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<blockquote data-quote="STM" data-source="post: 127364" data-attributes="member: 12827">Aw yes, but Don, did that ability to remove power lines actually make you a better photographer, or just better at removing annoyances in the final print. That was kind of the gist of my question. In life the &quot;perfect shot&quot; does not exist, it is like Santa and the Easter Bunny, but with film you worked around things to get it as close as possible. It forced you to look at things from different perspectives and come to grips that it is ok to have a few imperfections. There was a simple rural church in NC I always wanted to photograph. It was all white clapboard with a tall and narrow steeple. But they had a power cable that ran from the church to the power pole. A big black, ugly power cable. For me it totally ruined the shot. But I wanted the shot so badly I took it anyway. I then took the negative, placed it on a light box emulsion side up and under a magnifier, used a sharp pencil and retouched the negative, removing it. It would have been so much easier in 120 than the postage stamp but I finally managed to do it. This is what we did when we were stuck with film. It would have been a BEAR to try and mask it away in the darkroom.</blockquote>

[QUOTE="STM, post: 127364, member: 12827"] Aw yes, but Don, did that ability to remove power lines actually make you a better [I]photographer[/I], or just better at removing annoyances in the final print. That was kind of the [I]gist[/I] of my question. In life the "perfect shot" does not exist, it is like Santa and the Easter Bunny, but with film you worked around things to get it as close as possible. It forced you to look at things from different perspectives and come to grips that it is ok to have a few imperfections. There was a simple rural church in NC I always wanted to photograph. It was all white clapboard with a tall and narrow steeple. But they had a power cable that ran from the church to the power pole. A big black, ugly power cable. For me it totally ruined the shot. But I wanted the shot so badly I took it anyway. I then took the negative, placed it on a light box emulsion side up and under a magnifier, used a sharp pencil and retouched the negative, removing it. It would have been so much easier in 120 than the postage stamp but I finally managed to do it. This is what we did when we were stuck with film. It would have been a BEAR to try and mask it away in the darkroom. [/QUOTE]

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