Why the Web Still Lacks as a Method to Display, Evaluate, or Enjoy Detailed Photographs…
…because in order for a photograph to have impact when viewed on a laptop, it has to work as small, compressed jpg, which makes showing any kind of granular detail of significance, within a large or wide view, virtually impossible.
There are exceptions to this (large, hi-rez watermarked photos on flash-protected sites, egads!), but by and large, if it doesn’t work at 500 pixels, it doesn’t work online. Like this:
© MDM, Mitt Romney, Candidate for President of the United States
I’m not saying this is the greatest photograph ever, but I don’t believe a good photograph needs to say everything it needs to say in a jpg that’s 500 pixels wide.
I’m curious how the limitations of Web presentation might begin to change the kinds of photographs that photographers take.
© MDM, MLK March - Obama Chant List
If you don’t get hives at the thought of flickr, I figured a way to use the site in such a way that helps show significant detail that’s lost at web-resolutions. If you’re interested, you can see that looks like, in Detailing. This example from Mark is intriguing (and clickable, for its detail).
A few months ago, I began work on a series of prints that are attempting to address some of these zoom/crop/distance/activity/compositional-hotspot issues. More on those (like this one below) some other time.
© MDM 2007
For StartersWays of Working, a 10-step introduction to the ins-and-outs of street photography with only nine steps. Or, look at Resources & Discussions.
- “Foreign & Domestic” at Columbus State University, March 12th - April 19th
- New Winogrand Restrospective 2013-2015
- Chuck Patch Discovers Winogrand’s 1964 Worlds’ Fair Women at Boston Museum of Fine Arts
- A JPG Transcript of Jacques Derrida on Photography and Not Being Photographed
- Same Same But Different
- “Street Photography Now” Fails to Cite Sources
- Winogrand/Papageorge MIT Transcription
- Street Photography Now (printer’s proof)
- Reconsidering Winogrand
- Does Haiti’s Crisis Call for a New Photojournalism?