I've been a photography enthusiast ever since I met my girlfriend of 4~ years. I shoot with her all the time and even have gotten her into and excited about the craft. Her and I regularly go on walks, and a couple nights ago and she said something that kind of shot out of left field. We were contemplating what trail we were going to hike (my neighborhood backs up to a large recreational/forest area with many choices) and we had decided upon one and to end the conversation she says, "And maybe you don't bring the big camera this time?" and we both laughed, with my laughter just coming from confusion and a little bit of shock for such a request. I cannot for the life of me figure out why she asked this. I seldom ever shoot with a tripod when going on casual walks with her and it never gets in the way of us having a good time, I take a few pictures every walk and throw it over my shoulder and keep going. I don't let my hobby ever get in the way of our time together. If anything she's asking to shoot with me more often.
That's why for the life of me I can't understand why she asked me to leave the rb67 at home. She loves shooting with me and is always asking questions to learn more about photography and film. I'm really not trying to sperg out about this, I guess im just trying to figure it out from a girl's pov. I can't help but think the reason she asked is purely aesthetic/visual, as if me hauling it around is unattractive or something. Is carrying this camera around on a semi-regular basis that strange or unfashionable? I really don't think its big enough of an issue to explicitly request I don't use it which is why im so confused.
Help me out, I literally don't see a difference in aperture or depth of field when I change my settings I theoretically understand how they work, but actually changing them in the camera I don't see anything different
why do you guys all not like ken rockwell? he seems cool and his photos are pretty
i dont get it plus he has good advice on his web-site maybe we can appreciate him in this thread? that would be nice i will post my favourite ken rockwell photographs
Film photography is better due to low sensitivity in dark areas. No one needs to see what is in dark areas most of the time. Just imagine this photo with unnecessary crap in shadows.
So, which of the big companies is going to be the first to offer an affordable 100mp camera?
Fuji is obviously already out there, but this thing is Eight thousand dollars. I suspect that when it happens (eventually) it will be Nikon. I feel like historically they are the company which has introduced high end features at a lower price.
The pursuit of being in the right place at the right time to capture the perfect sky no longer holds its former value when that very sky can be synthesized from colored pixels. When a dramatic reddish dawn or an approaching thunderstorm is conjured with a few strokes in Photoshop, or when a telephone receiver in a model’s hand is seamlessly swapped for a sneaker using Adobe Firefly with context-aware lighting adjustments, the photograph was, at best, merely raw material.
Even the need for initial raw material is obsolete, as AI can generate sophisticated images entirely ex nihilo.
Even the tangible, physical nature of the print offers no reliable refuge: A picture developed on photographic paper from a negative, held in the viewer's hand, might still originate from a digitally generated negative, or the photographer might have used analog means to re-photograph a digitally produced and printed image.
In sharp contrast, painting remains a sanctuary of authenticity. Within a painting, the physical labor and the direct interaction of the artist with paint on a substrate are inherently stored and visible. The viewer holding a painted image recognizes the unique signature, the texture of the applied color, and the clear intentionality of the human creator behind it.
While robots can wield a paintbrush, they cannot yet fully simulate the human touch. The immediate, non-reproducible trace of the human creator in the finished work remains the key differentiator. Traditional, handcrafted creation is reclaiming its significance.
This shift in perception is already evident at art fairs which do not show specifically photographs: Visitors often walk past photographs but pause thoughtfully before paintings. In art, people are not seeking the perfect illusion; they are seeking the visible, verifiable, and therefore authentic trace of another human being.
