When you consider the fine and expansive body of work that Bruce Barnbaum has created over the years, this article carries the weight of a thoughtful, knowledgeable photographer who has carefully assessed the current state of digital image creation vs. the traditional darkroom approach. I think his conclusions hold much merit.
+1.
So, if I provide an example of a film shot digitally, we should come to the opposite conclusion? What does this have to do with Barnbaum's article?Originally Posted by tgtaylor
Borrowing a quote from the link in the Eggleston thread:
"According to Joshua Holdeman, international director of the Christie’s photography department, the point of the sale was to establish a new market for Eggleston’s photography in the contemporary art world. “Eggleston has been kind of stuck in the old school world of the photography collectors for a long time, whose primary concerns are about process, print type, print date, etcetera,” says Holdeman.
Whereas the type of print and the exact date a print was made is “a huge deal” for photography collectors, Holdeman says, “for contemporary art collectors it’s much more about the object itself—they couldn’t care if it’s a dye transfer or a pigment print or whatever, as long as the object itself is totally amazing, that’s what they care about.”"
"they couldn’t care if it’s a dye transfer or a pigment print or whatever, as long as the object itself is totally amazing, that’s what they care about.”......that seems to be the way modern society is going
That sounds a lot like what the painters said when photography started emerging.
Guess I won't be buying one of your 'archival' prints then...
You, and millions of other earthlingsGuess I won't be buying one of your 'archival' prints then...I'm OK with that, as I am sure that you are too.
Jay's criticism seems valid to me. The article does seem to set up a "straw man." In any case, I'm not sure that we can even begin to think about digital photography without thinking about Digital Everything. That is, the whole world of superficial convenience and incredible marketing that we live within--and, like it or not, that we support. This mercantile world seems pointedly devoid of both truthfulness and imagination. And in this world (which includes the culture industry) there are plenty of arrogant immature highly-articulate young fools occupying just about every nook and cranny. The straw man that Bruce sets up is, in fact, all too easily found. Still, here and there one occasionally encounters thoughtful young digitally-oriented artists. If left alone long enough to construct their own particular sense of mindfulness, these oddball youngsters may (with luck) become the Westons and Sudeks of the future.
Ah, the big environmentalist comes out in favor of using precious metals and timber products.
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