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Samuel W. Johnston IV |
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He
studied with Ansel Adams. Sam Johnston studied with Ansel
Adams.
It was only for a week, with dozens of other students at the
legend's annual workshop in Yosemite, in 1979. And Adams,
who would pass away five years later, was a less-than-spry
77-year-old and only up for a single field trip. But he was
still the master of black-and-white photography, whose
images adorn everything dorm rooms to museums, and who
co-invented the zone system of film exposure, and who … oh,
hell, it's Ansel Adams. And Sam Johnston studied with him.
"He had us on an outing," the Tampa-based Johnston recalls,
"and had his 4x5 camera set up, and he described the scene
we'd be photographing -- this great big rock shaded by the
mountain that's in the view in the background. Above the
mountain is the sun hitting a white cloud." As Johnston
describes Adams' process, "On the rock we have 30
foot-candles of light, and the sunlight that's hitting the
cloud is 500 foot-candles of light. The film is Plus X, the
ASA is 125, the square root of 125 is roughly 11. He says
his shutter speed is going to be 1/30th at f11. He takes
the picture. After he takes the picture he pulls out this
brand-new spot meter that Pentax gave him that can read two
zones and retain them. And you see him read the rock and
read the cloud. And then he shakes his head a little and
says, 'Yeah, it still works'" – meaning the zone system that
let him do in his head then it took a fancy light meter to
do now.
Johnston, at 50, is one of the last generation of Adams
students. Moreover, he says, "I was asked to come back out
and teach by the man himself. On the last day he came up to
me and asked if I wouldn't mind coming and help teach the
workshops. He and one other instructor walked up to me and
asked if I wouldn't mind doing that." But with youthful
naiveté, he kept putting off the opportunity, and Adams died
in 1984. |
Comments on Sam's Instruction on
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"We students did get to go to his house and he played piano for us,"
Johnston says. "His dad had actually been disappointed that Ansel
was going to become a photographer, since [Ansel] was studying to be
a concert pianist. He put as much into his photography as he'd put
into his piano study." Johnston took just one picture of Adams, but
unfortunately, "he happened to blink! He had his eyes closed!" It
gets worse: Adams was selling 11x14 prints of his work, hand signed,
for $75, which even in 1979 wasn't all that much. Johnston, a
typically broke student, couldn't buy it.
In hindsight, he might have called his father – a photographer
himself who would have understood the value of an Adams print. So
might Johnston's grandfather and great-grandfather, as it happens:
Johnston is actually Johnston IV and comes from a line of
photographers stretching back to his namesake great-granddad – that
rare guy in Roaring Twenties Chicago who was shooting at functions
without a gun. His forebear's photos, says Johnston admiringly,
"were just tack-sharp incredible, the few that we got to see."
That picture-taking gene wasn't even just on his father's side.
"When I was growing up in Gainesville, Fla., my mom and dad were
both photographers," Johnston relates. "When I was 5, my mom would
have me stand on a box and help her in the darkroom."
Dad had tried to fight off the family trait by becoming an Air Force
pilot and then putting himself through med school at the University
of Florida. To make a living during that time, Sam III and wife
Carolyn opened a photo studio next door to their home. The business
thrived, Carolyn made portraits a specialty, and Sam III left
medicine behind -- though "to this day," Johnston says, "he still
photographs the med-school students." Carolyn, who'd begun adding
paint to her portraits for a mixed-media effect, gradually began
making them more and more painterly, and after 18 years segued from
photography to doing oil portraits on canvas; she's since become the
de facto official portrait artist of the University of Florida
administration. "Just about every hall in the University of Florida
has some painting of hers," her son says proudly.
At Gainesville High School, across the street from his house,
Johnston shoot yearbook photos to earn his English grade – this, at
the insightful urging of his teacher, who didn't know why Sam had
trouble reading but knew it wasn't because he was slow or wasn't
trying. "I'm dyslexic," Johnston later discovered. But, under this
arrangement, he passed his class with flying colors – or
black-and-whites, actually.
In 10th grade, Johnston began apprenticing under his father. "He had
me doing 4x5 transparency work, both black-and-white and color,
mostly of the commercial work he was shooting. I had to print and
process, and it was funny: He said, 'I'll show you one time. After
that you go get a book.' So I listened! I hated to read, because of
the dyslexia."
Johnston attended the well-regarded photography program at Daytona
Beach Community College, entering directly into second-semester
classes on the strength of his portfolio and the technical knowledge
he'd acquired at home. The Adams workshop came during this time. But
for all that, after graduation, he couldn't find work because he was
good in too many areas. Or, well, that wasn't the problem per se –
it was not knowing how to sell his specialties.
"When I got out of college, I went to Tampa tried to get accounts.
I went to all the big ad agencies, and all of them asked what I
specialized in. And I'd look at 'em dumbfounded and said,
'Photography!'" He laughs. "What's the difference between
photographing a person or a building of a product? I was freaking
out and not getting any jobs or making money for the first three
months. Now, years later, I get ad work from big agencies because
now when they ask that question I tell 'em what they want to hear!"
Johnston, whose pianist wife Deanna works for the Florida Orchestra,
in administration, started Studio 4 Design in 1983, originally in
Claremont, Fla., outside Orlando. He relocated to Tampa after a
year, and remains one of the state's top photographers. As a
sideline, he taught himself the difficult craft of Macromedia Flash
production and now builds Web sites as slick and glossy as any of
his advertising work, for variety of clients that even include other
photographers.
Bio originally written by Frank Lovece for Panasonic Digital
Photo Academy |
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