How to recreate Edward Weston's Pepper No. 30?





.everyoneloves__top-leaderboard:empty,.everyoneloves__mid-leaderboard:empty,.everyoneloves__bot-mid-leaderboard:empty{ margin-bottom:0;
}







5















I usually shoot outdoor when plenty of natural light is available, so I don't really care about flash, reflectors, etc (mostly street photography, sometimes landscape).



After seeing Edward Weston's famous photograph Pepper No. 30, I think still life photography is really interesting, too.



enter image description here



I wonder what setup he used. Did he used a flash or a continuous light? And any reflectors, perhaps?










share|improve this question

























  • I think there are two elephants in this room. One is '8x10': he was using a huge camera, which means that, geometrically, he was almost certainly doing what for a 35mm-format sensor would be macrophotography. The other is the lens: he was using lenses which are not very like any lens you can get for a modern camera. And if course printing &c.

    – tfb
    13 hours ago




















5















I usually shoot outdoor when plenty of natural light is available, so I don't really care about flash, reflectors, etc (mostly street photography, sometimes landscape).



After seeing Edward Weston's famous photograph Pepper No. 30, I think still life photography is really interesting, too.



enter image description here



I wonder what setup he used. Did he used a flash or a continuous light? And any reflectors, perhaps?










share|improve this question

























  • I think there are two elephants in this room. One is '8x10': he was using a huge camera, which means that, geometrically, he was almost certainly doing what for a 35mm-format sensor would be macrophotography. The other is the lens: he was using lenses which are not very like any lens you can get for a modern camera. And if course printing &c.

    – tfb
    13 hours ago
















5












5








5


2






I usually shoot outdoor when plenty of natural light is available, so I don't really care about flash, reflectors, etc (mostly street photography, sometimes landscape).



After seeing Edward Weston's famous photograph Pepper No. 30, I think still life photography is really interesting, too.



enter image description here



I wonder what setup he used. Did he used a flash or a continuous light? And any reflectors, perhaps?










share|improve this question
















I usually shoot outdoor when plenty of natural light is available, so I don't really care about flash, reflectors, etc (mostly street photography, sometimes landscape).



After seeing Edward Weston's famous photograph Pepper No. 30, I think still life photography is really interesting, too.



enter image description here



I wonder what setup he used. Did he used a flash or a continuous light? And any reflectors, perhaps?







black-and-white still-life monochrome






share|improve this question















share|improve this question













share|improve this question




share|improve this question








edited 6 hours ago









David Richerby

1,263919




1,263919










asked yesterday









anta40anta40

1593




1593













  • I think there are two elephants in this room. One is '8x10': he was using a huge camera, which means that, geometrically, he was almost certainly doing what for a 35mm-format sensor would be macrophotography. The other is the lens: he was using lenses which are not very like any lens you can get for a modern camera. And if course printing &c.

    – tfb
    13 hours ago





















  • I think there are two elephants in this room. One is '8x10': he was using a huge camera, which means that, geometrically, he was almost certainly doing what for a 35mm-format sensor would be macrophotography. The other is the lens: he was using lenses which are not very like any lens you can get for a modern camera. And if course printing &c.

    – tfb
    13 hours ago



















I think there are two elephants in this room. One is '8x10': he was using a huge camera, which means that, geometrically, he was almost certainly doing what for a 35mm-format sensor would be macrophotography. The other is the lens: he was using lenses which are not very like any lens you can get for a modern camera. And if course printing &c.

– tfb
13 hours ago







I think there are two elephants in this room. One is '8x10': he was using a huge camera, which means that, geometrically, he was almost certainly doing what for a 35mm-format sensor would be macrophotography. The other is the lens: he was using lenses which are not very like any lens you can get for a modern camera. And if course printing &c.

– tfb
13 hours ago












2 Answers
2






active

oldest

votes


















5














I've re-thunk this since first posting ;)



Best guess is he just used natural light, not through his kitchen window, as I initially had assumed, because he states he didn't take it to the kitchen.



However, in the 1920s I would assume an artist would have an artist's loft*, with high, broad natural light... & a photographer would use one too, for similar reasons; that, combined with the reflected light inside the tin funnel the pepper was placed in & a 6-minute exposure, appear to have given him all he needed.



From Wikipedia - Pepper No 30




He first tried with plain muslin or a piece of white cardboard
as the backdrop, but for these images he thought the contrast between
the backdrop and the pepper was too stark. On August 3 he found a
large tin funnel, and, placing it on its side, he set a pepper just
inside the large open end. He wrote:



"It was a bright idea, a perfect relief for the pepper and adding
reflecting light to important contours. I still had the pepper which
caused me a week's work, I had decided I could go no further with it,
yet something kept me from taking it to the kitchen, the end of all
good peppers. I placed it in the funnel, focused with the Zeiss, and
knowing just the viewpoint, recognizing a perfect light, made an
exposure of six minutes, with but a few moments' preliminary work, the
real preliminary was on in hours passed. I have a great negative, ‒ by
far the best!"



By placing the pepper in the opening of the funnel, Weston was able to
light it in a way that portrays the pepper in three dimensions, rather
than as a flat image. It is this light that gives the image much of
its extraordinary quality.




One thing about still life, which I do a lot of myself, is it never gets bored.

It leaves you to do all the thinking. It doesn't shuffle its feet or want a cup of tea, & blur your image if it has to hang a round a while. A flower stalk wilting slightly over a focus stack taking 5 minutes is about the worst you'll have to deal with.



*There is an entire row of these houses near where I used to work in London, all designed North-facing but with huge windows to admit lots of broad, indirect light. It's known colloquially as Artist's Row, in Chiswick, West London..



Pic, Credit:© Philip Ide Photography



enter image description here



I also found a newspaper article in the Daily Mail with pictures of the interior of one of them - can I have one please??






share|improve this answer

































    2














    I believe that focusing on the lighting alone is not enough to understand the greatness of this photo.



    The position, and quality of the light and the composition are important but more so in my opinion is the knowledge and skill in relation to film, development and darkroom printing techniques.



    I believe he had a comprehensive understanding of the film so he knew how much to over-under expose it in relation to its ASA and the development times he was going to use. The point being that he must have known how to get the best possible negative (or the negative with the dynamic range he wanted) through exposure and development.



    Next he had much knowledge and skill in the darkroom printing process. How to properly expose the paper, what paper grade, sheen and weight to use, what chemistry to use, times and agitation, what toners if any.



    Yes you can probably come close to matching the lighting but that does not mean you can create a photo that will look like Weston's, (or Adams or other masters) with out knowing all of the other things one needs to know about film, development and printing.



    So to answer the question "How to re-create Edward Weston's Pepper No. 30?"



    You need to spend copious amounts of time reading, learning, experimenting with films, chemistry, printing papers and techniques. You must input as much information as you can to your brain so that you understand how light behaves, How film "sees" it differently then the brain, how film captures it.



    You must spend much time putting that knowledge into practice.* This photo was probably part of the process of putting his knowledge into practice in order to experiment and learn, (that is a supposition on my part) and is what you should do as well.



    How dev time and chemistry types effect film, (many types of films).



    How to expose different types of paper, how to develop different types of papers.



    How to achieve different affects on papers based on enlarger and lens and printing times, dodging and burning.



    How toning effects the mood of a black and white print.



    You must also know what you want to say with your photos by using light, development, and printing to affect the viewer of your photos.






    share|improve this answer





















    • 1





      The asker is probably shooting digital, so I'm not sure this really helps.

      – David Richerby
      yesterday











    • @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

      – Alaska man
      yesterday








    • 1





      @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

      – Alaska man
      yesterday












    Your Answer








    StackExchange.ready(function() {
    var channelOptions = {
    tags: "".split(" "),
    id: "61"
    };
    initTagRenderer("".split(" "), "".split(" "), channelOptions);

    StackExchange.using("externalEditor", function() {
    // Have to fire editor after snippets, if snippets enabled
    if (StackExchange.settings.snippets.snippetsEnabled) {
    StackExchange.using("snippets", function() {
    createEditor();
    });
    }
    else {
    createEditor();
    }
    });

    function createEditor() {
    StackExchange.prepareEditor({
    heartbeatType: 'answer',
    autoActivateHeartbeat: false,
    convertImagesToLinks: false,
    noModals: true,
    showLowRepImageUploadWarning: true,
    reputationToPostImages: null,
    bindNavPrevention: true,
    postfix: "",
    imageUploader: {
    brandingHtml: "Powered by u003ca class="icon-imgur-white" href="https://imgur.com/"u003eu003c/au003e",
    contentPolicyHtml: "User contributions licensed under u003ca href="https://creativecommons.org/licenses/by-sa/3.0/"u003ecc by-sa 3.0 with attribution requiredu003c/au003e u003ca href="https://stackoverflow.com/legal/content-policy"u003e(content policy)u003c/au003e",
    allowUrls: true
    },
    noCode: true, onDemand: true,
    discardSelector: ".discard-answer"
    ,immediatelyShowMarkdownHelp:true
    });


    }
    });














    draft saved

    draft discarded


















    StackExchange.ready(
    function () {
    StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fphoto.stackexchange.com%2fquestions%2f106420%2fhow-to-recreate-edward-westons-pepper-no-30%23new-answer', 'question_page');
    }
    );

    Post as a guest















    Required, but never shown

























    2 Answers
    2






    active

    oldest

    votes








    2 Answers
    2






    active

    oldest

    votes









    active

    oldest

    votes






    active

    oldest

    votes









    5














    I've re-thunk this since first posting ;)



    Best guess is he just used natural light, not through his kitchen window, as I initially had assumed, because he states he didn't take it to the kitchen.



    However, in the 1920s I would assume an artist would have an artist's loft*, with high, broad natural light... & a photographer would use one too, for similar reasons; that, combined with the reflected light inside the tin funnel the pepper was placed in & a 6-minute exposure, appear to have given him all he needed.



    From Wikipedia - Pepper No 30




    He first tried with plain muslin or a piece of white cardboard
    as the backdrop, but for these images he thought the contrast between
    the backdrop and the pepper was too stark. On August 3 he found a
    large tin funnel, and, placing it on its side, he set a pepper just
    inside the large open end. He wrote:



    "It was a bright idea, a perfect relief for the pepper and adding
    reflecting light to important contours. I still had the pepper which
    caused me a week's work, I had decided I could go no further with it,
    yet something kept me from taking it to the kitchen, the end of all
    good peppers. I placed it in the funnel, focused with the Zeiss, and
    knowing just the viewpoint, recognizing a perfect light, made an
    exposure of six minutes, with but a few moments' preliminary work, the
    real preliminary was on in hours passed. I have a great negative, ‒ by
    far the best!"



    By placing the pepper in the opening of the funnel, Weston was able to
    light it in a way that portrays the pepper in three dimensions, rather
    than as a flat image. It is this light that gives the image much of
    its extraordinary quality.




    One thing about still life, which I do a lot of myself, is it never gets bored.

    It leaves you to do all the thinking. It doesn't shuffle its feet or want a cup of tea, & blur your image if it has to hang a round a while. A flower stalk wilting slightly over a focus stack taking 5 minutes is about the worst you'll have to deal with.



    *There is an entire row of these houses near where I used to work in London, all designed North-facing but with huge windows to admit lots of broad, indirect light. It's known colloquially as Artist's Row, in Chiswick, West London..



    Pic, Credit:© Philip Ide Photography



    enter image description here



    I also found a newspaper article in the Daily Mail with pictures of the interior of one of them - can I have one please??






    share|improve this answer






























      5














      I've re-thunk this since first posting ;)



      Best guess is he just used natural light, not through his kitchen window, as I initially had assumed, because he states he didn't take it to the kitchen.



      However, in the 1920s I would assume an artist would have an artist's loft*, with high, broad natural light... & a photographer would use one too, for similar reasons; that, combined with the reflected light inside the tin funnel the pepper was placed in & a 6-minute exposure, appear to have given him all he needed.



      From Wikipedia - Pepper No 30




      He first tried with plain muslin or a piece of white cardboard
      as the backdrop, but for these images he thought the contrast between
      the backdrop and the pepper was too stark. On August 3 he found a
      large tin funnel, and, placing it on its side, he set a pepper just
      inside the large open end. He wrote:



      "It was a bright idea, a perfect relief for the pepper and adding
      reflecting light to important contours. I still had the pepper which
      caused me a week's work, I had decided I could go no further with it,
      yet something kept me from taking it to the kitchen, the end of all
      good peppers. I placed it in the funnel, focused with the Zeiss, and
      knowing just the viewpoint, recognizing a perfect light, made an
      exposure of six minutes, with but a few moments' preliminary work, the
      real preliminary was on in hours passed. I have a great negative, ‒ by
      far the best!"



      By placing the pepper in the opening of the funnel, Weston was able to
      light it in a way that portrays the pepper in three dimensions, rather
      than as a flat image. It is this light that gives the image much of
      its extraordinary quality.




      One thing about still life, which I do a lot of myself, is it never gets bored.

      It leaves you to do all the thinking. It doesn't shuffle its feet or want a cup of tea, & blur your image if it has to hang a round a while. A flower stalk wilting slightly over a focus stack taking 5 minutes is about the worst you'll have to deal with.



      *There is an entire row of these houses near where I used to work in London, all designed North-facing but with huge windows to admit lots of broad, indirect light. It's known colloquially as Artist's Row, in Chiswick, West London..



      Pic, Credit:© Philip Ide Photography



      enter image description here



      I also found a newspaper article in the Daily Mail with pictures of the interior of one of them - can I have one please??






      share|improve this answer




























        5












        5








        5







        I've re-thunk this since first posting ;)



        Best guess is he just used natural light, not through his kitchen window, as I initially had assumed, because he states he didn't take it to the kitchen.



        However, in the 1920s I would assume an artist would have an artist's loft*, with high, broad natural light... & a photographer would use one too, for similar reasons; that, combined with the reflected light inside the tin funnel the pepper was placed in & a 6-minute exposure, appear to have given him all he needed.



        From Wikipedia - Pepper No 30




        He first tried with plain muslin or a piece of white cardboard
        as the backdrop, but for these images he thought the contrast between
        the backdrop and the pepper was too stark. On August 3 he found a
        large tin funnel, and, placing it on its side, he set a pepper just
        inside the large open end. He wrote:



        "It was a bright idea, a perfect relief for the pepper and adding
        reflecting light to important contours. I still had the pepper which
        caused me a week's work, I had decided I could go no further with it,
        yet something kept me from taking it to the kitchen, the end of all
        good peppers. I placed it in the funnel, focused with the Zeiss, and
        knowing just the viewpoint, recognizing a perfect light, made an
        exposure of six minutes, with but a few moments' preliminary work, the
        real preliminary was on in hours passed. I have a great negative, ‒ by
        far the best!"



        By placing the pepper in the opening of the funnel, Weston was able to
        light it in a way that portrays the pepper in three dimensions, rather
        than as a flat image. It is this light that gives the image much of
        its extraordinary quality.




        One thing about still life, which I do a lot of myself, is it never gets bored.

        It leaves you to do all the thinking. It doesn't shuffle its feet or want a cup of tea, & blur your image if it has to hang a round a while. A flower stalk wilting slightly over a focus stack taking 5 minutes is about the worst you'll have to deal with.



        *There is an entire row of these houses near where I used to work in London, all designed North-facing but with huge windows to admit lots of broad, indirect light. It's known colloquially as Artist's Row, in Chiswick, West London..



        Pic, Credit:© Philip Ide Photography



        enter image description here



        I also found a newspaper article in the Daily Mail with pictures of the interior of one of them - can I have one please??






        share|improve this answer















        I've re-thunk this since first posting ;)



        Best guess is he just used natural light, not through his kitchen window, as I initially had assumed, because he states he didn't take it to the kitchen.



        However, in the 1920s I would assume an artist would have an artist's loft*, with high, broad natural light... & a photographer would use one too, for similar reasons; that, combined with the reflected light inside the tin funnel the pepper was placed in & a 6-minute exposure, appear to have given him all he needed.



        From Wikipedia - Pepper No 30




        He first tried with plain muslin or a piece of white cardboard
        as the backdrop, but for these images he thought the contrast between
        the backdrop and the pepper was too stark. On August 3 he found a
        large tin funnel, and, placing it on its side, he set a pepper just
        inside the large open end. He wrote:



        "It was a bright idea, a perfect relief for the pepper and adding
        reflecting light to important contours. I still had the pepper which
        caused me a week's work, I had decided I could go no further with it,
        yet something kept me from taking it to the kitchen, the end of all
        good peppers. I placed it in the funnel, focused with the Zeiss, and
        knowing just the viewpoint, recognizing a perfect light, made an
        exposure of six minutes, with but a few moments' preliminary work, the
        real preliminary was on in hours passed. I have a great negative, ‒ by
        far the best!"



        By placing the pepper in the opening of the funnel, Weston was able to
        light it in a way that portrays the pepper in three dimensions, rather
        than as a flat image. It is this light that gives the image much of
        its extraordinary quality.




        One thing about still life, which I do a lot of myself, is it never gets bored.

        It leaves you to do all the thinking. It doesn't shuffle its feet or want a cup of tea, & blur your image if it has to hang a round a while. A flower stalk wilting slightly over a focus stack taking 5 minutes is about the worst you'll have to deal with.



        *There is an entire row of these houses near where I used to work in London, all designed North-facing but with huge windows to admit lots of broad, indirect light. It's known colloquially as Artist's Row, in Chiswick, West London..



        Pic, Credit:© Philip Ide Photography



        enter image description here



        I also found a newspaper article in the Daily Mail with pictures of the interior of one of them - can I have one please??







        share|improve this answer














        share|improve this answer



        share|improve this answer








        edited yesterday

























        answered yesterday









        TetsujinTetsujin

        8,11821948




        8,11821948

























            2














            I believe that focusing on the lighting alone is not enough to understand the greatness of this photo.



            The position, and quality of the light and the composition are important but more so in my opinion is the knowledge and skill in relation to film, development and darkroom printing techniques.



            I believe he had a comprehensive understanding of the film so he knew how much to over-under expose it in relation to its ASA and the development times he was going to use. The point being that he must have known how to get the best possible negative (or the negative with the dynamic range he wanted) through exposure and development.



            Next he had much knowledge and skill in the darkroom printing process. How to properly expose the paper, what paper grade, sheen and weight to use, what chemistry to use, times and agitation, what toners if any.



            Yes you can probably come close to matching the lighting but that does not mean you can create a photo that will look like Weston's, (or Adams or other masters) with out knowing all of the other things one needs to know about film, development and printing.



            So to answer the question "How to re-create Edward Weston's Pepper No. 30?"



            You need to spend copious amounts of time reading, learning, experimenting with films, chemistry, printing papers and techniques. You must input as much information as you can to your brain so that you understand how light behaves, How film "sees" it differently then the brain, how film captures it.



            You must spend much time putting that knowledge into practice.* This photo was probably part of the process of putting his knowledge into practice in order to experiment and learn, (that is a supposition on my part) and is what you should do as well.



            How dev time and chemistry types effect film, (many types of films).



            How to expose different types of paper, how to develop different types of papers.



            How to achieve different affects on papers based on enlarger and lens and printing times, dodging and burning.



            How toning effects the mood of a black and white print.



            You must also know what you want to say with your photos by using light, development, and printing to affect the viewer of your photos.






            share|improve this answer





















            • 1





              The asker is probably shooting digital, so I'm not sure this really helps.

              – David Richerby
              yesterday











            • @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

              – Alaska man
              yesterday








            • 1





              @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

              – Alaska man
              yesterday
















            2














            I believe that focusing on the lighting alone is not enough to understand the greatness of this photo.



            The position, and quality of the light and the composition are important but more so in my opinion is the knowledge and skill in relation to film, development and darkroom printing techniques.



            I believe he had a comprehensive understanding of the film so he knew how much to over-under expose it in relation to its ASA and the development times he was going to use. The point being that he must have known how to get the best possible negative (or the negative with the dynamic range he wanted) through exposure and development.



            Next he had much knowledge and skill in the darkroom printing process. How to properly expose the paper, what paper grade, sheen and weight to use, what chemistry to use, times and agitation, what toners if any.



            Yes you can probably come close to matching the lighting but that does not mean you can create a photo that will look like Weston's, (or Adams or other masters) with out knowing all of the other things one needs to know about film, development and printing.



            So to answer the question "How to re-create Edward Weston's Pepper No. 30?"



            You need to spend copious amounts of time reading, learning, experimenting with films, chemistry, printing papers and techniques. You must input as much information as you can to your brain so that you understand how light behaves, How film "sees" it differently then the brain, how film captures it.



            You must spend much time putting that knowledge into practice.* This photo was probably part of the process of putting his knowledge into practice in order to experiment and learn, (that is a supposition on my part) and is what you should do as well.



            How dev time and chemistry types effect film, (many types of films).



            How to expose different types of paper, how to develop different types of papers.



            How to achieve different affects on papers based on enlarger and lens and printing times, dodging and burning.



            How toning effects the mood of a black and white print.



            You must also know what you want to say with your photos by using light, development, and printing to affect the viewer of your photos.






            share|improve this answer





















            • 1





              The asker is probably shooting digital, so I'm not sure this really helps.

              – David Richerby
              yesterday











            • @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

              – Alaska man
              yesterday








            • 1





              @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

              – Alaska man
              yesterday














            2












            2








            2







            I believe that focusing on the lighting alone is not enough to understand the greatness of this photo.



            The position, and quality of the light and the composition are important but more so in my opinion is the knowledge and skill in relation to film, development and darkroom printing techniques.



            I believe he had a comprehensive understanding of the film so he knew how much to over-under expose it in relation to its ASA and the development times he was going to use. The point being that he must have known how to get the best possible negative (or the negative with the dynamic range he wanted) through exposure and development.



            Next he had much knowledge and skill in the darkroom printing process. How to properly expose the paper, what paper grade, sheen and weight to use, what chemistry to use, times and agitation, what toners if any.



            Yes you can probably come close to matching the lighting but that does not mean you can create a photo that will look like Weston's, (or Adams or other masters) with out knowing all of the other things one needs to know about film, development and printing.



            So to answer the question "How to re-create Edward Weston's Pepper No. 30?"



            You need to spend copious amounts of time reading, learning, experimenting with films, chemistry, printing papers and techniques. You must input as much information as you can to your brain so that you understand how light behaves, How film "sees" it differently then the brain, how film captures it.



            You must spend much time putting that knowledge into practice.* This photo was probably part of the process of putting his knowledge into practice in order to experiment and learn, (that is a supposition on my part) and is what you should do as well.



            How dev time and chemistry types effect film, (many types of films).



            How to expose different types of paper, how to develop different types of papers.



            How to achieve different affects on papers based on enlarger and lens and printing times, dodging and burning.



            How toning effects the mood of a black and white print.



            You must also know what you want to say with your photos by using light, development, and printing to affect the viewer of your photos.






            share|improve this answer















            I believe that focusing on the lighting alone is not enough to understand the greatness of this photo.



            The position, and quality of the light and the composition are important but more so in my opinion is the knowledge and skill in relation to film, development and darkroom printing techniques.



            I believe he had a comprehensive understanding of the film so he knew how much to over-under expose it in relation to its ASA and the development times he was going to use. The point being that he must have known how to get the best possible negative (or the negative with the dynamic range he wanted) through exposure and development.



            Next he had much knowledge and skill in the darkroom printing process. How to properly expose the paper, what paper grade, sheen and weight to use, what chemistry to use, times and agitation, what toners if any.



            Yes you can probably come close to matching the lighting but that does not mean you can create a photo that will look like Weston's, (or Adams or other masters) with out knowing all of the other things one needs to know about film, development and printing.



            So to answer the question "How to re-create Edward Weston's Pepper No. 30?"



            You need to spend copious amounts of time reading, learning, experimenting with films, chemistry, printing papers and techniques. You must input as much information as you can to your brain so that you understand how light behaves, How film "sees" it differently then the brain, how film captures it.



            You must spend much time putting that knowledge into practice.* This photo was probably part of the process of putting his knowledge into practice in order to experiment and learn, (that is a supposition on my part) and is what you should do as well.



            How dev time and chemistry types effect film, (many types of films).



            How to expose different types of paper, how to develop different types of papers.



            How to achieve different affects on papers based on enlarger and lens and printing times, dodging and burning.



            How toning effects the mood of a black and white print.



            You must also know what you want to say with your photos by using light, development, and printing to affect the viewer of your photos.







            share|improve this answer














            share|improve this answer



            share|improve this answer








            edited 6 hours ago









            David Richerby

            1,263919




            1,263919










            answered yesterday









            Alaska manAlaska man

            1,576410




            1,576410








            • 1





              The asker is probably shooting digital, so I'm not sure this really helps.

              – David Richerby
              yesterday











            • @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

              – Alaska man
              yesterday








            • 1





              @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

              – Alaska man
              yesterday














            • 1





              The asker is probably shooting digital, so I'm not sure this really helps.

              – David Richerby
              yesterday











            • @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

              – Alaska man
              yesterday








            • 1





              @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

              – Alaska man
              yesterday








            1




            1





            The asker is probably shooting digital, so I'm not sure this really helps.

            – David Richerby
            yesterday





            The asker is probably shooting digital, so I'm not sure this really helps.

            – David Richerby
            yesterday













            @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

            – Alaska man
            yesterday







            @DavidRicherby - That IS the point, understanding all of that informs and enriches the digital photographer. Understanding that it is more than the lighting that makes it a great photo is absolutely essential.

            – Alaska man
            yesterday






            1




            1





            @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

            – Alaska man
            yesterday





            @DavidRicherby The OP asked how to recreate the photo, an analog photo. I pointed out that it is more than just the light set up that is needed to recreate such a photo.

            – Alaska man
            yesterday


















            draft saved

            draft discarded




















































            Thanks for contributing an answer to Photography Stack Exchange!


            • Please be sure to answer the question. Provide details and share your research!

            But avoid



            • Asking for help, clarification, or responding to other answers.

            • Making statements based on opinion; back them up with references or personal experience.


            To learn more, see our tips on writing great answers.




            draft saved


            draft discarded














            StackExchange.ready(
            function () {
            StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fphoto.stackexchange.com%2fquestions%2f106420%2fhow-to-recreate-edward-westons-pepper-no-30%23new-answer', 'question_page');
            }
            );

            Post as a guest















            Required, but never shown





















































            Required, but never shown














            Required, but never shown












            Required, but never shown







            Required, but never shown

































            Required, but never shown














            Required, but never shown












            Required, but never shown







            Required, but never shown







            Popular posts from this blog

            How to label and detect the document text images

            Vallis Paradisi

            Tabula Rosettana