Audrey Jonckheer's Posts
Black and White Photography with John Sexton
John Sexton is a revered photographer, master printmaker, author and workshop instructor. He's best known for his luminous, quiet, black and white photographs of the natural environment. He's the director of the John Sexton Photography Workshops program, and teaches numerous photography workshops each year for programs throughout the world including Anderson Ranch Arts Center, The Ansel Adams Gallery, Maine Photographic Workshops, emphasizing printing technique and mastery of the Zone System.
John's books include Recollections: Three Decades of Photographs, a retrospective volume, published in October 2006 by Ventana Editions; Quiet Light, a monograph representing fifteen years of his work; and, Listen to the Trees.
Q: What fascinates you about photography?
John: It's multi-faceted. It's a creative activity and at the same time, a technical one. I like to make the analogy between the craft of photography and the syntax of language. You have to have those basic skills in order to communicate. The term photography literally translates to 'writing with light'. Long ago, my friend and mentor Ansel Adams said that he still found it exciting, he still found it frustrating, and occasionally, difficult. That was a great lesson. I think the key is not necessarily photography; it is the creative process.
Q: How has being a photographer changed the way you look at the world?
John: I find myself paying more attention to the visual details of an experience. In my back pocket right now is a small piece of plastic, and cut into that is an opening the same proportion as my 4 x 5 view camera. So if I'm stuck in an airport, I can walk around without my camera and make mental photographs. It makes me see the world in the rectangular format of photography.
Q: Let's talk about your preference for black-and-white photography.
John: I suspect that goes back to a college photography class in 1973. We went on a trip to see an exhibition by three photographers: Ansel Adams, Edward Weston and Wynn Bullock. I thought I wanted to be either an industrial or advertising photographer, and then we went to this exhibit and saw these black-and-white prints. It was the first time in my life I had tears come to my eyes when viewing a photograph.
Q: Do you see the world in black and white?
John: No, I'm looking at my desk right now and see a lot of different colored file folders. But if I think I'm going to make a photograph of my desk, I visualize and translate how those colors are going to work as shades of gray. I just love black and white. It's so bizarre to me that I can show you a picture that's black-and-white and you somehow think it represents reality. When's the last time you opened a window and it was black and white outdoors?
Q: What kind of light do you like to photograph in?
John: The right kind...
Q: Which is?
John: That sounds like a ridiculous answer, but it's a light that suits the subject and your desires. Light is everything in a photograph. I really love soft light. When I'm teaching, if somebody needs assistance and I make a photograph, they often see it as a dull light but to me, it's luminous and subtle. Then I show them the results.
Q: Why do you like T-Max film?
John: T-Max gives me the smoothness, the fine grain and a sort of milky quality that I find desirable. I've made thousands and thousands of negatives on T-Max 100 and 400. No other photographic manufacturer can match Kodak's film-making history or the history of quality and consistency that's associated with it.
Q: Are there frustrations you still encounter?
John: I still make a picture with the lens cap on the lens. I end up with my cable in the frame; I can have the lens shade in my image; I can set the film speed wrong. But one of the more frustrating things that still happens is when you feel something, but somehow that magic just doesn't get on to the piece of film. There was something you were reacting to that was not something you could photograph.
Q: What do you carry when you go wandering through the landscape?
John: I have a pretty efficiently organized backpack which has my 4x5 camera and four to six lenses, my 4x5 ready-load film and conventional film holders, a carbon fiber lightweight tripod, and emergency gear. If you're going to be a landscape photographer, be prepared for the fact that it's a big world out there. I always take water and a jacket. Famous last words: 'I'm just going out to take a few pictures. I'll be back to the car in an hour.'
You can also see John's podcast at Kodak Close Up.
Comments
Posted By: Tony Gardiner, NZ (10/18/2009)
Comment: For those Interested Persons - Airport Security/Negative Film A recent overseas trip back from California to New Zealand highlighted a dilemma with the transit security and the carrying of sheet negative film. Taking a specialist advice on the effects of repeated x-ray scanning, I requested at each security checkpoint a manual examination of the outer film boxes. I had four boxes of 5x4 Trix, undeveloped sheet film, each box held together with a large rubber band. I explained the circumstance and was advised by the security people that their X-ray machine would not fog film. Suspicious of the unknown effect of repeated x-ray exposure I persisted for a manual inspection. On the first occasion, in San Jose, a swab of the outer box was all that was required. Excellent, my relief however was premature, as this was not to be the case in the following three checkpoints. These checks became a crisis, as the security people (of differing culture and education) had no idea that by opening the film box it would completely ruin the undeveloped film. Digital photography is universal and film is a new unknown. The concept of light sensitive film contained in an enclosed dark box, is understandable a suspicious item. With airport security there is no discretion and no mercy. The outcome was one box of Yosemite exposures was completely ruined, when my attention was momentarily diverted. There appears to be no simple remedy. I'm advised that placing undeveloped film in ones luggage exposes the film to heavier concentration of repeated x-ray, resulting in bandings of fog buildup. Negative sheet film in ready packs is no longer available, this would have been an answer, as the contained 120/35mm film rolls could be easily indentified and was not an issue. Mailing an international package home, maybe, but is an unknown. Peace of mind can only be assured by developing exposed negatives prior to ones departure, at a pre arranged rented darkroom. Tony Gardiner, Lyttelton, NZ
Posted By: Michael Axel (6/12/2009)
Comment: Wow, tough crowd here. I enjoy John's work very much. I enjoyed reading about his challenges, especially not capturing the magic he saw in the scene. The other day I had this perfect scene. The moon was rising over a hill of sheep. Some close, some tiny dots at the top. The shot just does not work. I probably shouldn't have used the 25A filter and Polarizer. But it clearly was not what I envisioned. I guess I just need to let it go.
Posted By: Alex (4/16/2009)
Comment: Hella raw broski .
Posted By: Black and White Photography (2/2/2009)
Comment: I think you are right Paul...it seems lesser options are available now a days with John.. Also the black and white photographs have smaller resolution as compared to color photographs..
Posted By: ryan (9/28/2008)
Comment: I love kodak films, from 35mm to 4x5 format; black and white and color. Film is timeless, beautiful, and expressive; something of which digital cannot cannot say. I will continue to use the new Kodak black and white films for all my professional work.
Posted By: Kevin (8/13/2008)
Comment: I picked up a Brownie 2A at an antique shop this past weekend. I know 116 Film is discontinued, but is there a work-around for making this camera work?
Posted By: Mike (7/15/2008)
Comment: Sigh, just another product they are ceasing production of because of the digital revolution. I despise what is happening to the industry as a whole. I imagine that it will get to a point where they only make film in small batches for preferred clients still wishing to use it. I imagine it will become more nd more expensive shooting with film. Given the readyload anouncment is not that big of a deal as films holders were used long before Readyload came into existance. It just scares me to think how far this ceasing of production will end up going. I would be curious to hear what John thought about all of this and his current stance on digital. I still shoot nothing but 4x5 and maybe a few shots here and there with my Mamiya 6 or Mamiya 7 so for people like me this is not a good time to be a photographer. As for the people suggesting John's pictures suck. Its mind boggling how trolls can find thier way to every corner of the internet. Not only are Johns picture magical, he has become more successul in this field then you will ever be regardless of what field you are in. We would be lucky to achieve even a fraction of the success that John has rightfully obtained. Now go do what trolls do best and that is bothering other people on all of he other sites there are out there.
Posted By: K. Smith (7/7/2008)
Comment: KODAK is ceasing its packaging of TMAX as Readyload. I wonder how that's going to affect Sexton's shooting style. Switch to Fuji or just load a bunch of sheet film holders?
Posted By: Tony Gardiner NZ (3/26/2008)
Comment: Amendment- Please change 'unfaltering' to 'impeccable' Thanks.
Posted By: Tony Gardiner, NZ (3/25/2008)
Comment: It is absurd to accept the previous comment, it is unworthy, indignant and emphasizes uneducated manners. The wording identifies an individual unqualified to make judgment. I trust that it will be ignored. Fortunately for us, John's nature is to the contrary, which is reflected in the sensitive artistry of his photographs. Here we have a man faithfully dedicated to his craft, who having excelled in his own photography, modestly honours and respects the work and influences of his foregone mentors. Within the restraints of a timeless schedule, John continues to unselfishly educate from vast experiences and from a wealth of accumulated knowledge. We would be wise to take on board John Sexton as a mentor (particularly, the naive individual) and recognize his example of unfaltering standards and visual emotion, as the precedent in our own photographs. The initial offensive is disappointing, but let it not taunt a column conceived to encourage constructive and intelligent discussion. There is a lot to learn.
Posted By: Michael Scarpitti you are not (3/1/2008)
Comment: Ha Ha. Michael Scarpitti? He's in jail in Oregon awaiting trial... aka Tre Arrow - charged with terrorism. So why not post under your real name? Are YOU consulting for Kodak? Are you an invited speaker at many venues? Have many galleries are showing your work? Published anything? Frankly -- No one cares what you think about John Sexton's work.
Posted By: Michael Scarpitti (2/24/2008)
Comment: Why is John Sexton considered an authority on anything? His photos are crap.
Posted By: Gerry (2/22/2008)
Comment: Inkjet? No. I had the wonderful experience of watching John make several silver gelatin prints in his darkroom. It was magic.
Posted By: William Gregory (2/22/2008)
Comment: Film is alive and well! I seriously doubt John has gone "inkjet". There are also many fine papers to print on.
Posted By: Paul (1/28/2008)
Comment: I'm curious to know John's method of making prints these days. With very few choices has he "gone inkjet" ??