ultra ultra large and beautiful: John Chiara

Thomas Bertilsson

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That's the coolest thing I've seen in a while. Thank you for posting that link.
- Thomas
 

David A. Goldfarb

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That's great. He's doing in-camera Ilfochromes, but being pretty casual about exposure and such, which I suppose he can be, if he's generally shooting in similar kinds of light.
 

Uhner

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It is a very well made and interesting little film.

David A. Goldfarb said:
That's great. He's doing in-camera Ilfochromes, but being pretty casual about exposure and such, which I suppose he can be, if he's generally shooting in similar kinds of light.
Click to expand...

Thanks, I was just about to ask
 

Uhner

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I might add that I showed this video to my girlfriend last time around this link was posted here. It convinced her that I keep my interest in photography, and my gear acquisitions, on a reasonable level.

However, it is of course possible that if I show it to her again she will find it best to oppose my interest before things get out of hand and I start rebuilding a horse trailer into a camera…
 

Vaughn

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Anupam Basu

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That is a very interesting video and I enjoyed it. But it did make me wonder though. I have often felt that in too much of photography nowadays the emphasis on the end result takes away from the experience or the craft of the process. That is partly why people enjoy large format or perhaps alternative processes. But at what point does that interest in craft or the process become a thing in itself and take away from the photograph? My personal answer to that is that I whatever process I pursue must contribute something discernibly unique to the end result - it must extend my photographic vocabulary in some way...
 

Vaughn

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Anupam Basu said:
...But at what point does that interest in craft or the process become a thing in itself and take away from the photograph?...
Click to expand...

Much better for the entire process, from conceiving the image to the print on the wall, to be one. The image determines the process and the process determines the image. Just from the short video and his explanation, it seems he has struck a balence between the two.

I am surprised he hasn't made a periscope/viewfinder and do all his image manipulation "in-camera"!

Vaughn
 

Anupam Basu

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Of course, that is ideal. But - and we may disagree on this - for me a photograph must be, at least provisionally, be able to stand on its own. That is, before you tell me whether it is an in camera Ilfochrome, or a platinum print or a Canon 1Ds thingamagig printed at Costco, the photograph on its own must grab me. The process should contribute to that interestingness and of course it has some value in itself. (a) A platinum print produces a look which a DSLR can't quite get, and (b) I also value the craftsmanship involved.

But my point about his work was that it is so severely limited by the logistics of the image-making - literally being able to park a truck wherever you want to make an image, taking way too much time to set up the shot regardless of the light etc - that it might start to become all (b) with very little (a). Of course I can't comment on the quality of his prints looking at the video, but I sure hope the prints have more than a novelty factor of the process involved.

Feel free to disagree . But of course, I do appreciate his dedication and meticulousness.
 

Vaughn

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No disagreement. Any discussion about process normally comes after one has a chance to take in the image.

Every process or methodology has its limitations/logistical problems. One person's limitations is another person's freedom. Someone shooting 10 36-exposure rolls in one day might think I am "limiting" myself by having only 10 sheets of 8x10 film on hand for the same time period. He/she would be mistaken. In fact, I have to fight the tendency to think that he/she is a rather shallow shooter...which would be equally mistaken.

Vaughn
 
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sanking

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Marco B

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Marco B

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Curt

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Doesn't it make you want to use a room in your house with a view as a giant camera? It really gets the creativity going.
 
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