Friday, October 16, 2015

Prognostication III (Art)

A moment's thought will assure you that guessing what the artists are going to do with something new is a sketchy enterprise at best. In contrast, people who take pictures for money are constrained by what's come before. The business is either to produce more of the same, or to produce something similar but with incremental newness. Newness in small doses, please. Artists are under no such constraints, or at most minor versions of these constraints. Hence, prognostication is a sketchy business here.

I love sketchy.

I can't tell you what the final pieces will look like. That's up to the artists.

I can tell you that if you can automatically focus stack, you can unstack. If you can HDR, you can LDR. If you can light digitally, you can unlight digitally. What do any of those things even mean? No idea. People will figure out meanings, and they'll make things.

Computational photography creates raw material, latent images, which are malleable in entirely new ways. The artist's job is to bend, to break, to mold and shape their materials according to the full envelope of possibility.

And they will.

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