Ansel Adams on Moonrise over Hernandez
Jun 25, 2016 11:44:37 #
Jun 25, 2016 12:01:00 #
Jun 25, 2016 12:37:39 #
Just remember this story when you are driving down the Interstate, see something worth photographing and your wife, husband or partner moans, "what again"
Jun 25, 2016 14:52:07 #
This is a great lesson for all of those who are not fans of post processing.
--Bob
--Bob
Basil wrote:
Jun 25, 2016 16:40:24 #
Ansel had the ability to visualize in his mind what the finished image should look like. He made that happen in the darkroom. He was a master at manipulation in the darkroom.
Basil wrote:
Jun 25, 2016 17:39:16 #
PixelStan77 wrote:
Ansel had the ability to visualize in his mind what the finished image should look like. He made that happen in the darkroom. He was a master at manipulation in the darkroom.
One can only imagine what he'd have done with today's digital cameras and post processing capabilities.
Jun 25, 2016 18:04:04 #
He would be a Master at PS, Topaz,etc. My guess is he would scan those 8 x 10 negatives and manipulate the files in PS. We have another artist like that today, still living and is called the Ansel Adams of the Everglades.
http://clydebutcher.com/about-the-artist/
I have been to his gallery. He has amazing extremely large images of the Everglades.
http://clydebutcher.com/about-the-artist/
I have been to his gallery. He has amazing extremely large images of the Everglades.
Basil wrote:
One can only imagine what he'd have done with today's digital cameras and post processing capabilities.
Jun 25, 2016 18:18:17 #
rmalarz wrote:
This is a great lesson for all of those who are not fans of post processing. --Bob
His manipulation of the negatives in the darkroom was analog post processing.
Jun 26, 2016 05:59:51 #
Basil wrote:
I watched this Video last week, I knew about the image but not the story. However I am the same way, I got to the point a few years back where when i see an image I stop and shoot when at all possible. You just can't go back in time for a redo. And a lot of the times the lighting is gone by the time I stop, get out of the car and grab the camera.
Jun 26, 2016 09:10:02 #
"Moon over Hernandez" has to be one of his most famous photographs. The video is self explanatory so I have nothing to add to it.
Ansel Adams used almost exclusively Kodak Tri-X and I am quite sure it was not ISO 400 at the time. He used Kodak HC-110 to develop the film from his large format camera and as we all know he perfected and used the Zone Zystem of exposure during his lifetime as a photographer.
Many of his work and Moon over Hernandez is one of them, show what he was capable of in the optical darkroom. The video also shows that he will spend days, many times months perfecting the photograph.
Something that to me in particular always got me fascinated was his mastering of the bright areas of the print. Today I can duplicate that pretty well with software but when I used film and medium format cameras it took me a long time to duplicate those bright areas like he did and not to his perfection.
Digital has made for us monochrome lovers images easier to work with than those we used to work with in the optical darkroom. The degree of manipulation we have today we could only dream of during those times.
If any of you monochrome lovers ever visit Yosemite you owe it to yourself to visit the Ansel Adams gallery there. I do not know if his daughter is still there but if she is it will give you an opportunity to talk to her about her father and his work, a great experience.
Ansel Adams used almost exclusively Kodak Tri-X and I am quite sure it was not ISO 400 at the time. He used Kodak HC-110 to develop the film from his large format camera and as we all know he perfected and used the Zone Zystem of exposure during his lifetime as a photographer.
Many of his work and Moon over Hernandez is one of them, show what he was capable of in the optical darkroom. The video also shows that he will spend days, many times months perfecting the photograph.
Something that to me in particular always got me fascinated was his mastering of the bright areas of the print. Today I can duplicate that pretty well with software but when I used film and medium format cameras it took me a long time to duplicate those bright areas like he did and not to his perfection.
Digital has made for us monochrome lovers images easier to work with than those we used to work with in the optical darkroom. The degree of manipulation we have today we could only dream of during those times.
If any of you monochrome lovers ever visit Yosemite you owe it to yourself to visit the Ansel Adams gallery there. I do not know if his daughter is still there but if she is it will give you an opportunity to talk to her about her father and his work, a great experience.
Jun 26, 2016 10:36:03 #
wj cody
Loc: springfield illinois
in order to produce the "bright" areas of the photograph, Mr. Adams would dry down the test print in a microwave oven, tear it in half and compare that area to the reverse side of the print paper. this was one of his little "tricks" in seeing what those areas of the print should compare with.
had to laugh when i saw him shove the test print into the wave and hit "start". never forget that moment.
had to laugh when i saw him shove the test print into the wave and hit "start". never forget that moment.
Jun 26, 2016 10:46:40 #
wj cody
Loc: springfield illinois
often he would rate it at asa 320, which is what a lot of large and medium format photographers did at that time.
also, it must be noted, that he would run test exposures from each batch of film to determine the characteristics and correct exposure base of each batch, and note each batch number in his notebooks. he would then match the shutter speed of each lens according to what he noted, as each large format lens has variance, even with the same shutters mounted in the same lenses by the same manufacturer and same focal length. he would also run tests of specific bellows draw in his camera. i know that one of his favorite 5x4 cameras was the zeiss ikon juwel 275/11. he used that all his life, in addition to other larger format cameras.
i doubt he would have thought of digital imaging devices as much more than trinkets, as it is impossible to even approach the monochrome results of large format negatives. and he would certainly not settle for anything "virtual" or less than what he produced using black and white negative material.
also, it must be noted, that he would run test exposures from each batch of film to determine the characteristics and correct exposure base of each batch, and note each batch number in his notebooks. he would then match the shutter speed of each lens according to what he noted, as each large format lens has variance, even with the same shutters mounted in the same lenses by the same manufacturer and same focal length. he would also run tests of specific bellows draw in his camera. i know that one of his favorite 5x4 cameras was the zeiss ikon juwel 275/11. he used that all his life, in addition to other larger format cameras.
i doubt he would have thought of digital imaging devices as much more than trinkets, as it is impossible to even approach the monochrome results of large format negatives. and he would certainly not settle for anything "virtual" or less than what he produced using black and white negative material.
Jun 27, 2016 09:25:41 #
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