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  1. #191
    Chris Lange's Avatar
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    Roger, I totally agree...I think the same logic applies to going for a nice walk in the early evening...

    But I don't think that sort of logic applies at all when discussing the "real" (haha) Fine Art (capital F and capital A) world.
    See my work at my website CHRISTOPHER LANGE PHOTOGRAPHY

    or my snaps at my blog MINIMUM DENSITY
    --
    If you don't have it, then you don't have it.

  2. #192
    Ken Nadvornick's Avatar
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    Quote Originally Posted by markbarendt View Post
    Does it matter what tools get it from scene to wall?
    That depends on each individual, and whether any of the obvious differences between the two tool sets matter to them.

    For example...

    If 'blansky' manages to tame the newborn and creates a stunningly insightful portrait, Mom isn't going care how that scene made it to her wall. As far as she's concerned, she's thrilled and 'blansky' is a freakin' genius.

    However, if Ken has finally decided to spend $10,000* to buy that vintage Ansel Adams Clearing Winter Storm that he always wanted, it's probably going to make a BIG difference to him how that scene made it to his wall. The process differences between the hand-made-by-Ansel-in-1980 version and a negative-scan-and-inkjet-in-2013 version could not be more meaningful.

    In the first example, process could not be more irrelevant. In the second example, process could not be more critical. But in both examples, the core differences between the two photographic processes do still exist. That's a fact that is not open to interpretation.

    As noted earlier, one does not dunk CCDs into D-76 in order to extract images...

    Ken

    * or whatever, I didn't actually Google it...
    "When making a portrait, my approach is quite the same as when I am portraying a rock. I do not wish to impose my personality upon the sitter, but, keeping myself open to receive reactions from his own special ego, record this with nothing added: except of course when I am working professionally, when money enters in,—then for a price, I become a liar..."

    — Edward Weston, Daybooks, Vol. II, February 2, 1932

  3. #193
    Klainmeister's Avatar
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    Now Ken, what if Ansel had been alive and scanned in the neg, did the print, signed the back. Would it then still matter as much?
    K.S. Klain

  4. #194
    cliveh's Avatar
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    Meanwhile, poor old ken Rockwell doesn't know what he started.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  5. #195
    Ken Nadvornick's Avatar
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    Quote Originally Posted by Klainmeister View Post
    Now Ken, what if Ansel had been alive and scanned in the neg, did the print, signed the back. Would it then still matter as much?
    I dunno'. That never happened. Maybe it would have, or maybe not.

    If pigs had wings, would the phrase "rolling around in the mud" with them have any meaning?



    Ken
    "When making a portrait, my approach is quite the same as when I am portraying a rock. I do not wish to impose my personality upon the sitter, but, keeping myself open to receive reactions from his own special ego, record this with nothing added: except of course when I am working professionally, when money enters in,—then for a price, I become a liar..."

    — Edward Weston, Daybooks, Vol. II, February 2, 1932

  6. #196

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    I don't know where you can objectively draw the lines around these definitions though. You can keep going and going. What if someone said he wouldn't spend $10,000 on an Adams print because the materials he used were all pre-packaged by Kodak? Some oil painters still mix their own paints from scratch, etc. Ken, it seems to me your argument is really one of tactile involvement in the process of making pictures.

  7. #197
    Ken Nadvornick's Avatar
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    My $10,000 wants the original AA version, because the differences in the two processes matter to me. What matters to you... is up to you.

    Of course, YMMV...

    And my original issue wasn't tactility. It was provenance, in the sense of direct linkage between the subject and the medium used to record it. This provenance is asserted by the fact that the process underlying it when using film is real-world, not abstract.

    Ken
    Last edited by Ken Nadvornick; 08-27-2013 at 05:33 PM. Click to view previous post history. Reason: Missing word...
    "When making a portrait, my approach is quite the same as when I am portraying a rock. I do not wish to impose my personality upon the sitter, but, keeping myself open to receive reactions from his own special ego, record this with nothing added: except of course when I am working professionally, when money enters in,—then for a price, I become a liar..."

    — Edward Weston, Daybooks, Vol. II, February 2, 1932

  8. #198
    MatthewDunn's Avatar
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    It seems like a lot of people are twisting Ken's argument into what they want it to be and then proceeding to knock down their own modified version.

    Personally, I think both analog and digital are "photography", they both can be "art", and they are equally capable of creating compelling, emotional images. I truly believe that. Having said that, the processes of getting there are not the same. They may feel similar and they may be trying to accomplish the same thing for the same purpose, but at a step-by-step process level, I think the considerations that go into the image-making are just different.

    That may be a distinction without a difference to some and if all you care about is the end-product and whether it is compelling, emotional, honest, etc., than that is fine - a completely valid perspective. But I think it's hard to make an argument that the processes are not, if nothing more than at a physical, "what you actually do" level (i.e. stand in a darkroom vs. sit at a computer), different.
    "Once the amateur's naive approach and humble willingness to learn fades away, the creative spirit of good photography dies with it. Every professional should remain always in his heart an amateur." - Alfred Eisenstadt

  9. #199
    Ken Nadvornick's Avatar
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    Quote Originally Posted by MatthewDunn View Post
    It seems like a lot of people are twisting Ken's argument into what they want it to be and then proceeding to knock down their own modified version.
    Could not agree more with you (and Loretta...).

    I sit here in stunned astonishment at my inability to get across the exasperatingly simple concept* that the two processes are not the same. This is the most fascinating display of human nature I may have ever seen.

    And almost as astonishing to me is the fact that this conversation is taking place on one of the world's preeminent analog film discussion forums. And probably THE preeminent darkroom forum on the planet.

    If EVER one would have thought the concept of different (not better, not worse, just different) would have resonated, one would have expected it to resonate here.

    But I guess not...

    Ken

    * CCDs versus D-76, for gawd's sake. Think really, really hard about that for just a moment...
    "When making a portrait, my approach is quite the same as when I am portraying a rock. I do not wish to impose my personality upon the sitter, but, keeping myself open to receive reactions from his own special ego, record this with nothing added: except of course when I am working professionally, when money enters in,—then for a price, I become a liar..."

    — Edward Weston, Daybooks, Vol. II, February 2, 1932

  10. #200
    Roger Cole's Avatar
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    I think it mostly does resonate here Ken. But most of us just nod silently. The ones who don't agree are more apt to speak up. That seems true in most things.



 

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