Sent that to Mrs. Tango, who has graphic artists and a photographer in her employ.
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Get off my LAWN! "Grumpy Old Farts"
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Nice that the fine art is still alive. Some expensive accoutrements but it must make the results even more satisfying.
I got a 0 which surprised me since I normally confuse green and blue. I think that the trick is to first arrange adjacent hues, then look from a overall perspective and see if it flows right. The test tells me that I can distinguish hues, I just mix up what they are called. What you call greenish, I would call blueish.
Of course, the calibration of the computer screen factors in. Apple meets the mark.
If you had Aspen Pittman's book, and the two by Gerald Weber, you'd have much for confidence.
Yeah, back in the century, that's how it was done, certainly for black & white.
Ansel Adams and David Gardner made the reproduction of b&w prints a fine art, in itself, for Ansel's books.
Read this great tribute to David by John Sexton (a little more than halfway down the page).
John Sexton.com - Newsletter - September, 2016
I had seen John a few times in the mid to late '80s, then, a friend and I went to the last of the Owens Vally Workshops (April 1990, in Yosemite) that John mentions in this tribute.
You've all seen these before (I think), some photographs I made during that week at the OVW. The first evening was spent in Ansel's house behind the Ansel Adams Gallery/Best Studio.
View attachment 3985056
Mirror Lake, Yosemite Valley - Copyright © 1990 Jeffrey P. Scott All rights reserved.
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Tenaya Creek, Yosemite Valley - Copyright © 1990 Jeffrey P. Scott All rights reserved.
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Yosemite Valley from Granite Shelf, Yosemite Nat'l Park- Copyright © 1990 Jeffrey P. Scott All rights reserved.
It's both art and science, really.
Constantly. There are a whole slew of variables that go into making a fine print. Fortunately, for me, I had multicontrast papers to use (Ilford Multigrade iV). Before the advent of MG papers there was greater difficulty in making good looking prints with the far more limiting graded papers. I was able to do split contrast printing, printing different grades within the same print, burning in at higher, or lower, contrasts as needed for specific areas of the image; I did all kinds of things to try and make all my clients look likethey knew what they were doingAnsel Adams.
Prior to MG papers, varying all of those things were required to find the best compromise/solution for any particular negative. MG papers made a lot of that unnecessary but they were still available tools, if desired.
Just like in the "Old West"!
One can get lost for quite some time in those images. There’s always something different to see. I always liked photoessay magazines.
I have a habit of collecting rocks from the wilderness. A way of bringing me back to that place I suppose. Kind of like taking a photo.
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That is an incredible mass of gear Ansel packed in and out of the wilderness to capture those moments.
Schleppers, now called interns, probably helped.
A buddy of mine has a brownface Vibrolux with a 12" baffle in it. It's loaded with an Alnico Weber (don't know which model), and it sounds amazing.
Passinwind
I know nothing.
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I blueprinted my 2x10 F30 next to a friend's cherry '67 VR, he had a pair of the Weber DT (Derek Trucks) speakers in his. I had OEM V series Celestions from some newer Fender, don't remember which one by now. Not quite perfect for my clean preferences, but the amp still does sound very good anyway. My new 100 watter has a 60W switch option and if I use it for guitar that will probably get the call.
Arrgggggh!!!!If you had Aspen Pittman's book, and the two by Gerald Weber, you'd have much for confidence.
...Ansel Adams and David Gardner made the reproduction of b&w prints a fine art, in itself, for Ansel's books.
...You've all seen these before (I think), some photographs I made during that week at the OVW. The first evening was spent in Ansel's house behind the Ansel Adams Gallery/Best Studio.
View attachment 3985056
Mirror Lake, Yosemite Valley - Copyright © 1990 Jeffrey P. Scott All rights reserved.
...There are a whole slew of variables that go into making a fine print. Fortunately, for me, I had multicontrast papers to use (Ilford Multigrade iV). Before the advent of MG papers there was greater difficulty in making good looking prints with the far more limiting graded papers. I was able to do split contrast printing, printing different grades within the same print, burning in at higher, or lower, contrasts as needed for specific areas of the image; I did all kinds of things to try and make all my clients look likethey knew what they were doingAnsel Adams.
You guys have got to stop- so much nostalgia on this thread for me today.
The red Renault Dauphine in @beans-on-toast 's picture looks identical to the one we had after we emigrated to the UK.
The Dauphine was actually a step up- my dad's first ride on his return to England was a late-fifties Heinkel Kabine 200. It seems unfathomable now, but the three of us took vacations all over England in a 200cc, 10hp three-wheeler, with me on the parcel shelf under that big (???) bubble window.
Don't get me started on the Weber and Pittman books. My luthier buddy Tony Karol and I used the Marshall schematics in the 4th issue of Pittman's book to step Tony's Marshall clone (built on an old Traynor chassis and iron) from the first-gen 50 watt heads through to the later schematics, observing how little changes in the bias and coupling circuits gradually shifted the voicing and gain structure over the years. Fascinating.
Best of all, though, is all this talk about B&W printing. Lovely prints, Jeff!
Photography, and especially darkroom work, loomed large in my childhood.
My parents had already emigrated four times by the time I was ten, and I was along for the last three:
- Birmingham, Worcestershire, England to Hamilton, Ontario, Canada.
- Dundas, Ontario to San Francisco.
- Back to Birmingham.
- Back to Hamilton, Ontario.
Each time we moved, he would take a sales job of some sort while we got established. His first couple of paychecks would get him a used guitar, a camera and some darkroom equipment, and then he'd start building business contacts. Before long, the day job would be gone and he would be supporting us through his music and photography: running other people's music stores, teaching private lessons, gigging out, doing custom printing and photo restoration for local camera stores, plus shooting weddings, baby pictures and industrial photography on the side.
Some of my fondest memories of my dad revolve around photography, and especially darkroom work. All of this was before digital, and he got all sorts of interesting photo enhancement work, like reprinting and restoring historic photos, pulling more detail out of the murky, under-exposed negatives that the guys at Canada Inland Waters shot in the muck down by the steel mills in Hamilton Harbour, etc.
I didn't have his work ethic or his talent, but with him as my darkroom wizard, I was able to make a decent summer job out of photographing local businesses. Sadly, although I spent hours in the darkroom with him, I was mostly a passive observer. I learned the principles of bulk loading film, manipulating chemicals and exposures, etc., but never put in the time to develop my own skills as a printer.
- Oct 22, 2015
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If I look at it with the cataract-corrected lenses of 64 years, I myself began developing with my experience in the darkroom. Black and white is my medium — good old 35mm Tri-X 400. The most-all purpose film that ever was, IMO. Studied Ansel Adams and taped up my Pentax spot meter for zones and they even let me loose in the wild for a bit. It's the darkroom techs who showed me the True Way. 
And, you? How did you fair on the test?
These days, "real" photography is a rich person's hobby.
We have quite a nice collection of rocks and other paraphernalia (all nature related, honest!) that we collected over our travels around the SW. A large wedge of obsidian came from a hike around Panum Crater on a NYE weekend in the mid '80s. A bag full of abalone shells from walks along a beach south of L.A. (dead sea urchin, too).
IIRC, Ansel had a couple extra
A lot of apprentice training was done that way. I spent time in workshops watching and keeping out of the way. My job was to pass tools and clean up. It’s amazing how much you learn following a master.
I marvel at rocks. To think that they could be thousands, millions, or even billons of years old puts our lives in perspective. They will be there long after we are gone. I like the permanence of that which is old, everyday life is too full of change.
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This is precisely how I learned in the darkroom.
I haven't done it yet. Mrs. Tango got a zero in nothing flat. Surprised herself. She sent it off to her peeps, but hasn't said whether, or how well, they've done it yet.And, you? How did you fair on the test?
My dad's career was in photography for one of the 3-letter intel agencies. Yes, that one. He and the Kodak guys were back and forth between Rochester and Washington all the time, doing who knows what. He gave me all his b&w darkroom equipment when he retired and moved to Florida and got into color. I only had to buy some basic chemicals and accessories. He would coach me by phone and critique by mail or when I'd go down for the holidays. He kinda knew what he was about around cameras and such. Rarely shot anything personally, but his photos were way better than anything I ever did.
They're a lot more intelligent, too. Why do you think they keep their mouths shut and pretend to be sleeping all the time?
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I don't know, shale is kind of flaky.
Without them, there wouldn’t be any musicians dedicated to writing rock music.
I am color blind to several colors. There are times I get dressed to go out for the evening with my wife and she looks at me and says, “Are you going to wear that?” After that, she threatens to sew Garanimal tags in my clothes.
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