Quote Originally Posted by Joe VanC[/leave View Post
Alesssandro, I'm interested in this aspect of your post, the idea of the "wait and see" aspect of photography. I was just musing on this last week in my blog, and thought that perhaps one of the 'addictive' aspects of photography, for me at least, it the idea that one can work in a creative medium that does not provide immediate feedback; there's the element of surprise and anticipation, like what one experiences when mail-ordering merchandise and waiting for it to arrive. The buildup of anticipation, for me, provides tension that is all the more pleasurable when released by the fortune of good results.

And so I'm interested in this question of "methods" of working that don't provide a sense of immediacy. Which is intimately tied in with the specifics of technological formats and systems and their artifacts, as you've provided allusion to in your post. Specific to 8mm film, just this week I spent some time engaged in 'format swapping' a old, anonymous reel of 8mm film, from a business trip in 1973 to the Konica factory in Japan. I transfered the projected film to MPEG-4 video via my point-n-shoot digital camera, then assembled this in Windows Movie Maker into a 'production' of sorts. I then downloaded the completed MPG file back to the memory stick in my camera, and am able to play back the video to TV - or record to DVD or analog tape, if desired. Yet, the original sense of the 8mm film's quality and unique artifacts are still present in the final playback, despite all the various other format artifacts that may be present.

Reference in another post was also made to the lack of appreciation of VHS video, as compared to small-gauge film. I've also been interested in the 'despised formats' of low-grade consumer analog video, like VHS and Fisher-Price Pixelvision, or just plain old B/W surveillance video. Each have their own, unique qualities that are often found mimicked in high-dollar hollywood productions using costly special effects systems. What is evident from this discussion is that there are other ways of production, and other visual qualities to moving images than the 'standard' hollywood or television (i.e. 'mainstream media') methods. The works that I enjoy the most are off-beat, non-mainstream, alternative, underground or experimental video and film.

This probably won't be appreciated, if at all, until after NTSC is turned off in the States, and there arises an underground video economy, similar to what happened with Fisher-Price pixelvision after its demise. Video artists and experimentalists will find these old formats refreshing and interesting after all. I certainly do.
This will probably sound political, but I think it relates. Wall Street is both empowering this country, and ruining it at the same time. When 3M manufacturing announced several years ago that they were laying off [B] 5000 workers [B], 5000 manufacturing jobs in the United States, 3M's stock went up. The videotape division was profitable, but it just was not making enough money! Even today, several years later, do you all realize that there is no true realistic rearchiving format for the average consumer that will outlive their film and video originals! Yet these formats are being taken away prematurely, because they don't make enough money. Thank you Wall Street.

Wall Street bean counter-itis will eventually be the end of the U.S. as we know it. There no longer exists any paradigm scenario in which U.S. workers doing real work will garner favor with Wall Street over subbing the work out overseas. If you live in the United States, think about that, think about that real hard. Any new economic venture that does not involve farming out work to other countries will cause Wall Street to frown upon that specific business venture. I find that sick.