Ever wonder how much resolution (dpi) is possible on a print? Not printer resolution, but rather Paper or Print Surface Resolution. This audio blog lays out a proposal by Hybrid Artist Stephen Schaub on a new approach for determining just how good your prints can be on a specific paper.
Plastic People
“With great power comes great responsibility.”
Stan Lee, From the first issue of Spider Man
These words should be branded on photographers world-wide.
Why do I say this?
I just received the current issue of “Professional Photographer Magazine” today (I’m not quite sure why I receive this magazine) and noticed that almost all the images of people in the magazine- articles and ads alike- were not… real. These poor folks had been retouched out of existence…morphing into Zappa-esque “Plastic People”. I had to do a double take on more than a few of them to check to see if they really were photography, rather than CGI (computer generated imagery) …and the scary thing about that is that on more than one I’m still not really sure.
But we’d be lucky if this phenomenon were limited to the pages of one crappy industry rag. Just go to your local bookstore and check out the magazine stand and you’ll see the magnitude of this travesty…WARNING: it is so scary that I would only recommend it to photographers over 18 years in age due to the shocking and graphic nature of the visual insanity. How could we as photographers have forgotten that it is the human element in an image that counts and that the quest for the perfect print/ perfect model/ perfect everything is doomed to perfect failure? That the quest for Perfection in the wrong hands can kill a photograph? A true master photographer knows to when to stop. You the photographer with a click of your mouse and perhaps the wave of your wand have the full capacity to squeeze every bit of life and passion out of even the most amazing image…so just don’t do it. Yes your computer is amazing and yes your skills at Photoshop are fantastic but don’t feel like you need to use all of them at once on every single image…for the love of god, man, step away from the computer!
So where do we go from here? I for one am taping the quote from Stan Lee to my desktop and the next time I am tempted to remove just one more wrinkle I will read the quote and recall with a shudder the insanity epitomized by “Professional Photographer Magazine.”
The Tipping Point
Sitting in my studio with my Mentor Student Bill during our regular weekly class we decided to work on a new image Bill had made this last week. The image as described by Bill was not a “great image” but it had elements that he wanted to work with and explore. Cul.
I always give the advice that if you only work with your best images you are really missing the learning opportunity that other works you make offer. Working with images that are not quite 100% for one reason or another really releases the creative juices and allows you to take chances you would not with your precious perfect images.
The tipping point in this image was the initial crop. The monument was not the subject of the scene, in fact it hurt the image as it separated the scene into two distinct parts…the snow and color on the mountain was the subject and something which could be explored. Bill confessed to me after an hour of water boarding and general CIA approved questioning techniques that his initial instinct was to just shoot the mountain with the snow and color but he decided that the Monument would maybe make it better…(Bill will be forgiven for this lack of self confidence after he has read the Figital Revolution Manifesto 20 times as a penance.) So, after an hour of editing and working with color and local contrast the final image conveys the energy Bill was looking for in the first place.
What does this mean?…don’t discard an image too fast….the process of making an image can be very rewarding in itself and it is a great learning tool with regards to understanding your work and developing style.
Now go dig out those dusty negatives and digital files and get to work!
My thanks to Bill for help with this post…to view more of his works please visit: billguild.com
Blah, Blah, Blah, Blah!
Have you ever logged on to a photo web site and heard photographers argue about the merits of one film over another? This 100 speed vs that 100 speed. XP2 Super vs REAL black and white films. What a bunch of #$@$%!
One of my favorite arguments I recently came across online was one in which a handful of “photographers” (they sounded more like a bunch of old hens) clucked on and on about Kodak and the “crappy” quality of BW400CN. Ok, this film is new to me so I decided to try something novel…
I’d test the film myself! There’s a thought.
So having now done a quick and rather unscientific test here are my blah, blah, blah thoughts.
1. Fine grain when scanned on our Imacon scanner (oil mount) (professional processed C-41)…I don’t know about wet darkroom printing from these negatives and don’t really care as I am not heading back into the dark any time soon.
2. Not quite as sharp looking as say XP2 Super (smoother grain tho) or some other black and white negative films (REAL Black and White that is) or films processed using the very cul dr5 process but acceptable and perhaps ideal for portraits.
I just made using my in house workflow (oil mount scan, PS, ect…) a 16.85″ x 24″ print that is simply amazing. The grain is fantastic and at any “real” viewing distance the print has the sharpness one would expect from an analog process and not that hyper-digital sharpness crap. Oh, yeah…this is 35mm!
So what does this mean? First, stop kicking Kodak in the face. They make some good films (not all) but most problems photographers have with Kodak are the same problems other photographers have with Fuji and Ilford. Rather, we are a bunch of prima donnas(who me, YES you) that can’t get out of our own way and we want what we want now(I hear the hens clucking)! This demanding position of total excellence is fine from time to time but we need to be careful about spewing random meaningless talk that does nothing to help promote/ enhance our medium. That is not to say that Kodak and these other companies (The Photo Industrial Complex) don’t deserve 
to get kicked in the ass now and then but most of the talk I read on the web is meaningless and based on personal issues and not real photographic observations.
I have attached a sample image made using the BW400CN for those of you who need to see it to believe it (I’m in this group myself). The first is full size, the second (crop) is a crop from the full sized image (16.85″ x 24″)….very cul! This is 400 speed 35mm film!
Which process do I use (film)…when I can dr5 with FP4 or HP5 or if time is tight and the lighting is unsure XP2 Super or now BW400CN.
"It" Takes Great Pictures
It? Who- or what- is this “It” anyway?
How many times have you said this: :”Yeah, It takes great photos“? But what does this really say about our relationship to our technology?
You are the photographer- right?…the camera is just a tool. Some of the best works ever made were made with not-so-great cameras, and, as we all know, give a camera to a good photographer, ANY camera and they can produce good work. Give a camera to an inept photographer- even the BEST-MOST-AMAZING camera- and can you reliably expect phenomenal results? Not so much.
The upshot? It ain’t the camera stupid.
Sure, the Photo Industrial Complex loves it when photographers pile on all praise and gratitude to them, ie: their products. And YES, there are some really good lenses and camera systems made that can enable you to get a shot or explore possibilities not possible with other equipment, but it is worth remembering that these tools are useless in the hands of an idiot… and yet marvelous in hands of a talented artists. The gear- or IT- is just a tool.
So the next time you are about to give credit for your vision, talent and hard work to the Photo Industrial Complex/your camera manufacturer- remember that, actually, you deserve the credit… after all, they already got their reward when they swiped your credit card.
A Thanksgiving Message
Yes, it’s Thanksgiving 2007 which got me thinking about the last year and what I have to be thankful for (photographically speaking of course.)
1. Film is still being made (YEAH) and seems to be having something of a renaissance.
2. Only one new version of Photoshop to upgrade to in 07 ( I skipped it anyways).
3. No major upgrades required for hardware or software.
4. Most new papers sucked or were rebranded previous offerings so I saved on costly testing and re-testing.
5. Photo Expo Plus in NYC was so boring that very little caught my eye or pocket book (thank god!)
6. My Leica lenses are still king and the new Nikon and Canon offerings are so not for me…no thank you.
7. My printing platform (The d’Vinci Printer) will continue to rock in to 2008 and beyond so no thank you to Mr. Epson, Mr. Canon or Mrs. HP.
So when I stuff my pie hole on Turkey day with too much food and drink and congratulate my self on accomplishments both real and imaginary as a photographer and artist I can also thank the Photographic Industrial Complex for making 2007 one least inspiring technologically and one cheapest years I can remember…now that is something to be really thankful for!
Never Leave Home Without It!
Never leave home without…what? Your credit card? Driver licence? Breath mints?
No, your camera!
I am hereby declaring it a mortal sin to leave home without your camera…it should cause you great physical pain and perhaps even nausea to be without your most beloved tool for too long or to be separated by too great a distance.
Ok, a bit over the top perhaps but this is a serious topic and one that is often overlooked. I, for one, have been working on a kit that will have all necessary gear for most situations (3 lenses, 28mm, 50mm and 90mm), simple flash, camera body (Leica M7), misc accessories plus film (6-10 rolls) and carry in a weather proof bag that does not scream “steal me!”- but at the same time looks good and weighs less than seven pounds…anything over 10 and you will not carry it day in and day out- trust me I’ve tried.
My reasoning for this mandate is simple: without a camera you do not create work, period. Without a camera you as a photographer are worthless.
Now go get your camera…do it NOW! (How’s that for positive life changing motivation?)
The Open System
There’s lots of talk today online and in print about open camera system architecture…that is to say, a camera system that will accept different camera backs (medium and large format) and perhaps even lenses made by different manufacturers (see new Zeiss and Voigtlander offering for Nikon).
Very Cul!
Hasselblad of course screwed up this warm group hug and collective back rubbing with the introduction of the H3 which is a closed system (read: they want all your money) – definitely a lame move on their part.
The best (most flexible and cost effective) open system to date is: analog FILM married to a good scanner. Lots of options with a minimal investment and proven, time-tested technology to boot.
The best- or at least coolest- digital open system so far?…consider the Hy6 (you know, if you have $30,000.00+ just kicking around)!
I, for one, will stick with the film option.
Fake Film!
Just came across some new software that will give your digital files the look of many classic films with respect to color, contrast and yes, even grain.
I mean, what? What?
Want film? Want the film look? Here’s a crazy idea: shoot film!
Shoot- Scan- Print…it’s that easy. So much for the death of film. Imitation- even digital imitation- is the highest form of flattery… don’t ya know.
Focus: How To and Should You!
I, for one, feel that focus is highly over-rated. As a matter of fact- for almost 2 years I would argue that none of my images were “in focus” or at least not sharp. Did that make them less photographic or less of an Artwork?
No.
Focus is just one element of an image and not the most important by any means. I often find the bokeh (or the out-of-focus qualities) of an image much more engaging than an image with sharpness throughout.
All of this being said- how do you focus a camera to ensure the exact point or plan of focus that you have chosen is sharp? Easy! Just follow these 4 steps:
1. Turn off the F$#cking auto focus.
2. Turn your lens to the point of focus and then just beyond.
3. Now turn your lens back in the opposite direction and just past the point that appears sharp.
4. Now turn your lens back to the point of focus.
By focusing back and forth and with each pass closing in tighter and tighter to your chosen point of focus it allows you to see just exactly where the point of focus is and what it looks like just before and just after. This technique is really quite fast and will ensure the best possible focus…something which is really important when you are working with a fast lens say at f2.0 – there is no margin for error with a depth of field that shallow.
And one final tip…use good glass!
Figital Revolution 