Fortunately these discussions are really all in fun, even though they can get heated (albeit heated at a distance).
Whether that's me or someone else you are referring to, regardless of their position or opinion I would cut them some slack.
People engaging in intense debate often adjust their positions because they learn something new, or someone else said something that clarified a certain facet of the issue in their thoughts, or they meant to say the same thing as they said earlier not realizing they actually didn't, or they even just momentarily drifted mentally and forgot.
Fortunately these discussions are really all in fun, even though they can get heated (albeit heated at a distance). Luckily this is not a court of law. And the death penalty is not in play here.
Ken
There are two reasons that I see for the value of Clearing Winter Storm.
One is the reasons is the image, the other is the Adams mystique.
Adams, like other successful artists, marketers, hucksters; sold "us" on his process. (As evidence I offer his books.) Silver gelatin printing is only important in the market valuation of clearing winter storm because "that's how Ansel did it", its how the original was made. Anything else would be "a fake".
Elliot Erwitt and Steve McCurry don't need to worry as much about the exact how of processing as the Adams estate might.
I personally love to debate. Some things, though, seem to get a little nasty at times...
50 is a huge edition for any piece of art. 25 is still quite sizable. Unless you are a major figure in the art world who would command large prices even from an edition of 100 prints, it doesn't make sense from a value perspective to create such an edition. 10-15 is a far more sensible figure for any piece that exceeds 16x20". I am discussing this from a business/economics vantage-point however. Very little of what I have said in this thread is of any use outside of the context of that of a working artist who subsists on their art. To those of you who do photography simply because it is enjoyable and challenging, then you are free to work in whatever manner you wish, with whatever tools you wish...which is a beautiful thing.
Those of us with student loans who are trying to eke out a living without having to sling booze (for others, at least) have to consider the intrinsic value of our work from a multi-faceted perspective, however the fact that I use a film camera does not make my work more valuable. If this were the case then surely Richard Prince's xeroxed shit wouldn't sell for millions of dollars.
thanks chris, total agreement with you ..
but the french people i know all smoke lucky's.
However the point is (was) "is film photography gaining in popularity?" Well???
My choice of AA as the example was solely to illustrate the fact that, while the differences between the two imaging processes are concrete and real, those differences mean different things to different people. (snip)
In other words, it does matter to some "what tools get it from scene to wall."
However the point is (was) "is film photography gaining in popularity?" Well???
Does anyone in this thread *honestly* care whether someone on the internet whose name you do not know and whom you will never meet in real life think that what you do is or is not photography?
I'd be surprised if film sales are more than 2% of 1995. Hope I'm wrong. Maybe digital opened up a new constituency of people who wouldn't have taken photographs before, because relative percentage of film to digital must be nearer 0.01%. Among photographers who consider themselves enthusiasts, I'd guess around 5% shoot film. However you look at it, film is pretty niche these days, but as a technology for which new hardware sales are next to non-existent, film is a massive success story. Compared to audio tape with a similar heritage, film is positively booming!However the point is (was) "is film photography gaining in popularity?" Well???
I only read KR's site for it's entertainment value. I don't take any of it seriously. You'll come across something like "Sharpness doesn't matter. Pros don't care about sharpness, especially in the corners." And in another one of his articles you'll see something like "I love this lens. It's sharp sharp sharp, even in the corners."
In a product category we all can relate to here, I remember where they rated the Lecia as the worst 35mm buy on the market because you paid way too much for it and didn't even get a free camera bag, flash, or other silly goodies.
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