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Author Topic: Get your heads around this  (Read 489 times)

Rob C

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Get your heads around this
« on: November 10, 2019, 05:05:32 pm »

Martin Kristiansen

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Re: Get your heads around this
« Reply #1 on: November 12, 2019, 12:30:55 pm »

Iím busy with it but havenít had enough time to watch the whole thing. Tomorrow I have a gap and will give it the attention it deserves.
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Commercial photography is 10% inspiration and 90% moving furniture around.

Jonathan Cross

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Re: Get your heads around this
« Reply #2 on: November 14, 2019, 02:19:23 am »

I did not think I would watch this for an hour, but I found it fascinating!  Although it is a different genre there was much that applied to landscapes of all types.  I found his view on whether he is a photographer refreshing, as I have puzzled about what defines a 'fine art photographer'.  His views on the democratisation of photography and the use of smartphones would probably upset some purists, but liked the ideas on liberation and creativity.  Personally I was not sure about film as I tend to prefer the parallel input of looking at stills rather than having the serial input of a film. Having said that our village in southern England has just received an application from a Californian outfit to film a short piece in series about traditional village that will be just 2 people with a dlsr. 

My only concern is about the ephemeral nature of the way photography is going.  What will happen to all these raws, jpegs and tiffs.  Will they be readable in 50 years?  What will happen to the visual history and records  of our societies, cultures and landscapes?

Apart from the awful lighting, with faces half disappearing into darkness, this was well worth settling down in a comfy chair on a cold evening and watching.  Thanks Rob.

Jonathan
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Rob C

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Re: Get your heads around this
« Reply #3 on: November 14, 2019, 04:13:09 am »

Glad you found some value in the link, Jonathan.

I share your concerns about the future conservation of images. That said, I have a suspicion that it's a concern shared only by an older generation with trace memories of framed pictures on sideboards, bedside tables etc. and that current youth, with its shortened attention span, will care as little for the past as it seems to do for the present. Of course there are exceptions, but by definition, they are not enough in number to change the direction of travel of society.

Personally, changes in technology have already impacted my little world. A few months ago I had to throw out a stack of video recordings I'd made because our old machine has given up the ghost; I'd have thrown it out too, but the other half of it still plays DVDs... I have what was an expensive two-cassette player/recorder that I think still works, but as I can no longer go to the local tv shop and buy new cassettes, it has assumed the historical value of my remaining film camera and the Kodachrome awaiting collectable status as it sleeps in the freezer.

Regarding motion: I see his point about clothes being designed to be seen in motion, though I am not fully convinced any such ideas are really particularly strongly felt when it comes to the buying of clobber. People, given the instore opportunity of tying stuff on, look at themselves in a mirror, face on and then from the side, and if the bum doesn't look too big, then that garment is a possibility. Of course, some brillant creation will look amazing when a great model does her twirls and swirls, but how many people ever live in their clothes in such ways? I can't help thinking that a part of the thing is that Nick Knight just wants it to be the way he says it should be, that the more complex the production the better for his bottom line.

Whatever the reasoning behind it, he can't be denied his ability to produce remarkable visual experiences!

Rob
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