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Looking at S5ii v S1rii focused on Low Light/High ISO & AFs only, photo only.

pdk42 said:
I think I was at Tek in about 1985 or 1986. Happy times!

So, photography is in your blood then?
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You could say that!

Ironically, my father never tried to teach me photography - even though there was a darkroom in my childhood home - but then I never showed any interest either. We did connect over it later in life after I picked up on it on my own, but only a few years before his death. I do regret not reaching out to him earlier. Fortunately, he was very generous with his prints over the years - I and my siblings have multiple prints of his on our walls. I learned - again very late - that he spent at least some time with Ansel, and corresponded with him via the U.S. Mail. Sadly, he could never find those letters.

I did inherit his Hasselblad 500c kit, and have experimented with it a bit. I keep meaning to take that further. It’s certainly an interesting experience, using one of those!

Here’s his website as it was when he passed:


Thanks for asking.
 
CharlesH said:
Thanks for sharing. This is really good work.
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You are welcome, and thank you! He definitely knew how to compose a great image, and his B&W skills are the result of several decades of work - both film and digital. This thread has made me browse his work again, and I need to remember to go back to it more often to learn from and be inspired by.
 
Pete_W said:
I am glad your shared the link George. I really enjoyed looking through your dad's work. It's a wonderful legacy to have.
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Thanks for that Pete.

Here’s one of his images I have on my wall (and one of my favorites): Strange Attractor.

This was shot on film, using the Hasselblad, I do believe. Note that the copyright date on the website is from the date he first scanned it, or put it on the web. The signature on my print says 1989. And the print on my wall was a print from a lab, not a scan. He used to talk about how he could get a response from that paper (and the negative, of course) that he could never get from digital. I *think* he was talking about the print more than the negative, but I never asked him about exactly what he meant by that. Of course, since then both sensors and digital printers have come a long way, but back in the day those were his thoughts.

The name is derived from chaos theory; he had a bit of an obsession with that theory back when it was making the rounds in popular media & books. He actually collaborated with a book author and provided several images to illustrate the idea of a strange attractor in nature (and this was one of them, IIRC).
 
GeorgeHudetz said:
Thanks for that Pete.

Here’s one of his images I have on my wall (and one of my favorites): Strange Attractor.

This was shot on film, using the Hasselblad, I do believe. Note that the copyright date on the website is from the date he first scanned it, or put it on the web. The signature on my print says 1989. And the print on my wall was a print from a lab, not a scan. He used to talk about how he could get a response from that paper (and the negative, of course) that he could never get from digital. I *think* he was talking about the print more than the negative, but I never asked him about exactly what he meant by that. Of course, since then both sensors and digital printers have come a long way, but back in the day those were his thoughts.

The name is derived from chaos theory; he had a bit of an obsession with that theory back when it was making the rounds in popular media & books. He actually collaborated with a book author and provided several images to illustrate the idea of a strange attractor in nature (and this was one of them, IIRC).
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That's such a great image. It's a fascinating scene and has great depth and tonality.
 
Pete_W said:
That's such a great image. It's a fascinating scene and has great depth and tonality.
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You should see the print. I can stick my nose right in it and it reveals great detail while still maintaining that tonality and smoothness.

This whole conversation - coupled with a backlash to AI - has me thinking about setting up a darkroom & enlarger in my basement.
 
GeorgeHudetz said:
You should see the print. I can stick my nose right in it and it reveals great detail while still maintaining that tonality and smoothness.
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I do miss having printed photos. There is definitely something visceral about prints that a screen just cannot replicate.

GeorgeHudetz said:
This whole conversation - coupled with a backlash to AI - has me thinking about setting up a darkroom & enlarger in my basement.
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If you have the time and space, that would be a great adventure!
 
pdk42 said:
There are some stunning shots there George. I really like the Oregon gallery. I think this is my favourite:


View attachment 15786

Superb!

The site is a great tribute to him. I hope someone does the same with a few of mine when I'm gone !!
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Oregon’s Painted Hills - an amazing place. I have an idea of where he captured that image from, and have created some similar images of my own, but this image has that amazing light/shadow interplay and excellent composition. When shooting from this area, I remember being a bit confused/overwhelmed from a composition standpoint. It’s kind of crazy and other than a few “often repeated” compositions, you really need to settle down & take your time to capture something that is both unique and aesthetically pleasing, IME.

The image above is one of my fav images from that gallery as well. Interestingly, one of the prints he gifted me - hanging on a wall as we speak - is also of the Painted Hills, from a similar vantage point but wider FL. Very well could be from the same session. Print is dated 2009.

Just to be clear - this isn’t a tribute site. It’s his commercial site he put together and managed well before his passing, but now kept alive by his surviving partner.
 
pdk42 said:
I remember doing my own processing back in the 1970s. I’m in no hurry to go back to it!
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LOL. I suspect it would go that way for me as well. I admit my thinking right now is influenced by a reactionary “What could I do that I find interesting but doesn’t require me to leave the house too much?” But that is not The Way.
 
Pete_W said:
I do miss having printed photos. There is definitely something visceral about prints that a screen just cannot replicate.


If you have the time and space, that would be a great adventure!
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I see darkroom equipment show up at estate sales every so often; sometimes even 2-3 times in a week. (And then it might go 2-3 months without seeing any...)

Sadly, it almost never sells and is left at the end of the sale; presumably it ends up in the trash, or some kind of recycling option. ;_; I've often wished there were some way I could match it up with the people who are interested in getting into film, but I don't know how to reach them and I certainly don't have any way to store or ship it.
 
GeorgeHudetz said:
Oregon’s Painted Hills - an amazing place. I have an idea of where he captured that image from, and have created some similar images of my own, but this image has that amazing light/shadow interplay and excellent composition. When shooting from this area, I remember being a bit confused/overwhelmed from a composition standpoint. It’s kind of crazy and other than a few “often repeated” compositions, you really need to settle down & take your time to capture something that is both unique and aesthetically pleasing, IME.
Click to expand...

That reminds me both of some of the things I captured at Red Rock Canyon a couple of weeks ago, and the times I've shot at the Castle Rock badlands. There's pillars and folds of stone all around you; you can move 2-3 meters and turn 40 degrees, and see a completely different and interesting vista.
 
GeorgeHudetz said:
You could say that!

Ironically, my father never tried to teach me photography - even though there was a darkroom in my childhood home - but then I never showed any interest either. We did connect over it later in life after I picked up on it on my own, but only a few years before his death. I do regret not reaching out to him earlier. Fortunately, he was very generous with his prints over the years - I and my siblings have multiple prints of his on our walls. I learned - again very late - that he spent at least some time with Ansel, and corresponded with him via the U.S. Mail. Sadly, he could never find those letters.

I did inherit his Hasselblad 500c kit, and have experimented with it a bit. I keep meaning to take that further. It’s certainly an interesting experience, using one of those!

Here’s his website as it was when he passed:


Thanks for asking.
Click to expand...
Really fine images from your Dad George, such a treat to look at, thank you for sharing them with us, the black and whites are simply stunning.
 
Travis Butler said:
I see darkroom equipment show up at estate sales every so often; sometimes even 2-3 times in a week. (And then it might go 2-3 months without seeing any...)

Sadly, it almost never sells and is left at the end of the sale; presumably it ends up in the trash, or some kind of recycling option. ;_; I've often wished there were some way I could match it up with the people who are interested in getting into film, but I don't know how to reach them and I certainly don't have any way to store or ship it.
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It sure is a shame to see good gear go to waste. The digital revolution has consigned so many things to the dumpster.
 
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