FWIW I think it was Monet not Manet
On 28 February 2015 at 17:33, Bob Benson <bob.benson91@xxxxxxxxx> wrote:
> The blue/black/gold/white discussion is really interesting. Like the
> 75%/25% discussion.
>
>
>
> Of course, all this begs some questions about what this means for our
> photography.
>
> I mean, we calibrate our monitors, work hard on post-processing, etc., and
> to what end?
>
> Sure it makes us individually happy with our images, but what if no one
> else sees it the same way we do?
>
>
>
> Not to mention the effects of variations of our individual eyes/brains,
> etc.
> Mild catalysts (ah, I obviously meant cataracts) come to mind. I’ve long
> suspected that photo editors for the photo mags are older folks, with old
> eyes and stages of cataracts etal, which lead them to favor photos with
> brighter (even garish) colors. (There’s gotta be some reason for the
> fetish-like bright reds and oranges on featured landscapes that they put on
> covers and stories …)
>
>
>
> I’m reminded of the Musée de l'Orangerie with the very large Manet
> paintings
> which (as I remember it) are quite blurred and not brightly colored … but
> as
> I recall, these were painted very late in his life, when his vision was
> very
> compromised.
>
>
>
> So we labor on, with great tools to affect (that is, post-process) our
> images, not to mention the in-camera things we can do.
>
>
>
> Again, film seemed so much easier without all the capabilities for
> modifying
> the images we captured. It pretty much was what it was, though
> outstanding
> lab technicians had tools and capabilities as well.
>
>
>
> I guess the question really is “so what.” I watch with interest folks in
> our galleries picking the images that appeal to them. Composition of
> course
> mostly matters. But coloration/contrast etc., I am willing to suggest, is
> really a crapshoot in terms of what people actually “see” and “like.”
>
>
>
> Bob
>
>
>
>
>
> --
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