...,but my point in my previous comment ..., suggested that precisely it seems that the transparency film is now subtracted from that great value ... of that past period, and only remains the slide/protection relation argument, not leaving another space in the understanding or reasons - for some people - to use them.
My Dad was a very active photographer, taking dozens of films both slide and negative and cine. He used to say that every shot on slide film, good, poor or hopeless, at least produced a finished image which could be sorted, projected, printed or thrown out! Whereas he had hundreds of negatives that he knew he'd never have time to print, even the best ones !
I haven't shot chromes in over 10 years because I don't shoot professionally any more. Shooting transparency is frustrating at times, but when you photograph a shot that fits within the range of the film, it's a beautiful thing. I remember when I assisted a car photographer in Los Angeles that shot 8x10 chromes. I saw one of his shots for a nation car ad on a light box and it looks like I could dive right into to transparency. I took a lot of work for the photographer to get fill in the shadows and gobo off the hot spots of the car. All this is a lost art now with digital cameras and computerized post production.There really is nothing like seeing a 6x7 velvia chrome on a lightbox. It's just magic.
What an interesting idea. Were these custom made lightboxes, or are such things readily available?Yes, I went to an exhibition some years ago where there were 10"x8" chromes on lightboxes on the walls. I've never seen anything quite so beautiful.
What an interesting idea. Were these custom made lightboxes, or are such things readily available?
PE:And yet, the Colorama displays by EK, the large transparencies in public places, were all C41 or C22 processes using print films.
PE
Is that the same as the old Duratrans?And yet, the Colorama displays by EK, the large transparencies in public places, were all C41 or C22 processes using print films.
PE
AFAIK, all Coloramas were taken on a Kodak negative film and printed on a Kodak print film. A version of Duratrans is still made, but in the beginning, this was not used for the Colorama displays. At an exposition in NYC in the '60s, Kodak used color paper in wall sized sheets for displays. They were illuminated by arc lights at night and sunlight by day.
This was done because no reversal film could achieve that magnification with that quality in terms of color, sharpness and grain.
PE
Ron:AFAIK, all Coloramas were taken on a Kodak negative film and printed on a Kodak print film. A version of Duratrans is still made, but in the beginning, this was not used for the Colorama displays. At an exposition in NYC in the '60s, Kodak used color paper in wall sized sheets for displays. They were illuminated by arc lights at night and sunlight by day.
This was done because no reversal film could achieve that magnification with that quality in terms of color, sharpness and grain.
PE
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