From: Shannon Stoney (shannonstoney@earthlink.net)
Date: 08/18/02-09:18:09 AM Z
Bob wrote:
> BTW, my understanding of Weston and the other silver/gel f 64
> people is they did a lot of planning and even created maps for dodging and
> burning. I had an interesting conversation with a woman who like I had won
> an award for photography at a regional art show. She was in to large 16 x 20
> gel/silver prints which were beautiful. She was asking me questions about my
> work (alt process) and I was asking her about her techniques. She did a lot
> of dodging, burning and local development control. Each print was a project.
> She told me she made 22 prints before she got one she liked. The other 21
> went in the wastebasket. I don't know about you, but I've also thrown away a
> lot of prints. Those who are not informed, think we photographers turn out
> prints like cookies from a cookie cutter. Well, maybe some do, but Weston
> didn't.
Yes, this was one of the most interesting parts of the video, about how he
did a lot of manipulation of the prints. It was Beaumont Newhall talking
about that. He went to visit Weston and borrowed his darkroom to make a
print. When he came out with the print, Weston said, "But why didn't you
dodge here and burn a little here?" Newhall was surprised because he
thought that was against the rules of the f64 aesthetic. But then Cole
showed a negative sleeve where there were elaborate notes about EXACTLY
where to dodge and burn and for how long on that print. Apparently all the
negatives had extensive notes like that on their sleeves.
I was thinking you could also do that outside in the sun, with a leisurely
three minute exposure. I've tried to do it a bit.
Also, it seemed like he was using a lightbult as a light source. Is that
right? So, could I just hang a light bulb in my garage and make some
contact prints on silver gelatin paper, without an enlarger?
I know I got off on a little tangent about pomo and all that, but really I'm
most interested in HOW he did all this.
--shannon
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