FECSA STACKS - ¨SALTY HOLE CAM¨
These fotos R a variation 2 a pinhole camera done a la consumer digital ( Canon PowerShot A620 ) camera. I like 2 call these my ¨SALTY HOLE CAM¨ a foto series. I have been abusing digital technology since I switched shooting from analog in attempts to get what I like to think as the grit & grim of film back into my image. I like the immediacy of the new technologies ( like that of Polaroid), I am just not certain that I like it´s highly polished image quality all the time. I am looking for the surprises film processing once gave me after processing a roll of film. I was one 2 always really abuse film badly & I will continue this same manner with these new digital tools. I hope U can appreciate where I am coming from with all of this. Perhaps, I just spent 2 many years in darkly light rooms 2 not want a wee bit of that magic in the final outcome & results of what I consider 2 B an interesting image.
I tend not to use photoshop. I always upload to iPhoto & use the adjustments settings as if it where a colour enlarger, like in the days of darkroom colour printing process. So, if that is considered too digitally modified then I am afraid a colour photograph stripped of all its colour is also to be considered too digitally modified, NO? I teak my contrast, colours and exposure not unlike a print to be produced for exhibition. This simply said I think that I abide by the JPG rules. Now, this may just be a case of personal printing (style) techniques & how I photograph my images.
I believe this image falls within all respects of the rules. NOW, U be the judge?
3 Responses
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On 3 May 2008 slave2sync gave props:
stunning frame.. excquisite work!
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On 5 June 2008 Kelly Wren said:
This is so cool. So can I seem so dumb as to ask? Is this through the top of a salt shaker? So artistic. I agree with you about using 'adjustments' on digital. I think no matter what you do to a picture, if it's something you've thought of, then it is art.
I love your eye for people. -
On 15 July 2008 Billy Kraft said:
where is the line between pure and obviously edited?
Also by Mario Scattoloni




