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Frank Jackson on Street Photography I am happy and excited to announce a new RFF forum on Street Photography mentored by Frank Jackson, one of the best producers of analog B/W prints I have ever seen. His shows include the Open Shutter Gallery, Heriard-Cimino Gallery, and Ogden Museum of Southern Art. His images are in the collections of Smithsonian Ogden Museum of Southern Art, California Afro American Museum and Xavier University New Orleans LA. He has worked for or has been featured with Visa Card, Xerox, UCLA, Eric Owen Moss, Architect, Hasselblad Forum (cover),Gordon Parks, Muhammed Ali, Million Man March Wash. DC, Lionel Hampton, jazz legion photographer , 1995-2002, Stevie Wonder, B+W Magazine (British version) twice, Rangefinder Magazine, Dahon Bicycles, Arelli Wheels, Real Product Design, Automobile Club of Southern California. Frank's online images are at fotographz.500px.com and fotographzfrankjackson.tumblr.com . "While on this diverse photographic journey…I have to say during this whole time my love for fine art black and white photography kept growing. I always found time to shoot in different cities and my own personal work…this has sustained me through some very tough times. As of 2012, with the help of a very good friend I maintain a state-of-the-art dream darkroom. The darkroom helps greatly in the on-going practice of understanding “the light”, being able to process film and print drives me to keep my digital photography “organic”. I’m curious visually and shooting what’s, what on the street feeds this curiosity. Everyday I walk out my front door to “see” the world with a digital camera, a film camera, the “cup” and an open mind (mostly).

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seeing+process=workflow
Old 09-24-2015   #1
fotographz
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seeing+process=workflow

Originally Posted by Jukka:
Frank, I appreciate your stuff, especially the mood of it. Could you sometime maybe, if you have the time, enlighten us in regard to your workflow, post processing, or whatever you do between the clicking of the shutter and posting online. Unless of course there is some esoteric aspects involved.

And I say this with not any intentions to imitate, but out of general interest. I feel that I struggle in consistency in this department resulting in random end products.
Jukka
....
Photography is an art and a science, if you don't do the science right there can be very little to create photographic art with.

Style equals mood...mood sets the tone and by tone, I refer to the feeling of the image. Many don't remember what they saw...but everyone remembers how something can make them feel.

What makes me photograph anything is the light I see...at that moment I don't think about it, I shoot it. There is often no time to think...you shoot maybe get one or two images then it's gone.
I often don't know what I have until I'm looking at negative proof sheets or the raw files on my computer..AND at times not in-love with what I photographed that day...(I do keep them like I keep my negatives)

I worked very hard to understand whatever lighting situation I was photographing in and to maintain control regardless of that light..learning to properly expose and develop the negatives from a broad range of daytime, night time, and studio light with very consistent results. This was and is my wet darkroom workflow, if you can print from a great negative there is less work producing a great print. (...also If you are able to produce properly exposed digital files you won't spend a lot of time in a fix-it post-processing hell)

I have applied this workflow practice to my digital photography...All raw files are post-processed through Lightroom and Nik Silver EFX 2 which gives me an analog film black and white look.

So this really all comes down to being able to produce exceptional prints...a photograph that only gets seen as a proof or on a computer screen isn't real until you are looking at a finished print with your eyes. Learning how to produce good prints in the darkroom helped me develop my style (my look). I then went back through digital hell while learning to produce both color and black and white prints that would be able to stand along side my wet darkroom prints.

Theory:
thinking (but not too much)
Practice:
refining your own process (putting the work in)

I have spent a lot of time (and still do) to get exactly what I see through my camera out of my head and into a finished photograph...(then to print).



we all struggle to reach the same goal
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a photograph is:

moments captured
time stopped,
lives made still.
the dark truth-
a bright lie-
neither bad.
neither good.
this simplicity, pure
stolen moments.
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Old 09-27-2015   #2
airfrogusmc
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Thanks for posting this Frank and it's pretty much the same way I approach it.
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Old 10-02-2015   #3
jukka
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Quote:
Originally Posted by fotographz View Post
I then went back through digital hell while learning to produce both color and black and white prints that would be able to stand along side my wet darkroom prints.
Yeah ok, I see. Thanks for the interesting reflections!
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