The Charm of Tri-X

At the Bar

Last week I was in Boston for the Clinical Trials in Alzheimer’s Disease (CTAD) conference. The Boston Leica store and Gallery were located right there in the conference hotel, so I got to drop in on the Gallery a few times and take in Jim Marshall’s Jazz Festival exhibit. Marshall is justly famous for his photographs of musicians, having captured many iconic images of jazz and rock figures. The images taken at the festivals are like glimpses into the hearts of these artists, taken by a photographer who is looking in, unnoticed.

I actually was more interested in Marshall’s environmental photographs of peace signs found as graffiti, buttons, and stickers during the 1960’s. It reminds me that all of the images that we take today, seeming so banal because it’s just our everyday environment, will read as historical records in 50 years.

All of the images were scanned Tri-X negatives printed digitally on 20″ x 24″ paper. The grain in these large images was often very apparent, with velvety blacks and nice tonality. I couldn’t help but wonder whether their impact would be different had they been printed as traditional silver prints, but it appears that this hybrid process is now accepted as a way to show negatives captured 50 years ago. Perhaps we’ll need to accept more fully that the negative is the score and the print is the performance, to be interpreted on period instruments or modern instruments, changing tone but creating the music nevertheless.

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