How to make photos like Vivien did?

The midtones could stem from her choice of neg developer and of course from the scan operator. The quality of light is another aspect, the light from the 1950' is not the same light we have now. Different composition of pollution in the air changes the quality of light. If she pulled the film she would get a wider range of midtones (a bit flatter negs), the old asa/iso numbers were about a stop lower than they are now. Tri-X 250 instead of 400 Asa. Another aspect is of course nostalgia. The composition would be Maier's. She also seems to have used a lens hood.

To shoot like Maier would require you to be Maier so go to a vodoo shop and let yourself get posessed by Maier's ghost.:D
 
Thick layer vs thin layer emulsion makes a difference. The old thick layer emulsion had/have a different look than modern (adox late 1950's) style emulsions. As Sevo said the silver content is a marketing hype nothing more. Unfortunately the last of the thick layer emulsions Fortepan is no more :-(
 
I know the OP wasnt asking how to take pics live vivian but more the technical aspects.

Most of her photos have been professionally developed and edited by experts at the craft.

As for her photos, I feel like the world is a much different place then it was back then. People in general are different, were not as expressive, and more on guard. I think it will harder to take comparable pictures even if you're on the street every day.
 
DominikDUK said:
The midtones could stem from her choice of neg developer and of course from the scan operator.
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koven said:
Most of her photos have been professionally developed and edited by experts at the craft.
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From the several documentaries I have seen about Vivian, it seems had most of here negs developed by a local lab/photo shop with no specific instructions regarding contrast control, from which it is reasonable to deduct that she wasn't really concerned about it.

There was one interview with the store owner who remembered her where she took her film for over 30 years!!

Cartier Bresson is infamous for how badly he exposed his negatives.

Film is a very flexible medium and capable of stunning results, regardless.
 
The thin vs thick layer emulsion still applies if she used good old verichrome pan which was a thick layer emulsion. Come to think about it before Adox 14 all films were thick layer emulsions. If she used the same emulsion for over 30 years you can be sure that she knew the stuff in and out.
 
Brian Legge said:
Not holding my work up to hers from a composition standpoint but here are a few with a Rollei in New York this year. I only shot a few rolls with the camera while there so this represents perhaps 1/4th of the frames - very lose editing. I'd also spend a lot more time scanning and processing if I were going to print them or put them in a book.

Now - not comparing the quality of the work based on subject or composition - I'm really curious how you would describe the difference between these photos and the 'intense film look' of her work.

Don't worry about my feelings or being harsh about what you see here - I'm putting these up as a straw man for discussion.
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I like the older lady and the flowers along with the top of the building with graffiti.

I know this may sound shallow, as Vivian's pictures are obviously excellent, but what appealed to me the most is the antique-ness ( not a word but I tried ). Which is not something we can shoot since that era has passed. Much the same as enjoying a original classic b&w movie over a modern color remake set in todays era.
 
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