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It is impossible to maximize the importance of
Group f/64
, and equally improper to overlook the
significance of earlier artists and those who "see"
differently. One need only explore the haunting
images in Alfred Stieglitz' turn-of-the-century
Camera Work to
realize that photography is more than just sharp
images. The standards of excellence for fine
photographic prints are independent of era or
negative size. The Aperture Masters of
Photography
Series,
with prints spanning the history of photography and
rarely larger than 6x7 inches, certainly makes the
point.
Fortunately, for photographers, the human eye is
not perfect and can be easily fooled. What appears
sharp, really isn't; what appears black, rarely is;
the white at which you are looking is actually a
mixture of red, green, and blue dots ; and what
appears smooth, never is. We really live in a world
of illusion, upon which photography relies.
Ansel Adams expressed my
favorite photographic admonition...
"
...
there is nothing more disturbing than a
sharp image of a fuzzy
concept."
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Brett Weston was once quoted as saying "I am a
primitive, Ansel is a scientist." Ansel Adams was
indeed gifted, as a photographer, musician,
performer, choreographer/playwright AND teacher, traditional
monochrome photography having been definitively
discussed in his Photo Series books. His musical
training led him to characterize the negative as a
SCORE, and the print as a
PERFORMANCE, a metaphor I
find most useful. While his Zone System provides a sound basis
for a personalized system and a terminology for
clear and precise discussion, I find his focus on
image
management most significant.
While neither a "primitive" nor a "scientist", I
owe a lot to Mr. Adams.
As there is nothing sacred about 8x10 inch glass
plates, so even the 8x11mm Minox negative can be
accepted and cherished as a SCORE from which a magnificent
PERFORMANCE can arise. The
limitations imposed by each reduction in negative
size simply restrict the SIZE of the final print, NOT the quality. It is the vision
and skill of the photographer which brings life to
the final presentation. A two-volume series, now
out of print, called DARKROOM and
DARKROOM2 is like having private
lessons from twenty-three of the best darkroom
practitioners. Invaluable!
Beginning with a 1920s Ansco Memo 35mm camera, I currently
use a 1952 Rolleiflex, and a 1954 Minox. They have
wonderful personalities and the simplicity of the
equipment seems to focus the vision (remember the
Diana?). Perhaps it is just that we are of the same
era. But, I WOULD
like a digital insert for the Rollei!
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