cliche in landscape photography

[Dean Lastoria]

I am reminded of a previous poster's coment on "epic". Thoes shots are epic. Epic comes not from WD Griffith's long movies, but from the old poems -- often the same poem. My favorite epic is Orlado Furioso. Wich is the same story that was told by Tasso, Ariosto, some other Italian, Spencer, and arguably Virgina Woolfe. All the SAME story, just different rhyme. That's epic, that arch is epic and Half Dome is too. It is a subject worthy of the artist's best. As Milton would say "Sing hevenly muse". I wonder how many manuscripts of Roland moldered, and how many negitives of half dome got missfiled. But the same song comes down through the ages everytime someone goes by with a sheet of film. Dean

Dean

[fw]

Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it, it is a gate, if not a door. Shut your eyes and see.

[Ellis Vener]

Ogoditsfinnagain Finnegan and again and again from under the earth... and across the wide berth.Don't mollycuddle him...

A screaming comes across the sky.You have heard it before...

[John Smith]

to the previous two posters: Is this Thomas P. that I'm reading? Gavity's Rainbow? I've heard this is a good book, a vast lament over the insanity of modern society. Not that it has anything to do with LF photography ... or maybe it does.

H

[Mark Wiens]

Ansel said that the negative was the score and the print was the performance. He meant that the negative was static like the score to, for instance, a song. The original artists could come in and perform that score many different ways. (dodging, burning, boosting contrast, different papers, developers, toning, etc.) Someone else could take that negative and scan it, digitize it, work it in Photoshop, or whatever. This is what Ansel meant....this is what he also wanted people to do. He wanted future photographers to reinterpret his work. They made a video on him and at the end it couldn't be explained any better!

[Nigel Sutton]

There is still one picture of XXXX (fill in cliched location of your choice) that I havn't seen --> There one that I took!!!!