties. But there were times when Ansel had more poop than a twenty pound canary. To wit: the difference between the negative and the prints in “Moonrise, Hernandez.” Ansel was a darkroom wizard, and a lot of his success came from postvisualization.

[Eric Myrvaagnes]

Yes, he was certainly good at both. Pre- and post-.

[Rob C]

Yes, he was certainly good at both. Pre- and post-.

Apparently, as he became really old (when that happens is open to debate), he switched to Hasselblad. Have you any idea whether his success continued when he had to go into real enlargements rather than contact printing?

I guess my question relates to aesthetic rather than commercial success.

Rob

[BobDavid]

Interesting thing about Ansel's later prints is the way his printing changed. As he got older, his printing edged towards higher contrast. During a Q & A with John Szarkowski, at the end of his talk on Adams, I asserted as Adams aged, his eyesight changed and so that is why his prints became more contrasty. Szarkowski brushed me off, rather arrogantly. John died a year later. ... A few months ago, I revisited Windows and Mirrors. I don't think that book has stood the test of time.

[BobDavid]

Yeah, I know about Ansel’s previsualization, Eric. I practically memorized his books back in the sixties. But there were times when Ansel had more poop than a twenty pound canary. To wit: the difference between the negative and the prints in “Moonrise, Hernandez.” Ansel was a darkroom wizard, and a lot of his success came from postvisualization.

I am with you there, Russ.