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Neat, but calling large format film "the only medium that captures enough detail to straighten the tree without pixelly artifacts" is silly. Large format film
by nateroling 6y ago
Neat, but calling large format film "the only medium that captures enough detail to straighten the tree without pixelly artifacts" is silly.
Large format film is gorgeous and captures tons of detail, but you could capture much, much more with a digital panorama.
- sandworm101 6y agoPanoramic shots, knitting things together, doesn't work with trees. They are always moving. You need a single instance where all the pixels are captured at once. One shutter in one camera. Film still has the edge there.
- nateroling 6y agoFair point.
- bostonpete 6y agoWait, this isn't how internet arguments work...
- Wowfunhappy 6y agoWelcome to HN! This is exactly why I like this place more than other forums.
- ur-whale 6y agoMulti-cam instantaneous shots do work though. And way better than noisy film.
- rangibaby 6y ago> Multi-cam instantaneous shots do work though. That's a good idea > And way better than noisy film. Larger film = less noise
- sandworm101 6y agoApples and oranges. Multiple film cameras firing together would also be better than multiple digitals. And you still have similar issues with knitting things together as now each camera is a slightly different perspective.
- pmiller2 6y agoThat’s N times more expensive and much more difficult than shooting single camera though. And, digital sensors have noise, too. Try shooting low light and you’ll see.
- dithers 6y agoHi, artist here showing up a little late. Working in 4x5 was a reluctant choice at first, as I had little experience with it at the time, but had advantages. The edges of the negative make for a visual cue to the straightening in addition to the buildings. Rise/fall and rear tilt helped get the ideal angle on the tree so that the background structures are square, and in shots where I'm close to the tree, like the W. Hastings one, I'm using front tilt to get part of the tree in focus and also part of the building, which serves to make both the subject. I think beginning and ending in the analog space (these are silver gelatin prints) make the compulsive ordering -- which feels so digital -- more disruptive than they might be in an image that reads as digital already. They are paired with my Dither Studies, which similarly deal with the computational in an analog medium (acrylic paint), in a show up now with my gallery https://higherpictures.com https://higherpictures.com