Here's the painting again. When I look at it, I also examine all the bits:
Like this bit. You can see where I made the marks with my drawing and my paint. They need to work as well. They need to stand up by themselves, or else the whole is no good.
And so does this little part of it.
And this bit.
Anywhere you look on the canvas, it needs to hold up. The marks - the place where the image breaks down into the marks that I made - need to work.
OK - back to my eurotrash wannabe influencer turning it on in San Marco. Not a bad shot, if I say so myself. Shot on 135 Portra 400 in an Oly Trip 35. And what you're seeing is GRAIN. The image breaks down even on an iPad. This is what you get. You can print it two metres wide and it's still what you get.
Any output device will out-resolve the grain.
Or - to put it another way: It can't break, because it's broken already.
And I broke it. Well, I didn't make the grain, so I didn't actually control it, but I gave it permission. I decided that it's okay for it to break here. It's what I want.
I don't want you see this much. (above) Yuck. This is a similar sized crop from my digital camera.
I do want you to see this much.
And what on earth does this have to do with paintings and other artforms in general? Well - the details - all the parts of the photo need to work. Sure - the main event is the swirling red dress, but the third photog's hat and the pigeon's right foot need to be okay as well.
All photos David Hume