why do digital files colours looks so bad without post

Started 4 months ago | Questions thread
MOD Biggs23 Veteran Member • Posts: 4,894
Re: It ain't the meat, it's the motion

knickerhawk wrote:

Based on the angle, I'm 99% sure that's not the photographer who took the shot above.

that is juergen teller though, the photographer, but I do understand geometrically how this shot wouldn't work

The shot DOES work. The model is standing at an angle relative to the reflecting glass behind her. That's why Teller's reflection is shifted to the side. Look closely again - the camera is positioned below the model's head and she's looking straight (downward) into the camera. Now, look were Teller is positioned in the reflection - he's straight in front of the model and crouching down somewhat. It's pretty obvious that HE's the one taking the shot. Of course, the premise that he's NOT the one taking the shot and somebody else (with an iPhone no less!) is the actual photographer is just plain bonkers.

It *might* work. The angle of the window seems that it would not catch the photographer from that angle. I don't think it works. But hey, I've been wrong before, could be here, too.

Brev00 wrote:

Biggs23 wrote:

Arteests at the upper echelons of the art world almost universally begin to speak about art this way. I'm of the strong opinion that it's an intentional misdirection. After all, if they emphasize the technical, it becomes clear that many people dedicated to the craft could equal or exceed their accomplishments. On the other hand, if art is something intrinsic within only certain individuals, it remains out of reach, special, unattainable.

I don't think he is talking about something that is unattainable to the general population. Yes, we cling to rules due to some extent out of fear of criticism and the related fear of not knowing. He is actually telling the listener what anyone can do: step out of our own predetermined boxes and respond freely to what is happening internally and externally in the present moment. Rules and technique do come into play as great artists have already mastered technique. And rules are developed after the fact as people try to figure out what great artists do that they can replicate.

That's not at all how I read his words. To me, he's saying that the technical is of secondary importance to the internal. By extension, his internal cannot be duplicated.

Maybe she's born with it, maybe it's Maybelline.

Is the creation of great art a matter of genetic endowment? Jean Renoir is evidence of that. The Bachs are another. Yet, they also grew up in a certainly conducive environment. Is it a matter of divine inspiration? For that we have Mozart. Jung might say creativity is a function of the four personality types. Today we have the 16 personality approach.

Maybe it is a mix. I tend to think we all are born with creative abilities. Some never have opportunities to discover and develop them. Many repress them in order to fit into society. Some judge themselves harshly having internalized internalized the critical views of others. Eventually, the structures of civilization suppress creativity in the great majority. I think many of us are trying to find a way out. Avedon has given us a clue. Believing this is a main reason I went into elementary education. My experience has confirmed it.

The first and foremost aspect of importance in any work of art is technical mastery. That's, obviously, just my opinion. Without technical mastery, there can be no art. Creativity comes next.

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