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Where was it ever established that women have to be big up top to be desirable?.
Glad to see the childish comments were removed. Now to be on topic, I totally agree with her stand. The objectification of women and the immature responses such images spawn is a pox on our culture. When you look at how many young girls in their teens are getting breast augmentation it is frightening.
Where was it ever established that women have to be big up top to be desirable? Or perhaps it's just me. But I know what those women will look like when they're my age, and that's not desirable at all.
I do tooSly, I like your website and your rant. Thanks
Here's what bothers me. In the video, she's quoted as saying "Our society is so photographic now, it's hard to see all those different shapes". The implication is that photography and digital manipulation are one in the same.
I realize that talented photographers have, through posing and lighting (not to mention darkroom technique), been able to manipulate an image to a degree. But it was at least grounded in reality.
So I agree with her point but its a bit sad if people equate all photography with manipulation.
Here's what bothers me. In the video, she's quoted as saying "Our society is so photographic now, it's hard to see all those different shapes". The implication is that photography and digital manipulation are one in the same.
I realize that talented photographers have, through posing and lighting (not to mention darkroom technique), been able to manipulate an image to a degree. But it was at least grounded in reality.
So I agree with her point but its a bit sad if people equate all photography with manipulation.
DEMARCHELIER: The face is supposed to be relaxed. The more you relax ...
KNIGHTLEY: You're absolutely right. It's very funny, because no photographer has ever said that to me before and made the kind of connection between the two things. You shoot digital, right? Do you still shoot on film as well?
DEMARCHELIER: Very rarely, only for special effect when I need it. Otherwise I don't do film anymore.
KNIGHTLEY: I've noticed that the people who started on film still have the ability to see the person in front of them. Whereas for a lot of photographers who have only ever worked in digital, the relationship between the photographer and the person who they're taking a picture of sort of doesn't exist anymore. They're looking at a computer screen as opposed to the person.
DEMARCHELIER: Exactly. I love digital, but the only problem is less intimacy. People look at the screen right away. Before, nobody saw the picture before you saw the final picture. There was more privacy in a way.
KNIGHTLEY: Does everybody then obsess about the image, suddenly trying to be perfect, as opposed to trying to capture a moment?
DEMARCHELIER: Yes. Now you work more like a team, with people who have good taste. It's interesting. You can correct things, and if you don't like an image right away, you can change it. Before you used to do a lot of pictures and pick a picture after. You can't really compare; it's a different way to work.
KNIGHTLEY: Would you ever go back to shooting on film, or do you think you've got to keep going forward?
DEMARCHELIER: Film is not very practical. The new world goes faster, and digital is very fast.
KNIGHTLEY: Do you miss any of the physicality of it? I think I'm a horrific kind of romantic about film. There's something about that single shot that was one moment in time, and something about the physical process of the light hitting the lens and the dark room. I find it difficult to see the romance in digital.
KNIGHTLEY: Do you miss any of the physicality of it? I think I'm a horrific kind of romantic about film. There's something about that single shot that was one moment in time, and something about the physical process of the light hitting the lens and the dark room. I find it difficult to see the romance in digital.
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