" Wow. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Sean and welcomed the pixel perfect would be -- on right. On today's show. Could do something little cool here we've got a guest coming in fact. This image on the screen behind me. Through that. Now look at these. Black bars and aside right usually don't -- because it now because this particular guy didn't follow the rules of the 1287 to know it because. We do want to crop any of -- is that an actual artistic photograph. Taken by a very good friend of mine Stephen Johnson who's going to be guest on the show today. Talk about photography -- what it means to you and the rest of the world before we start we gotta thank our sponsors want to thank godaddy.com. Web posting from go data com includes 99 point 9% up time. 247 support and free access to hosting connection the place to install over thirty we application short helping get the most. From your hosting plan and your website. Also I want to thank -- Netflix. With Netflix you can read over a 100000. Titles at 10000 -- actually. You can rent those online including lots of Blu-ray titles with free shipping both ways to your home. Now -- over forty shipping centers almost all of -- happened in just one business day and have plans to start from as -- four dollars and 99 cents. And as a new member you get a no -- two week free trial membership. Check it all out at www. Netflix dot com. Poet slash pixel perfect and remember you do have to type in that WWW. Thing when using this code. So now. Want to talk about photography. Now. For over a hundred episodes now we've been doing all kinds of cool stuff with Photoshop -- They voted eleven changes in and make it look like something else things creeping from scratch. Now photography. Has become very popular thing nowadays. For one thing digital cameras that really changed the way people approach photography for one thing I remember myself. Before I was very selective about what I was gonna -- I was limited to 36. Pictures of her role at 24 and then that cost of of of processing all good stuff. But does now -- beaches go crazy and start taking pictures now having a digital camera and kids. Snapping away taking pictures does that make your -- Well is a lot more to that. Now Stephen Johnson is world renowned as one of the greatest photographers around the fact he was an inspiration for me. Because Damon's opinion that I cover a few times -- the show which was a big giant panorama. It was hanging out with Stephen Johnson that gave me the concept of panel promise in fact he was very instrumental in the production of that. That these because he actually printed out. A piece second study a -- with the printers can hold and so on. Some very happy to have Steve and join us today Stephen. --"

" Stephen Johnson but. I think that put privacy we have heat here today we have actual seat here. I have never sat on the second because -- isn't so great -- but it'll work for us. And actually author of right here's Stephen Johnson on digital photography and incredible book even though I wrote I'd get a whole bunch of illustrations and there it's a pretty good -- But dubbed. -- you are considered a great photographer I consider you a great artist. Because a photographer. Is basically an artist. Now I remember I've done a lot of discussions on digital art. Okay and he was there well that's not really aren't in its current level of photography and number longtime it was oh. Probably not an artist he's just taking a picture but then after awhile people realize not everybody's and Angela Adams and it does is just clicking this odd going on in there. Exactly go through your mind what makes you a photographer and."

" Well there's a long history of photography about being accepted as -- challenge this -- and the 1840s. We originally called camera operators. And in the modern contacts. Photoshop where there seems to be an impulse I was trying to do something to the photograph. Instead of just making the photograph in the camera and using Photoshop as an electronic darkroom. There was a time when if you didn't do something to your photograph in the words that Emerson Henry. Emerson and others in the nineteenth century. You were merely a camera operator he had somehow or another artistically intervene by throwing it out of focus doing something impression is that right. That's why the resentment that essay in the back of the book because of them anyway as my. Thrust of my work is to take the photograph. That optical record of what was before the -- And that being the motivation for making a photograph. And therefore that being the concentration. On."

" Everything that's done after the two merely trying to hold that record -- I was able to see and try and be as true to it. As I can and in that sense Photoshop is a great -- not for what it can do to distort. But for what it can do to correct appear the cameras shortcomings perhaps. Or a few of my sloppy things that I might have done inadvertently. Life not quite noticing. That. Camera wasn't as straight as that might have been but I'm a literal -- in the sense that. I have this incredible. Love of photography for its ability to record. What I see. And to carry that experience of what I saw. To the viewer. And in that sense as a photographer. I'm not thinking of myself as an artist or not that comes later in the sense. But as they witnessed the beauty and wonder. And to have some technical skills and perhaps some emotional responses. That make me able to carry that witnessing of that wonder. -- to an audience. And that doesn't involve adding to the photograph that doesn't involve cloning -- without taking things away putting things than it is in fact afraid that the reason I picked up the camera to begin with. Is the reason that the photographs should exist not for what I can do to it later and Photoshop. And so. It's involved in the sense that. When you see something. When your out wandering the planet. And you've got an impulse to pick up the camera there's your reason for that it's because you've seen something. And it's in that vision that is either going to make or break. The reason for making the photograph and in the technical skills you bring to bear. That will be able to record something of that experience -- publisher for others. Not what you do to it in Photoshop that are now how you put put pixels around later those are the kinds of craft. Issues are related to the kinds of things we do in the dark room in order to make a print. But have nothing to do with making a strong program. And I do believe that a photograph. It is basically by definition what was before the let -- the minute you start taking things out of it and adding things to it it's not a photograph any longer. At that point it is some sort of digital com -- digital painting some other sorts of -- that's just as valid as the form of artistic expression to simply is no longer photograph. Because despite. All of the evidence. That photographs can be easily faked and manipulated it. I still think is an impulse and all of a submissive photograph we think about. That fact that it has become associated their minds and our earliest experiences. That's what was equivalence. And incomplete version not hold true but I kind of photographic truth. And we hope that sacred and that's the real power photography. So I don't encourage people take lots of photographs are encouraged people to use the digital age. Not for the ability to photograph more in terms of quantity. But to understand what they're doing. By looking at the back of the camera checking out that this program trying to bring as much as those technical skills to fair as possible. But to in fact. Put the brakes on slowing way down. Make the photograph about that witness to wonder that makes you wanna pick up the camera not a random assemblage of possibilities. Oh the possibilities to be decided upon by the heart and mind of the artist. And -- the camera in the field. --"

" Now a good question would be did it's. I gotta of people are walking around looking for things to shoot now -- there when you find Savannah would let you go -- the stuff to look footage shot but what. Emotionally is happening to you what what exactly says. That's decide that's the thing that I want to catch you when you're can be surrounded by go to places like let's examine -- and it's a billion things to -- but what is that one thing. That says. This is a thing I want to capture."

" But what does -- but as well that there's a formula for reacting to the planet and having an instinct to record it in some way. I think it's it's listening to your own emotional responses does not trying carry them out of -- too strange. But if if you're taking a walk on a trail. Or on a street and the city. One of the things that the camera does is it stimulates you to notice things that you might not notice otherwise it's an old -- and photography that by picking up the camera you learn to see and experience the world in ways you never would've if you hadn't started picking -- the camera. And so just that very active starting to think individual terms -- makes you know this thing. That active than bringing the camera to the eyes so to speak. Means that a more -- other you've seen something that's grab your attention. That's may do you think there might be something. That you seeing that is worth holding on to men and the first part of that process is to figure out exactly what that is. Because far too often people just point the camera in the general direction. Something that they think they might have seen. Rather than trying to concentrate in on. That angle of attention that your who really does gravitate in toward black right now for the most interesting thing I'm saying is an expression. And emotional expression is conveyed by the way your eyes are looking that does nothing to do with the second general it has nothing to do with your shirt or anything else but. Just a gesture of emotion that I can see right there that might be a broken twig or a thousand foot waterfall it doesn't matter what it is it's a piece of visual phenomenon which is the only language that photography houses life. That you decided has affected you and -- and you want to bring it back and share some. So distinguishing between a larger angle of it view and a specific angle of attention. Is one of those processes that that's photographers we go through all the time. There's another thing that I always tell people my composition classes and it's a quote from Durango. Where is that what he was setting out to do was to exaggerate the essential leave the obvious today. And I've always thought that not that I'll explain something about his own work so what it does with regards to its application of photography. -- make us think about abstraction and context can scale. And it may well be that scale is irrelevant and context is irrelevant. Because the very abstract nature of what photography is. Allows you to perhaps go down that path of finding the essential qualities. And letting the obvious context maybe not be part. Understanding of what that -- I was at all. And so in that sense it's both. Noticing the things that -- you. And feeling the freedom to let it be abstract and the contextualize. And I realize that there is sort of an inherent contradiction between say on the one hand. Photography contains a kinda true. And at the same tone saying don't feel free I mean don't feel they need to also to attempt tells the whole truth. Little piece of something it -- and it's -- and parent apparent contradictions at the heart and soul what art is anyway I'm sorry embrace those apparent contradictions. And at the same time. -- felt so empowered by the advent of digital photography because it can't capture more of what my -- can see it can give me the experience. Of seeing the photograph as an image right up front whether government laptop and my large format better light scanning camera. What my Canon 35 millimeter I can see the image taken experience that out -- making the photograph that's empowering and of itself. And helps you answer that question you might ask that this program work. Did it rise to the occasion of that distillation. Things --"

" Now how much. Of your images okay I guess that's just paying for instance I'm gonna open up this guy right here. This is this image right here. Now how much of this was altered in some way and -- at any at all. Nothing -- there was nothing I would call alteration of all the that's double arch in arches national park and that the the challenge of that kind of images in extreme dynamic range -- present in the file button and film would have had a real hard time with it and conventional digital cameras -- but the better light scanning cameras having. Eleven stops of dynamic range allowed little shadow and highlight detail simultaneously. Pretty even shadows and yeah sorted -- didn't even require any sort of multiple exposure HD -- or any of the images after the fact. Because the cameras are inherently capable to begin. If you see a photograph of -- you can bet on a couple of things there's nothing been taken out. And let's I've had a crop the whole image nothing's been added. Does not -- attempt to fool somebody into thing they're seeing something that they're not unless of course it's abstraction. That you -- And it is my best representation. What I saw. And that's the perfect for me and the beautiful photography is the pre digital postage. In in fact -- this when -- An -- New Yorkers did. That has canceled and a lot of emotions and thousands who die now is this mystery shoppers to say -- but I know it's a straight shot if you ask them what the scanning back. From better line actually mounted on a motor and so that the camera is turning. And recording the image in one community wanted to finish up so it's if it had been -- I wouldn't call that manipulated so much as I would say it's a simple. From a number of images in this case it's one continuous scan. And of course I've always wanted to photograph lower Manhattan from across the river. I never did I dream when this was made and 1990. Hate just the kind of implications that would have long term -- every time I've seen this exhibited some ways does story about emotions you know people looking. -- and it does partially because people don't -- Right and that's that's the power of photography. If it worry painted version of the Twin Towers in lower Manhattan skyline that has a certain emotions attached to it. But it's not with that hard reality of this is what was there. It's a different sort of approach to that artistic response. In this case when we see the Twin Towers. When in fact we zoom in on this high resolution photograph which you can't on this little preview. But we see people on top of the towers on the tourists that. It brings another kind of reality when we see planes flying through the Scotty in this photograph. All of those are things that bring a level of reality. To it that both makes it a historical document in ways that are. -- tragic beyond words and murders beyond words but at the same time once again I think emphasizes that extraordinary. Power of photography. Hold the moment that was actually there in this case it would probably about six minutes to make the scans they could say with six minutes -- compliments. But nonetheless. Of real time held in a way that's been fixed by the photo. Graph this. Light writing."

" And the photography is. -- like this one here in particular time but we've very very cool. And you know here thank you guys just -- series and of the commonalities going on here it's its system health side. Can -- not like many people would tackle the subject like this that would try to get some sky and there is to get the sense of definitely an -- going for instance these little. Home you know even at first glance and a new look like -- could feel the could be some kind of an abstract thing yet you just got all of these home now he's going in here so. What we're trying to."

" Over here whether the caller was at capturing the moment because it really isn't the moment here. Well in this case is a photograph from my name. Project on the national parks with a new line this is from the petrified forest not exactly seeing you would think of from the petrified forest but in fact it's a place called lazy point. And to me it was the sensuality. Of the line. And am the richness of the color that I found absolutely seductive and made me want to make the program none of that had anything to do with the sky. The road that was behind me. Good hills that changed in the mud flaps as you went further to the left. It had to do with a piece of design that I thoughtless -- Intrinsically beautiful like -- that I think it had -- sensual aspects. And the ambiguity of scale by not giving you those visionary who gives -- the size I think strengthens the image to be. Both. They record public place but. Non specific. And it's possible application. To only that please don't much like art does when word we feel like it's the most successful law when it becomes about. Sensuality and land form on the planet earth engine now and that so much a part of want to see in my work that. Makes me want to continued for over."

" Yes what remember wanted to -- is that your your gallery Atlanta and watch people looking at this and similar ones to this. And -- it's -- it's not in context with anything it's again -- in scale. Yet you would put driven towards is like this on the emotions mirrors the way it colors are working whatever or Tuesday. -- lack of -- of a point of reference that is attracting people -- it's -- statement. So it's starting up some kind of an emotion and make people. Want to look at something without the need good people will. My film well okay it is -- what we have to have some skies and you know it's a mountain. You gotta look over -- you know how big that mountainous but here and stuff is important and what's important assisting the colors. You want that it gives you and justice is serenity did you just looking at things these slaves."

" That's the point that I think. My own work is always trying to reach toward how successful. I am. -- Goes up and down my own estimation and obviously other people judged as well but I do things -- and I I think it's almost too obvious to say that we have an instinctive natural connection to this place benefit would be emerged from and where pullback in all sorts of ways and we feel disconnected from it and all sorts of ways. And I think if the places I'm responding to. In some way -- about that recognition. Of our history of where we came from. The forms and patterns and very planet that we evolved on. Takes us back to that connection a little bit. By seeing natural form beauty without context -- reference to a specific place has much has that natural form beauty. For me that's a process that kind of trying to reconnect. To the various sources of our own hearts -- missiles. And hand that's part of why I picked up the camera to begin -- which is also why would never dream we're trying to change it in Photoshop. Because that's actually the antithesis. Of that very disconnection. That I think. Has to be battled again so that we can reconnect with the time."

" You know most people that's becoming -- all have to Photoshop and later and I -- photo -- become a verb associated with the processing of a photograph. I think makes a lot of week. Photographs. Made to begin with and and then -- and amount of time spent trying to rescue those -- photographs. Making for a week heavily doctored photograph. And the photograph is not made in Photoshop and has never been made in Photoshop default format has been in the camera. What Photoshop can do is provided clean processing space like the dark room could do. If you're gonna make it into something else that you stepped away saying okay I'm no longer interest that -- is a photograph. I'm interested in it as a source of composite material for some digital painting -- kind of artwork that is much digital sculpture. As it is painting. Doesn't I think -- photography any longer at that point because it breaks what I would answer is that basic bond between the view her and the photographer. And that is that expectation that. Despite all the evidence to the contrary. We still have the same thing to believe it if it was a photograph. And in that belief I think -- photography is very power."

" Well to do that -- that happened this week but I want to discuss a little further found hope you come back next -- I think another thing is very important is that you create these screen shots but you've been influential and a lot of the printing techniques today. And I think what's important for people also understands okay if -- got these great cameras taking these great pictures. Now watch them. They just might see this -- but how to get it on the paper I think that's what we gotta discuss that they guy who tune in next week come back next week. Actually you know what -- how come nobody admits -- restaurant customers but you know. We'll come back it was not talking about this the next show about I would put it down on paper and it does anything else would you like to see on the shelf. Mail me. Revision3.com. And -- check out the pixel perfect form that revision3.com. Forward slash forum where you can join discussions about the show and maybe even includes a future episode. That's -- suggestive -- dot com would be where you could buy me that's right which you'll see on this then that's his website. And if you want you work. To replace David back here -- a future episode. Just send me your background senate to burden vision dot com and back -- should be 1280 by essentially pixels and JPEG. That you guys who follow instructions -- didn't but you guys can bonds sucking billions. We want to see the -- limited anyway which we do it there is behind attractive here that's beautiful -- there. Colbert took it. --"

" Wow. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Sean and welcomed the pixel perfect would be -- on right. On today's show. Could do something little cool here we've got a guest coming in fact. This image on the screen behind me. Through that. Now look at these. Black bars and aside right usually don't -- because it now because this particular guy didn't follow the rules of the 1287 to know it because. We do want to crop any of -- is that an actual artistic photograph. Taken by a very good friend of mine Stephen Johnson who's going to be guest on the show today. Talk about photography -- what it means to you and the rest of the world before we start we gotta thank our sponsors want to thank godaddy.com. Web posting from go data com includes 99 point 9% up time. 247 support and free access to hosting connection the place to install over thirty we application short helping get the most. From your hosting plan and your website. Also I want to thank -- Netflix. With Netflix you can read over a 100000. Titles at 10000 -- actually. You can rent those online including lots of Blu-ray titles with free shipping both ways to your home. Now -- over forty shipping centers almost all of -- happened in just one business day and have plans to start from as -- four dollars and 99 cents. And as a new member you get a no -- two week free trial membership. Check it all out at www. Netflix dot com. Poet slash pixel perfect and remember you do have to type in that WWW. Thing when using this code. So now. Want to talk about photography. Now. For over a hundred episodes now we've been doing all kinds of cool stuff with Photoshop -- They voted eleven changes in and make it look like something else things creeping from scratch. Now photography. Has become very popular thing nowadays. For one thing digital cameras that really changed the way people approach photography for one thing I remember myself. Before I was very selective about what I was gonna -- I was limited to 36. Pictures of her role at 24 and then that cost of of of processing all good stuff. But does now -- beaches go crazy and start taking pictures now having a digital camera and kids. Snapping away taking pictures does that make your -- Well is a lot more to that. Now Stephen Johnson is world renowned as one of the greatest photographers around the fact he was an inspiration for me. Because Damon's opinion that I cover a few times -- the show which was a big giant panorama. It was hanging out with Stephen Johnson that gave me the concept of panel promise in fact he was very instrumental in the production of that. That these because he actually printed out. A piece second study a -- with the printers can hold and so on. Some very happy to have Steve and join us today Stephen. --"

" Stephen Johnson but. I think that put privacy we have heat here today we have actual seat here. I have never sat on the second because -- isn't so great -- but it'll work for us. And actually author of right here's Stephen Johnson on digital photography and incredible book even though I wrote I'd get a whole bunch of illustrations and there it's a pretty good -- But dubbed. -- you are considered a great photographer I consider you a great artist. Because a photographer. Is basically an artist. Now I remember I've done a lot of discussions on digital art. Okay and he was there well that's not really aren't in its current level of photography and number longtime it was oh. Probably not an artist he's just taking a picture but then after awhile people realize not everybody's and Angela Adams and it does is just clicking this odd going on in there. Exactly go through your mind what makes you a photographer and."

" Well there's a long history of photography about being accepted as -- challenge this -- and the 1840s. We originally called camera operators. And in the modern contacts. Photoshop where there seems to be an impulse I was trying to do something to the photograph. Instead of just making the photograph in the camera and using Photoshop as an electronic darkroom. There was a time when if you didn't do something to your photograph in the words that Emerson Henry. Emerson and others in the nineteenth century. You were merely a camera operator he had somehow or another artistically intervene by throwing it out of focus doing something impression is that right. That's why the resentment that essay in the back of the book because of them anyway as my. Thrust of my work is to take the photograph. That optical record of what was before the -- And that being the motivation for making a photograph. And therefore that being the concentration. On."

" Everything that's done after the two merely trying to hold that record -- I was able to see and try and be as true to it. As I can and in that sense Photoshop is a great -- not for what it can do to distort. But for what it can do to correct appear the cameras shortcomings perhaps. Or a few of my sloppy things that I might have done inadvertently. Life not quite noticing. That. Camera wasn't as straight as that might have been but I'm a literal -- in the sense that. I have this incredible. Love of photography for its ability to record. What I see. And to carry that experience of what I saw. To the viewer. And in that sense as a photographer. I'm not thinking of myself as an artist or not that comes later in the sense. But as they witnessed the beauty and wonder. And to have some technical skills and perhaps some emotional responses. That make me able to carry that witnessing of that wonder. -- to an audience. And that doesn't involve adding to the photograph that doesn't involve cloning -- without taking things away putting things than it is in fact afraid that the reason I picked up the camera to begin with. Is the reason that the photographs should exist not for what I can do to it later and Photoshop. And so. It's involved in the sense that. When you see something. When your out wandering the planet. And you've got an impulse to pick up the camera there's your reason for that it's because you've seen something. And it's in that vision that is either going to make or break. The reason for making the photograph and in the technical skills you bring to bear. That will be able to record something of that experience -- publisher for others. Not what you do to it in Photoshop that are now how you put put pixels around later those are the kinds of craft. Issues are related to the kinds of things we do in the dark room in order to make a print. But have nothing to do with making a strong program. And I do believe that a photograph. It is basically by definition what was before the let -- the minute you start taking things out of it and adding things to it it's not a photograph any longer. At that point it is some sort of digital com -- digital painting some other sorts of -- that's just as valid as the form of artistic expression to simply is no longer photograph. Because despite. All of the evidence. That photographs can be easily faked and manipulated it. I still think is an impulse and all of a submissive photograph we think about. That fact that it has become associated their minds and our earliest experiences. That's what was equivalence. And incomplete version not hold true but I kind of photographic truth. And we hope that sacred and that's the real power photography. So I don't encourage people take lots of photographs are encouraged people to use the digital age. Not for the ability to photograph more in terms of quantity. But to understand what they're doing. By looking at the back of the camera checking out that this program trying to bring as much as those technical skills to fair as possible. But to in fact. Put the brakes on slowing way down. Make the photograph about that witness to wonder that makes you wanna pick up the camera not a random assemblage of possibilities. Oh the possibilities to be decided upon by the heart and mind of the artist. And -- the camera in the field. --"

" Now a good question would be did it's. I gotta of people are walking around looking for things to shoot now -- there when you find Savannah would let you go -- the stuff to look footage shot but what. Emotionally is happening to you what what exactly says. That's decide that's the thing that I want to catch you when you're can be surrounded by go to places like let's examine -- and it's a billion things to -- but what is that one thing. That says. This is a thing I want to capture."

" But what does -- but as well that there's a formula for reacting to the planet and having an instinct to record it in some way. I think it's it's listening to your own emotional responses does not trying carry them out of -- too strange. But if if you're taking a walk on a trail. Or on a street and the city. One of the things that the camera does is it stimulates you to notice things that you might not notice otherwise it's an old -- and photography that by picking up the camera you learn to see and experience the world in ways you never would've if you hadn't started picking -- the camera. And so just that very active starting to think individual terms -- makes you know this thing. That active than bringing the camera to the eyes so to speak. Means that a more -- other you've seen something that's grab your attention. That's may do you think there might be something. That you seeing that is worth holding on to men and the first part of that process is to figure out exactly what that is. Because far too often people just point the camera in the general direction. Something that they think they might have seen. Rather than trying to concentrate in on. That angle of attention that your who really does gravitate in toward black right now for the most interesting thing I'm saying is an expression. And emotional expression is conveyed by the way your eyes are looking that does nothing to do with the second general it has nothing to do with your shirt or anything else but. Just a gesture of emotion that I can see right there that might be a broken twig or a thousand foot waterfall it doesn't matter what it is it's a piece of visual phenomenon which is the only language that photography houses life. That you decided has affected you and -- and you want to bring it back and share some. So distinguishing between a larger angle of it view and a specific angle of attention. Is one of those processes that that's photographers we go through all the time. There's another thing that I always tell people my composition classes and it's a quote from Durango. Where is that what he was setting out to do was to exaggerate the essential leave the obvious today. And I've always thought that not that I'll explain something about his own work so what it does with regards to its application of photography. -- make us think about abstraction and context can scale. And it may well be that scale is irrelevant and context is irrelevant. Because the very abstract nature of what photography is. Allows you to perhaps go down that path of finding the essential qualities. And letting the obvious context maybe not be part. Understanding of what that -- I was at all. And so in that sense it's both. Noticing the things that -- you. And feeling the freedom to let it be abstract and the contextualize. And I realize that there is sort of an inherent contradiction between say on the one hand. Photography contains a kinda true. And at the same tone saying don't feel free I mean don't feel they need to also to attempt tells the whole truth. Little piece of something it -- and it's -- and parent apparent contradictions at the heart and soul what art is anyway I'm sorry embrace those apparent contradictions. And at the same time. -- felt so empowered by the advent of digital photography because it can't capture more of what my -- can see it can give me the experience. Of seeing the photograph as an image right up front whether government laptop and my large format better light scanning camera. What my Canon 35 millimeter I can see the image taken experience that out -- making the photograph that's empowering and of itself. And helps you answer that question you might ask that this program work. Did it rise to the occasion of that distillation. Things --"

" Now how much. Of your images okay I guess that's just paying for instance I'm gonna open up this guy right here. This is this image right here. Now how much of this was altered in some way and -- at any at all. Nothing -- there was nothing I would call alteration of all the that's double arch in arches national park and that the the challenge of that kind of images in extreme dynamic range -- present in the file button and film would have had a real hard time with it and conventional digital cameras -- but the better light scanning cameras having. Eleven stops of dynamic range allowed little shadow and highlight detail simultaneously. Pretty even shadows and yeah sorted -- didn't even require any sort of multiple exposure HD -- or any of the images after the fact. Because the cameras are inherently capable to begin. If you see a photograph of -- you can bet on a couple of things there's nothing been taken out. And let's I've had a crop the whole image nothing's been added. Does not -- attempt to fool somebody into thing they're seeing something that they're not unless of course it's abstraction. That you -- And it is my best representation. What I saw. And that's the perfect for me and the beautiful photography is the pre digital postage. In in fact -- this when -- An -- New Yorkers did. That has canceled and a lot of emotions and thousands who die now is this mystery shoppers to say -- but I know it's a straight shot if you ask them what the scanning back. From better line actually mounted on a motor and so that the camera is turning. And recording the image in one community wanted to finish up so it's if it had been -- I wouldn't call that manipulated so much as I would say it's a simple. From a number of images in this case it's one continuous scan. And of course I've always wanted to photograph lower Manhattan from across the river. I never did I dream when this was made and 1990. Hate just the kind of implications that would have long term -- every time I've seen this exhibited some ways does story about emotions you know people looking. -- and it does partially because people don't -- Right and that's that's the power of photography. If it worry painted version of the Twin Towers in lower Manhattan skyline that has a certain emotions attached to it. But it's not with that hard reality of this is what was there. It's a different sort of approach to that artistic response. In this case when we see the Twin Towers. When in fact we zoom in on this high resolution photograph which you can't on this little preview. But we see people on top of the towers on the tourists that. It brings another kind of reality when we see planes flying through the Scotty in this photograph. All of those are things that bring a level of reality. To it that both makes it a historical document in ways that are. -- tragic beyond words and murders beyond words but at the same time once again I think emphasizes that extraordinary. Power of photography. Hold the moment that was actually there in this case it would probably about six minutes to make the scans they could say with six minutes -- compliments. But nonetheless. Of real time held in a way that's been fixed by the photo. Graph this. Light writing."

" And the photography is. -- like this one here in particular time but we've very very cool. And you know here thank you guys just -- series and of the commonalities going on here it's its system health side. Can -- not like many people would tackle the subject like this that would try to get some sky and there is to get the sense of definitely an -- going for instance these little. Home you know even at first glance and a new look like -- could feel the could be some kind of an abstract thing yet you just got all of these home now he's going in here so. What we're trying to."

" Over here whether the caller was at capturing the moment because it really isn't the moment here. Well in this case is a photograph from my name. Project on the national parks with a new line this is from the petrified forest not exactly seeing you would think of from the petrified forest but in fact it's a place called lazy point. And to me it was the sensuality. Of the line. And am the richness of the color that I found absolutely seductive and made me want to make the program none of that had anything to do with the sky. The road that was behind me. Good hills that changed in the mud flaps as you went further to the left. It had to do with a piece of design that I thoughtless -- Intrinsically beautiful like -- that I think it had -- sensual aspects. And the ambiguity of scale by not giving you those visionary who gives -- the size I think strengthens the image to be. Both. They record public place but. Non specific. And it's possible application. To only that please don't much like art does when word we feel like it's the most successful law when it becomes about. Sensuality and land form on the planet earth engine now and that so much a part of want to see in my work that. Makes me want to continued for over."

" Yes what remember wanted to -- is that your your gallery Atlanta and watch people looking at this and similar ones to this. And -- it's -- it's not in context with anything it's again -- in scale. Yet you would put driven towards is like this on the emotions mirrors the way it colors are working whatever or Tuesday. -- lack of -- of a point of reference that is attracting people -- it's -- statement. So it's starting up some kind of an emotion and make people. Want to look at something without the need good people will. My film well okay it is -- what we have to have some skies and you know it's a mountain. You gotta look over -- you know how big that mountainous but here and stuff is important and what's important assisting the colors. You want that it gives you and justice is serenity did you just looking at things these slaves."

" That's the point that I think. My own work is always trying to reach toward how successful. I am. -- Goes up and down my own estimation and obviously other people judged as well but I do things -- and I I think it's almost too obvious to say that we have an instinctive natural connection to this place benefit would be emerged from and where pullback in all sorts of ways and we feel disconnected from it and all sorts of ways. And I think if the places I'm responding to. In some way -- about that recognition. Of our history of where we came from. The forms and patterns and very planet that we evolved on. Takes us back to that connection a little bit. By seeing natural form beauty without context -- reference to a specific place has much has that natural form beauty. For me that's a process that kind of trying to reconnect. To the various sources of our own hearts -- missiles. And hand that's part of why I picked up the camera to begin -- which is also why would never dream we're trying to change it in Photoshop. Because that's actually the antithesis. Of that very disconnection. That I think. Has to be battled again so that we can reconnect with the time."

" You know most people that's becoming -- all have to Photoshop and later and I -- photo -- become a verb associated with the processing of a photograph. I think makes a lot of week. Photographs. Made to begin with and and then -- and amount of time spent trying to rescue those -- photographs. Making for a week heavily doctored photograph. And the photograph is not made in Photoshop and has never been made in Photoshop default format has been in the camera. What Photoshop can do is provided clean processing space like the dark room could do. If you're gonna make it into something else that you stepped away saying okay I'm no longer interest that -- is a photograph. I'm interested in it as a source of composite material for some digital painting -- kind of artwork that is much digital sculpture. As it is painting. Doesn't I think -- photography any longer at that point because it breaks what I would answer is that basic bond between the view her and the photographer. And that is that expectation that. Despite all the evidence to the contrary. We still have the same thing to believe it if it was a photograph. And in that belief I think -- photography is very power."

" Well to do that -- that happened this week but I want to discuss a little further found hope you come back next -- I think another thing is very important is that you create these screen shots but you've been influential and a lot of the printing techniques today. And I think what's important for people also understands okay if -- got these great cameras taking these great pictures. Now watch them. They just might see this -- but how to get it on the paper I think that's what we gotta discuss that they guy who tune in next week come back next week. Actually you know what -- how come nobody admits -- restaurant customers but you know. We'll come back it was not talking about this the next show about I would put it down on paper and it does anything else would you like to see on the shelf. Mail me. Revision3.com. And -- check out the pixel perfect form that revision3.com. Forward slash forum where you can join discussions about the show and maybe even includes a future episode. That's -- suggestive -- dot com would be where you could buy me that's right which you'll see on this then that's his website. And if you want you work. To replace David back here -- a future episode. Just send me your background senate to burden vision dot com and back -- should be 1280 by essentially pixels and JPEG. That you guys who follow instructions -- didn't but you guys can bonds sucking billions. We want to see the -- limited anyway which we do it there is behind attractive here that's beautiful -- there. Colbert took it. --"