Re: Too much equipment


Steve Shapiro (sgshiya@redshift.com)
Sat, 17 Apr 1999 07:59:50 -0700


Subject: Re: Too much equipment

> Dan-
>
> I'm going to play the devil's advocate:
>
> I think there is something to be said for limiting our acquisitive natures
> in the name focusing our creative intent. While I agree completely that
we
> all need the tools of the trade, I frequently observe that the cart is
> before the horse all too often: fascination with the tools and obsession
> with the details of the process seem easier to satisfy than actually
> dealing in and with the images.
>
> In other words, if the equipment is serving the images and is not simply
> the next step in avoiding them - if the images are *asking* for and
> requiring this new equipment (or new film, or new paper/process) - then I
> think you're on solid ground, otherwise the lingering doubt that prompts
> you to ask the question in the first place might merit further
contemplation.
>
> Best wishes-
>
> Jon Bailey
>
>
:0) After plowing through what at first seemed like a bunch of gobble-de
gook, I must agree with you percicely.

I find myself drooling over certain lenses and wondering if they might
replace what I own. I shoot with the very sharpest of Goerz lenses and why
drivel over the earlier variations?

It seems I get carried away with the lore and knowledge of how to do
something, even miss the expoloration of fumbling around leaning; and when I
try a new process ruin a bunch of negatives, and realize I have tried and
true process most novice photographers would kill to be able to master.

How can I improve on a Kodak Master camera and Dagor and Red Dot Artar
lenses? Even my Zeiss Protar Triple proved my Ektar lenses are subperb,
already. Grandigon, angulon and all variations off the Dagor patent.

If a new format drives you into a fit of interest, try cropping and see if
it expresses what you hae. But, as soon as I get out of the readingcorner
and into the field or into the darkroom, the feeling of loss because of a
lack with certain euipment leaves me immediately.

Then, while pourning over prints while mounting them, I'm in a complete void
oblivious to any other euipment that might be out there.

S. Shapiro, Carmel, CA



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