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Drawing compasses are also still important creative tools. But there are tens of thousands (millions?) of excellent used ones in great condition stashed away in

Drawing compasses are also still important creative tools. But there are tens of thousands (millions?) of excellent used ones in great condition stashed away in people's attics and 99% of professional users switched to CAD, so the market is gone. > There is no market for digital sensor simulations Digital sensors strive to neutrally record as much data as possible about the scene. The creative appearance part is done in software later. You're comparing apples to oranges. There's also no market because simulating a shitty 1998 digital camera with low resolution and JPEG artifacts is not hard to accomplish using Photoshop if you really want.

surfingdino 2y ago
> Drawing compasses are also still important creative tools. But there are tens of thousands (millions?) of excellent used ones in great condition stashed away in people's attics and 99% of professional users switched to CAD, so the market is gone. That comparison is not fair. Drawing compasses are less complex in terms of mechanical and optical design and manufacturing than film cameras. > The creative appearance part is done in software later. You're comparing apples to oranges. You are right, digital is designed to have no opinionated look. It is sterile. And funnily enough most popular LUTs are simulating old film stocks.
- jacobolus 2y ago
  Drawing compasses are precision instruments, quite complex to manufacture and adjust, which involved hundreds of tiny design and manufacturing improvements over several centuries of expert craftsmanship (practical knowledge now lost, except some textual summaries in 19th century books, 20th century catalogs, and scattered patents). You can't buy anything made today that is anywhere close to the quality of professional compasses from the late 19th century, and quite likely never will be able to again in the future. > It is sterile. A good Photoshop operator (or with more time and effort and less capability, a good dye transfer printer with a working darkroom, starting from the most "sterile" negative you can imagine) will blow any film stock you like totally out of the water. You like having a large company's engineers force their creative preferences about color interpretation onto your art. Other artists prefer to deliberately make those choices for themselves. Neither workflow is inherently better or worse, but some approaches are better suited to some personalities and artistic goals.

surfingdino 2y ago

> Drawing compasses are also still important creative tools. But there are tens of thousands (millions?) of excellent used ones in great condition stashed away in people's attics and 99% of professional users switched to CAD, so the market is gone. That comparison is not fair. Drawing compasses are less complex in terms of mechanical and optical design and manufacturing than film cameras. > The creative appearance part is done in software later. You're comparing apples to oranges. You are right, digital is designed to have no opinionated look. It is sterile. And funnily enough most popular LUTs are simulating old film stocks.

jacobolus 2y ago
Drawing compasses are precision instruments, quite complex to manufacture and adjust, which involved hundreds of tiny design and manufacturing improvements over several centuries of expert craftsmanship (practical knowledge now lost, except some textual summaries in 19th century books, 20th century catalogs, and scattered patents). You can't buy anything made today that is anywhere close to the quality of professional compasses from the late 19th century, and quite likely never will be able to again in the future. > It is sterile. A good Photoshop operator (or with more time and effort and less capability, a good dye transfer printer with a working darkroom, starting from the most "sterile" negative you can imagine) will blow any film stock you like totally out of the water. You like having a large company's engineers force their creative preferences about color interpretation onto your art. Other artists prefer to deliberately make those choices for themselves. Neither workflow is inherently better or worse, but some approaches are better suited to some personalities and artistic goals.