Learned more about Ansel Adams in the last week  than I knew before.

Though I did learn about him doing color previously  on this list sometime 
in the past. And, since I mainly do color, I looked around  and found a book 
of his color photos and have had it for quite a  while.

Been very interesting. This kind of stuff is why I hang around  here now 
and then. Often the cranky stuff is really hard to get past, but there  are 
nuggets among the mud, like this, that sometimes make it worth  while.

Marnie aka Doe :-)

In a message dated 4/18/2013 6:13:56  A.M. Pacific Daylight Time, 
[email protected] writes:
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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Peter Galassi

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