Pretty pics, funny vids, and sweet links
About:
Mike is a Strategy Director at Undercurrent, and lives in Red Hook, Brooklyn. Mike's interested in technology, design, photography, film, food, funny videos, and pictures of cute animals. This site is a place for you to discover the things that Mike thinks are interesting enough to pass on. Email: him[at]mikearauz[dot]comFind me on teh interwebs:
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![wow. know your craft.
glynnis:
spaceships:
Richard Avedon’s instructions to his printer for an image taken of coal miner Lyal Burr, at The Church of Jesus Christ of Latter-Day Saints, Koosharem, Utah, May 7, 1981.
Some notes from Laura Wilson’s book Avedon at Work. Wilson assisted Avedon for six years:
“The difficult and time-consuming process of making these prints began in the basement darkroom of the Avedon studio in New York. Ruedi and David [Liittscwager] started with a set of 16-by-20 inch prints. Dick rejected them all. He felt that the tone was heavy; they were too black and had too much contrast. In reprinting, Dick’s directions were rarely technical. He would say simply, “Make the person more gentle,” or “Give the face more tension” This unconventional advice forced Ruedi and David to try to Understand the emotional content that Dick sought in each portrait. […] On test prints, Ruedi recorded the necessary manipulations with a red grease pencil. The exposure times, plus or minus, were in seconds to indicate where to darken or lighten an eyelid, or a nose, or the wrinkle on a forehead.”
» via mpdrolet
Makes me miss the darkroom like crazy.](http://24.media.tumblr.com/tumblr_luscomoi4E1qe0lqqo1_1280.jpg)
wow. know your craft.
Richard Avedon’s instructions to his printer for an image taken of coal miner Lyal Burr, at The Church of Jesus Christ of Latter-Day Saints, Koosharem, Utah, May 7, 1981.
Some notes from Laura Wilson’s book Avedon at Work. Wilson assisted Avedon for six years:
“The difficult and time-consuming process of making these prints began in the basement darkroom of the Avedon studio in New York. Ruedi and David [Liittscwager] started with a set of 16-by-20 inch prints. Dick rejected them all. He felt that the tone was heavy; they were too black and had too much contrast. In reprinting, Dick’s directions were rarely technical. He would say simply, “Make the person more gentle,” or “Give the face more tension” This unconventional advice forced Ruedi and David to try to Understand the emotional content that Dick sought in each portrait. […] On test prints, Ruedi recorded the necessary manipulations with a red grease pencil. The exposure times, plus or minus, were in seconds to indicate where to darken or lighten an eyelid, or a nose, or the wrinkle on a forehead.”
» via mpdrolet
Makes me miss the darkroom like crazy.
(via icopythat)
