[none]

["B. D. Colen" <bdcolen@earthlink.net>]

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Forgive me - But I followed the URL Hans provided and, in addition to
finding stunning photos, found the following information - I've underlined a
couple of things...:
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There is something about Jim Marshall's work that invites praise and prompts
questions about his technique. What sort of equipment does he rely on? What
film? What lens? And most commonly, what does he do to get such razor-sharp
pictures? At one time, word came back to Marshall that a young man was
making the rounds of the camera shops in San Francisco, looking for a
special developer called "Sharpinol." When the camera guys asked him where
he'd heard of this (non-existant) product, he gravely explained that Jim
Marshall had recommended it. The young photographer never realized it had
been a joke; that there is no magic balm to apply at the end of the process.
Good pictures are the sum of their good parts; plenty of practice, good
tools, and the gift of sight.
Practice. Perhaps the most important aspect of Marshall the photographer is
his sheer willingness to be a photographer. Marshall never goes anywhere
without a camera over his shoulder. If practice makes perfect, then practice
alone could explain much of his skill. When he walks down the street to go
to dinner, he has a camera. In the car, he has a camera. While running
errands, in bars, in client's offices, he has a camera. He wears them like
other people wear shoes, and not just as a prop - if there's available
light, he grabs at least three or four frames of whoever he's with.

Tools. Making this attitude easier is Marshall's choice of equipment-
available light, and a simple Leica M-4 rangefinder. This small, silent,
compact package with no light meter, no mirrors, no batteries, no auto
anything and no wysiwyg view through the lens is Marshall's only tool. When
asked why he prefers Leicas over all other cameras, he becomes
uncharacteristicly tongue-tied. "They just feel right. They're an extension
of me, like an old sweater."

Years of shooting have simplified Marshall's routine. While running errands,
he carries an M-4 with a 35mm lens. On the job, he always brings two M-4's,
one with a 28mm lens and one with a 50mm. In addition to these two, he'll
carry two or three others that vary depending on the job. He's been seen
with five cameras around his neck at one time. This is made possible, of
course, by the small size of the cameras, but made necessary by the way he
handles lenses. Once a lens is perfectly matched to a camera body, he never
takes it off. He feels this gives a slight edge to the focus and helps
produce a consistant result.
Marshall shoots mainly black and white, almost always Kodak Tri-X pushed to
800 ASA. And while he achieves outstanding results with it, he still
complains bitterly about the films and papers available today. "The
manufacturers claim today's films are as good as the old ones, but it just
isn't true. They're not as good. They're not as sharp as they used to be."
The Sight. Practice requires determination and good tools can be bought, but
the photographer's gift is born. The gift that Marshall has - that any good
photographer has - is sight. This is the ability to zero in on a rectangular
piece of life and divorce it from its surroundings; to evaluate the light
and composition of it, independently of the emotion that promped the need to
take the picture. A feel for people is required, for emotion and movement,
but ultimately, choosing the moment makes the shot. Jim won't use auto-focus
cameras for this reason; he feels that there is a split-second of hesitation
in them, while the optics adjust, that misses that moment by a
hairs'-breadth. "I don't know if that's true" Jim says, " but I feel like
it's true, and that's what counts. You can't shoot without complete
confidence in your equipment."
Usually, Marshall arrives at a shoot without an assistant. He brings a light
only under duress, then one light with a diffusion umbrella seems to
suffice. A few years ago, Marshall showed up at author Alice Walker's home
for an assignment. He had been hired to do some shots for an ad in the New
York Times. The art director took one look at him and panicked. "Where are
your lights?! Where's your assistant? Your stylist? Your set? WHERE is your
equipment!? " Instead, Marshall and Walker sat on the back porch, talking.
Jim took pictures. Alice liked them so much, she asked to use one on her
next book jacket.
On the subject of his style, Marshall says, "I really hope that when people
look at my work they say, " That's a nice photograph of Alice Walker," not
"That's a nice Jim Marshall."


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