Alexander Calder at his last installation of “White Cascades”. Paris Match and Musee d’Art Moderne de la Ville de Paris. James A. Michener Museum, International Center of Photography, many shows and private collections.

In the middle of this plague have been asked by several people for several reasons, for several sets of my portraits… The overwhelming bulk of them, Originally published , in print magazines. I realized that it was not a question of film or digital photography… but perspective of the smaller sensor … I decided to separate them for reasons mentioned at end … this is the film … will the the other later. S.

My dear friend Madame Jere Knight & Maman Cat at Spring House farm. Wife of Eric Knight , author of Lassie -ComeHome and Executrix to the e e cummings estate. Do look to the Spring House section & Lassie for the real story of Lassie. Start with “Another Dog Tale”.

The Master of Movement Theatre: Jacques Lecog at at School in Paris – Ecole International Jacques Lecoq du Theatre. A cover on Total Theater UK, others from my essay: ” Jacques Lecoq’s Last Class” appeared as covers etc Sunday New York Times Arts Section, American Theater, PT many high end educational volumes, as well as here on my Splinter Cottage site.
“He only asked questions, never gave solutions.”
Simon McBurney of Complicity Theatre
My friend.
Bill George of the TouchStone Theatre group … a friend I used a lot on IBM work and Biz Mag covers
… this was public service drug & alcohol stuff.
As noted on print: Jacques Lecoq … cover Sunday New York Times Arts section…

How they look in print … NYC
Chris just after a hair cut … take a dip in the pool and wash the hair off … 30 yrs back.
Many more of the vineyards, in the Character in the Vines section.
… & that‘s
all he wrote…. S.
what follows is the digital black & white …been all digital for years S.

For what ever its worth … here is the rest of it, if you care to bother …

In the middle of this plague have been asked by several people for several reasons, for several sets of my portraits… The overwhelming bulk of them, Originally published , in print magazines. I realized that it was not a question of film or digital photography… Once one is able to function with film on a world-class level, certainly digital is a lot easy to produce an exposure …. From autoexposure to auto color temperature. All of which were a hell of a lot better if you understand how it’s done in the science and the mathematics behind it. Means more than turning a dial depending upon an unknown someone’s algorithm.

When the digital cameras were no longer made of plastic, electronically wrote fast enough for a journalist to actually work, and comparable resolution (thanks to the engineers people can be turned into a complete grotesque due to too much resolution but, the real question became the crop sensor format. With a smaller receptor on the digital cameras, the composition changed, the relationship between foreground and background changed and was primarily noticeable with the wide-angle lenses.( Most apparently never learned the that a wide angle lens, had to be held level to avoid distortion. The problem could hide behind itself with the longer lenses and the inherent compression.

Something for another discussion, as usual the failure of the universities contributed to the confusion. Cameras are not audio they are visual. Too much talk to Little watching. It is not a good portrait cannot be made digitally, obviously it can. It is not that digital cameras are not made to 35mm full frame format, now they are . What is important is that the body of work created with the smaller sensor is different . To my eye a certain lack of intimacy .At this point for nearly half my career I’ve used digital exclusively and miss a thought process not interfered by the crew that wants to control everything strangled the life out it, this said most of it will correct bottom, I found myself dividing the film work from the digital. For much of my career I did the digital work on most of the film publication photography, or was at the side of the folks doing the work, the same manner of cooperation I had with film photographic labs since my business was too large to produce prints myself. And an excellent printer myself, we got along well. Surely miss them.

I’ve done all the digital work on these myself, most began as Fujichrome transparencies, the black and white as Tri-x or FP4 for film. I used filters extensively for balance get the effect I wanted on both. Almost everything here was scanned from one of my own black and white prints. The cameras and the lenses or almost exclusively Nikons and Leicas, and a set of lenses for both carefully checked by professional camera repair in New York before I bought them. S.

© 2020 H. Scott Heist – All Intellectual Property Rights Reserved

This work is the property and creation of H. Scott Heist and rights are reserved. Splinter Cottage, The View From Splinter Cottage, the NOIR CHRONICLES, TastefullyCheeky, ObliviAn, Perplexitudes &Quizzicals and Every Day is a Short Story are trademarks in use for many years. Rights are similarly reserved and use is only by written permission.

Please note: This is a work in progress that my combine work from multiple projects over multiple year and many technologies. (and programs plus pens). Working to make all compatible, sometime making corrections a programs are open across multiple publications. Work in progress means still correction and gathering. All rights and ownership of the material itself has been mine from the beginning and remains so today.