Archived posting to the Leica Users Group, 2006/02/21
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]I'll have to say, just judging from the $$ I choose to lay down for various photographers' books, I find I'm drawn to the "making" vs. "taking" kind of photographers. In other words, as a relative newbie, it's occuring to me that much of the beauty in the prints I seem to most enjoy is as much, or more, a creation of darkroom artistry than at the moment of exposure or "capture." And when I analyze it, why should this not be the case? It seems quite natural. It's sort of the phenomenology of the photographer at the moment of snapping the shutter vs. the phenomenology of the viewer standing before and looking at a final print. While both are significant, if one consentrantes on the latter, as I would think appropriate, then one will naturally be drawn to whatever darkroom/lightroom artistry it takes to most "satisfy" the viewer of the final print, or to most effectively convey one's message to the viewer, etc. Just my 2 cents. Scott Douglas Nygren wrote: > While you may say that you prefer the photographer who takes the photo > in the camera to the one who make it in the darkroom, I hasten to > inform you are dreaming if you think all the work can be done at the > moment you snap the photo. It is the rare photo, that comes out of the > camera without needs a little here and there. This is true in the > digital and the wet darkroom. When you snap the photo, the process has > only just begun. If the day is overcast, you have to deal with the > lack of contrast. If you don't, you will have a flat photo. An > awareness of how photos print will allow you to expose your photos > better. > [snip] -- Pics @ http://www.adrenaline.com/snaps Leica M6TTL, Bessa R, Nikon FM3a, Nikon D70, Rollei AFM35 (Jihad Sigint NSA FBI Patriot Act)