Thanks, Ellis.
But my former clients would have butchered them. Bigtime!
Did I ever tell about the time my boss shot a mahogany piano bench? Knowing what the lithographer would do to it, he beefed-up the highlight along the edge of the bench with a heavy stripe of white china-marker grease pencil.
Then there was the time the printer, needing a b&w shot of a fried egg, "recycled" an ad for sliced bologna by having the in-house airbrush artist add a "yoke" to it.
John,
Don't forget about putting Arid Xtra Dry deoderant on car tires to get a "highlight" on the flat rubber!
Randy
Randy, you are absolutely correct. I had forgotten about doing that. Or the aerosol shaving cream substituted for the head on a stein of beer. (This is getting embarrassing.)
Do I sense a fellow traveller from those days?
Andrew and Jorge, I just remembered seeing an interview with Gordon Willis, who was the cinematographer for The Godfather. The interviewer asked him about his decision to make the movie so dark. Willis said it was deliberate, but looking back at the movie 30 years later he couldn't believe that he'd shot it THAT dark ... or that anyone had let him get away with it at the time.
Seems like perspectives change ... and an artist's ideas about what looks right can change dramatically over the years.
and an artist's ideas about what looks right can change dramatically over the years.
This is one reason, and I guess the most relevant one. But IMO at least in my generation I think it was the Adams/Weston curse where one is trying to emulate them and confuses a high contrast print with a dramatic print.
I have seen a great number of Ansel dogs, the Hasselblad pics were particularly nasty and I always had a sneaking suspicion that he printed from too thin a neg too often as the haze or veil is apparent in a number of his better known pics. Eddys prints though tend to look flat but kinda sneak up on you, difficult to describe but if you have seen a few you,ll know what I mean.
CP Goerz
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