Any reason to shoot film nowadays?

Started Apr 12, 2013 | Discussions thread
Mahmoud Mousef Senior Member • Posts: 2,604
Re: Mahmoud Mousef, Performance Artist

MiraShootsNikon wrote:

I've now seen enough of them to realize that these threads progress as if they're scripted.

  1. There's the OP and his loaded question.  If you've decided to ask about film on the "Digital Photography Review" form by wondering if it's "still worth it," you've also already decided it isn't.

Perfectly right; for my uses it isn't. For yours, telling us how great your associates are and by extension, indirectly advertising your business, it is. For your business, film is a perfectly valid and a way to differentiate yourself from the digital 'photographers' as you put it.

  1. On cue, people who've ditched film for digital roll in with self-congratulatory responses desperately seeking validation for the choice.  It's a direct comparison measured in abstractions, they shout.  MTF, line-width-per-height, and print size anecdotes are trotted back and forth.  Wildly specific experiences with workflow, cost, or equipment get posited as universal, self-evident truth.  Meanwhile, no one ever uses example photographs to demonstrate what they're talking about.

I don't seek validation in my digital choice; I see it as common sense for my uses, nor do I care how people react to my posts. I am too thick to understand what you were talking about after that, except to say that if film gives you the results or differentiation you are looking for, more power to you. Some labels still release their music on vinyl too. Great marketing and differentiation for some businesses, not to mention has some technical benefits too, that don't get talked about.

  1. Also on cue: some people like me, who do still actively shoot film alongside their digital work, chime in.  Perhaps it's a misconception to think of digital and film as antagonistic methods; perhaps the film workflow and costs don't have to be as [x] portrayed them; perhaps the clients who like the result or the experience of working with a film-shooting pro aren't complete philistines.

Perhaps they aren't. More power to you for using both. More power to you for mixing with those who shoot with film and finding them a more fun and refined bunch to mix with. Coming from the perspective of an average user, I can't see the logic (for my uses) of using both; I can perfectly understand if others do and accept that.

  1. Mahmoud can't let any of the malarky in (3) stand, so there's going to be some straining rhetoric pushing that dissent back.  Because as the folks who do still shoot film are unfortunately slow to realize, the discussion isn't and never was about whether a given technology, method, or workflow has a place in contemporary photography.  No, this discussion is actually about how smart, sagacious, talented, inclusive, and outright visionary Mahmoud is; and his ditching of film photography is but one angle with which to demonstrate it.

It has a place in contemporary photography. I could say the same for your writings and how condescending your tone is to digital photographers. Everyone is a digital photographer! Oh yes..."I'm different". And I mix with the 'film crowd' and I process my film at so-and-so's...

As if that's a realistic proposition for the masses.

And the masses is where my point-of-view comes from.

I still don't see the attraction to the process or the results, but more power to you if you do.

Which is why I regret playing to script in (3) and swear I won't do it again.  Because I'm much more interested in talking about photographic technique and result than being the "straight man" for Mahmoud's performance in parts (2) and (4).

So sorry, Mahmoud Mousef.  You tha greatest!  The Academy loves you, they really love you!

Mira, out.

I could say the same for you. Your tone is totally elitist, Mira.

Glad this has come out in the open

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