inoneeye

Painting evolved from depicting realism. The door was opened and labels were created to accommodate the changes. Impressionism, expressionism etc. The inevitable evolution was slow to be accepted but was recognized by the medium of painting. Labeling new and evolving uses of photography is challenging because many consider it limited to the image captured by a camera with restrictions in pp. Digital has further complicated, convoluted the question of when it is no longer a photograph. Manipulated photographs from pictorialism to jerry uelsman composites and on have challenged us to seek labels for photographic techniques and tools that photographers employ to express their imagination through photography. I know when an image that uses photography crosses my subjective line and has become something I would not call a photograph. The op is an example. But it is not a clearly definable. But if the medium is sourced from photographs I welcome it in to consideration as photo art.

~ Don Julio ~ flatbed scanner as camera

When is a photograph no longer a photograph? So many techniques and labels to sift through... unbound photography, go where it takes you and go where you take it. When you are done and have need to categorize... step back and it may be apparent, as with the op image. But labels are often fluid, subjective so others may or may not agree. 'straight' photograph x2 neg contact print in camera double exposure fonted camera movement cut/glued neg assemblage toastered SX70 photogram,rayograph - cameraless photograph drawing with light

Jos Avery … confession regarding popular ‘photo’ portraits deception. He used ai generated imagery and extensively post processed to make them appear real. ? Some could see behind the curtain but most did not. This use of ai is what concerns many. But that is only one limited use that ai has to offer.

imo it has in films, architecture, music, design, science, flat media, imagination …etc. and photography..

“[…]I cannot imagine, a powerful tool like AI would [has] not pave a legitimate path for creative artists.” +1

I think this shows in your recent photos. Your voice is coming through. “Not that I could ever outwardly endeavor to insert such a thing into my shots…” The more you practice it the more it becomes you. I think this photo evokes a 3am road trip perfectly.

I have been a Wacom intuos user/fan for a very long time. When compatibility with an os upgrade became an issue with my M1 I decided to try using my ipad as a graphics tablet with the Astropad app & connected to my large desktop monitor (more affordable & windows compatible) - It works great but i still miss my large Wacom. I liked having more surface area to work with. I also preferred the Wacom stylus over the Apple pen. I use many different brushes for my editing and found the stylus sensitivity and angling more fluid with the Wacom. In part that is due to the workspace size, larger allowing for more gradual subtle transitioning. I don't need all it offers (both Wacom and Astropad) for the vast majority of my photo post processing but it opens the doors... creatively. The larger Wacom reintroduced a tactile experience to pp, which was lacking from the keyboard and mouse digital darkroom. A learning curve worth the climb for me.

new version

dehumidifier steam

article not book.

Your replacement/edited link is also cut; the first link is the exhibit, this one is the book. https://www.phaidon.com/agenda/photography/articles/2012/november/01/henri-cartier-bresson-a-question-of-colour/

Your link got cut Allen; https://www.imaging-resource.com/news/2012/11/09/color-vs-black-and-white-photography-debate-stirred-by-new-cartier-bresson Not his color photos... his influence on other photographers -The show presents 15 rarely seen black-and-white photos by famed French photographer Henri Cartier-Bresson alongside 75 color prints by 15 noted photographers from Europe and North America.-

Thanks T. An impressive collection of photographers/photographs through the Silverstein Gallery site.

I think it does matter. As a viewer and as an artist. Bresson on color photography; “ It’s disgusting. I hate it! […] I did it badly because I don’t believe in it.”

From the essay that Evans wrote “There are four simple words on the matter, which must be whispered: Color photography is vulgar.” He also writes; "Almost always, color can be used well only by a photographer who is an artist of perfect taste" Color for many of us is a challenge, even an obstacle. It is for me. Obviously digital has made it easier to experiment, explore color. Before digital - color was out of my reach financially. I need, wanted pp control. Without darkroom post processing control I was limited to black and white. During the 70s I envied many color photographers that i came across. At first i was taken in by those that used the vulgar, garish color palettes to express themselves in new ways. As time passed my taste for subtle color also developed. Now with digital I take a lot of color photos... but i am a better black and white photographer. I have not found my footing using the added layer of color to express myself. IMO Bresson excelled as a black and white photographer and was a mediocre color photographer. Evans was actually a very decent color photographer, in particular his sx70 was quite good. SX70 and polaroids were my first adventures in color. Nevada road trip . spectre orphan andy's 3am - sx70 Ansel Adams color work was also very good but he also never could 'master' the genre. before digital Adams noted “I have done no color of consequence for thirty years! I have a problem with color—I cannot adjust to the limited controls of values and colors. With black-and-white I feel free and confident of results.” and "color photography is rapidly becoming of major importance." AA All this is in the past, photography (including fine art) has evolved beyond a bw vs color debate... no barriers. My hope is that there comes a time that i feel as comfortable expressing myself in color as i do in black and white.

Let’s not forget the lone fine art color photography voices that emerged when most of us here were youngsters. Many have been mentioned in this thread. Countless more have moved on and buried the notion that fine art street photography is a constrained black and white thing. Commercial success has followed…. It was not until print longevity could be assured that color photography became a viable attraction to fine art dealers and collectors.