U of S | Mailing List Archive | alt-photo-process-l | Re: curves and gum and Christopher James book

Re: curves and gum and Christopher James book



Dan and Sandy,
 
This may surprise you but I totally agree with what you say about ART.
 
Just as you find the images used in the article "plain terrible" I find any claim of precision and of being techy about PDN just as terrible. 
 
Basically you both said "SHOW ME THE PRINTS" and I say SHOW ME THE NEGS. You can't have one without the other.
 
My point is that there is no METHODS, no SYSTEMS and no PROCEDURES out there that can claim: make your negative my way and your PRINTS will have SOUL. Especially, the idea of "calibrating" a process is just "plain terrible" because it implies you can apply this same "calibration" to all your images, that's not art, that's printshop work. Ok, "calibration" can help bring your negs and prints in the CITY but when in the city you need to give an INDIVIDUAL ADDRESS to each prints. Each image as it's own SOUL and to bring it out in the PRINT you need a UNIQUE way to process it.
 
Best regards,
Yves
 
 
----- Original Message -----
Sent: Friday, March 07, 2008 2:42 AM
Subject: Re: curves and gum and Christopher James book

Hi Yves,

I appreciate your reference to the article mentioned but I gotta tell you, when the photographs used to illustrate a point are just plain terrible, I find it difficult to take the information that seriously. If the authors' sensitivity to content and design is divorced from concepts of beauty and esthetics how are they going to get anyone other than academic nerds to pay attention? Good grief, did this duo have to use photos of a PC sitting on a counter  and cars in a parking garage? I literally fell asleep trying to read that piece. Is there a special word processor that these folks use to produce the most uninteresting verbiage possible? 

In so many photographic issues it comes down to SHOW  ME  THE PRINTS! There are so many firm theories and absolute approaches by pixel pushers and algorithm humpers who never make a goddam print. If the final prints have soul, beauty and intrigue, who cares what "operator" was used in the production? Theoretical precision has close to nothing to do with art.

Sorry if this sounds bitter. When I awoke after trying to read that article, I was much like a bear, resentful of being disturbed during hibernation. ;^)

Dan




On Mar 6, 2008, at 11:40 PM, Yves Gauvreau wrote:

basically it fails to reproduce local contrast as well as other characteristics of the original amoung which there is a potential for loosing details. If you have time take a look at Reinhard introduction (http://www.cs.ucf.edu/~reinhard/papers/tvcg2005.pdf) it's only a page and he explain all this in plain english (I think) much better then I can.

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