From: William Linne (photoassistant@hotmail.com)
Date: 04/30/02-11:17:54 PM Z
----- Original Message -----
From: "William Linne" <rebus66@hotmail.com>
To: <alt-photo-process-l@sask.usask.ca>
Sent: Tuesday, April 30, 2002 10:13 PM
Subject: Re: "Antiquarian Avant Garde" and Nostalgia and spleening my vent
> I guess I should amend my statement somewhat. Obviously, I believe people
> people should be able to photograph whatever they want. I just think it's
a
> waste of the medium's potential. It just seems so backward looking.
>
> William
> ----- Original Message -----
> From: "John Cremati" <johnjohnc@core.com>
> To: <alt-photo-process-l@sask.usask.ca>
> Sent: Tuesday, April 30, 2002 9:51 PM
> Subject: Re: "Antiquarian Avant Garde" and Nostalgia and spleening my vent
>
>
> > The subject matter of the tea kettle on the porch of the log
cabin
> > although is possibly traditional still life subject matter is new to
the
> > photographer that took it..Hopefully he will evolve, but if in his eyes
> > that is what is beautiful when he shot it then I believe that is what
> > really counts...
> > It seems the whole world is getting so modular and manicured. To
> me
> > a few rough edges just indicates " Hand Made" although sometimes it
> > distracts from the image...My two bits.....John Cremati
> > ----- Original Message -----
> > From: "William Linne" <photoassistant@hotmail.com>
> > To: <alt-photo-process-l@skyway.usask.ca>
> > Sent: Wednesday, May 01, 2002 12:17 AM
> > Subject: "Antiquarian Avant Garde" and Nostalgia and spleening my vent
> >
> >
> > > One thing that really pissed me off about this book (and alot of alt
> work
> > > these days) is how they glorify the rough edges and "mistakes" of alot
> of
> > > early processes. No wet plate worker worth his salts would have shown
a
> > > plate with the rough edges and blemishes that so many present day
> > > practitioners seek. I don't understand why the "mistakes" have become
> the
> > > prevailing aesthetic. The processes are so beautiful on their own.
Also,
> > why
> > > do so many wet plate workers shoot the exact same subject matter that
> > > photographers did in the 1800's. I saw some Spagnoli dags that were
> taken
> > in
> > > NYC recently. Those were beautiful. Do we really need another wetplate
> of
> > an
> > > antique tea kettle on the porch of a log cabin?
> > >
> > > William
> > > ----- Original Message -----
> > > From: "Christina Z. Anderson" <zphoto@montana.net>
> > > To: "Alt Photo List" <alt-photo-process-l@sask.usask.ca>
> > > Sent: Tuesday, April 30, 2002 8:15 PM
> > > Subject: chrome alum
> > >
> > >
> > > > Sandy King (or anyone else in the know), a while back you said
> you
> > > > usually use chrome alum for hardener, sometimes potassium alum, too.
> > You
> > > > mentioned mixing 2 g of chrome alum (the purple stuff) per 1000 ml
of
> > > > gelatin solution. This is about 1/2 tsp. How much *gelatin* do you
> use
> > > in
> > > > your 1000 ml--my formula calls for 2 tsp Knox gelatin, does yours,
> too?
> > > > I'm starting to work with tiles and glass to get liquid
emulsion
> to
> > > > stick, and a student wants to try to sub glass with the chrome alum
> > > solution
> > > > for gum; she tried it already with varnish and a mild sanding and
the
> > gum
> > > > totally came off. She was inspired by my telling her a while back
> about
> > > > Sarah Van Keuren's students doing gum on glass. Short of a
> sandblaster,
> > > > we're going to keep trying.
> > > > Chris
> > > >
> > > >
> > >
> >
> >
>
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