I was very fortunate early in my career to have known Ansel Adams and worked for The Ansel Adams Gallery (www.anseladams.com) in Yosemite Valley. For five years, I was exposed to all things Ansel, including showing his fine-art prints, visiting with him at his home and attending many sessions at his famous workshops. I met and learned from many great photographers during that time, including Paul Caponigr (www.soulcatcherstudio.com/artists/caponigro.html), John Sexton (www.johnsexton.com), Alan Ross (www.alanrossphotography.com), Jerry Uelsmann (www.uelsmann.net), Ted Orland (www.tedorland.com) and Chris Rainier (www.chrisrainier.com).
In spite of this exposure and opportunity, I didn’t make black-and-white images. I loved making color images then, and it continues to be my main passion. However, I did use many techniques employed by many of these black-and-white artists, including using a large-format camera, a spot meter for precise metering and a modified version of the Zone System for making my exposures.
Along with the evolution of digital imaging, the ease of making black-and-white conversions in Photoshop and Lightroom has intrigued me lately. A client recently asked me if I had any black-and-white images of Mount Whitney. Fortunately, I had visited the Alabama Hills on a stunningly gorgeous winter morning, so I made quick conversions in Lightroom from which I could make JPEGs to e-mail. Time was a concern for my client, so this worked well as a temporary solution. When it comes to making fine-art prints, a master file (a saved .psd file containing all of my adjustment layers) was made in Photoshop for the best results.
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