Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Roger L Sopher 
<rlsopher@c...> wrote:
> Darin Boville wrote:
> 
> >Wasn't this primarily the result of Adams helping out by getting  
> >Polaroid to make Weston a consultant--like Adams...to help Weston 
out  
> >because he needed the money...Not because Weston had some great 
urge  
> >to work in color?
> >
> >--Darin
> >
> >www.darinboville.com
> >
> >  
> >
> Beats me why he shot color. The few examples I have seen were right 
up
> there with his B&W given the technology of color transparencies in 
the
> 40's. Could just have been curiosity, I suppose. Money was, 
apparently,
> never the driving force in Weston's life. He dumped a very lucrative
> portraiture business early in his career to pursue his own daimon.
> Again, according to Cole Weston, Edward never made more than 5k in 
a year.
> 
> "But E.W. was never a businessman. Although the opportunity to 
exploit
> his work was offered to him many times, he never accepted it. His
> largest yearly gross income was $5000. His philosophy as far as 
business
> was concerned, and I quote: "Be your own boss and never become a 
slave
> to your overhead," and he practiced it."
> 
> Nancy Newhall in her essay "Color as Form"  suggested that he 
just "came
> to color" and "following the Kodak instructions and himself made 
only
> one mistake in timing in his first two dozen 8 x 10's. When Kodak
> published a portfolio of his color, the data on stops and speeds 
caused
> a flood of bewildered letters." I would surmise that being Edward 
Weston
> he only had to express an interest in Kodak's latest and greatest 
and it
> would be his for the asking.
> Roger
> 
>
> 
> I'm not an authority on EDWARD WESTON, but from with i have seen
 and read of his work, i'd say he was just an artist.
 From what I know about him , he was a purist that did not beleive
 in enlarging prints and useing color or grafhlic slr's.
 He was a purist that thought only contact printing was good
photography ,but due to the hardship of making a living at what he 
loved, he was forced to do studio work.

 I don't think he would embrace digital printing - capture, readily.
 
Also schelping around with an 8x10 camera and film with a tripod,
in the desserts of mexico, dos'nt seem like an easy way out to me.
 
he was concerned with high end art, the hard way.
 ofcoarse that was then, and this is...anything goes.

 j ten