film aura?
Kenny C
when exposed,
hold a certain spacial value in that there is an actual chemical process
which is physical
that existed (you are holding a piece of object eveident of the chemical
process that took place when it was there). It is actually a piece of
object that existed in a historical past, when you look at a image of Capa's
D-Day images, the real negative has the aura of being there, occupying a
certain time and space. That slab of film was out there on the beaches
of Normandy and no matter what you say digital will never reproduce that
aura.
Although its true that the negative can be reproduced, but to the
photographer the aura of the "one" origional negative having a sentimental
value is important to me. Anyone
else feel this way or am I just being too sentimental? I think the negative
is the closest
physical link to past memories which digical cannot reproduce.
k.
Gregg
singers (and speakers) vocal chords that moved the recording needle across
those early wax cylinders?
but does a recording have to an actual, physical "analog" process to
preserve historical permanence?
but the micro chip, sensor and silicon memory wafer (or whatever) were
"actually" there at the time of recording photos of light, just as the "slab
of film" was really there. Of course with digital recording, the light and
shadow, colors, and absence of light (and/or sounds) were all recorded as
1's and 0's and we need a device to turn those implanted "on" "off" notes
into something our brains can recognize ............ but does that make it
any less "permanent" ?
the analog to digital to analog process is just as "physical" as the
chemical process, but it is one step removed from our own sensory abilities
"Kenny C" <k...@REMkennethchou.ca> wrote in message
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Tony Spadaro
actually seen one of the original prints? You, like me, like millions of
others have seen the magazine and book reproductions of Capa's D-Day shots,
just as we've seen mostly magazine and book reproductions of almost all the
photographs and paintings and sculpture we've ever seen. What is the "aura"
of a book page? What is the "aura" of a 60th Anniversary Issue of LIFE
magazine?
A chip of film is no more the actuality than a digital file. I suggest
you look up a picture titled "This is Not a Pipe" to illustrate the
difference between your loved ones and the pictures in your scrap book.
--
http://www.chapelhillnoir.com
home of The Camera-ist's Manifesto
The Improved Links Pages are at
http://www.chapelhillnoir.com/links/mlinks00.html
A sample chapter from my novel "Haight-Ashbury" is at
http://www.chapelhillnoir.com/writ/hait/hatitl.html
"Kenny C" <k...@REMkennethchou.ca> wrote in message
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Joseph Meehan
share this feeling or stop to think about it, but reading your message made
me think.
There are many such things in life. They don't always make sense, but
we enjoy them just the same.
Many people have a special feeling for young children. Frankly I don't
share that one, but bring a four month kid into my workplace and you can
write off at least 15 minutes of work time while my employees all need to
view, touch and talk about the magic of the small human.
--
Joseph E. Meehan
26 + 6 = 1 It's Irish Math
"Kenny C" <k...@REMkennethchou.ca> wrote in message
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Kenny C
in highly secured places. or maybe read up on the Age of Mechanical
Reproduction by Walter
Benjamin. You simply cannont assign sentimental values to everyone else on
the planet. These origional negatives are a one of a kind, they hold a
special value and have
physical relations to the actual events that took place. No Digital image
can ever claim that.
k
"Tony Spadaro" <tspa...@ncmaps.rr.com> wrote in message
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Kenny C
but if you look in terms of the origional DAT recording, it will
have sentimental value to many.
k
"Gregg" <juri...@teleport.com> wrote in message
news:K7dBb.4751$_r6....@newsread1.news.pas.earthlink.net...
Alan Browne
If there is an emotional attachment to an image, it is to what the image
evokes, not to how it was recorded. Whether people or places we've
been, it is those memories that are being stoked, not fondness of the
film. And the more abstract the subject, the less important the way it
was recorded.
I understand your sentiment, however, film is just a recording medium.
It is a thing. It is bought having a specification and we load it into
a camera with a specification and we get specific results. From that
slide or negative we can reproduce the image... now for particular
images, care should be taken to preserve them over time... and this is
just as much a chore with digital as it is with film...
Cheers,
Alan
Kenny C wrote:
--
e-meil: there's no such thing as a FreeLunch.
Kenny C
its doctile, tactile
feel is intuitive. We dont analyze why we scan out negatives and then
destory our negs, its
intuitive that the physical item has a value. The canvas that divinci
placed the mona lisa
on has a physical relation with the artist because it was handled and
touched and there fore when we experience the painting we embrace its full
experience not only visually but we fill
in the tactile and physical sensations, true... canvas or film is just a
medium, but once brought to the physical location and having a direct
reaction with the event it is forever changed. I suppose we can lay those
sentiments to flash cards in that it was there when it
faced the horrors of 911, but it just wouldnt be the same as film. The
process of looking at
a slide has a smoother form of continuity akin to experiencing a painting,
where as digital is
reproduced and when looked through monitors it varies in an infinate
possibility.
k
"Alan Browne" <alan....@FreeLunchVideotron.ca> wrote in message
news:qnnBb.75132$pQ1.1...@wagner.videotron.net...
Tony Spadaro
more delicate than an oil painting or even a fresco. The picture you see is
almost always a reprodiuction, either by chemical print or press printing.
The original digital file is unique too - the reproductions contain all the
work of correcting the original. Uniqueness does not necessarily mean
value -- unless of course you'd like to buy all my bad negatives, in which
case we can definately work out a deal.
The Vatican library is being digitized -- this should tell you
something.
--
http://www.chapelhillnoir.com
home of The Camera-ist's Manifesto
The Improved Links Pages are at
http://www.chapelhillnoir.com/links/mlinks00.html
A sample chapter from my novel "Haight-Ashbury" is at
http://www.chapelhillnoir.com/writ/hait/hatitl.html
"Kenny C" <k...@REMkennethchou.ca> wrote in message
news:sIkBb.21519$r%u1.1...@twister01.bloor.is.net.cable.rogers.com...
columbotrek
actually there much thought. But I agree, there is something special
about the film having actually been there. Kind of like email vs snail
mail. With Email you only have the information. But with snail mail
you have the same paper and ink which the sender touched. A hand
written letter does provide a greater sense of connection.
Kenny C wrote:
> It is actually a piece of
> object that existed in a historical past, when you look at a image of Capa's
> D-Day images, the real negative has the aura of being there, occupying a
> certain time and space. That slab of film was out there on the beaches
> of Normandy and no matter what you say digital will never reproduce that
> aura.
>
Tony Spadaro
have never seen teh original - Neither have I, nor has most of the world.
Your arguement is based on some pretty false assumptions - better work on
it.
--
http://www.chapelhillnoir.com
home of The Camera-ist's Manifesto
The Improved Links Pages are at
http://www.chapelhillnoir.com/links/mlinks00.html
A sample chapter from my novel "Haight-Ashbury" is at
http://www.chapelhillnoir.com/writ/hait/hatitl.html
"Kenny C" <k...@REMkennethchou.ca> wrote in message
news:qYnBb.16108$3Eb1...@news04.bloor.is.net.cable.rogers.com...
Joseph Meehan
are picking at the edges, not the central thought, which I believe is right.
If your argument is that Tony is wrong because of the media issue, then your
logic is lacking.
--
Joseph E. Meehan
26 + 6 = 1 It's Irish Math
"Tony Spadaro" <tspa...@ncmaps.rr.com> wrote in message
news:2psBb.96563$I53.4...@twister.southeast.rr.com...
Kenny C
k.
"Joseph Meehan" <sligoj...@hotmail.com> wrote in message
news:XKsBb.4416$Vg3...@fe3.columbus.rr.com...
William Graham
there, but I have heard that it was stolen back in the 20's and that it lost
some of the material on the left and right sides then, so it is narrower
than when DaVinci painted it. I thought that this was because the thieves
cut it out of its frame, but if it's painted on wood, then this must not be
the reason.....
"Kenny C" <k...@REMkennethchou.ca> wrote in message
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Don Stauffer
Aura? are we talking Kirilian photography here?
--
Don Stauffer in Minnesota
stau...@usfamily.net
webpage- http://www.usfamily.net/web/stauffer
k
"Don Stauffer" <stau...@usfamily.net> wrote in message
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Alan Browne
Kenny C wrote:
> image aside, the canvas is still a medium, yet its relation with the artist,
> its doctile, tactile
> feel is intuitive. We dont analyze why we scan out negatives and then
Be that as it may, we don't interface with the film when we expose it.
Even if you were working an LF camera, the film is in its sleeve, not in
your hand.
The quality of a film image projected on the screen is indeed wonderful.
But you don't see that wonder until it is projected. Similar or
lesser on a light table.
Film is regarded as the 'photographer's palette', which means only that
we should use specific films for situations that require that palette
for what we want .... in the end product.
Photography is not painting or sculpting. If you play the first Prelude
and Fugue from the WTC book or from Bach's original sheets it will make
(should make) no difference in how you interpret and play it.
Cheers,
Alan