Agreed on both counts. It's a truism that the worse a camera looks, the easier it is to hold. Classic cameras are difficult to handle without a strap, and impossible in wet/sweaty conditions. By contrast an AF SLR is ergonomically in a different league. And yes, mirrorless cameras are incredibly power hungry if left in the on position many photographers favour. The difference between battery powered metering and autofocus, and screen, EVF and operating system is born out in the shot count between DSLR and mirrorless cameras. This can be as low as 15-20 minutes vs a day or more of hard use.Personally I like my Canon 7D with the battery grip for an eye level camera, and I have yet to use a camera body that was easier to hold securely and comfortably. And mirrorless/electronic viewfinders still have a long way to go to catch up to the power needs for the way I use my cameras for
The default digital photograph is a screen viewed image. Very, very few ever reach hard copy. In film days everything was "analogue" (negative, slide, contact sheet) and most photographs ended in a print. The things manufacturers are pushing and consumers desire today, are predicated almost exclusively round the electronic screen. Either we embrace that reality, or we hark back (as I do) to the photographic print as a viable, unmediated, technologically mature, semi-permanent way of recording and viewing the world unfettered by plugs, monitors, hardware, software, cables and sockets.Read wyofilm's article. Part of it refers to Popular Photo suggesting that digital surpassed film in the early 2000s. Interesting. Meeting or exceeding film is problematic for a number of reasons concerning micro-contrast, resolution of proximate points and several other factors. I think that a part of this is simply in how we have habitually looked at images which has been set up through film.
Of course you're right. The viewer doesn't care how the artist got there. Either the result works or it doesn't.This!!!! The tools chosen are (or should be) based on which works better for the artist in furthering his/her vision. Arguments over "superiority" are moot, as both are capable of delivering compelling results. Their differences are for the creative person to exploit in a way to achieve their imaginative goals.
This!!!! The tools chosen are (or should be) based on which works better for the artist in furthering his/her vision. Arguments over "superiority" are moot, as both are capable of delivering compelling results. Their differences are for the creative person to exploit in a way to achieve their imaginative goals.
Has it been somewhere...??
I never stopped shooting film
I've been in photography for 77 years and there seems to be more B&W films being made now than at anytime in my lifetime.
After sustaining(for years) a recession any market in the history could not tolerate, then regaining its power for few years, then reviving with new factories, super-fine products and joining of many penitent customers, after all of that, I'm confident that the film will stay as far as the Art will stay. I like that, will iterate:For those of us that dumped film for digital are sticking their toes back in because they miss it.
There is a large selection of film products available these days.
perfection is the arch enemy of good enoughIt's emotionally OK to be happy with our limitations. "Sufficient" is often fine. Quest for perfection can be unproductive and can take away from artistic intentions.
I never had problems with soft corners when, for a dozen years, I relied on a Durst 609...regularly confirmed alignment, and relied on anti-newton glass holders. Had simple routines to almost always eliminate dust (one simple solution to film dust involves proper handling/filing after processing). Used that Durst with point source for a while, which tested corners even further...but after that exploration I lost interest in the look. That enlarger did have better condenses that Omega or Beseler, which is why they offered better condensers as options.
"Expectation of viewers" only means something if we're mind readers. It also has to do with situation and the particular viewers. Viewers may or may not be happy when we try to impose "expectations". If viewers like big prints and galleries don't light prints well, big is often better that little.
Agreed on both counts. It's a truism that the worse a camera looks, the easier it is to hold. Classic cameras are difficult to handle without a strap, and impossible in wet/sweaty conditions. By contrast an AF SLR is ergonomically in a different league. And yes, mirrorless cameras are incredibly power hungry if left in the on position many photographers favour. The difference between battery powered metering and autofocus, and screen, EVF and operating system is born out in the shot count between DSLR and mirrorless cameras. This can be as low as 15-20 minutes vs a day or more of hard use.
The default digital photograph is a screen viewed image. Very, very few ever reach hard copy. In film days everything was "analogue" (negative, slide, contact sheet) and most photographs ended in a print. The things manufacturers are pushing and consumers desire today, are predicated almost exclusively round the electronic screen. Either we embrace that reality, or we hark back (as I do) to the photographic print as a viable, unmediated, technologically mature, semi-permanent way of recording and viewing the world unfettered by plugs, monitors, hardware, software, cables and sockets.
What we can say in 2018 is reports of the death of film were premature. Whether it's on life support or in remission is as yet unclear.
think of all the images they could have taken in the time they wasted on posting.We have just discussed this topic in this recent thread:
https://www.photrio.com/forum/threads/mini-lab-seeing-increased-volume.161732/
Take some time and read it. You will get lots of information.
Also have a look at instagram: Hundreds of thousands of film photographers there, and the number is increasing.
For example the hashtag #filmphotography has more than 10.900.000 postings:
https://www.instagram.com/explore/tags/filmphotography/
Fair enough but it is hard to disregard the science being used. Also: "just printing"? Oh, is that all?LOL. I have read articles like this before and they don't mean squat. There is no way anyone is going to convince me digital surpassed film around 2000, let alone today or in the near future. Reality check--sensors that have wonky outputs that must be processed to a large degree by algorithms (computer guess work), and then converted to a compressed format (data loss) resulting in images with poor dynamic range and tonality is not my idea of a medium surpassing film, where a negative is very high quality to begin with, and requires no further manipulation, just printing, for high quality images, whereas a digital image is manipulated from start to finish--sorry, not buying it.
Instagram growth is like the "comeback." Nice to see increases but this can simply be discovering a community and a consequent gathering of diasporathink of all the images they could have taken in the time they wasted on posting.
Interesting. I have not seen that.
Would you please help me with a more specific source for that number? Here is one of my sources:
"PDN June 6, 2016
According to PMA Market Research, roll film sales have plunged from a high of 948 million rolls in 2000 to just 31 million in 2014."
Your input is appreciated; just trying to get this right.
My Fuji engineer told me at my last Frontier service that there was no R&D in RA4.
Sorry for my late reply. Too much work.
The data of the film sales record was published both by Fujifilm some years ago (I think it was in one of their annual financial reports; I only have written down the number) and in several European photo magazines (data was from market research companies like AC Nielsen and GfK).
Concerning PMA: The PMA is an organisation collecting data only for the north American market, not for the global market.
Are fountain pens, typewriters and vinyl records making a comeback?
Kerrisdale Cameras?Was in a small camera store in a mall near me to buy fixer. First time in there since 2008. Back then they reduced their film stock a few rolls of HP5, FP4, TMY, in 35 and 120. One piddly little shelf behind the counter. If I wanted fixer, they had to order it in. I even had a bit of an argument with the manager who told me I'm wasting my time shooting film and that I should buy a dslr. Well he's gone, thankfully. The current manager is pro film. They now have a pretty healthy selection of Ilford, Kodak, Bergger, and other films, as well as paper, and chemicals... and a cabinet of used film gear.
They just took the photo. If someone looked goofy, it was because they were goofy looking.How did people do mass-group photos before?
=D=D=DThey just took the photo. If someone looked goofy, it was because they were goofy looking.
How did people do mass-group photos before?
Crowd control - A photographer who has the ability to command a room and demand attention has a far better chance of getting a good photo with only two or three frames for a group setting, whether on film or not.
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