Oops,
sorry, in the last email I sent to the list (replying to Miguel) I forgot
some text at the bottom from uncompleted thoughts.. which since it does not
make any sense, I hope you could erase it! haha...
Thank you
Christos
On 4/15/06, Christos Stavrou <christos.stavrou@xxxxxxxxx> wrote:
>
>
> Great analysis Manuel, it's been a pleasure to read it!
>
> I think they are many good points raised there and the general argument of
> why we better pursue a more technically 'pure' photo is very strong.
>
> I'll just emphasise that It is indeed a very thin and blurred line between
> 'defect' and 'artistic intent', which is literally resolved only in the eyes
> of the viewer and within particular canons -which of course are contested
> and flexible, they do change socio-historically (both the viewer's way of
> seeing and the art-canon or 'cultural fashion' let's say)
>
> And I shall add, that maybe this is why, after some time photographing all
> those strange contested realities around me, that I ended up to mostly
> appreciate the subjective expressions of what others 'feel' (good or bad)
> and how interact with a photo. I've actually lost interest to satisfy the
> general public, or prove and follow allegedly 'good' ways of making
> photography :)
>
> And actually, to move to a relevant issue, how I also wish that one day I
> will spend (should I say waste) no time at all deliberating about better
> equipment in terms of sharpness, resolution, etc...
>
> It is strange how much time we, the photographers, spend in these endless,
> often empty discussions. Not only because the photographer is not made by a
> camera, or that the criteria to judge are relevant as we said above, or that
> by manifesting technical ability in however easily reproducible works -as
> seen mostly around us- does not add any real interest or creativity... But
> also because the communicative and expressive quality of a photograph, which
> I think this can not really captured in neat arguments, (it is lived and
> experienced), this is what matters!
>
> It's a small miracle when it happens.. usually it affects few people each
> time -(although some geniuses have made photos who communicate almost
> universally)... and it makes me a believer when I can produce such
> instances.. I'll keep trying :)
>
> regards
> Christos
>
>
> n have found from experience that for some dinosaur After all we better
> not forget that it's the subjective enjoyment
>
> On 4/15/06, Manuel Viet < oly@xxxxxxxxxx> wrote:
>
> >
> > Le samedi 15 Avril 2006 09:14, Christos Stavrou a écrit:
> >
> > > For me, the starting premise is that photography is (and should be)
> > not a
> > > representation..
> >
> > I can't agree more with your philosophy. But personaly, now firstly I
> > tend to
> > avoid as much as possible any physical defect of the film. It's easy to
> > simulate anything from vignetting to grain with a picture processing
> > software, hence I like to keep open the field of possibilities.
> > Secondly, I
> > have a feeling that when an effect is to much akin to a defect, the
> > artistic
> > intention is not very clear to the public, and you're easily mistaken
> > with a
> > poor photograph. And finaly, I find that those easy tricks all have this
> > "je
> > ne sais quoi" of "déjà vu" that lessen the viewing experience. Why limit
> >
> > yourself to a simulacre of existing defect where you can, for instance,
> > put
> > the vignetting off-center to emphasize a particular spot ? Or have 2
> > different zones in your picture ?
> >
> > > Of course opinions may differ in this inherently debated and always
> > > subjective issue.
> >
> > Of course ; the most important consideration in a hobby should always be
> > to
> > please yourself first. But I noticed that exchanging with people who've
> > been
> > there, done that before me had a very positive impact on my work.
> >
> > --
> > Manuel Viet
> >
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