A film look? A digital look?

Brian Sweeney said:
20 years ago I was using fractal models to generate synthetic images. All written in FORTRAN running on an Intel Hypercube. It was an 80MFlop personal computer, used four array processors and cost $80K.






As far as mastering the tools of the digital trade- I had my own image processing and graphics software in the Mid 80s. I wrote it. Of course, I got paid good money to write it.
Click to expand...
WOW! - amazing stuff!...SO impressive! - do tell us some more of your exploits! ( oh!..looking back - I see you already have! ) :rolleyes:
 
PAY HEED TO WHAT I SAY IN THIS POST. IT IS THE MOST IMPORTANT POST YOU WILL EVER READ ON THIS FORUM IF YOU WISH TO CREATE PHOTOGRAPHIC ART - FAR MORE SO THAN CHATTER ABOUT THIS LENS OR THAT... FOR I WILL NOW INTRODUCE YOU TO "NICK'S AXIOM":

The comparisons between old vs new technologies in other realms is a non-starter. New does not = better. "More" does not = better. Ironically, the exact opposite is true in the case of photography. The master seamstress masters the needle and thread. Coltrane mastered the sax, which has 20-23 tone holes. Segovia, the six strings of a guitar. They spend their lives continually learning these few variables to achieve mastery, and yet if you asked them complete mastery still ultimately eluded them. If you handed any one of these artists the "Photoshop/digital equivalent" of the instruments used to make their art, Coltrane, Segovia... they would have gone nowhere... They would have done what digital photographers do - human nature, unavoidable... they would have slid this slider up, that slider down, called up this spectrum analyzer or that... ad infinitum. They, over time, would have gained proficiency in "knowing where this or that is" and have the ability to "find it quickly" as we do when we become proficient in Excel. What was important would have been lost in the infinite array of process variables.

Picture Coltrane, he's playing the sax. But this is 2021, and he doesn't blow directly into the sax or manipulate the notes with his fingers. Instead, his sax sets on a device that blows air into it, mechanizations manipulate the tone holes. This device is attached to a USB2 cable and Coltrane sets behind a desk calling up sliders and buttons that can manipulate the infinite aspects of the sax. Would he have been able to replicate his musical artistic achievements in this scenario? Of course not.

Why? Because the countless hours he spent in the 50's mastering the few critical process variables of playing the sax to the level it takes to produce art, were instead diluted over mastering an INTERMEDIATE TECHNOLOGY. He became "master" of this intermediate technology that plays the sax, not the sax itself. And the intermediate technology - the sax version of "Photoshop" is inadequate and incapable of producing art.

NICK's AXIOM:
"You can only achieve mastery of that which you DIRECTLY manipulate with your hand/brain connection".

If you do not heed what I say, the most you can hope to achieve is "mastery of Photoshop". And Photoshop is incapable of rendering art. Introducing an intermediary between the brain and the hand negates any possibility of this. You will be the saxophonist "moving sliders up and down" on a computer. The limited resource of time required to achieve the high level of hand/brain competence diluted and absorbed over "futzing" with far too many process variables. You have introduced an intermediary into the process between the tool or medium necessary to create art and the brain. And that intermediary is what you will inadvertently master. To create photographic art, therefore, you must be able to PHYSICALLY TOUCH the medium (film) WITH YOUR HAND. Since you can not touch a digital file, only the intermediary software, you can not produce art.

Adobe Illustrator allows you to manipulate every aspect of the infinite processes variables (choices) associated with creating a drawing. New(ish) medium, new technology... Techniques such as pointillism that takes years to master and use to create a painting of any size can be done with a mouse click. Wonderous, right? I have yet to see anything in a gallery, anything moving, any groundbreaking new forms with Adobe Illustrator. At best I see "anime" drawings posted by teenagers on DeviantArt. I think - wow, this person is really talented AT ILLUSTRATOR. They would have, perhaps, been great ARTISTS if they learned the TECHNIQUES of PAINTING by HAND.

But there's no hope of that ever happening for they violated Nick's Axiom.

Capisci?

Heed what I say. Keep your digital cameras and software for family snaps. If you aspired to be a photographic artist? Sell your digital gear and uninstall your software. You have NO CHOICE but to use film and traditional techniques for not to do so is to violate Nick's Axiom. You will be among the lost and your attempts to create art will be fruitless and impossible.
 
Many of these issues were addressed in the New Yorker's profile on Pascal Dangin, quoted here by jwhitley in a thread from last year:

http://www.rangefinderforum.com/forums/showpost.php?p=857446&postcount=22

40oz said:
I agree with the gist of what you are saying. However, to put the lie to the idea that one mustn't experiment lest one risk's never mastering anything, HCB was a photographer of renown early in his career, long before he had spent 20 years mastering the 50mm lens and 35mm film.

But I think most would agree that mastering a limited palette of tools is a more successful path to mastery than attempting to be adept at all tools ever invented.

New features of photoshop aren't automatically destroying the ability of people to master their palette. Many of the additions version to version are workflow modifications rather than new inventions/tools. It takes only a few cursory tries to discover the new filter in photoshop does nothing for me. It's only the neophyte that feels compelled to try each and every one on each and every image.

It's kind of like a box of 8 crayons vs. 128. As a child I longed for more options in the crayon box. Once I had my precious and coveted 128 colors, I found that perhaps 64 or even 32 would have been more than adequate, but my personal required/desired 32 crayons weren't available in a box of 32. I needed the box of 128 to have the complete subset I used regularly. I wasn't the only one - looking at the boxes of others told the tale - the basic red, blue, brown, & black were nubs, while the silver and copper crayons typically were hardly used. More options are a good thing, even if we ignore most of the new options. Someone else might well exclaim, "At long last, the only tool I have ever needed!" And their vision will surprise the world in a way that never could be realized without that new invention.

Kind of like the invention of the airplane and the birth of acrobatic flyers, or the invention of photography and the birth of photographers. Or the written language and poetry. The list of innovations that set free a new art form is never going to end. And it never seems to negate the art that came before.
Click to expand...
 
They were not addressed, the crayon box analogy only gives an illusion of being addressed but it is a mirage. The analogy is a non-starter based on the distinct difference in logarithmic orders of magnitude between boxes containing more or less crayons and a technologies like Photoshop that contains gigabytes of information running on machines of incredible processing power - gigabytes of RAM with capabilities to manipulate the infinite process variables associated with digital manipulation.

More importantly, you used crayons, no matter how many are in the box, with your hand/brain. There is no intermediary technology, so "Nick's Axiom" is not violated.

You are among the lost.
 
Sparrow said:
I get it!! … so War and Peace wouldn’t be art if it was typed onto a com… ah, no that’s not it is it?
Click to expand...

Nope. Clearly, you don't get it - at all. With typing the keyboard is not an intermediary used to manipulate media to produce art as is it is with Photoshop. It's completely different. You are among the lost.
 
Dave Wilkinson said:
WOW! - amazing stuff!...SO impressive! - do tell us some more of your exploits! ( oh!..looking back - I see you already have! ) :rolleyes:
Click to expand...

Always happy to accommodate.

PROGRAM FSP3D
C HOST CONTROL PROGRAM FOR CLOUD MODEL.
C THREE-DIMENSIONAL FSP PROCESS:
C 3-D PULSE IS A STRAIGHT CYLINDER WHOSE BASE IS A SPHERE.
C IN THIS CASE, THE DISTRIBUTION OF THE PULSE AREAS SHOULD
C BE PR(A>A) = 1/A FOR A>1. THE CENTERS OF THE CIRCLES ARE
C PLACED UNIFORMLY AT RANDOM IN A SQUARE L * L * L.
C MANDELBROT'S FRACTAL SUM OF PULSES ALGORITHM
C WITH EXPONENTIAL DECAY TO GET RID OF PULSE EDGES.
C
C S= DECAY FACTOR: EXP( -( U/ RO)** 2S)
C TOTAL INTERVAL LENGTH = L
C NUMINC = (SMALL L) IN PAPER
C NU PULSE CENTERS/UNIT LENGTH
C NUMCYL= L*NU
C IMPLICIT NONE
INTEGER* 4 NUMCYL, LX, LY, LZ, S, IMGFIL
INTEGER* 4 NUMXINC, NUMYINC, J, L, N, IWATCH, BUFRSZ
INTEGER* 4 IMAGES
REAL* 4 X, R, ALPHA, NU, SUM, LINCX, LINCY, DLX, DLY, THRESH, PI
REAL* 4 MXCLRS, ZINIT, ZDELTA
PARAMETER ( NUMXINC= 480, NUMYINC= 480, BUFRSZ= NUMXINC* 2)
PARAMETER ( NU= 0.025, MXCLRS= 255.0)
PARAMETER ( ALPHA= 5./ 3., NUMCYL= 2000, IMAGES= 6)
PARAMETER ( LX= 4800, LY= 4800, LZ= 4800, PI= 3.1415927)
PARAMETER ( ZINIT= 1200.0, ZDELTA= 400.0)
PARAMETER ( KINIT= 1.025, KDELTA= 0.025)
INTEGER* 4 IMAGNM
REAL* 4 K, SEED, IMGMAX, IMGMIN, ZPOSTN
REAL* 4 CR( NUMXINC, NUMYINC), MSGBFR( BUFRSZ), CRMIN, CRMAX
LOGICAL* 1 IMGBYT( 2, NUMXINC)
INTEGER* 2 IMAGE( NUMXINC)
EQUIVALENCE ( IMAGE( 1), IMGBYT( 1, 1))
CHARACTER* 40 FLNAME
C CUBE SPECIFIC PARAMETERS
INTEGER* 4 INT4, REAL4, REAL8, HOST, ALLNDS
INTEGER* 4 NDMESG, SDMESG, KMESG, ZMESG
PARAMETER ( INT4= 4, REAL4= 4, REAL8= 8)
PARAMETER ( HOST= -32768, ALLNDS= -1)
PARAMETER ( NDMESG= 100, SDMESG= NDMESG, KMESG= NDMESG+ 1)
PARAMETER ( ZMESG= NDMESG+ 2)
INTEGER* 4 PID, CHANNL, PRCSRS
INTEGER* 4 MSGTYP, RECEVD, MSGORG, ORGPID, LENGTH, HSTPID
INTEGER* 4 DTAROW, FINISH, ROMESG, RIMESG, AMESG
PARAMETER ( DTAROW= 1, FINISH= 2, PRCSRS= 4)
PARAMETER ( ROMESG= 3, RIMESG= 4, AMESG= 5)
INTEGER* 4 CUBEDN, ROW, COLUMN, MAXBFR
C EXTERNALS.
INTEGER* 4 MOD, IAND, COPEN
C GET COMM CHANNEL ID, NODE NUMBER, NUMBER OF PROCESSORS.
PID= 0
CHANNL= COPEN( PID)
C GET 'RANDOM' SEED FOR RANDOM NO. GENERATOR.
WRITE( *, 100)
100 FORMAT( ' INPUT A SEED: ')
READ( *, 200) SEED
200 FORMAT( F10.0)
C SEND THE SEED TO ALL NODES.
MSGTYP= SDMESG
CALL SENDMSG( CHANNL, MSGTYP, SEED, REAL4, ALLNDS, PID)
C READ K, SETS THE RING SIZE.
C SEND K TO ALL NODES.
WRITE( *, 101)
101 FORMAT( ' INPUT K (FROM 1 TO 1.4): ')
READ( *, 200) K
MSGTYP= KMESG
CALL SENDMSG( CHANNL, MSGTYP, K, REAL4, ALLNDS, PID)
ZPOSTN= ZINIT
DO 1000 IMAGNM= 1, IMAGES
MSGTYP= ZMESG
CALL SENDMSG( CHANNL, MSGTYP, ZPOSTN, REAL4, ALLNDS, PID)
C PRIME THE MAX AND MIN.
CRMAX= -1.0E30
CRMIN= 1.0E30
CUBEDN= 0
C LISTEN FOR MESSAGES.
MAXBFR= REAL4* BUFRSZ
5 CONTINUE
CALL RECVMSG ( CHANNL, MSGTYP, MSGBFR, MAXBFR, RECEVD,
1 MSGORG, ORGPID)
WRITE( *, *) ' RECEIVED MESSAGE NUMBER ', MSGTYP
IF( MSGTYP .EQ. DTAROW) THEN
C A ROW OF IMAGE DATA HAS BEEN RECEIVED.
C FIND ROW NUMBER.
ROW= INT( MSGBFR( NUMXINC+ 1)+ 0.001)
WRITE( *, *) ' RECEIVED ROW ', ROW, '.'
C TRANSFER TO IMAGE ARRAY.
DO 10 COLUMN= 1, NUMXINC
CR( COLUMN, ROW)= MSGBFR( COLUMN)
10 CONTINUE
ELSE IF( MSGTYP .EQ. FINISH) THEN
C A NODE HAS FINISHED ITS PROCESSING.
CUBEDN= CUBEDN+ 1
C GET MAX AND MIN OF CUBE.
IF( CRMIN .GT. MSGBFR( 1)) CRMIN= MSGBFR( 1)
IF( CRMAX .LT. MSGBFR( 2)) CRMAX= MSGBFR( 2)
ELSE IF( MSGTYP .EQ. ROMESG) THEN
WRITE( *, *) ' RADOUT FOLLOWS:'
WRITE( *, 300)( MSGBFR( COLUMN), COLUMN= 1, 200)
300 FORMAT( 5( 1PG15.5))
ELSE IF( MSGTYP .EQ. RIMESG) THEN
WRITE( *, *) ' RADIN FOLLOWS:'
WRITE( *, 300)( MSGBFR( COLUMN), COLUMN= 1, 200)
ELSE IF( MSGTYP .EQ. AMESG) THEN
WRITE( *, *) ' A FOLLOWS:'
WRITE( *, 300)( MSGBFR( COLUMN), COLUMN= 1, 200)
END IF
C GO BACK FOR MORE MESSAGES IF NODES ARE NOT FINISHED.
IF( CUBEDN .LT. PRCSRS) GO TO 5
C SCALE DATA AND WRITE TO DISK.
WRITE( FLNAME, 400) IMAGNM
400 FORMAT( 'cloud', I2.2, '.img')
OPEN( UNIT= IMGFIL, FILE= FLNAME, FORM= 'UNFORMATTED',
1 ACCESS= 'DIRECT', RECL= NUMXINC)
DO 20 ROW= 1, NUMYINC
DO 15 COLUMN= 1, NUMXINC
IMAGE( COLUMN)= INT( MXCLRS*
1 ( CR( COLUMN, ROW)- CRMIN)/ ( CRMAX- CRMIN))
15 CONTINUE
WRITE( IMGFIL, REC= ROW)
1 ( IMGBYT( 1, COLUMN), COLUMN= 1, NUMXINC)
20 CONTINUE
C WRITE IMAGE SIZE AND IMAGE VARIABLES.
WRITE( IMGFIL, REC= NUMYINC+ 1)
1 NUMXINC, NUMYINC, K, SEED, THRESH, LX, LY, ALPHA, CRMAX, CRMIN,
2 NUMCYL, ZPOSTN
CLOSE( UNIT= IMGFIL)
ZPOSTN= ZPOSTN+ ZDELTA
1000 CONTINUE
C TURN OFF NODES.
K= -1.0
MSGTYP= KMESG
CALL SENDMSG( CHANNL, MSGTYP, K, REAL4, ALLNDS, PID)
STOP 'NORMAL PROGRAM END'
END
C==================================
C NODE CODE.
C LOAD INTO EACH OF FOUR VECTOR PROCESSORS.
PROGRAM FSP2D
C TWO-DIMENSIONAL FSP PROCESS:
C 2-D PULSE IS A STRAIGHT CYLINDER WHOSE BASE IS A CIRCLE.
C IN THIS CASE, THE DISTRIBUTION OF THE PULSE AREAS SHOULD
C BE PR(A>A) = 1/A FOR A>1. THE CENTERS OF THE CIRCLES ARE
C PLACED UNIFORMLY AT RANDOM IN A SQUARE L * L.
C MANDELBROT'S FRACTAL SUM OF PULSES ALGORITHM
C WITH EXPONENTIAL DECAY TO GET RID OF PULSE EDGES.
C
C S= DECAY FACTOR: EXP(-(U/RO)**2S), ALWAYS 1.
C TOTAL INTERVAL LENGTH = L
C NUMINC = (SMALL L) IN PAPER
C NU PULSE CENTERS/UNIT LENGTH
C NUMCYL= L*NU
C IMPLICIT NONE
INTEGER* 4 NUMCYL, LX, LY, S, IMGFIL
INTEGER* 4 NUMXINC, NUMYINC, J, L, N, IWATCH
REAL* 4 LXREAL, LYREAL
REAL* 4 X, R, ALPHA, NU, SUM, LINCX, LINCY, DLX, DLY, THRESH, PI
PARAMETER( NUMXINC= 600, NUMYINC= 400, NU= 0.025)
PARAMETER( ALPHA= 5./ 3., NUMCYL= 20000)
PARAMETER( LX= 4800, LY= 3000, PI= 3.1415927)
PARAMETER ( LXREAL= 4800.0, LYREAL= 3000.0)
C+++ COMMON/ VECSPC/
INTEGER* 4 CRBFSZ
PARAMETER ( CRBFSZ= NUMXINC+ 1)
REAL* 4 DR, INPI, SIGIN, DEL, SIGNBT
REAL* 4 DIS, POSX, POSY, A, K, RADIN, RADOUT
REAL* 4 SEED, IMGMAX, IMGMIN, CR, CRMIN, CRMAX
COMMON/ VECSPC/
1 DR( NUMCYL), SIGIN( NUMCYL),
2 DEL( NUMCYL), POSX( NUMCYL), POSY( NUMCYL), A( NUMCYL),
3 RADIN( NUMCYL), RADOUT( NUMCYL), CR( CRBFSZ),
4 VTEMP1( NUMCYL), VTEMP2( NUMCYL), VTEMP3( NUMCYL),
5 SEED, IMGMAX, IMGMIN, SIGNBT, K, INPI, CRMIN, CRMAX
LOGICAL* 4 LMASK1( NUMCYL), LMASK2( NUMCYL)
INTEGER* 4 ITEMP1( NUMCYL), ITEMP2( NUMCYL)
EQUIVALENCE ( LMASK1( 1), ITEMP1( 1), VTEMP1( 1))
EQUIVALENCE ( LMASK2( 1), ITEMP2( 1), VTEMP2( 1))
C--- END / VECSPC/
C OPTIMIZING VARIABLES.
REAL* 4 STEMP1
C CUBE SPECIFIC VARIABLES.
INTEGER* 4 INT4, REAL4, REAL8, HOST, ALLNDS
INTEGER* 4 NDMESG, SDMESG, KMESG
PARAMETER ( INT4= 4, REAL4= 4, REAL8= 8)
PARAMETER ( HOST= -32768, ALLNDS= -1)
PARAMETER ( NDMESG= 100, SDMESG= NDMESG, KMESG= NDMESG+ 1)
INTEGER* 4 PID, CHANNL, PRCSRS
INTEGER* 4 MSGTYP, RECEVD, MSGORG, ORGPID, LENGTH, HSTPID
INTEGER* 4 XSTRID, YSTRID, ZSTRID
C EXTERNALS.
INTEGER* 4 MOD, IAND
INTEGER* 4 COPEN, CUBEDIM, MYNODE
REAL* 4 SDOT
C PARAMETER (NUMINC=100, NU= .002, L= 200.)
C PARAMETER (ALPHA= 5./3., NUMCYL= 1)
C NODE INITIALIZATION.
C GET COMM CHANNEL ID, NODE NUMBER, NUMBER OF PROCESSORS.
C
PID= 0
CHANNL= COPEN( PID)
NODEID= MYNODE( )
PRCSRS= 2** CUBEDIM( )
C ATTACH SOME SPEED.
CALL ATTACH
C DR IS THE PULSE INTENSITY FOR CYLINDER RADIUS RO.
C FOR A GIVEN RADIUS RO, THE PULSE INTENSITY
C DR IS OF FIXED ABSOLUTE VALUE AND OF RANDOM SIGN.
C GENERATES A RV WITH 1-1/X DISTRIBUTION
C
C GET 'RANDOM' SEED FOR RANDOM NO. GENERATOR FROM THE HOST PROGRAM.
MSGTYP= SDMESG
CALL VPWLEDS( 0)
CALL GREENLED( 1)
CALL RECVW ( CHANNL, MSGTYP, SEED, REAL4, RECEVD, MSGORG, ORGPID)
IF( MSGORG .EQ. HOST) THEN
HSTPID= ORGPID
ELSE
STOP 'BAD MESSAGE'
END IF
C GENERATE ANNULI BY ENTERING THE INNER RADIUS. THE INNER RADIUS
C IS SPECIFIED BY THE VALUE OF K. IF K=1, THEN THE ANNULI ARE
C CIRCLES. K=1.4 RESULTS IN VERY THIN RINGS. RADOUT IS THE RADIUS
C OF THE OUTER CIRCLE, RADIN IS THE RADIUS OF THE INNER CIRCLE.
MSGTYP= KMESG
CALL RECVW ( CHANNL, MSGTYP, K, REAL4, RECEVD, MSGORG, ORGPID)
CALL REDLED( 1)
CALL GREENLED( 0)
C PLACE CYLINDER CENTERS UNIFORMLY AT RANDOM OVER LX X LY RECTANGLE,
C NU PER UNIT AREA, WITH AREA DISTRIBUTED AS 1/RO FOR RO>THRESH
C THE AMPLITUDE DR IS OF FIXED ABSOLUTE VALUE AND OF RANDOM SIGN.
INPI= 1.0/ PI
C GENERATE ALL REQUIRED RANDOM NUMBERS.

CALL VPWLEDS( 1)
CALL FVRAND( SEED, A, NUMCYL)
CALL FVRAND( SEED, POSX, NUMCYL)
CALL FVRAND( SEED, POSY, NUMCYL)
CALL FVRAND( SEED, DR, NUMCYL)
XSTRID= 1
YSTRID= 1
ZSTRID= 1
CALL VPWLEDS( 2)
C BLAST OFF!!!
C DO 10 J= 1, NUMCYL
C A( J)= 1.E5/( 1.0- A( J))
CALL SSSUB( NUMCYL, 1.0, A, XSTRID, A, YSTRID)
CALL SSDIV( NUMCYL, 1.0E5, A, XSTRID, A, YSTRID)
C RADOUT( J)= SQRT( A( J)* INPI)
CALL SSMUL( NUMCYL, INPI, A, XSTRID, RADOUT, YSTRID)
CALL SVSQRT( NUMCYL, RADOUT, XSTRID, RADOUT, YSTRID)
C RADIN( J)= SQRT( A( J)* INPI*( K** 2- 1.0))
STEMP1= INPI* ( K** 2- 1.0)
CALL SSMUL( NUMCYL, STEMP1, A, XSTRID, RADIN, YSTRID)
CALL SVSQRT( NUMCYL, RADIN, XSTRID, RADIN, YSTRID)
C DEL( J)= ( 0.5*( RADIN( J)+ RADOUT( J)))** 2
CALL SSVVPT( NUMCYL, 0.5, RADIN, XSTRID, RADOUT, YSTRID,
1 DEL, ZSTRID)
CALL SVMUL( NUMCYL, DEL, XSTRID, DEL, XSTRID, DEL, XSTRID)
C SIGIN( J)= ( 1.0/( 0.5*( RADOUT( J)- RADIN( J))))** 2
CALL SSVVMT( NUMCYL, 0.5, RADOUT, XSTRID, RADIN, YSTRID,
1 SIGIN, ZSTRID)
CALL SVRECP( NUMCYL, SIGIN, XSTRID, SIGIN, XSTRID)
CALL SVMUL( NUMCYL, SIGIN, XSTRID, SIGIN, XSTRID,
1 SIGIN, XSTRID)
C POSX( J)= POSX( J)* LXREAL
CALL SSMUL( NUMCYL, LXREAL, POSX, XSTRID, POSX, XSTRID)
C POSY( J)= POSY( J)* LYREAL
CALL SSMUL( NUMCYL, LYREAL, POSY, XSTRID, POSY, XSTRID)
C IF( 0.5 .GE. DR( J)) THEN
C DR( J)= -1.0
C ELSE
C DR( J)= 1.0
C END IF
CALL SSGE( NUMCYL, 0.5, DR, XSTRID, LMASK1, YSTRID)
CALL SMASK( NUMCYL, -1.0, 0, 1.0, 0, LMASK1, XSTRID,
1 DR, YSTRID)
C DR( J)= DR( J)* ( A( J))**( 1.0/ ALPHA)
STEMP1= 1.0/ ALPHA
CALL SVPOW( NUMCYL, A, XSTRID, STEMP1, 0, VTEMP1, ZSTRID)
CALL SVMUL( NUMCYL, DR, XSTRID, VTEMP1, YSTRID, DR, XSTRID)
10 CONTINUE

C CARVE UP THE TOTAL INTERVAL INTO DL INCREMENTS.
DLX= LXREAL/ FLOAT( NUMXINC)
DLY= LYREAL/ FLOAT( NUMYINC)
C SET S. THIS CONTROLS THE DONUT DECAY.
S= 1
C PRIME THE MAX AND MIN.
IMGMAX= -1.0E30
IMGMIN= 1.0E30
C DIVIDE THE ROWS EVENLY ACROSS THE PROCESSORS.
DO 20 L= 1, NUMYINC, PRCSRS
LINCY= FLOAT( L- 1+ NODEID)* DLY
DO 25 J= 1, NUMXINC
LINCX= FLOAT( J- 1)* DLX
SUM= 0.0
C FOR PIXEL ( J, L), FIND THE DISTANCE TO EVERY CYLINDER CENTER:
C DO 30 N= 1, NUMCYL
C A( N)= SQRT(( LINCX- POSX( N))** 2+( LINCY- POSY( N))** 2)
CALL VPWLEDS( 3)
CALL SSSUB( NUMCYL, LINCX, POSX, XSTRID, VTEMP1, YSTRID)
CALL SVMUL( NUMCYL, VTEMP1, XSTRID, VTEMP1, XSTRID,
1 VTEMP1, XSTRID)
CALL SSSUB( NUMCYL, LINCY, POSY, XSTRID, VTEMP2, YSTRID)
CALL SVVTVP( NUMCYL, VTEMP2, XSTRID, VTEMP2, XSTRID,
1 VTEMP1, XSTRID, A, XSTRID)
CALL SVSQRT( NUMCYL, A, XSTRID, A, XSTRID)
C LMASK1( N)= A( N) .GE. RADIN( N) .AND. A( N) .LE. RADOUT( N)
CALL SGE( NUMCYL, A, XSTRID, RADIN, YSTRID, LMASK1, ZSTRID)
CALL SGT( NUMCYL, RADOUT, XSTRID, A, YSTRID, LMASK1, ZSTRID)
CALL LAND( NUMCYL, LMASK1, XSTRID, LMASK2, YSTRID, LMASK1, ZSTRID)
C IF( LMASK1( N)) THEN
C DEL AND SIGIN HAVE BEEN SQUARED AT GENERATION.
C SUM= SUM+ DR( N)*
C 1 EXP( - ABS( A( N)** 2- DEL( N))* SIGIN( N))**( 2* S)
C END IF
LENGTH= 0
CALL VPWLEDS( 0)
DO 130 N= 1, NUMCYL
C FIND THE DONUTS THAT MUST BE COMPUTED.
IF( LMASK1( N)) THEN
LENGTH= LENGTH+ 1
ITEMP1( LENGTH)= N
END IF
130 CONTINUE
CALL VPWLEDS( 1)
C GATHER THE VALUES OF THE VECTORS TO BE PROCESSED INTO CONTIGUOUS
C MEMORY.
IF( LENGTH .GT. 0) THEN
CALL SGATHR( LENGTH, A, XSTRID, ITEMP1, YSTRID,
1 A, XSTRID)
CALL SGATHR( LENGTH, DEL, XSTRID, ITEMP1, YSTRID,
1 VTEMP2, XSTRID)
CALL SGATHR( LENGTH, SIGIN, XSTRID, ITEMP1, YSTRID,
1 VTEMP3, XSTRID)
CALL SGATHR( LENGTH, DR, XSTRID, ITEMP1, YSTRID,
1 VTEMP1, XSTRID)
C NOTE: S IS ALWAYS 1.
C SUM= SUM+ DR( N)*
C 1 EXP( - ABS( A( N)** 2- DEL( N))* SIGIN( N))**( 2* S)
CALL VPWLEDS( 3)
CALL SVVTVM( LENGTH, A, XSTRID, A, XSTRID, VTEMP2, XSTRID,
1 A, XSTRID)
CALL SVABS( LENGTH, A, XSTRID, A, XSTRID)
CALL SSCAL( LENGTH, -1.0, A, XSTRID)
CALL SVMUL( LENGTH, A, XSTRID, VTEMP3, YSTRID, A, XSTRID)
CALL SVEXP( LENGTH, A, XSTRID, A, XSTRID)
CALL SVMUL( LENGTH, A, XSTRID, A, XSTRID, A, XSTRID)
SUM= SDOT( LENGTH, A, XSTRID, VTEMP1, YSTRID)
END IF
C30 CONTINUE
CR( J)= SUM
IF( SUM .GT. CRMAX) CRMAX= SUM
IF( SUM .LT. CRMIN) CRMIN= SUM
25 CONTINUE
C SEND THE LINE BACK TO THE HOST FOR STORAGE,
C ALONG WITH ROW NUMBER.
CR( NUMXINC+ 1)= FLOAT( L+ NODEID)
MSGTYP= 1
LENGTH= REAL4* CRBFSZ
CALL GREENLED( 1)
CALL VPWLEDS( 1)
CALL SENDW( CHANNL, MSGTYP, CR, LENGTH, HOST, HSTPID)
CALL VPWLEDS( 2)
CALL GREENLED( 0)
20 CONTINUE
CALL REDLED( 0)
C SEND THE MAX AND MIN FOR THIS NODE.
CR( 1)= CRMIN
CR( 2)= CRMAX
MSGTYP= 2
LENGTH= REAL4* 2
CALL SENDW( CHANNL, MSGTYP, CR, LENGTH, HOST, HSTPID)
CALL DETACH
STOP
END

SUBROUTINE FVRAND( A, C, N)
C MODULO RANDOM NUMBER GENERATOR FROM FPS.
INTEGER* 4 N
REAL* 4 A, C( N)
INTEGER* 4 I
REAL* 8 SEED, X
C EXTERNALS.
REAL* 8 DBLE, DMIN1
REAL* 4 SNGL
LOGICAL* 4 FIRST
DATA FIRST/ .TRUE./
IF( FIRST) THEN
SEED= DBLE( A)
FIRST= .FALSE.
END IF
DO 5 I= 1, N
X= SEED* 67108864.0D0
X= DMOD( 67081293.0D0* X+ 14181771.0D0, 67108864.0D0)
SEED= X/ 67108864.0
C( I)= SNGL( DMIN1( SEED, 0.999999D0))
5 CONTINUE
RETURN
END

Probably as much sense as the other crap put in this thread.

Has a nice Digital Look to me.
 
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NickTrop said:
Nope. Clearly, you don't get it - at all. With typing the keyboard is not an intermediary used to manipulate media to produce art as is it is with Photoshop. It's completely different. You are among the lost.
Click to expand...

it’s just I switched to a hybrid system, possibly 4 years back, and I feel much happier with the results, perhaps I’m naturally halfarted :D

I scan 135 on a dImage 5400 ajust in CS then print via an Agfa dLab on Fuji paper
 
Sparrow said:
it’s just I switched to a hybrid system, possibly 4 years back, and I feel much happier with the results, perhaps I’m naturally halfarted :D

I scan 135 on a dImage 5400 ajust in CS then print via an Agfa dLab on Fuji paper
Click to expand...

The second you digitize, regardless of capture method, and the second you use the intermediary and break the hand/brain connection you are lost. You are a sculpture using robots sitting at a control panel pushing 100 sliders up and down attempting to produce art, never touching the clay.

You too are among the lost.
 
NickTrop said:
The second you digitize, regardless of capture method, and the second you use the intermediary and break the hand/brain connection you are lost. You are a sculpture using robots sitting at a control panel pushing 100 sliders up and down attempting to produce art, never touching the clay.

You too are among the lost.
Click to expand...

So the adjustments I make in Photoshop that provide an immediate visual feedback in real-time on the screen are, in fact, less directly connected than waiting for the print to develop in semi-darkness would you say? at least my hands smell better now, anyway.

PS perhaps I should I tell my daughter to toss out her point shoes, as they prevent her toes making direct contact with the stage, do you think?
 
i make the same adjustments in photoshop that i made in the wet darkroom.
nothing fancy but i like the impact of the changes.

do i make art? of course i do, we all do.
some is good art and some is not.
 
Mcary said:
Agree!

If a photographer needs to spend hours playing around with a photograph in Photoshop or some other image editing program the problem isn't with the program the problem is with them. Simple put they either know little or nothing the most basic areas of photography such as exposure and/or composition or their just mindlessly pressing the shutter hoping to get a half way decent photograph through pure dumb luck. On the other hand for people who have clear vision of what they want to portray with their work Photoshop and/or other image editing programs are simply a small intuitive step in the processes that involves very small rather then dramatic changes. In other words if its a lot easier to achieve a given result if one has some basic idea of the final results from the beginning of the process, that being when they press the shutter.
Click to expand...

This may be an accurate statement with regard to the kinds of pictures YOU take, but it doesn't reflect commercial/professional photography.

Whether digital or analog, the most renowned photographers throughout history have been known to spend "hours" on a single print. W.Eugene Smith would spend the night working on a print. Avedon's printers would make ten prints, with extraordinarily intricate dodge/burn instructions, and then have to discard them all. Just about any image you see in Vogue has been retouched - a process that certainly involves "hours" of work. A good retoucher works at the pixel level. And, all of this work is performed well after the "basic idea of the final results" were determined "from the beginning of the process."
 
CK Dexter Haven said:
W.Eugene Smith would spend the night working on a print. Avedon's printers would make ten prints, with extraordinarily intricate dodge/burn instructions, and then have to discard them all.
Click to expand...

Hacks! Adams too. They should have got it right in the camera rather than fussing about afterwards! :)
 
CK Dexter Haven said:
This may be an accurate statement with regard to the kinds of pictures YOU take, but it doesn't reflect commercial/professional photography.

Whether digital or analog, the most renowned photographers throughout history have been known to spend "hours" on a single print. W.Eugene Smith would spend the night working on a print. Avedon's printers would make ten prints, with extraordinarily intricate dodge/burn instructions, and then have to discard them all. Just about any image you see in Vogue has been retouched - a process that certainly involves "hours" of work. A good retoucher works at the pixel level. And, all of this work is performed well after the "basic idea of the final results" were determined "from the beginning of the process."
Click to expand...

I guess it all comes down to a difference of opinion as I just could never consider what W. Eugene Smith or Adam's did in the darkroom as playing around or more importantly as trying to cover up for mistakes that they made while shooting. Rather I see their darkroom work as an Integral step in the process that began the moment they pressed the shutter.

FYI : I really couldn't give a rat ass what "YOU" or any other pompous self anointed holier then thou know it all thinks about the pictures I take.

Oh I have no issue with people thinking or saying my work sucks or that I'm a no talent hack. My problem is with people who think I'm some how less of a photographer then they are simply based on the type of photograph's I choose to take.
 
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NickTrop said:
You are among the lost.
Click to expand...

you are funny!

I think you are right and you have a point. It is the same with electronic music, these so-called artists that only use third party software are doing nothing but adding more crap to the world...

-talking about electronic music- real and challenging work always uses different hardware, be it analog drum machines or digital drum machines, but it is hands on and does not depend on a certain fixed platform, there is a lot of experimental programming going on as well. so you are right the medium itself in this case is the electronic apparatus.

regarding photography, to make photography as we know it, you certainly need to leave the computer out of the equation. That doesn't mean that nothing done with a computer cannot be art, I will support a new kind of art that utilises electronic and digital technologies to manipulate and creat images, but something that does not refer to (or be linked to) 'photography' at all.

Lets say I do not like to involve myself in the process of producing my own prints, but leave it to a second person, a printer.

That guy could use digital technology to make my prints for exhibition/gallery, say he scans my negs and makes decent/amazing prints.

What if what he makes with his knowledge/inspiration no other printer can make?
Is he an artist?

What if my printer instead of using digital scans uses straight forward analog processes, like darkroom/enlarger?
 
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