Value when attached to scarcity seems easier to understand. A rare print auctioned for $1,000,000 sends imagers into a swoon. An image produced 1,000,000 times and sold for a dollar each is distained as fodder for the hoi pollloi. The acquisition of imaging has become democratized. Does that threaten the value of the $1,000,000 purchase?and the elephant in the room is when the very large prints that cost thousands of dollars fade or shift &c does the artist make a replacement, even when it is a limited edition print
were only a few are made? certainly ink jet or pigment prints are the way of the future and paper stocks can be very nice, but the images are treated like posters in a department store.
this has been a problem with cprint makers as well...
and this has been a problem originally faced by photographers and written about in the 2nd quarter of the 2oth centure by walter benjamin ( http://web.mit.edu/allanmc/www/benjamin.pdf ).
as far as many are concerned,
when millions of images can be produced none of them have any value. this has been the case when the negative was celluloid, and there was still human intervention in the printing stage
it is evident now more than ever when reproduction is even more mechanical.
Value when attached to scarcity seems easier to understand. A rare print auctioned for $1,000,000 sends imagers into a swoon. An image produced 1,000,000 times and sold for a dollar each is distained as fodder for the hoi pollloi. The acquisition of imaging has become democratized. Does that threaten the value of the $1,000,000 purchase?
At the same time, the democratization of image capture seems to be understood in the same way.
Somehow the business end of things gets short shrift. Even my instructors who have long commercial experience tend to focus on what one does with the camera on-set. Photographers would rather have a Rep to hustle work and a bookkeeper to keep track of the numbers to free them to press the button.
Value when attached to scarcity seems easier to understand. A rare print auctioned for $1,000,000 sends imagers into a swoon. An image produced 1,000,000 times and sold for a dollar each is distained as fodder for the hoi pollloi. The acquisition of imaging has become democratized. Does that threaten the value of the $1,000,000 purchase?
At the same time, the democratization of image capture seems to be understood in the same way.
Lots of generalizations there.
My heart goes out to those of us who still imagine that tiny "analog" prints will last longer than digital versions, and that digital phenomena such as the current Lawrence of Arabia, or ...for that matter... most of Edward Weston's current images, will not continue to be there, in all of their digitally delivered glory, for our great grandchildren
keep drinking the koolaid !
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how's eddie doing, still having trouble ??
Are they not already the norm? What kind of color prints do your students make, and will they make for their future clients?How long do you think it will take for pigment-jet images to become the norm?
Are they not already the norm? What kind of color prints do your students currently make, and will they make for their future clients? At my local community college, we have access to machine which makes C-prints from digital files, but the quality of the inkjet prints trumps them easily.How long do you think it will take for pigment-jet images to become the norm?
Are these pigment prints fading/shifting?Are they not already the norm? What kind of color prints do your students currently make, and will they make for their future clients? At my local community college, we have access to machine which makes C-prints from digital files, but the quality of the inkjet prints trumps them easily.
no clue but hard to understand how people are duped into thinking they a gift from the heavens ...How long do you think it will take for pigment-jet images to become the norm?
I agree John. I want that stuff to smoke. Don't waste the bandwidth arguing with him.
Printing is a specialization restricted to another campus; politic and territoriality. Delivery is all digital. We are trying to gain printing without threatening the other campus.Are they not already the norm? What kind of color prints do your students currently make, and will they make for their future clients? At my local community college, we have access to machine which makes C-prints from digital files, but the quality of the inkjet prints trumps them easily.
Printing is a specialization restricted to another campus; politic and territoriality. Delivery is all digital. We are trying to gain printing without threatening the other campus.
I know, I know. Don't ask....
so if it is just about exposure and processing, how do they know the relationship between what they exposedNot at all. Instead many participants here express interest in printing and whether we print. I was very clear that we do not print and the reason is described above: it is restricted to another campus within our district. If I have students who want to learn to digitally print I send them to the other campus.
I don't disagree, but what percentage of clients want prints? Obviously, it depends on area of photography, but for something like advertising, are clients actually looking for prints or is it mostly digital delivery? In other words, could you establish a practice where prints were a secondary consideration.I'm trying to figure out a way to say this respectfully...
Anyone who graduates out of a photographic program who has not received training in how to either print to a professional standard, or how to work with skilled (and relatively expensive) printing technicians to obtain professional standard printed output, has received a clearly sub-standard education.
Printing is by far the best way to test the technical quality of someone's photography. If all you are trained to do is prepare photographs for web or screen viewing, then you shouldn't expect to make much money.
First of all, this venue and it's text-oriented method is inadequate for this kind of discussion. It wants beer on the patio on a warm summer evening.
Second-like, this is a 2-year program that has failed to fulfill its vocational mission for the last 15 years. Getting certain faculty and administrators to move into the contemporary demands of our craft has been an uphill struggle. At the risk of raising hackles, the dependance upon the BW darkroom was a function of leadership who knew nothing about either commercial work or digital expression embracing half of the faculty (with the same limitations) who do not understand, let alone teach, digital.
Leadership from the former Chair and sole Full time tenured position, continued to normalize the darkroom as a predominant vocational skill. Now, in spite of the fact that nearly all imaging for clients is delivered digitally, there is resistance to moving into the digital age.
The regressive group sees BW as vocationally viable. Why wouldn't they? Has the Chair not supported them over the years? Administrators and lay-folk, who know nothing of commercial work, retain romantic notions of what photography is about. They STILL see it the Hollywood presentation of the traditional darkroom as how photography is executed. I have been struggling with this for the last 4 years. Now on my 3rd Dean and 4th President I have to bring people up to speed, with illustrations about our progress, our direction and future goals, constantly. It is hard to get things to stick and build upon them.
FWIW, of my 3 commercial shooter/instructors, NONE of them produce prints. Advertising doesn't want prints. I did a favor for a friend; a wedding reception 2 months ago; 200 image files and 2 sets of Costco 4x6s. I haven't done that in at least 3 years, and 2 years before that.
And You ask about printing...good question but nearly esoteric in the context of the work I am trying to do. That said, I need to get back to preparing a presentation for our new VP of Instruction.
If we had a problem then I would worry. The acuity of Lightroom usage demands color balance and exposure within a certain dynamic range. Prints and subsequent publication has worked just fine.For clarity, I wasn't referring to darkroom printing.
I was referring to printing in general, which in today's commercial world means digital printing in most cases.
And while I understand that product delivery may frequently be done digitally, IMHO if the product isn't to the standard that professionally printed work demands, then most likely it will be sub-standard.
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