How did you take your printing "to the next level"?

[Bill Burk]

Ah, I thought you were talking about seeing the prints of the masters, and left out the part about talking with the masters.

[zoneVIII]

get a benchmark print, an original print by true master, take your print side by side, then you'll know where you stand now and what kind achievement in prints you chase

[Doremus Scudder]

I think Merg has it right when he emphasizes that a properly exposed and developed negative is indispensable to making a fine print. Exactly that is what catapulted my printing to a higher level years ago. I taught myself the Zone System using Adams "The Negative" and "The Print" as well as "The New Zone System Manual" by Minor White, Richard Zakia et al. I made Zone Rulers for all my films and development combinations and used them in the field for years. This helped immensely in visualizing what my meter told me. Simply having an adequately exposed negative to begin with really helped. The nuances of development and placement came later and gradually, but also steadily improved what I could get out of my negatives and onto the paper.

I'll also second knowing what a fine print looks like is crucial, with a caveat. Unless you are sensitive to the expressive potential of different shades of grey, and open to experiencing the illusion of luminance and brilliance that the relationships of these can evoke, then you will not even be able to recognize and appreciate what a fine print is. Here is where a sensitive guide can give one a better understanding of the use of tonality as expressive medium by simply pointing it out in reference to specifics.

For me, exploring the potentials of the printing process to the fullest with a negative or two, simply as an exercise, gave me a more comprehensive idea of what was possible and feasible with a print in terms of dodging and burning, contrast control, flashing, bleaching, toning, etc. After one acquires this, then identifying potentials in a negative (or the lack thereof) is much easier. Mastering the craft is the first step to "forgetting" it, and being able to use it as a means of expression.

Knowing what I am after (and what is possible) before the shutter is released is really critical for me. I don't mean just getting the subject brightness range recorded on the negative. Considering which tonalities go where expressively, how much separation I want where and coupling this with a thorough knowledge of what my materials can deliver. This knowledge comes with experience... if you are seeking it.

I find also that a willingness to be critical of not only your own prints but also the prints of others, even the "masters," in these regards is a healthy attitude. I have seen Adams prints that I would loved to have tried to print better, because I really thought I could have done a better job (for my taste, anyway). I don't find this to be hubris, rather an expression of my own vision and confidence (without which, I don't think one can really make a fine print). Conversely, I have seen prints by photographers I have never heard of before that humble me. When something in a print really smacks me over the head, I try my best to absorb it, figure it out, learn how it was done, add it to my toolbox so I can do that too.

For me, taking my printing to a higher level is an ongoing process.

Despite all the above, however, the most important aspects of a fine photograph lie not in the virtuosity of the print, but rather in the emotional content as transmitted by subject, treatment of the subject, composition, form, allusions, metaphors, and all the other myriad elements that make up artistic communication. Printing well is one of these elements too, but often in simply a clarifying way, enhancing and making more evident and approachable the other elements. For me, all the visualizing I do and all the printing choices I make are in the service of expressing something other than my printing skill. I am convinced that the most important aspect of photography is what you point your camera at.

I hope the above ramble adds something to the conversation here and doesn't come across as either too disjointed or too preachy.... I'll get off my soapbox now, it was fun processing my thoughts about this again here.

Best,

Doremus Scudder

[Kimberly Anderson]

Doremus, I love your post. I will read it again now.

[Mark Barendt]

For me, all the visualizing I do and all the printing choices I make are in the service of expressing something other than my printing skill. I am convinced that the most important aspect of photography is what you point your camera at.

I truly believe that too.

Interesting subjects, in interesting compositions, in interesting situations/light, evoking emotions, trump everything else.

Knowing what you want accomplish ahead of time makes really nice prints much easier.

[Emil Schildt]

Despite all the above, however, the most important aspects of a fine photograph lie not in the virtuosity of the print, but rather in the emotional content as transmitted by subject, treatment of the subject, composition, form, allusions, metaphors, and all the other myriad elements that make up artistic communication. Printing well is one of these elements too, but often in simply a clarifying way, enhancing and making more evident and approachable the other elements. For me, all the visualizing I do and all the printing choices I make are in the service of expressing something other than my printing skill. ...

yes!
thank you for this.

My "next level" was based on my mistakes. So in addition to all the true words about practice - practice - take classes with masters - look at master prints and so on, I'll put the word: curiosity. Willingness to "kill your darlings". Not to settle for "good enough"...

My bad printing technique made me make a lot of crappy prints - I could see that, but didn't know how to better my self (I have never been taught photography - totally self taught)..

But I am a curious person, so when I got these bad prints, I'd think to my self: what can I do to make this better?

And started to experiment. a lot...

I have seen "perfect" prints that leave me emty - and less than perfect ones that sing...

"the virtuosity of the print" might not be aiming to make the "perfect" print, with all the tones perfectly developed... It might also be to avoid them once in a while.. (?)

that said, I am in awe of my girlfriend.... She has this drive. To try and make the finest print she can - and patently print, and print and print. And now makes a fine printing, I can't do.....

But I might still be better in telling stories....

[Michael Graves]

Fred Picker's video on printing helped me a lot.

[tgtaylor]

I think Merg has it right when he emphasizes that a properly exposed and developed negative is indispensable to making a fine print.

At first thought having a "properly exposed and developed negative" seems self evident. But I wonder how true that really is. Consider, for example, Ansel Adam's Moonrise over Hernandez. Adam's himself complained how difficult the negative was to print and that in later years he even resorted to intensifying the foreground to make it easier to print. He also complained about the poor negative quality of Frozen Lake and Cliffs, Kaweah Gap and the difficulity of printing it. Yet both of those images are routinely included among his best.

Consider also Fred Picker's admonition that you "can't tell from the negative" and Brett Weston's complaint that the 6x6 negatives of his later period were "a bitch to print."

So how can you tell from looking at the negative? What do you look for?

Thomas

[Merg Ross]

Thank you, Doremus. As usual, a very thoughtful and articulate reply. I particularly like this:

............. Despite all the above, however, the most important aspects of a fine photograph lie not in the virtuosity of the print, but rather in the emotional content as transmitted by subject, treatment of the subject, composition, form, allusions, metaphors, and all the other myriad elements that make up artistic communication. Printing well is one of these elements too, but often in simply a clarifying way, enhancing and making more evident and approachable the other elements. For me, all the visualizing I do and all the printing choices I make are in the service of expressing something other than my printing skill. I am convinced that the most important aspect of photography is what you point your camera at.


Doremus Scudder

[Ari]

It took a few years before I figured out what I liked, and then having enough nerve to put it out there and say "This is what I do."

Shameless plagiarizing of my influences helped a lot in the first few years, too.