AA was also known for not just circling dates on his calendar, but for
watching the weather. He had his locations scoped out and when
conditions were favorable, would scoot to them for the photographs.
There was a point where he was shooting with the 'Blads a lot for
commercial work. In fact, for a good decade or so, that was almost all
he shot. He was known to carry the LF gear in the vehicle, but was far
more prolific with the 'Blads. It really depended more on the
movements required for framing the shots than format preference. But
during that particular era, the style of the photographs changed quite
a bit as you can tell that he was shooting to the strengths of the
format. There were many more "subject shots" than "scenics" in that
era.
I would challenge His Mooseness as to where the artistry was between
the named photographers in his list. While AA did much of his magic in
the darkroom, he was the type of COMMERCIAL PHOTOGRAPHER that was able
to provide soup-to-nuts services. His darkroom was not a hobby, it was
a commercial business. He had people working for him. In the later
years, when he was doing most of his writing and teaching, he was into
semi-retirement and was no longer the prolific commercial photographer
that he had been. While AA might have controlled or contributed to a
lot of the darkroom work, his workerbees did a lot of the work for
him. In the production of a "piece of art", AA was always intimately
involved in it, but it is important to keep in mind that it was always
business first.
How is this different than the photojournalists on Moose's list? Are
they less of artists because they outsourced the printing? Of course
not. However, the printers involved were known for their own level of
mastership and artistry. While not DIRECTLY employed by the
photographers, they work with the photographers in a way not too
unlike AA and his workerbees.
Me? I just muddle along.
AG
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