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Transcription: [00:06:00]
{SPEAKER name="David Scheinbaum"}
different palettes actually. In the dark room I'm using my hands, I'm using my eyes, I'm using my, you know, my sense of touch. My hands are in the chemicals, and you know you have a lot of senses going, but you know I think what's coming into my ears has a whole lot to do with what's coming out of my hands.
[00:06:17]

{SPEAKER name="Benjamin Bloom"}
In your statement you referenced, um, some of your inspiration for the hip-hop photos. Can you talk more about that?
[00:06:25]

{SPEAKER name="David Scheinbaum"}
When I, you know, going back to the beginning of thinking about doing, you know, this work, music photography to make a generalization, again, my training really was, and I don't use this word to be um, a snob, you know, but my training was kind of more into the fine art aspect of photography, and I was trained very traditionally, you know, more within kind of the Ansel Adams approach,
[00:06:53]
to not only, you know, control over exposure and development, but also making prints that had a certain look and a certain feel, and that usually translated into, you know, images having to have 154 shades of grey, and detail in the whites, and detail in the blacks, and you know, there's this prescribed formula on how things needed to be, and in a way that was my training.
[00:07:17]
And it took me a long time to kind of reject that, not that I don't respect that, but in a way, in my own work to start making images that looked and felt differently. And, and the work that I turned to was the work of the photographer named Roy DeCarava. The book that he did in the 50's is a book called "The Sound I Saw".
[00:07:40]
It's a book of jazz musicians and jazz photographs and that was the book that I not only turned to then, that I continue to turn to and in making the prints for this exhibition I turned to it again, and I sat with it long and hard before I went to the darkroom and crafted