Question regarding Yousof Karsh

[eitanwaks]

Hi,
I'm currently taking a photography class that goes over the history of photography. In each lesson we learned about a different style of photography. In the first week of the course we were given a list of 35 photographers. We were supposed to look at their works and choose one in whose footsteps we are to walk for the duration of the course. As you can tell from the title, I chose Yousof Karsh.

I have already purchased two of his books from Amazon. I will be studying his photographs very closely. I have done an extensive Internet search however I have several questions unanswered.

These are mainly technical questions. Which camera did he use? Which lenses did he use? Which film did he use? If the film that he used is not available, what is my best alternative?

As of now I do not own a 4 x 5 system. I shoot predominantly with 35mm cameras. I'm seriously looking into a large-format system. Due to my handicap I'm not sure that I am able to fully operate one. Does anyone know about a 4 x 5 camera that has geared motions (for everything) and that is not very expensive?

Thank you very much for your help,
Eitan Waks

[David A. Goldfarb]

Karsh usually used an 8x10" camera--which one is not that important. I've read that he used a 14" Commercial Ektar for many of his portraits--a sharp lens rather than a soft-focus lens, slightly longer than the normal lens for the format, which would be 12".

He (or his assistants) developed film by inspection. There is a well known story about how Kodak produced a special run of desensitizing solution for Karsh after they had discontinued the product and Karsh had phoned them urgently about how it was indispensible for him, since he developed by inspection.

Second hand Sinar cameras have extensive geared movements (the Sinar P would have "geared everything") and are not too expensive these days.

[Chris Strobel]

Karsh used a Calumet C-1 in his later years

[Photomax]

To be honest I would pay less attention to matching his camera. You could land up chasing your tail and spending a lot of time and money. If you are moving to be "influenced" by Karsh's style I would pay much more attention to his technique, particularly his lighting. Karsh used bold multi directional lighting to great affect. Just having the same camera and lens will not make your images resemble this Master. Study his light and try some shoots with 35mm first...

Max

[Daniel Grenier]

Eitan;

The National Archives of Canada in Ottawa has a very large collection of Karsh's fine prints (as they have his entire professional output). Also in Ottawa, there are several examples of his work hanging (or at least there were till recently) at The Chateau Laurier Hotel, The National Arts Centre, The Archives main buiding, and Arts Court. Karsh lived in Ottawa for almost his entire career and had his prints done here by his own Lab technician/Printer.

The Archives has several publications about Karsh and you may want to check that out here:

http://search-recherche.collectionsc...ueryText=karsh

[Mark Sampson]

Karsh spoke at RIT about twenty years ago (one of the Reedy lectures). I was there and enjoyed it. Perhaps they recorded it and you can get a copy.

[Harold_4074]

Regarding physical handicaps: ome time ago I looked into the practicality of a view camera for someone who had suffered a stroke and had limited use of one hand. It turned out that the Cambo monorails could be switched around to put the knobs on the left side, and there is at least one model (the Master) with fully geared movements. Other considerations were: a filmholder bail that would latch "open" to take the tension off of the back when inserting holders; enough of a ledge to keep said filmholder from falling out before the bail could be released; something to grip on top for handling the camera in the field (not so important for the studio); and a tripod quick-release that could be operated with one hand. It ended up looking do-able, but I never got to find out the real answer.

My limited experience in Karsh-style portraiture suggests that in addition to the lighting style, processing, and format, a "roomy" studio is also necessary. Light bouncing from low ceilings and nearby walls---of any color but black!---creates more fill that is present in many of Karsh's photographs.

[jnantz]

My limited experience in Karsh-style portraiture suggests that in addition to the lighting style, processing, and format, a "roomy" studio is also necessary. Light bouncing from low ceilings and nearby walls---of any color but black!---creates more fill that is present in many of Karsh's photographs.

hi harold

i worked for a lady who worked from the late 30s until the mid 90s as a portrait
photographer. some her full 5x7 portraits ( formals ) earned her the reputation
" karsh of rhode island " because of her style and quality and folks that used to sit for her ...

she didn't have a large studio, it was pretty small ...
she used a background light, a hair light ( on a boom ) a key and fill.
early in her career she used big hot lights, but when i was there she
used photogenics ( the ones that looked like vacuum cleaners ) ...
and barn doors ... she was quite the photographic wizard -
lots of lead, and knife on the film ( and lead and knife on the print if needed )

what a great suggestion to look at karsh's prints ... !

good luck
john

[r.e.]

Karsh had his Ottawa studio, at least in later years, at the Chateau Laurier Hotel. The Chateau is one of those old-style grand hotels with high ceilings. I'm kind of interested now myself in what his studio space was like, and the Chateau is very convenient to where I work. If anyone is interested, I'd be happy to drop by and simply ask. I'm sure that I would not be the first person to ask where in the hotel he worked.

One can get a sense of what the Chateau is like by going to its web site.

As far as I know, Karsh also lived at the Chateau until his move to Boston in about 1997.

[Harold_4074]

jnanian: "she didn't have a large studio, it was pretty small ...
she used a background light, a hair light ( on a boom ) a key and fill."

I think that this may help put some perspective on the terms "large" and "small". By my standards, if you have room for a boom light, keylight and fill, you are in a large studio!

(I would SO like to have even an eight-foot ceiling.)