Discussion in 'Black and White' started by pdh, May 30, 2014.
Chûn Quoit ... b20140410-1 by _loupe, on Flickr
Chûn Quoit ... b20140410-3 by _loupe, on Flickr
I was going to comment but I won't, for the sake of harmony or Chung Choy, (or is that preserved turnip!) ….. I mean't the Chinese word for peace and harmony - 和平与和谐 …… but it is a long time since I was in HK … so my translations skills are failing
I've save it for later
Bill, if you don't like 'em, just say so
Paul, there's a stark simplicity which appeals, and no doubt fits the mood of the place as well
I like the sense of motion in the 2nd one. It plays up the dichotomy of "everything is permanent" and "everything is temporary".
Paul, I do like them …… they certainly have their own mood and expression and indicate the path that you are taking - I'm not sure where you will get to in the end.
Their visual appeal is inviting and causes you to search more into the image to look for the message that you are trying to convey
Although the surroundings are bleak, they do have a warmth in the processing
They would certainly look well framed on a wall but I am not sure that there, what appears to be a small size would enlarge well without showing too much grain - I have no preference for either of the "framing" - they both work ……. maybe the first frame initially, but you may tire of that - so the simplicity of the second may be preferred although the sharpe straight edges maybe do not suit or take something away from what the overall image conveys … I can see that they both have a white outer boarder …. any reason why you have taken the second image right to the edge
and I never knew Chinese was derived from Cornish ..learn something every day
(but to my mischievous mind, they do remind me of Toadstools) which has given me another idea to keep from under my wife's feet this summer - must get a book!
It is often very misleading to make assumptions about the technical quality of a photograph based on low resolution digital images made for web reproduction, and this may be especially true of photographs which are not originated digitally.
In this case, one's a 10x8 paper negative, while the other is a 6x7 MF negative on Acros. There won't be any grain at all on the latter properly enlarged, probably up to poster size. The former will only ever be contact printed at 10x8 and won't show grain either.
What you are probably thinking is grain in the second is a combination of sensor noise (I digitised it by photographing on a lightbox with my E-P2 + macro lens) and grain aliasing (you can google that), and in the first a result of low res scanning, combined with reflection artifacts from the paper surface and some sort of problem with the emulsion, none of which translates to the contact prints I've made so far.
One of the reasons I usually refrain from technical discussions of my photographs is that by doing so people start to remove the image from it's visual context and instead place it in a (to me) irrelevant technical context. However on this occasion it seems worth clearing up some misunderstanding.
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