Printing, Heritage, Shooting and Wolcott

Along the Water’s Edge (May 2010) is a feature article in the Rangefinder magazine for the professional photographer. This periodical produces a wide range of topics of the medium; while showcasing the artist, technology, theory and industry.

I wanted to point out a few things about this artist. Tim Wolcott  is a leader in pigment photography and the founder of the Evercolor; a non-fading printing process. Tim has been shooting since his young days and is a descendant of the famed Alexander Wolcott for earning the first camera patent. Tim quickly won awards as a teenager and has gone on to be an accomplished nature photography, having been inspired by frequent nature outings with his grand-father Alexander. Considered the longest showing photographer in the world at the age of 45, his archival printing as his premier technique  defines him in the top echelons of the industry. The Smithsonian and The Library of Congress rely on the technology  over the  extreme, priceless value of art and historical, contemporary image preservation. 

As much as his signature accomplishments and  industry contributions interest me, I found his comments about shooting purity to re-inforce my understanding of grabbing the moment in simplicity.  This advanced course in which I am enrolled is my third 4 credit course at Delaware Tech. In studying and training in B/W film shooting in 07, I was dedicated to the concept of getting it right the first time in the manual SLR technology.  Wolcott works on pre-visualizing the subject and steadfastly shoots for the right shot.  He said that “…visualizing is a lost art that needs to resurrected.” He points to the masters and only having the moment without the benefit of technical editing the likes of Photoshop.  I write out my assignments, list subject ideas and visualizing scenes making a mental/visual “360” compass of the subject.

I agree with Tim on the point of getting it right the first time. Later in  the beginner digital photo course with our current instructor, KM; I studied and practiced the manual settings diligently (08) and though the work on the settings was stressful I was able to produce  strong  sharpness and clarity. I refused to let the sleepiness of the automatic settings control my work. Being strongly encouraged to shoot manual was also right there in each shooting session. Wolcott said you should decide what you are doing, not the camera. You can produce the true three-dimensional image by slowing down; getting it right the first time. And he urges the study of the masters in the fine arts of many mediums. There’s a universe out there, so go on and shoot it.

Source: Rangefinder May 2010 and galleryoftheamericanlandscape.com

Author: JRF – jfutcher@dtcc.edu

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