High-Horse-Moose wrote:
> I'm of the opinion that grain is a defect, and always has
> been, in the sense that it is an artifact of the image
> capture process that is not a part of the subject. You rail
> about digital artifacts in DSLR images, but accept artifacts
> in film
Analogy #1:
Film = Tube amplifier
Digital = Solid State amplifier
As to grain being a defect? In some aspects it is. If your
image capture goals is to retain as close to 100% accuracy to
the original scene you are correct. But you're already off on
that anyway because the original scene is 3D. Almost all
photography is "abstract" by definition. As such, you are
creating a "new reality". If grain is part of that reality, so
what?
>From an "artistic expression" point of view, I view grain as a
vital part of it. But this is stylistic and not necessarily
substantitive. Pointillism is a painting style which, under
your definition, is "defective". But it sure worked for Seurat
and later, Monet.
> It is nonetheless, a defect in the image creation system in
> that it arbitrarily alters the image projected by the lens
> onto the film in ways that have nothing inherent to do with
> the subject.
And I'm so glad it's there! So much of "artistic expression" is
the exploitation of "defects" to create something far beyond the
original intent. A classic example of this would be the Hammond
Organ. The designers of the Hammod Organ were appalled when
musicians were coming up with these new creative sounds which
were what ended up defining the Hammond Organ. How about Les
Paul with the Guitar?
Selective DoF is nothing more than taking an optical "defect"
and turning it into something far more.
Moose, in technical applications I agree with you, but in
practical artistic application, I think you are off your meds.
:)
AG
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