But overall, I liked them.
Ya know, there's one thing about the statement that stood out rather glaringly for me: "With no motor drive to capture three frames every second (as with my Canon 5d Mark II cameras)..." Did it escape everyone's attention that Mr. Clendenin thinks that his digital camera has a motor drive in it?? If he actually had a film camera with a motor drive, he could be exposing 10 frames per second! (Canon EOS-1V, costing less and doing more than full-frame digital cameras, and not obsolete every other year.)
I go on thinking he's in a "lomography kind" aesthetic operation: "look at those pictures, they are so refreshingly faulty as opposed to the digital boring perfection". That is where I see the "problem", the idea that film is authentic because it is supposed to be faulty and thus have character, and the idea that digital is boring because it is supposed to be perfect.
klainmeister
they are mad because he made "arty" portraits and because the photographer had FUN.
I hate the Eagles too, but which member are you referring to - Glenn Frey? Don Henley? All of them?
As has been noted repeatedly, he didn't use film, so he clearly wasn't trying to promote the idea that film is authentic because it is faulty. Neither did he make the claim that prints made from paper negatives were the norm 100 years ago.
Okay, what we have here seems to actually be a debate of Pictorialism vs. Modernism.
Should newspapers run Pictorialist images in news articles? I think that it's fine. This isn't the scene of an accident or fire or something like that. A Modernist approach should be used for that. But here we have a situation where, in actually a bit less than 640x480 (I checked), LF stands out without scanning in the borders.
Is Large Format, and thus all of opto-chemical photography, denigraded by this? I honestly am not convinced of it. Pictorialism has been with us since before Henry Peach Robinson's 1869 book, "Pictorial Effect in Photography: Being Hints On Composition And Chiaroscuro For Photographers." I am quite certain that Mr. Robinson would be fine with Holgas, Dianas, portrait lenses, Petzvals used outside their design parameters, and every other crazy thing. The portraits aren't "sharp images of fuzzy ideas." Aside from darkroom technique, I still think Mr. Clendenin did a good job with the portraits.
So what can be said for the current distributed format of 640x480? It has demonstrated that the only time a film image stands apart from digital is when the image is Pictorialist. A Speed Graphic with an Aero Ektar used for that narrow focus plane produces essentially a Pictorialist image, even though it's Modernist equipment. Since the resultimg image is Pictorialist, it stands out from Modernist digital. AFAIC, including film borders is Pictorialist, as the inclusion of the borders is a deliberate effort to affect the viewer's perception of the image.
As I see it, it is not "pictorialism vs. modernism" but carelessness and unrealistic low expectations vs. a proper job.
Do I hear the ghosts of the f/64 group speaking here? :munch:
At the prior Olympics in Beijing Clendenin photographed athletes using a Polaroid. The horror!
http://latimesblogs.latimes.com/olympics_blog/2008/08/athlete-snapsho.html
Ironic that no one who is so appalled by the photographer's choice to present these images as such for the 2012 Olympics finds his 2008 Polaroids abhorrent. Is it because there is a sacred reverence for LF and any deviation from perfection (a la Ansel) is junk? Or are the Polaroids fine because he didn't degrade the image "unnecessarily"?
What about wet plate folks that have a pour that is less than perfect? Are those to destroyed?
Ironic that no one who is so appalled by the photographer's choice to present these images as such for the 2012 Olympics finds his 2008 Polaroids abhorrent. Is it because there is a sacred reverence for LF and any deviation from perfection (a la Ansel) is junk? Or are the Polaroids fine because he didn't degrade the image "unnecessarily"?
Are your reading skills really that rudimentary? It's been explained very clearly, several times, what the dislike is. Diapositivo said it best, IMO.
no my reading skills aren't rudimentary, i said the gist of what you and ian were suggesting.
that his photographs were terrible, and he didn't present "proper" portraits, but had fun instead.
while you did not say these things specifically, the way i said them it is possible to read between the lines.
i am sure if the photographer wanted to, he could have presented perfectly exposed, perfectly processed
and perfectly scanned portraits of the olympic athletes using his old lens and view camera. while using paper instead
of film presents its own skill set, and challenges ( difficult contrast, non panchromatic emulsion and different processing methods )
i am sure he could have shot in overcast conditions, used filtration, or paper flashing, and spent developer, or a low contrast developer,
and scanned everything to make his black/white portraits look perfect ... but he didn't choose to do that
instead he chose to have fun ... and it is the fun that he had that you seem to have taken offense to.
are you going to start getting upset with people who don't use the zone system next ?
The zone system? Are you dredging up another controversial subject to excersise your agenda on? FWIW, I don't use it.
AHA. You don't use it.
SO !!!
WELL, you don't use it you say !!!
bail me out here....not sure where I'm going with this....but I thought it was maybe a gotcha moment........no sure....
I'd love to see how this conversation would end up in real life. This has become so ridiculous....
It's not flattery when the technique deliberately maks the images look far worse than they would be if genuine !!!!!
It's the [rocessing artefacts that are fake and deliberate, not the images and the use of older lenses
There is that, as a positive. I just wish the photography wasn't a complete misrepresentation of what analog photography is.
Instead of going for a really crappy gimmicky look, he could have used a 100 year old Tessar and flabbergasted everyone with the sheer quality of the images. But no, he made a mess intead. The guy's a tool.
The problem I have with the project is that it seems to give the message that his very poor results are all that analog processes are capable of. Very patronising.
Well, my problem with the images is that they stand out by being bad. And, for many, this might be the only time they get to see an analog print, from any size format. A poor, gimmicky picture(s), that do not represent what the technology used is capable of, or intended for.
Absolutely. And we are free to express our dislike of his shitty pictures.
Once again, the issue is the artificial "quaintness" and lousy quality of the 2012 images being presented as what analog is.
I haven't seen his 2008 images and have no intention of looking at them. I have no interest in sports or competitions of any sort.
As for the wetplates, if you are trying to show what wetplate technology is capable of under the best conditions, you don't show the bad pours. If you are trying to show real-world results, you include the bad pours and show how to avoid that particular problem.
Wetplate whimsey:http://www.largeformatphotography.info/forum/showthread.php?77116-Post-your-Pixies!-)
you are too funny ...
lousy quality, crappy, gimmicky, shitty photographs ... didn't use the proper technique, deliberately made fake processing artifacts, not genuine, misrepresented and did not show what analog photography is ... bla bla bla
instead he had fun, and deliberately made shitty, crappy, gimmicky, lousy quality, photographs ...
are there different people posing as ian, and the 19th century lensmaker emil von hoegh?
you are too funny ...
lousy quality, crappy, gimmicky, shitty photographs ... didn't use the proper technique, deliberately made fake processing artifacts, not genuine, misrepresented and did not show what analog photography is ... bla bla bla
instead he had fun, and deliberately made shitty, crappy, gimmicky, lousy quality, photographs ...
are there different people posing as ian, and the 19th century lensmaker emil von hoegh?
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