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  1. #11
    jovo's Avatar
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    Quote Originally Posted by mvjim
    I believe they expect me to play the devils advocate. .
    You're on the side of the angels, not the other way round! :-)

    We're in Florida this week visiting family which is great but I'm a week too late to see the NE Florida Large Format show in Gainesville, and away from NYC to hear the interview. RATS!!! Finding it on the internet sounds like a great idea to try! Best wishes.
    John Voss

    My Blog

  2. #12
    David A. Goldfarb's Avatar
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    If you are too far away to hear it on analog radio, you should be able to get it in streaming audio from www.wnyc.com at the time of the broadcast, and I suspect it will be archived at:

    http://www.wnyc.com/shows/lopate/archive.html

  3. #13
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    I just noticed in the Santa Fe arts paper "THE", that Clifford Ross has a show at the EVO Gallery from 8/10 to 8/31. I guess I should go see it.

  4. #14

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    Quote Originally Posted by david b
    I just noticed in the Santa Fe arts paper "THE", that Clifford Ross has a show at the EVO Gallery from 8/10 to 8/31. I guess I should go see it.
    Go see it and let us know what you think. Let me make a prediction you will see huge prints.

  5. #15
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    This is my own personal bias, but I am not a big fan of HUGE prints. To me, one of the most important strengths of photography is the inherent nature of its intimate relationship with the viewer. This was (still is) one of photography's first recognizable features over painting. Holding that small photo with such stark reality in one's hands.
    There is this built in one-on-one interchange between the viewer and photograph.
    Photos on walls, on tables, in books, in albums, we have such a close relationship with them. Huge prints force the viewer back away from this personal distance, allowing others to interfere with the viewer/photo interchange.
    Huge prints are also photography's attempt at trying to compete with its Big Brother, Painting. The pictorialists used all sorts of tricks to look like paintings. Now the Post Moderns use size to compete.
    I'd rather hold a print in my hands and enjoy its features close up than to have to back up 15 feet to view it.
    Just a Saturday, between loads of laundry rant. YOMV
    gene
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  6. #16
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    Not that this is relevant to the thread...
    I think some prints, usually based upon subject, are better one size than another. Huge macro's are one. Sometimes the picture takes on multiple viewing experiences when very large. A huge print viewed from an appropriate distance can be something else entirely when viewed close-up. On the other hand a wall covered with properly framed and matted 4x5, 5x7, 8x10's etc Can be a wonderfully intimate viewing experience.

    *

  7. #17
    papagene's Avatar
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    I am not against all Huge prints. I agree that subject matter can play an important role in print size.
    I remember helping set up an exhibit of a local photographer who went to Tibet and photographed the places there with an 8x10. His prints were about 40x50" and outright gorgeous! You could view them from a distance or walk right up close to them. The detail he had in those huge prints was remarkable and invited you to walk right up to inspect them. They never lost there sense of intimacy with the viewer.
    gene
    gene LaFord


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  8. #18
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    [font=Arial][size=3]I'll be listening in via the net too.[/size][/font]
    [font=Arial][size=3][/size][/font]
    [font=Arial][size=3]One salient point of the analog versus digital debate that always seems to be glossed over and may well be worthy of mention during the debate/discussion -[/size][/font]
    [font=Arial][size=3][/size][/font]
    [font=Arial][size=3]For a digital camera to even come remotely close to matching the photography obtainable with say, a sub $100 SLR, you would first have to spend several thousand dollars on a high end 12 mega-pixel-plus Digital SLR the size of a bus. Even more hundreds of dollars on large capacity memory cards, another $1000 to $2000 or so on a computer and software to edit your images with, and several hundred more $ on a respectable quality printer and paper.[/size][/font]
    [font=Arial][size=3][/size][/font]
    [font=Arial][size=3]All that to achieve what we can achieve with a $90 SLR a $4 roll of film, $200 worth of basic darkroom gear and $20 worth of chemicals and paper.[/size][/font]
    [font=Arial][size=3][/size][/font]
    [font=Arial][size=3]Just my 2 penn'orth.[/size][/font]


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  9. #19
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    I don't know that mvjim needs coaching, but, as has been mentioned here before, Bruce Barnbaum's essay on analog AND digital seems to cover a lot of issues that are indisputable and worthwhile-to-mention differences, i.e. the multitude of storage systems and the requirement to continually renew and upgrade the systems you are using. I doubt that a better-than-worse-than debate will have a lot of traction, but...I look forward to hearing the exchange.
    John Voss

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  10. #20
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    I LOVE DIGITAL !

    I was just able to listen to your interview at WNYC by digital internet broadcasting. So, I just love digital techniques. Specially when they are at the service of analog photography ;-).

    By the way, I recorded the interview in mp3 if anybody is interested.

    Gilbert
    Wilbert
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    Cours photo en Auvergne

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