written by: Howard BondHaving had careers in both f ields, I have often thought about a parallel between photography and music regarding the way words affect the perception of the listener or viewer. I started doing darkroom work 65 years ago and began photographing weddings while still in high school. After workshops with Ansel Adams beginning in 1967, I turned from photographing people to photography as art. This increased to full time by 1979. My music background included playing in bands and orchestras, two degrees, and f ive years of conducting and arranging, followed by 30 years of singing choral works with symphony Read more »
written by: Howard BondA 10×15-foot darkroom and an adjacent 14×15-foot room for print finishing were part of the plan when our house was built 37 years ago. Since then, minor additions and changes have been made, but the overall design has proved quite satisfactory. The design benefited from my familiarty with many darkrooms over the previous 27 years, including those of Ansel Adams and the studio where I worked during high school and college. I would have made the darkroom larger if I had known I would soon begin teaching workshops in it, but its size is generous for one person. Figure 1 shows that the Read more »
PHOTO Techniques, Jan/Feb 2003
written by: Howard BondHave you ever thought of the similarity between moving a camera lens farther from the film to focus for a close-up and raising the enlarger for a larger print? The camera and enlarger lenses then project larger image circles at the film or paper plane, requiring longer exposures. Users of in-camera meters never have to give this a thought, since these meters sample the same dimmer image the film receives. However, users of separate meters ignore this at their peril. The f-stops marked on a lens become progressively less accurate as you focus closer to the subject. This is because Read more »
PHOTO Techniques, July/August 2003
written by: Howard BondMost photographers know that when the light reaching photographic film is dim enough for the meter to suggest times of a second or longer, the reciprocal relationship between light intensity and exposure time breaks down. As a result, times must be increased to obtain the desired density in shadow areas. Those who think in Zone System terms want to know increases in exposure times that will keep the density of Zone III constant. Making a correction by opening the aperture—as sometimes suggested— doesn’t seem useful, since it changes the amount of reciprocity departure that needs correcting. Even if it were Read more »
