Originally Posted by
Drew Wiley
Get to first base first: a versatile neg with information all the way from what you regard as relevant shadows through the highlights. Keep is simple. After you've
learned to print well with one film and paper, you can start thinking about getting to second base, and how to differentially control midtone expansion using different development strategies or even more cooperative film choices. Karsh wasn't a one-trick pony, or he'd have gone out of business. Different subjects require a different approach. I wouldn't be surprised if he used Ortho film for some of his warty old men "character" portraits, something that certainly wouldn't be appropriate for some Hollywood gal all slathered with makeup in the first place to disguise the zits and lines. But most of Karsh's prints of famous men that I've seen really skated on midtone expansion rather than highlights. He likes deep shadows, but more for their drama or chiaroscuro effect. Shadows are easy enough to print down, so no telling what Karsh's original negs were like unless you've actually seen em. Many films have changed anyway.
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