Re:Was Pix not sharp nor digital now Salgado and B&W

Anybody tried the EOS 20D's black-and-white modes? The camera apparently can be set to sepia tone in addition to a straight rendition.

At 06:17 PM 10/31/2004, you wrote: 
Martin, last Wednesday I attended a talk by Salgado at U. C. Berkeley. The
UCB Press is publishing his Sahel work about starvation in the Sahara in
early 1980's. That work was publisher in Europe but never in the U.S. until
now. If you saw it you might hold Salgado in more esteem. Social message and
artistic merit are both presented.

He announced a significant change in his style and subject matter. He is
going to work on animals and landscapes for the next eight years. He will be
using 645 format cameras shooting b&w film. His comments on digital were
"..you can push a button in PhotoShop but that is not black and white.
Digital has no black and white".

The other dramatic change is he has shaved his organ-grinder/bandito
mustach. Now he is cleanshaven, head and face.

I admire his work and his photos greatly.

Bill Lawlor


----- Original Message -----
From: "Martin Howard" <mvhoward@xxxxxxx>
To: <leica@xxxxxxxxxxxxx>
Sent: Sunday, October 31, 2004 11:34 AM
Subject: Re: Pix not sharp nor digital


> Mark Bohrer wrote:
>
> > Hitchcock was a class act, a great filmmaker who chose excellent
> > talent for classics like Rear Window. Today's directors and producers
> > create mostly gratuitous trash.
>
> Not to take anything away from the considerably talent and skill of
> Hitchcock, but I'm sure that in his day the majority of the directors
> and producers created mostly gratuitous trash too.  Our perception of
> what has become gratuitous changes over time.  That, and the fact that
> most of the gratuitous trash doesn't survive, makes comparing the
> greats of a past time with everything that is going on in the current
> one becomes a problematic endeavour.
>
> > Even when Cartier-Bresson shot slightly risque stuff he did so in
> > classy style to communicate an idea.
>
> Cartier-Bresson's "risque" stuff leaves me pretty cold.  I love HCB's
> photography but I don't feel that it communicates much beyond a very
> strong style of visual aesthetics, a style that has since been picked
> up and carried on most notably by Sebastiao Salgado (but others too).
> It is characterized by an almost total divorce of aesthetics from
> content -- which in and of itself can be read as a very astute
> commentary on social values in the post-modern age, but I doubt that in
> HCB's case it was that conscientious (in Salgado's earlier work,
> possibly more so).  HCB appears to have approached photography almost
> as an exercise in geometry.  Again, I state this not to detract from
> his talent, artistry, skill, or influence on photography, but merely
> because I like calling a spoon a spoon.
>
> It is interesting to compare HCB with Jeanloup Sieff. With regard to
> "risque" subject matter, I find Sieff's ability to communicate an idea
> far exceeds that of HCB.
>
> M.
>
>
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Mark Bohrer
www.mountain-and-desert.com
Adventure travel and wildlife photography 


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