kdemas
Enjoy Life.
MikeL
Go Fish
Sounds good, Mike, but please leave the Thunderbird at home. You know what happened to the portrait on the last meet...
It's all good yall, I been riding on the Night Train lately anyways. I just bring Thunderbird for special occasions. Mighty fine!
FrozenInTime
Well-known
If Mike can do 4x5 ... I'm going bring my 8x11 camera
Minox 8x11mm
Minox 8x11mm
kdemas
Enjoy Life.
Glass plates anyone???
Reese
Noob
Alrighty... I'm going to try to make it, but no promises just yet.
kdemas
Enjoy Life.
NaChase
Well-known
This sounds awesome. I would love to attend. My M3 is sad with only SLRs for company, he needs to meet some fellow travelers.
Warren T.
Well-known
Kent, thanks for organizing. I'll try to make it to the exhibit with the group. If for no other reason than to see Mike's "Dance of the 8 Veils"
BTMarcais
Well-known
I should be able to make it...although if I bring the family again I might have to duck out before mikes dance. Not sure I could afford the years of therapy my son might need after that one...
hmmm... maybe I'll bring the minox again. I might have 36 crappy photos...but they'll be so small no one will be able to tell!
-Brian
hmmm... maybe I'll bring the minox again. I might have 36 crappy photos...but they'll be so small no one will be able to tell!
-Brian
coelacanth
Ride, dive, shoot.
Just FYI, I have an SF MOMA membership so I can let someone in for free.
Jamie Pillers
Skeptic
Bob,
I keep shoveling these things out the door, but more keep flooding through the mail slot!! :-(
Jamie
PS: OF COURSE I have cameras left! I couldn't get to sleep at night if I didn't know that there was gear waiting for me in the morning!!
I keep shoveling these things out the door, but more keep flooding through the mail slot!! :-(
Jamie
PS: OF COURSE I have cameras left! I couldn't get to sleep at night if I didn't know that there was gear waiting for me in the morning!!
mgilbuena
San Francisco Bay Area
This sounds great. I will try to come along.
Have there been many other SF Bay meetups?
Have there been many other SF Bay meetups?
RayPA
Ignore It (It'll go away)
I'm planning on making this one too.
I also have a SFMOMA membership and can get someone in.
/
I also have a SFMOMA membership and can get someone in.
/
kdemas
Enjoy Life.
Absolutely, we get together every couple months usually. Hope you can make it!
ornate_wrasse
Moderator
If you don't mind having an Oregonian join you, I can probably make it. I'm flying down to SF for the weekend just so I can see this exhibit. Looking forward to meeting everyone.
Ellen
Ellen
kdemas
Enjoy Life.
Ellen,
We'd love to have a neighbor from the North join us. I look forward to meeting you!
Kent
We'd love to have a neighbor from the North join us. I look forward to meeting you!
Kent
MikeL
Go Fish
Given that you are flying in Ellen, one of us SFMOMA members will take care of your admission. And the first round of fizzy beverages.
coelacanth
Ride, dive, shoot.
thompsonks
Well-known
A first glance on opening day
A first glance on opening day
Without meaning to, I dropped in on the HCB 'Modern Century' show on Saturday, the opening day. We were in the neighborhood about ½ hour after opening time and drove by just to see how long the line was – and found there wasn’t any!
E v e r y t h i n g is there, his life’s work, including vintage prints he made himself before 1935 (when he stopped doing his own printing). It’s organized around NY MOMA curator Peter Galassi’s thesis that those who value only HCB’s early ‘surrealist’ work are missing half of what he achieved. Galassi rejects the art-versus-photojournalism dichotomy/hierarchy and treats the later work as a superb achievement in its own important artform. His point is that if you view the arts democratically, then the picture magazines were one of the great popular-art accomplishments of mid-cantury. Magnum was the focal point and HCB was its epitome.
The show is overwhelming, and will take me several visits to assimilate. Fortunately you can take it home with you: the catalog is beautifully reproduced and, I believe, inclusive. It’s $47.50 from Amazon in hardback, and the SFMOMA bookstore also had paperback copies.
On a first quick run through the show, what stood out were the images that hadn't to my knowledge been published before, such as the one on the cover of the catalog. You gotta see 'em!
The other facet that excited me was the prints themeselves. The images were all familiar (I’d spent a lot of time with the catalog beforehand), so it was the direct experience of the prints that excited me as much as the new images. Other than the vintage prints, the majority are by Picto, from the 60s and 70s. I’d heard the prints were ‘too flat’ compared to earlier collections/exhibitions. But no, they’re not ‘flat,’ in the sense of lacking overall contrast. Instead, they have suppressed highlights. Partly this may be an accommodation for HCB’s incconsistent approach to exposure; but it’s also a lesson about what one might expect in a ‘good’ print. Picto must have had an apprentice printer with no job besides flashing whole boxes of paper, so as to produce the toned-down highlights you'd now get through split-filter printing. No highlight ever rises above Zone VII; no white paper shows in the whole exhibit, even in the extreme case, the portrait of Ezra Pound. As a result you can always see highlight detail. In the Pound portrait there’s a bit of blown highlight in his lap (also in St-Tropez 1959); but the printer managed to reveal detail even in the poet’s frizzy white hair. That detail was missing in the prints I’d seen before. And even Matisse’s pigeons aren’t paper-white (though you can’t see feathery detail).
(In the picture of folks in line, I tried to imitate this style of highlight supression – though the image and processing are miles short of the real thing.)
I’m still hoping to attend the November 14 meet-up, if I can cancel another commitment.
Kirk
A first glance on opening day
Without meaning to, I dropped in on the HCB 'Modern Century' show on Saturday, the opening day. We were in the neighborhood about ½ hour after opening time and drove by just to see how long the line was – and found there wasn’t any!
E v e r y t h i n g is there, his life’s work, including vintage prints he made himself before 1935 (when he stopped doing his own printing). It’s organized around NY MOMA curator Peter Galassi’s thesis that those who value only HCB’s early ‘surrealist’ work are missing half of what he achieved. Galassi rejects the art-versus-photojournalism dichotomy/hierarchy and treats the later work as a superb achievement in its own important artform. His point is that if you view the arts democratically, then the picture magazines were one of the great popular-art accomplishments of mid-cantury. Magnum was the focal point and HCB was its epitome.
The show is overwhelming, and will take me several visits to assimilate. Fortunately you can take it home with you: the catalog is beautifully reproduced and, I believe, inclusive. It’s $47.50 from Amazon in hardback, and the SFMOMA bookstore also had paperback copies.
On a first quick run through the show, what stood out were the images that hadn't to my knowledge been published before, such as the one on the cover of the catalog. You gotta see 'em!
The other facet that excited me was the prints themeselves. The images were all familiar (I’d spent a lot of time with the catalog beforehand), so it was the direct experience of the prints that excited me as much as the new images. Other than the vintage prints, the majority are by Picto, from the 60s and 70s. I’d heard the prints were ‘too flat’ compared to earlier collections/exhibitions. But no, they’re not ‘flat,’ in the sense of lacking overall contrast. Instead, they have suppressed highlights. Partly this may be an accommodation for HCB’s incconsistent approach to exposure; but it’s also a lesson about what one might expect in a ‘good’ print. Picto must have had an apprentice printer with no job besides flashing whole boxes of paper, so as to produce the toned-down highlights you'd now get through split-filter printing. No highlight ever rises above Zone VII; no white paper shows in the whole exhibit, even in the extreme case, the portrait of Ezra Pound. As a result you can always see highlight detail. In the Pound portrait there’s a bit of blown highlight in his lap (also in St-Tropez 1959); but the printer managed to reveal detail even in the poet’s frizzy white hair. That detail was missing in the prints I’d seen before. And even Matisse’s pigeons aren’t paper-white (though you can’t see feathery detail).
(In the picture of folks in line, I tried to imitate this style of highlight supression – though the image and processing are miles short of the real thing.)
I’m still hoping to attend the November 14 meet-up, if I can cancel another commitment.
Kirk
Last edited:
thompsonks
Well-known
Whoops,
Whoops,
the file didn't post. I'll try again.
Kirk
Whoops,
the file didn't post. I'll try again.
Kirk