RE: first post XP-2 and PAW

2004-03-10 Thread David Madsen
-Original Message- From: Shel Belinkoff [mailto:[EMAIL PROTECTED] Sent: Tuesday, March 09, 2004 11:23 PM To: [EMAIL PROTECTED] Subject: Re: first post XP-2 and PAW The nicest thing about this is exemplified in just this situation: a couple of people like something, others don't, but what

Re: first post XP-2 and PAW

2004-03-10 Thread frank theriault
PROTECTED] Subject: Re: first post XP-2 and PAW Date: Tue, 09 Mar 2004 22:22:36 -0800 The nicest thing about this is exemplified in just this situation: a couple of people like something, others don't, but what the dialogue does, at least for me, is to allow one to take another look at a photograph

RE: first post XP-2 and PAW

2004-03-10 Thread frank theriault
PROTECTED] Subject: RE: first post XP-2 and PAW Date: Wed, 10 Mar 2004 07:24:15 -0700 Exactly. When I first commented on the photo I wanted to see more detail in the highlights. I haven't totally changed my mind, but I do see how the highlights give it a somewhat haunting image, which works

RE: first post XP-2 and PAW

2004-03-10 Thread Rob Studdert
On 10 Mar 2004 at 18:09, frank theriault wrote: ...of course, I'd ~never~ say that I like blown out highlights in someone else's photo, just because I've taken so many photos with the highlights inadvertantly blown out by overexposure, after which I've pawned off the print as artsty.

RE: first post XP-2 and PAW

2004-03-10 Thread frank theriault
Rob, That is so freaking wild! I like that a lot. thanks, frank The optimist thinks this is the best of all possible worlds. The pessimist fears it is true. -J. Robert Oppenheimer From: Rob Studdert [EMAIL PROTECTED] I saw a documentary on a young Sydney photographer Trent Parke a week

Re: first post XP-2 and PAW

2004-03-10 Thread Shel Belinkoff
Me Too! frank theriault wrote: Rob, That is so freaking wild! I like that a lot. thanks, frank The optimist thinks this is the best of all possible worlds. The pessimist fears it is true. -J. Robert Oppenheimer From: Rob Studdert [EMAIL PROTECTED] I saw a documentary

Re: first post XP-2 and PAW

2004-03-10 Thread Shel Belinkoff
Frank ... too static ... this artsy fartsy phase of yours is gonna get you a lot of commissions for OOF work and photos with no highlight detail. You're on your way the the Big Time! frank theriault wrote: I've taken so many photos with the highlights inadvertantly blown out by overexposure,

Re: first post XP-2 and PAW

2004-03-10 Thread Shel Belinkoff
Well, Frank, I have to admit there's a lot of truth in what you say LOL frank theriault wrote: ...and in the process, Shel learned I'm still right, and frank's dead wrong! LOL! The nicest thing about this is exemplified in just this situation: a couple of people like something, others

Re: first post XP-2 and PAW

2004-03-09 Thread Shel Belinkoff
Hi, Glad you could join in the PAW. I took a quick look at your photo and was concerned about the lack of detail in the highlights, the area outside. It detracts from the photo, imo. I like what you're doing though, and would love to see more pics of the old mill. Documenting these places is,

RE: first post XP-2 and PAW

2004-03-09 Thread David Madsen
The contrast might have been a just little lower, allowing the exterior to have a little more detail, but I like the shot. David Madsen mailto:[EMAIL PROTECTED] http://www.davidmadsen.com -Original Message- From: Clint Austin [mailto:[EMAIL PROTECTED] Sent: Tuesday, March 09, 2004 6:03

RE: first post XP-2 and PAW

2004-03-09 Thread David Madsen
:[EMAIL PROTECTED] Sent: Tuesday, March 09, 2004 8:58 PM To: [EMAIL PROTECTED] Subject: Re: first post XP-2 and PAW Shel, Funny, but, as you can see from my previous post, it's those blown out highlights from outside that I like! Adds to a ghostly feel appropriate to an abandoned factory, IMHO. Go

Re: first post XP-2 and PAW

2004-03-09 Thread Shel Belinkoff
The nicest thing about this is exemplified in just this situation: a couple of people like something, others don't, but what the dialogue does, at least for me, is to allow one to take another look at a photograph through, as it were, another's eyes, perhaps seeing something that was overlooked,