I seem to remember reading somewhere that he was given use of an early
Kodak digital device, (I'm not sure camera would be the proper word for
a prototype of a prototype).
On 4/18/2013 9:13 AM, Darren Addy wrote:
I don't think there is any question that if Ansel Adams were still
alive that he would have embraced digital. But I think he would have
been drawn to producing large inkjet negatives for contact printing on
traditional silver papers (what today is called "hybrid" photography).
The dodging and burning he used to do on the paper, would be done in
post-processing of the digital file to produce the best inkjet digital
negative. In today's resurgence of interest in film photography, and
even large format film photography, he would probably be a huge
workshop presenter - doing a lot of the traditional things he has
always done.
In the dedication of his Portfolio VII, written in May of 1976, he
said the following:
"I am both pleased and honored to have worked through more than half a
century in the world of photography, and to have observed its
ever-expanding potential as a medium of expression and communication.
The original Polaroid Land print in this portfolio represents for me a
voyage into the future. New aspects of seeing, new means of
communication, new qualities of image and new levels of subjective and
intellectual comprehension lie ahead. While I have always worked with
fairly conventional means and techniques, I anticipate new departures
which, if I cannot examine them in my lifetime, will assure the power
of future vision and accomplishment."
On Wed, Apr 17, 2013 at 8:31 PM, Joseph McAllister <[email protected]> wrote:
All transparencies. But anything that was printed was first exposed to a
pre-fogged sheet of color neg, or, using special color neg material from Kodak.
The pre-fogging worked better.
I was tasked with making prints from 35mm color Kodachrome and Ektachrome
slides that Weston's sons brought into the lab where I worked nights while
attending college, Jones Photocolor. I didn't do them all, but I was taught by
the owner how to use the enlarger to pre-fog a sheet of 5x7 neg material before
I placed the carrier with the slide in. Once those 5x7 sheets were processed
and checked, they were placed in either our 5x7 Elmer vertical enlarger for up
to 20x24 prints or our custom horizontal (on rails in a large room) enlarger
for the 40x60 prints for museums or shows.
In some cases, we exposed transparency film for airport backlit billboards for Wells
Fargo and a few airlines. 45" wide by 30' long film tacked up to the wall in
the dark using taped on plastic guides, one sheet at a time. That was all we could
process at a time on our Holtzmueller drum processor. It had to be accurate enough
and properly replenished so each roll matched exactly once they were hung. Someone
else did the trimming and edge reinforcements for display.
More fun!
On Apr 16, 2013, at 13:41 , John Sessoms wrote:
Perhaps even more so, as I'm pretty sure most of his color photography was made
with Kodachrome. Anyone know of work Adams did with color negative film?
I don't, but if there is, I'd appreciate a link.
Joseph McAllister
Too much gear, not much time
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