While we acknowledge and will correct the typography fiasco, I would like to address other issues of the new photo technique. I particularly want to respond to those readers who are concerned that we are abandoning traditional photography, as well as those readers (old and new) concerned that we are not giving enough editorial space to the relevant technology issues of the continuous learning curve that is digital photography.
For most of my 40 years as a photographer, (30 of which I was a contributing editor of Darkroom Techniques, and then Photo Techniques), I worked with a view camera, but I have moved to digital for the last decade. It is my philosophy as a photographer and emeritus professor of photography, having taught graduate students for 30 years, that the medium of photography has never existed on the basis of unrelated techniques or unskilled aesthetics. For that reason, I have incorporated the technology and methodology used in creating photographs into two categories.
The first is a series of portfolio/article combinations that demonstrate both the means and the end result. Articles are extremely diversified and will include commercial and fine art projects. In all cases, the work will be of the highest caliber finished imagery.
Please note that while I will be working with dozens of new photographers from around the world, as well as many of the contributors to Photo Techniques from the last decade, I am concerned only with the final photographs and the techniques and methodologies incorporated in their creation. I have no intention of making a distinction between a silver-based or digital process. The medium of photography since it inception has manifested itself in a number of processes, of which digital is the most recent.
The argument about what constitutes “true photography” based on processes has continued throughout our history. It was proven irrelevant in the past as it is now. I will also add that “photography” has never been defined by one application or aesthetic genre. photo technique is dedicated to the inclusion of all forms of photography.
The second part of the format change is expanded technical articles. The intent is to completely follow a process in detail, rather than offer short snip-its or tips.
While I personally acknowledge David Vestal for his valued insights and blatant honesty, I will be opening the opportunity to others to offer commentary, both established and new writers, to invite intelligent discussion on the issues facing photography as a medium. Rest assured, David will periodically be back.
It is important to note that I do not edit the content of the commentaries, even if I personally take issue with their direction. It is my intention that the Forum will provide an opportunity for interaction between readers and the comments made. Forum submissions will also not be edited for editorial content, providing the exchange is intellectual and well founded. Photography is not myopic. That is one of its amazing qualities.
The magazine will never address the interest of a point-and-shoot mentality. If anything, my intent is to elevate the magazine to a more professional level.
The fact remains that there is very little new in process, technology and equipment that is not digitally based. But that does not mean that new methodologies and new creative forms of silver-based imagery are not being done. As long as this is true, it will appear in photo technique. Again, I am not restricting myself to editorial balances. Photography that deserves print space, no matter what process, will get print space in photo technique. In the next issue, space is fairly evenly divided between silver-based and digital.
If you have any further concerns, you are welcome to contact me directly at pschranz@phototechmag.com. I also encourage you to use this site for intelligent discourse on photographic issues.
Paul Schranz,
Editor, photo technique
