Digital BW, The Print

What does any of this have to do with DigitalBlackandWhiteThePrint ?  
I thought this e-group was about digital printmaking not the history  
of photography?
Mark

On Jun 15, 2005, at 8:49 AM, Djon wrote:

> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Steve Kale
> <stevekale@b...> wrote:
> > I'd go one step further.  Not only did he have vision as to the
> final image
> > but he had an enormous understanding of the technical requirements
> of his
> > chosen mode of expression.  Witness the interview when he talks
> about having
> > to calculate the exposure for that capture.  One must not only
> have a flair
> > or taste for what is a good image -  a critic has these qualities.
>
> Not quite. Critics can be valuable but they are analysts and
> talkers, not doers.
>
> Ansel's "calculations" are traditional process,  organized and
> refined by him with Minor White (co-creator of "Zone System" and IMO
> better photographer and teacher from important perspectives)... not
> to mention other people who used and mentored the same techniques
> without popularising them.
>
>   One must
> > also have a true understanding of the technical requirements and
> limitations
> > involved in bringing that vision to reality.  As he stressed
> repeatedly,
> > skill at both is required of a good photographer.
>
> Not true at all.
>
> Ansel learned, helped organize, and taught *a possible approach to a
> narrow range of photography.* There are/were many other "good
> photographers" (his equals) who didn't/don't: people like Henri
> Cartier Bresson, Joseph Muench, Irving Penn, Richard Avedon and,
> more recently, Sebastio Salgado...obvious examples.
>
> Ansel was important as a teacher within one narrow genre, as
> important for his support of the Sierra Club and its members
> enthusiasm for the Sierra Nevada Mts and environmentalism generally.
>
> He was very analytic, lacking broad interests and emotional
> complexity IMO. He didn't appreciate the excitement of his home town
> in his youth (San Francisco), the greatest music of his own youth
> (jazz), never explored color photography to anything like the depth
> of his peers.
>
> He was a fine portrait photographer (IMO should have done more) and
> did good industrial work. He was very successful selling prints and
> reproduction rights, from the early Sixties (eg "Half Dome" Hills
> Brothers 5# coffee cans that seemed to grow marijuana seedlings in
> every kitchen window in Northern California).
>
> >
>
>
>
>
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