Originally posted by DogLover Mr. White, you have apparently frustrated Todd to the point of pulling his hair out.
Happy to be of service.
I know my particular ... approach ... can be extremely frustrating to some people. I don't necessarily argue my opinions; I
try to reason my way through things and form my opinions based on that, not the other way 'round. I've been taking pictures a long time, and I *want* to believe in pixie dust... I want to believe, as they say. But in the end, I think like a scientist, and a blind test is the coin of the realm
But ... In my life I've exposed exactly 25 sheets of 8x10 film with an old Goerz Dagor and a Kodak Ektar. Note that I had learned B&W developing already, and the rudiments of the zone system, and had my own darkroom in my basement. Anyway, I went in halves on a 50-sheet box of 8x10 tri-x with a friend.
Initially, the first, say, five, ten exposures, I was slack-jawed in astonishment. If you've ever seen an 8x10 contact print, exposed and processed properly, you'll know what I mean. The tonal range and richness - and yes, sharpness - is absolutely phenomenal. It made everything beautiful. I thought.
But by the tenth or eleventh sheet, I realized that wasn't enough to make a great photograph. The wagon wheel image? It was just a wagon wheel, and a fairly pedestrian one at that. It was properly exposed and focused and even a reasonable composition, stunningly sharp, but it never rose above... "run of the mill"? as an image.
So I think there is no technical thing that will make a pedestrian image into a good one, nor a good one into a great one. The technical foibles of the equipment are like paint brushes, and the artist must choose them appropriately. If one agrees, then Marc's point about objective qualities vs aesthetics is water-tight.