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#161
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In article ,
Nick Zentena wrote: rafe bustin wrote: Like ice fishing, I'll bet. Digital does remind me a lot of ice fishing. It seems like a good idea when you're so drunk you can't see straight. You then wake up with a headache and spend the next 11 months trying to justify things. Nick He he; Yah- what seems like "deliverance" just ends up being a bad camping joke. :-) -- LF Website @ http://members.verizon.net/~gregoryblank "To announce that there must be no criticism of the President, or that we are to stand by the President, right or wrong, is not only unpatriotic and servile, but is morally treasonable to the American public."--Theodore Roosevelt, May 7, 1918 |
#162
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"Gordon Moat" wrote in message
... Frank Pittel wrote: . . . . . . . . . In my never humble opinion one of the problems with B&W inkjet printing is the lack of silver in the inks. By themselves the digital b&W prints look good but when placed next to a silver print the difference is clear. -- Great observation. It is interesting when I pick up paper samples at the printing industry trade show that metallic inks are used for many of the B/W image samples. You can see this in some photography books that use either duotone or tritone printing for B/W images. While this is far removed from inkjet printing, it shows that the commercial printing world understands (somewhat) the look of true B/W images. Of course, these commercially printed efforts still only approach the look of true B/W, but do not match it. Kodak makes a metallic colour printing paper too. I have exhibition prints made on it sometimes, and it looks very good. Peter |
#163
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Bandicoot wrote:
"Gordon Moat" wrote in message ... Frank Pittel wrote: . . . . . . . . . In my never humble opinion one of the problems with B&W inkjet printing is the lack of silver in the inks. By themselves the digital b&W prints look good but when placed next to a silver print the difference is clear. -- Great observation. It is interesting when I pick up paper samples at the printing industry trade show that metallic inks are used for many of the B/W image samples. You can see this in some photography books that use either duotone or tritone printing for B/W images. While this is far removed from inkjet printing, it shows that the commercial printing world understands (somewhat) the look of true B/W images. Of course, these commercially printed efforts still only approach the look of true B/W, but do not match it. Kodak makes a metallic colour printing paper too. I have exhibition prints made on it sometimes, and it looks very good. Peter Is that one of the KPG items, or from their photography division? What is the name on the paper? Ciao! Gordon Moat A G Studio http://www.allgstudio.com |
#164
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rafe bustin wrote:
OK, anyone have a swag at how many 4x5" and/or 8x10" view cameras are in active service, in the USA and the rest of the "developed world?" Better yet, cites? I mean, what new and exciting products await us in the LF world? Me, I'd like to see good affordable scanners and scanning backs. rafe b. http://www.terrapinphoto.com Well, ViewCamera magazine lists a subscriber base of around 16,000. The boards are full of people who have little respect for ViewCamera. So... say the number of active users of view cameras is 10x. That's 160,000 - in NA. Say Europe is about the same size. That's 320,000. There are other areas of the world that have LF photographers, like Japan and Austrailia, but the numbers probably aren't large, and well within the humongous error possibilities of this pseudo scientific guess. So... my number is 320,000. What new and exciting products await us? Well... not much I'm afraid. That sample size is just way too small to raise much capital. An example would be the new Scheider ULF lenses - interesting, truely expensive, with lot size in the 10s. The problem is, of the people using LF, what percentage are interested in buying new stuff? For any given category, I'd guess something less than 10%. That's why these new lenses have such a pitiful lot size. However, I'm with you on the digital front. I would love to abandon film. But to get me to do that, the digital alternative has to be full frame 4x5 (works well with my existing lenses), it has to be parallel capture - no scan backs for me please), it has to give me the same dynamic range I can get with negative films now (12 stops, more or less), and the digital back (and everything it needs to record images) has to weight no more than my existing package of 12 doublesided film holders (I've got to backpack it all). I'm not going to hold my breath for that. OTOH, I picked up a used Optronics ColorGetter 3 Pro drum scanner for a song a few years ago. Now *that's* a scanner. It does an outstanding job on my 4x5 Tri-X negatives. So I'm feeling pretty good about my hybrid workflow right now. It would be nice if it got better, but if it doesn't I can live with it ;-) |
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