Greg, Camera Arts is no longer owned by Steve Simmons. He sold it to Tim Anderson, one of his former employees a year ago (? more or less). So the scheduling is completely independent of each other.
Greg, Camera Arts is no longer owned by Steve Simmons. He sold it to Tim Anderson, one of his former employees a year ago (? more or less). So the scheduling is completely independent of each other.
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
How about a feature on Evelyn Hofer? A very underrated photgrapher in my book. I think she's still alive, don't know if she's still active. She illustrated a number of books about European cities (London Dublin, Florence) in the 1960's that are simply outstanding.
Sal, you are correct .... a brain you know what . Of course I could ask him to do film/developer next. He'll be here tomorrow afternoon. I will start to run first and then ask!
Yeah, he did papers. 12 papers in 12 developers, two development times, toned and untoned. Controlled tests. Real pictures rather than step wedges because he has no step wedge prints hanging on his walls. Over 400 prints. It's fun to pick your own combinations, as many have done at two View Camera conferences and many other events.
Someone else can do films and developers. Bruce is tested out.
He thinks ten of the papers are still available - all except Agfa and Kodak.
And it was three parts, not two. Part three was on drydown.
All four parts (Four? Part four tested Azo and never got published - worth a read if you have any inkling of supporting the effort to bring its replacement to market) can be downloaded as pdfs for free from www.circleofthesunproductions.com.
Bruce believes parts I and II are still in the View Camera Subscriber Section, too. They're prettier there.
Bruce Barlow
author of "Finely Focused" and "Exercises in Photographic Composition"
www.brucewbarlow.com
I apreciate all of the comments and suggestions.
Here is the lneup for Jan/Feb 07
8 The Roy Stryker Collection at the Univ. of Louisville
by James C. Anderson
18 Field Camera Movements and the Landscape: A Practical Primer
by Doremus Scudder
32 Fernando Gonzales Casanueva: Four Photographs
by Maria Carolina Baulo
36 Large Format and the Figure
Text and Photographs by Ralph Lambrecht
42 Michael Gordon: Four Photographs
Text and Photographs by Michael Gordon
50 The Bright Future of Ultra-Large Format
by Ted Harris
52 Lightzone: An Intuitive Photo Manipulation Program
Text and Photographs by Fabio Riccardi and Uwe Steinmueller
58 Beyond the Zone System; Part 2
Text by Phil Davis and Photos by Bill Waldron
63 The Future of Large Format: Currently Available Sheet Films
by Ted Harris
We are working on your suggestions and ideas for future issues.
Happy Holidays.
steve simmons
Having always been a Moosehead photographer (go out in the woods, shoot a moose, hang it on the wall), I would personally appreciate articles showing layout of camera, lights, movements, etc, for various types of controlled photography. Obvious are architectural and still-life, but environmental portriature, food, etc, are certainly candidates.
Basically, more How rather than What articles. And, even at $4/sheet before processing, more color portfolios.
Steve, my favority photo mag is Photo Technigues. It has a good mix of Tech, traditional & digital. For your publication, the same as it applies to LF would be fine. Please, if you feature a Photographers work - no lionizing BS & psychobabble about him, his mentors or heroes. I'll judge the importance of the images to me.
Hello Steve,
Thanks for your dedication to large format photography your magazine often inspires me to get out with my cameras and shoot big negatives. How about a story on Howard Bond. He is one of the great photographers, printers and teachers of traditional large format BW photography and also a fasinating storyteller.
I would respectfully disagree, and suggest leaving such decisions about what is "important" to know about a photographer's work to the photographer. Some may feel their own histories, mentors, concerns, and inspirations are unimportant to understanding their work, but I think many would think such information could give a deeper insight towards their imagery and how it came to be.
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