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West Coast School; AA assistants : Rondal Partridge (who also assisted Dorothea Lange) made deliberately comical prints of both people and ordinary objects; Don Worth did careful plant studies which graduated into large intricately detailed Cibachrome color prints; Pirkle Jones famously photographed Black Panther activities; someone else photographed color compressed gas vapor explosions. So much for West Coast school stereotypes. Maybe Sexton was more in line with AA subject matter, as well as certain of the earlier figures. But if you do throw in those earlier f/64 types like Edward Weston and Imogene Cunningham, they rarely matched their own f/64 stereotype, and might well have had a number of their own "fuzzy wuzzy" pictorial masterpieces before they recanted. One of the things you do see in common is a dedication to quality printmaking. Wannabee beards and cowboy hats not mandatory, not even Zone System lingo. AA was just one among a number, though the most influential as a technique teacher. Maybe bent noses come from pressing up too close to the ground glass if a properly magnifier is not available. Dunno. I possess none of the above amenities, but do feel connected to the West Coast printmaking tradition.
Flickr Home Page: https://www.flickr.com/photos/alanklein2000/albums
I don't think that Mann was asserting that some photographic subjects or genres are inherently easier or less worthy than others. It's a short step from that assertion to dismissing some of history's greatest artists, and important works by artists whose work includes landscapes, as second-rate. Where would you like to start? Breugel, El Greco, Turner, Canaletto, Constable, van Gogh, Monet, Cézanne? I don't believe for a second that Mann was suggesting that.
My interpretation of her statement is that she believed that it would have been safe, psychologically and financially, for her to continue to make landscape photographs, but that she decided to leave that subject behind and take what was, for her, a risk. Presumably nobody is going to disagree that she took a risk, indeed quite a big risk.
If my interpretation is correct, the subject that you have raised in this thread is quite an interesting one: the role of risk/pushing personal boundaries in development as a photographer.
Arca-Swiss 8x10/4x5 | Mamiya 6x7 | Leica 35mm | Blackmagic Ultra HD Video
Sound Devices audio recorder, Schoeps & DPA mikes
Mac Studio/Eizo with Capture One, Final Cut, DaVinci Resolve, Logic
Wait, I thought her book Deep South is all about landscapes. Some quite impressive plates.
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