Yousuf Karsh portraits...comments on his techniques...

[Nick Kanellos]

I have been told, though I cannot confirm whether it is true or not, by a local Ottawa area pro photographer (Karsh was based in Ottawa) that the sheen on the subject's skin that is typical of Karsh is obtained by using --- hmmmm!! ---- Johnson's baby oil.

[Andrew MacDonald]

One key element that is missing so far in how Karsh creates such remarkable quality in his images is that he often used toners in the print development process.

Selenium toners as well as "homemade" toners that he used can dramatically affect the overall print. Also don't forget that he was usually shooting with an 8X10 view camera which to this day will surpass anything on the market. In the case of photography "bigger is better".

An alternative to an 8X10 camera, that I have used many times to replicate the feel of this type of portraite is to use a little known Kodak product called Technical Pan 120.

Tech Pan is a difficult film to shoot and to process but the quality of the grain structure and skin tones that it produces are spectacular. Give it a try!

[Jorge Gasteazoro]

Dave all I want to know is: How the heck did you load the photographs, I would like to know so that if I have a problem I can show people on the forum.... BTW, I like the portraits, wasn't Karsh the one who made that famous Churchill portrait, where he took the cigar out of his mouth and got that wonderful expression? Take care.

[Denis Dupuis]

This may be the wrong forum to ask this question. Would anyone know what the value of an original signed photo of a common person be worth. At any rate this is a digital copy of the 15x19 inch signed photo of my dad at fords. The picture of my dad was taken in a seperate room with lights on his face and vest it was then superimposed(sp) on the other negative of the foundery. hope this works it really doesn't do the original justice and by the way it is not for sale currently..... http://familytreemaker.genealogy.com/users/d/u/p/Denis-Dupuis-ontario/ PHOTO/0001photo.html

[gary curtis miller of Baltimore Maryland]

An aspect that has been missed here is the color temperature of the lights. When photographing the human skin, you have a surface rich in the yellow-red spectrum, both orthochromatic and panchromatic black and white films get a slightly higher, (greater) exposure than is presented by the meter. 'Hot' lights, a.k.a. theatrical lights are quartz ampules with tungsten filaments. They burn at 3200 degrees Kelvin and grow warmer (to the 3000 to 2800 degree Kelvin) range.

You also have the ability to use barndoors and most importantly, to use a 'leeko light'. This is a varaible-focus spotlight, (Fresnel and double convex condensers).

This enables one to acheive the high reflectivity seen on the skin.

Bogen monolights have a focusable spot strobe, 'gel-ing' the strobe will give greater effect than filtering the lens, (Roscoe gel).

Agfapan processed with Rodinal will give damn-near the quality of tec- pan and is a LOT easier to use. Print on FIBER BASE PAPER, Agfa (or for a colder-tone, Orental Seagull.

[Paul Currier]

Photographers don't use large format cameras just to get fine grain extra detail, bellows corrections or ease of retouching. . Images taken with longer lenses on a large format provide an image quality that is not limited to fine grain or superb detail. I have a near grain free ultra sharp print taken by a friend on 120 with a 15omm lens next to a print of similar grain and detail shot on 4x5 with a 210mm (short for portrature) lens and there is just something special about the feeling of the print shot on

[Noel D. Kendall]

I find this a very interesting and important line of discussion. What is so wonderful is that once we move beyond the objective (formats, lenses, lights, film etc. ad nauseum) we get to the heart of the matter... for some of us, photography is communication, and technique is language. Eloquence demands mastery of language. Thus the role of technique is to support communication of a message. We are all so used to glitzy, fresh, startling eye candy coming at us from everywhere that we can often do not see past the medium to get the message (if there is any - most of our image input today is to motivate us to purchase something).

So let's think again about Karsh. Like Adams, or Weston, his technique is superlative. The message? Are we so bored with his language that we fail to be receptive to his message? What is the point of his portraiture? Did he succeed?

I think so. Now then, let's stand on his shoulders and find our own true paths. Take from his technique, or abandon as we must. My thanks to all of you for contributing to this thought-provoking discussion.

[Monte Reddick]

Here is another "off the subject" question. I have what appears to be an original, signed Karsh photograph of Pope John XXXIII. It is on a very heavy matte-finish stock, and it looks as though the image was printed directly onto the stock (not glued on). There is a hand- stamped copyright notice - credit advice line "Karsh - Ottawa", and a hand written "No. 7" on the reverse side. It doesn't look like this photo was produced on a printing press, yet the stock seems much too thick to go through the normal wet development process. Does anyone have any idea how this might have been produced? Mahalo, Monte

[Simon Stacpoole, Suffolk, UK]

Just a quick note to publish my thanks to those of you who have contributed points to this website. I am doing a project on John Hedgecoe at the moment, and the comparisons that I have been able to draw from this information have proved very helpful. Thank you once again!

[J. Smith]

I have come across some original Karsh portraits - I want to try to reasearch them and their value a bit more.

Can anyone post helpful links/tips for info on Karsh photographs and/or their roughly estimated monetary worth?

Any help is greatly appreaciated, thank-you.