HomeArticlesAlbert Watson – Landscapes on the edge (2/2) | Phase One
Albert Watson – Landscapes on the edge (2/2) | Phase One
October 17, 2019
We are on the Trotternish Peninsula. This
is the highest point here and it is quite famous. It is very Lord of the Rings-looking.
It has been photographed a lot. Always, with things that have been photographed a lot,
you have to work a little bit harder to get something. There are two hundred postcards
of this but not on a day like this. So the weather is helping us. It could be 75. The 55 is too wide. They always say: Why do
you have two assistants? If one falls off the mountain,
I have a spare. That’s it. I’m usually traveling with a team of three
or four people, it gets quite expensive to do a trip like this. You can end up spending
35-45-55.000 dollars easily. But if I do a trip like this, I’ll do it properly. I’m not
going to walk around with an iPhone and do it. I’m going to walk around
with a serious piece of equipment. We have got connection here. Yep, I’m in. We’re pretty good here. Keith, be careful. This kind of shot you
have to be careful with, if it was a nice sunny day with nice
big white clouds and blue sky, it’s a little bit harder to take it away from being
a postcard. So here, you need that atmosphere and the moisture that’s there.
You need that dimension there. If I was coming here 25-30 years ago,
I would run around snapping everything. Now I don’t do that.
I’m probably in the region of five shots today
which can still be a lot. When you get to my age, you kind
of figure it out a little bit. You know that you have it
or you don’t have it. But there are always surprises. A trip like this from two weeks
16 shots would be very good. That would be pretty good. This is definitely for me
a black and white shot. So rather than desaturating it, the Achromatic back is
the right thing to do. I always had a philosophy
about black and white that a black and white shot was not just
that you changed the film, but very often it was a vast change in the lighting,
especially in the studio where you can do black and white lighting to color lighting.
You should be thinking black and white, you should be thinking color. I’m going to do
the colors of reference to know what the color is in case I can work with the computer later
and add that color. A lot of the philosophy when I work with the computer are more going
back to when I did the same kind of things by hand and by inks like
you used to do color postcards. I’m not going to shoot the whole thing.
I just need one hit on the overall color. Do you want me to match your ISO then? Yes, sure. It is just to get a reference.
Almost like a snapshot of it. I have got to check that flag again. Definitely, we have
come down, Keith. Now Julia, I have a fine mist between me and the rocks. I could shoot
this in film and it would still look pretty good. I would need my 8 by 10 to do this, to get what I need out of it. And doing this at an 8 by 10 would be a real drag, actually.
Therefore this camera is giving me the quality I need and has portability because this kind
of shooting demands that it is very sharp and has the quality. When I photographed Steve Jobs,
he came in and he said: “Oh my god, you’re still shooting film?”
This was 7 years ago. I said, I don’t feel that
digital is quite there yet. And he kind of thought about it and
said: “You know, I agree with you.” And then he pointed his finger
at me and he said: “But we will get there.
We are going to get there.” And I said: “I’m sure and
I don’t question that.” And here it is.