Re: Salgado in Sydney

["Garbutt, Robert" <RGarbutt@ncrpexec.telstra.com.au>]

Dear pgs@pa.dec.com,

Re: "What does amaze me is the tonal variation of his photographs and
how much information they convey with such very coarse grain."

That is what I was getting at.  Salgado's exposures are obviously
excellent and camera shake has been minimised and he has a Leitz lens
and focus/DOF is glorious and the development was spot on and . . . .
and the prints are like a lightning strike.

When I asked "Is this the Leica look, or is there a printing technique
behind this?" I was attempting to figure out just how he does this.  You
know, the secret ingredient -  but that's a fairly simplistic way of
looking at this isn't it?  Salgado seems to have all parts of the
creative and technical process in photographic harmony, so I suppose it
isn't just a matter of taking a Leica pill -  its feeling a rhythm,
understanding the chemistry *and* having the gear.

I just want to do that and I want to do it now (visualise toddler
throwing a tantrum).  Oh well, back to the darkroom and let there be
light.

Regards,
Rob.
 ----------
 >  From: pgs@pa.dec.com
 >  To: Garbutt, Robert
 >  Cc: leica-users@mejac.palo-alto.ca.us
 >  Subject: Re: Salgado in Sydney
 >  Date: Wednesday, 23 July 1997 3:28PM
 >
 >
 >  I think it comes from having your subjects freshly coated in crude
 >  oil.  I'm not kidding about that; I often look at my copy of
 >  "Workers," so I know just the photographs you're talking about.
What
 >  does amaze me is the tonal variation of his photographs and how much
 >  information they convey with such very coarse grain.  Very beautiful
 >  stuff.
 >