A print is a print. A screen image is a screen image. If you want to see prints, exchange prints.
You are far from truth: scanning paper is a lot closer to showing real photography than scanning a negative. That, in opinion of most printers in the world.Very well said. Asking for a "special place" on a digital medium to show off your "true" paper prints makes as much sense as asking for a fireplace in a swimming pool. Is he not realizing that it's impossible to avoid digitization if he wants to share and discuss something online?
The real challenge of course is how to fairly represent digitally a print that has had a lot of darkroom manipulation put into it.
You are far from truth: scanning paper is a lot closer to showing real photography than scanning a negative. That, in opinion of most printers in the world.
This sounds like a promising initiative. What we need is the best representation of the actual print, isn't it? So devising the best way to get us there is important I'd have thoughtAt the risk of being branded a heretic, if you really want to convey what a print looks like "in the real world", the best way I can think of is with a high quality digital camera. Using a tripod and no flash, digital can do a pretty good job of capturing what the print on the wall looks like to a person standing nearby.
No, you won't get the resolution, or the texture, and if you try to zoom in, it's a failed exercise-- but the one thing digital can do very well at this point is faithfully capture what things "really" look like.
First, is someone making digital prints from a negative that's optimal for wet printing?
Sure, because there is a huge overlap in what is optimal. And because there are many more options available for printing colour if one uses a digital intermediary, and because if your original is a slide - either black and white or colour - than the challenges of translating that to a print are considerably easier to manage if one takes advantage of digital tools.First, is someone making digital prints from a negative that's optimal for wet printing?
You are far from truth: scanning paper is a lot closer to showing real photography than scanning a negative. That, in opinion of most printers in the world.
Those that exclusively do wet print deserve a gold star for putting up with the smell of thiosulfate and acetic acid in open trays. Two gold stars if they also use sulfide toner.
Love the smell of ether, its getting silver nitrate on your skin that is a pain.I saw wet plate photography in action last week and I would give gold star to those wet plate artists who are doing it without the mask. The normal darkroom chemical smells are nothing compared to smell of ether and chamomille together in badly ventilated area
I've printed some hundred prints myself and I'm still puzzled when I see a really good print live. I just cannot understand it. I saw many Weston-familys print last weekend (and yes, pepper too) and it is just confusing to see so good steady print quality.
So while scanning is good way to see the photograph, that cannot replace seeing a print in live.
You are wrong as usual. Scans are a lot closer to real photography than a piece of dead tree. That, in opinion of most scanners in the world.
The normal darkroom chemical smells are nothing compared to smell of ether and chamomille together in badly ventilated area
Wait till you see my albums of dead trees.You are wrong as usual. Scans are a lot closer to real photography than a piece of dead tree. That, in opinion of most scanners in the world.
I think it does make a perceptible difference (but not necessarily meaningful) when working with very small formats like 35mm. Once you hit medium format, it becomes hard to tell the difference unless you're printing very large prints. At 4x5 and above, it's not even perceptible. It may be useful for the photographer to select a given film (reciprocity characteristics, for example, when working with long exposures) but for the viewer, it is largely invisible and/or meaningless. They may notice a certain amount of motion blur in a scene, but they're not going to attribute that to the film you use, nor will they care. They just care about the effect of it and does it make the image stronger or weaker.For some reason I believe what books with BW film photography I have are scans or other form of reproduction of wet prints.
I do post scans on my wet prints on the Internet.
If I'm lazy, I scan negative.
With wet print I'm finding less and less important which film is negative. Winogrand used film he could use. I like his prints and I can't see film difference on his prints.
In Apug times it was the thread here showing wet prints from different films. My conclusion after I seen results - it next to doesn't matter which film is in use for wet prints.
I've printed some hundred prints myself and I'm still puzzled when I see a really good print live. I just cannot understand it. I saw many Weston-familys print last weekend (and yes, pepper too) and it is just confusing to see so good steady print quality.
Real Photography? Can you please tell me what that is, I have absolutely no idea what you are "most scanners of the world" opine.
Scans are a lot closer to real photography than a piece of dead tree. That, in opinion of most scanners in the world.
+1This is turning into yet another beat-the-dead-horse-into-subatomic-vapor session of the old, tired digital-vs-analog debate. If you don't want to see digital content, there are filter tools here on the forum, both in the discussion threads and in the gallery.
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