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Unanimously Negative: Americains (1958).10 On the appearance of the Ameri can edition in the following year, critics were almos unanimously negative: it seemed to them that Frank ha< deliberately chosen the sordid, the neglected, and th forlorn to represent this country. But to a younger gen eration the pictures spoke strongly. Lee Friedlander' photographs of city scenes and civic monuments am Garry Winogrand's seemingly haphazard street scene and flash photographs of public functions demonstrat a use of the Camera in which the image seems boundless not contained within the rectangle of the frame, bu stretching beyond it.
5. Never be too proud to reshoot a poor negative. Did you make an error in exposure? Did your tripod slip and cause a fuzzy negative? Or did you make one of the other dozens of errors which can almost but not quite ruin a negative? If so, do not try to cover up by struggling with the negative by means of darkroom trickery, but instead shoot the picture over again if that is at all possible. To reshoot is to confess a measure of failure to "your client, of course, but you can make up for that by going all-out for a masterpiece on your second try.
To take these small portraits, Disderi first made a wet-plate negative with a special Camera that had four lenses and a plateholder that could be slid from side to side. Four exposures were made on each half of the plate; thus eight poses could be taken on one negative. A single print from this negative could then be cut up into eight separate portraits. Unskilled labor was used for this work; the production of the cameraman and printer was thus increased eightfold. |
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