Non sequitur. Now go and make up a new excuse.
this idea of calling someone a one of our primate cousins because they look at what they shot to see if it was worth keeping is kind of funny. its something chemical photography users wished they could do from the beginnings, its something people who process their film with UV goggles or a green safelight or who use ortho-esque film do every time they process film; its the proof shot those of us who shot polaroid before exposing the big sheet of film did often .. and now because everyone can do it with their digital cameras its bad, because they took photographs that probably looked good (maybe even as good as some pro might have taken). the whole thing is really kind of laughable . I guess developing film by inspection ( and saying ooo ahhh because you nailed the exposure and are excited )... is bad too--- . LOL.
yes, it is.
Nice try, but chimping is the act of inspecting a shot on the display of a digital camera immediately after it is made (the shot not the camera) and making faces and oohs and aahs. Some people use it to refer to just the act of checking every exposure as it is made.
And it is a shame how many shots are missed because the photographer was busy chimping.Yes I know. I am/was a working photographer (thanks pandemic).
I find it funny that people shun a useful tool. Is there a shadow falling oddly on the subject? How's the highlights? Can I check the histogram? What about the clipping?
Nah.
Ook ook.
And it is a shame how many shots are missed because the photographer was busy chimping.
And it is a shame how many shots are missed because the photographer was busy chimping.
For those of you who wet print B&W with a safe light, we chimp when the paper has been in the developer for a few seconds, and the latent image appears... ooh -ooh!
Or sometimes when the film come off the reel after processing.
We just chimp in private.
Digital just brought it public.
Yes I know. I am/was a working photographer (thanks pandemic).
I find it funny that people shun a useful tool. Is there a shadow falling oddly on the subject? How's the highlights? Can I check the histogram? What about the clipping?
Nah.
Ook ook.
That's not how it works on the job.
Here, check it.
I got the whole group bunched up, everything is looking great. Look through wee bitty viewfinder and it checks out. Have the exposure down shadows are great. Rip through 15 shots and tell them to break it up. Get home, upload photos and see that Person X's head was blocking person Y. Toss the whole set
OR.
Set everyone up, make sure the exposure etc is right. Snap a few shots and look at back of screen. Oh, I need to move person X.
Duh, and how is chimpin' going to work for a film camera. It is not going to happen. Get over it, good film photographers know whether or not they got the shot and looking at the back of the camera for a view of the latent image is not going to work. Most of the chimps do not know what they are doing.
How is that a non sequitur ?Non sequitur. Now go and make up a new excuse.
couldn't agree more..For those of you who wet print B&W with a safe light, we chimp when the paper has been in the developer for a few seconds, and the latent image appears... ooh -ooh!
Or sometimes when the film come off the reel after processing.
We just chimp in private.
Digital just brought it public.
I seem to recall watching product photographers going through boxes of Polaroids before committing to a sheet.
If you were using a Hasselblad then you would have a big screen and you could see what was happening up to the exposure. Toss the 35mm camera and get a real camera.
I guess that you have not noticed that Polaroid when out of business decades ago. No one uses Polaroid film any longer.
Instructions unclear. Here's a boat anchor.
hi
Now that is a real camera. I have on with 4"x5" format and a 4"x5" Graflex Model D. Use then with both eye open and there is no need to be a chimp chump.
I have no need to instant photographs mainly because I know what I am doing.
I recall calling the customer(s) back for another session when the processed film images were insufficient - digital just shortened this process and allowed our technique to be really sloppy. Another photograph can always be made.And again not chimpin'. The photograph has been taken and developed so at that point another photograph can not be made.
you must be a hack !I remember in the early 90’s when I was just starting to get bigger clients, I had an industrial shoot going and did not borrow my buddy’s polaroid back for my Hasselblad. The art director was like “Really? Are you F___ing kidding me? He was pissed, we really needed to check lighting on this snazzy new $500,000 CNC machine and yet, we could not.
Thankfully I knew to make about double the images in more lighting ratios and it came out fine. But even decades before we had the option of looking at a screen, the expectation of seeing the image right then and there was very present.
Oh good god, is it still 2005? I thought this digital bashing stuff died when the film bashing stuff did, lol!
I love making images on film, I can do it in my sleep. I love making images on digital, with my mirrorless cameras set in black and white mode I see exactly what I am going to get because I am getting it live. Been doing one for over 40 years and the other going on 30.
In a way to recover nicely from loss of work in one area ala pandemic, I am gaining serious momentum in other areas. One is film making as in motion picture. I have done several advertising gigs thus far but I am also making a black and white art film. So far it is coming out really good, it’s called “Winter Haiku” and all made with Nikon mirrorless cameras in black and white mode, no conversion from color.
So one night last week, a mountain lion took down a fawn on our property. At first I was really bummed about it. But then I realized that the lion would likely return. So I set up a camera with an external power source, 256GB of XQD card and let it go for 10 hour sessions each night making one exposure every 6 seconds. The first night I got a fox who made two passes on it. It was nearly a full moon so my exposures were solid at 1/8th of a second at 1.4, ISO 25,600. But the second night I got the fox and the lion. A few of these sequences will appear artfully in the film, to be woven into it.
Needless to say, I would need an enormous budget to pull this off on film. So call me a happy camper in both camps. They feed each other, fiscally, creatively and personally.
It’s 2020, if you think talented visual artists taking advantage of checking on an image in short order is cheating, you are still stuck in 2005 bro.
Oh good god, is it still 2005? I thought this digital bashing stuff died when the film bashing stuff did, lol!
I love making images on film, I can do it in my sleep. I love making images on digital, with my mirrorless cameras set in black and white mode I see exactly what I am going to get because I am getting it live. Been doing one for over 40 years and the other going on 30.
In a way to recover nicely from loss of work in one area ala pandemic, I am gaining serious momentum in other areas. One is film making as in motion picture. I have done several advertising gigs thus far but I am also making a black and white art film. So far it is coming out really good, it’s called “Winter Haiku” and all made with Nikon mirrorless cameras in black and white mode, no conversion from color.
So one night last week, a mountain lion took down a fawn on our property. At first I was really bummed about it. But then I realized that the lion would likely return. So I set up a camera with an external power source, 256GB of XQD card and let it go for 10 hour sessions each night making one exposure every 6 seconds. The first night I got a fox who made two passes on it. It was nearly a full moon so my exposures were solid at 1/8th of a second at 1.4, ISO 25,600. But the second night I got the fox and the lion. A few of these sequences will appear artfully in the film, to be woven into it.
Needless to say, I would need an enormous budget to pull this off on film. So call me a happy camper in both camps. They feed each other, fiscally, creatively and personally.
It’s 2020, if you think talented visual artists taking advantage of checking on an image in short order is cheating, you are still stuck in 2005 bro.
I like to say, if not for digital I wouldn't be shooting film.
The digital revolution has made it possible for me to have Hasselblads.
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