Yes if I view my images on a monitor or TV screen it's better to just shoot digital.
...and that rubs me all the wrong ways. Why shoot Slide Film if you're adding a limiting factor to the equation (lossy scan, lossy display)? Is your scanner capable to lift all there is to lift from emulsion, staying true to the grain and color fidelity without any iffy approximations and sharpness cheating, does it focuses properluy and does service or disservice?
Is your TV calibrated and does it display uncompromised color gamut? How are the black levels and contrast?
Slides are very bright at low magnifications. And if the projector can take it, there's always a brighter/hotter bulb available.
And there are screens with glass beads embedded, making the image brighter.
But why do that if room light can be controlled, making brightness issues moot? Do you ask for brighter image at cinema?
But to each his own.
How's your eyesight?
Yes, I've done that on occasion. It's been a (long) while, probably over a decade ago. Kind of fun, but nowhere near the magic of a proper slideshow.
Imagine the captive audience that's being parked in front of a 75" screen to watch a YouTube video.
Thank you all for this interesting discussion.
Were you able to test recent 4K projectors with good blacks for photo projection ?
I know they cost much more than slide projectors and are bigger and less transportable, but I wonder if photos could look good or "as good as" slide projection..?
Personnally I have only projected on affordable 2K (full hd) projectors and the results are not that good. I am asking this because many of the slide film recorders recorded at 4K or 8K, which is often considered optimal for 35mm recording..
Now, I'm no novice when it comes to making silver gelatin prints. Back in the 80's and 90s I was frequently hired by many high profile Toronto artists to print their show works, so I have a lot of experience. So it's not like I don't have the background to identify a silver gelatin print. But in the 2020s, it has become very difficult to tell inkjet prints from silver gelatin prints. My own work, when printed via inkjet, is so similar to how my silver gelatin prints look that the difference is negligible. I am absolutely certain that 99.5% of viewers would not be able to say with any certainty what process produced my prints*. Maybe its different with color work, but you won't be able to convince me that good B&W inkjet prints don't look as good as a high quality silver gelatin print.
all I do is click it on in the middle of the football game, "Care to see our vacation shots of the Louvre?" and start it rolling.
Vacation shots should be kept only for themselves unless they have some artistic merit.
Agreed, they don't, butI don't think any of them need to be re-educated
and I'm going by my own experience which is the torture many have been exposed to in their lifetimes - negatives, slides, facebook, instagram and allthe kind of vac pictures many people take nowadays are the same ole selfies blocking the scenery behind them, or alongside some park sign identifying what that scene or trail supposedly is, which can't itself be seen. That does get monotonous.
Millions of people enjoy going through each others' vacation photos. Speaking for myself, I enjoy it, too. I love to see the photos of all the touristy spots my cousin and my niece put in our group WhatsApp whenever they travel (which is quite a lot). Lovely! I'm sure I'm not the only one. I don't think any of them need to be re-educated, and I also don't think there's any need on this planet for people telling others to please keep their holiday shots to themselves because they lack "artistic merit".
True, I should've too.
But sitting in front of a large series of selfies (or "selfies" taken by a passer-by who was asked to take a quick and dirty image) with changing backgrounds and static expression/pose is just not fun. To me at least.
What does a decent projector cost these days?
I think there are a wide range of experiences with the slide show.
I'd be thrilled to see the abhorrent green screen make room for Paris, really. I think you should be happy that these particular friends have not returned.
Millions of people enjoy going through each others' vacation photos. Speaking for myself, I enjoy it, too. I love to see the photos of all the touristy spots my cousin and my niece put in our group WhatsApp whenever they travel (which is quite a lot). Lovely! I'm sure I'm not the only one. I don't think any of them need to be re-educated, and I also don't think there's any need on this planet for people telling others to please keep their holiday shots to themselves because they lack "artistic merit".
I developed reversal B&W for the first time tonight.
For some background: I need to get into reversal because I have a medium-term project to ceate a new form of autochromes. Something which marries the original method wih newer techniques and what have you. Anyway, producing a positive image is part and parcel of that, so I got myself a roll of Foma reversal and the chemicals I'd need. I should add that for some reason I loaded the film into a camera which I love, but which isn't exactly something which is ideal for a tightly-controlled experiment. That camera is a Kodak Retina. I say "tightly-controlled" because the first thing that emerged in conversation with someone who had used the process way back when was that the film typically doesn't afford much latitude; it was important to be pretty accurate in exposure.
Whatever, I didn't really get around to pushing the film through the camera and it was today - after two or three months - that I finally took a last couple of snaps to finish the roll.
So to development. I won't pretend that I'm flippant when it comes to development, but I've become comfortable enough not to rely on stopwatches and the rest. I'm not exactly winging it, though. I'm most normally developing sheet film and I have recent knowledge of the conditions in which I took the photo. I react accordingly. I also always have a test shot from which to adjust the second negative.
Tonight, I was using the stopwatch. There was still a frustrating re-exposure which wasn't very specific in the instructions, but I did, in fact, wing that bit.
The results blew me away. They look just so sharp, so alive, and the contrasts were wonderful. I am in love with this process!
The other thing - and this is something which was a joy I'd almost forgotten - the film had been in the camera for three months. The photographs were new to me.
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