[rollei_list] Re: Quiet, Please! - LPM Image Resolution

  • From: Mark Rabiner <mark@xxxxxxxxxxxxxxxx>
  • To: <rollei_list@xxxxxxxxxxxxx>
  • Date: Fri, 02 Oct 2009 18:25:27 -0400

> I think it's really funny that you guys spend so much time arguing
> (yes, arguing) about which is "best".
> 
> Since when did the sharpest, most colour saturated picture equate with
> "best?"
> 
> Since when did LPM resolution equate with "best"?
> 
> Boys and their toys, always got to argue over who's got the biggest
> baddest equipment. :-)
> 
> How can you quantify "art", an essentially subjective endeavor? (Look
> at Sanders images. Look at Daniels images. See what I mean?)
> 
> Use what you like. It's the result that counts, how you get there is
> your own business. There is no best, only what works well for you.
> That might not be (indeed, is most certainly not) what works well for
> me. Live and let live.
> 
> Have a good weekend,
> Thor
> 
> 
> 
> On 24. sep.. 2009, at 21.19, Eric Goldstein wrote:
> 
>> Mark -
>> 
>> Again, high end magazines and catalogs still very LOW RES mediums. As
>> for whether or not digital dominating the walls or galleries, it
>> depends upon which gallery. Certainly, digital prints are not even a
>> pimple on the butt of major collectors and exhibitors.
>> 
>> As for this comment:
>> 
>>> You want to shoot and print film and darkroom fine but I'd just
>>> erase that
>>> smug look of superiority as it ain't necessary so.
>>> Much of the great photography is being done by the great
>>> photographers.
>>> And these people have integrity. They are not sell outs.
>> 
>> it is incorrect on both the facts and the implications. If you are
>> thinking that I am calling digital shooters sell-outs, I will once
>> again tell you that I have been using digital imaging systems
>> professionally since the mid 80s... far longer than you I expect.
>> 
>> In terms of integrity, I DO NOT CARE what camera or lights shooters I
>> work with use to get the job done. What I do care about it that so few
>> so-called still-shooting "professionals" really have the knowledge,
>> skill or talent to do what they are hired to do on a consistent basis.
>> There is a lot of baloney in the profession. I would be happy with
>> oatmeal boxes and pinholes if they successfully did what they were
>> hired to do.
>> 
>> My most successful shoots have often been with motion picture DPs
>> using their still cameras. Expensive but at least you get results.
>> 
>> 
>> Eric Goldstein
>> 
>> --
>> 
>> On Wed, Sep 23, 2009 at 11:47 PM, Mark Rabiner
>> <mark@xxxxxxxxxxxxxxxx> wrote:
>>>> 99.9% of commercial photography is LOW RES with low technical
>>>> requirements... that is why digital could flourish while still in
>>>> it's
>>>> infancy...
>>>> 
>>>> Eric Goldstein
>>> 
>>> 
>>> Yes but if its a high end magazine or catalog catalog its still
>>> digital.
>>> And digital work dominates the walls of galleries.
>>> Josef Koudelka black and whites was the last show I saw.
>>> Printed digitally with inkjet.
>>> 
>>> You want to shoot and print film and darkroom fine but I'd just
>>> erase that
>>> smug look of superiority as it ain't necessary so.
>>> Much of the great photography is being done by the great
>>> photographers.
>>> And these people have integrity. They are not sell outs.
>>> 
>>> Mark William Rabiner
>>> 
>>> 
>>> 
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> 


Plenty of times.
Plenty of times when you're choosing between two images the one you go with
is the one which is the most clear.  Clarity. There are times when
spontaneity wins out. And you don't even care if you've really got your
focus. But in just as many probably more times  what makes a shot a winner
of the others is the shot which is the most clear. The shot in which the
subject jumps out the best.
Clarity normally involves such trifles as resolution, sharpness, acutance,
Saturation.
So you try to pick out a lens which gives you the best results. You try to
pick out the best lens.
That's right!
The tools you use to do a job counts.


Mark William Rabiner



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