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#11
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I dropped into this thread thinking it related to a query on darkroom print quality.
Rather, it relates to silver Vs Inkjet. Some time ago (nearly ten years?) I participated in a print exchange on the LF forum. We all submitted a dozen identical prints and received back a mixed folio of work by a dozen photographers. Most were Inkjet, and the silver prints were all better. Second time I participated the size was set at 5x7, and on that occasion all the prints were silver. No inkjet. It surprised me, and I wonder if the smaller size was somehow less attractive to workers who had equipped themselves with monster Inkjet machines. So, I'm out of touch with what a really top quality inkjet made by a serious worker with fine materials looks like. Our local art centre sells ink prints by a few workers. All colour, they range from safely competent to crass (in my own, personal) opinion. In all honesty, even if someone showed me a really, really fine inkjet tomorrow it wouldn't induce me to change. I have a fine collection of tools (cameras, lenses, enlargers) with which I am familiar. I have an adequate grasp of process, and my prints are of quality which pleases me. At 56 I'm too old and way too busy to go back to being a novice digital worker. I will continue to shoot film and print silver because in part I prefer it, but also because I bloody well want to, and I don't need any other reason. Let's remember the proportion of the population which has seen and handled a really fine silver print is now vanishingly small. All the 20 somethings out there have grown up thinking thinking a 'phone is a camera. They view everything on a 'device'. Print quality just means nothing to them I can only speak for myself, but I want to make good prints. There's a chain of quality- starting with good technique in camera, careful processing, using in-date papers, washing well, even down to drying flat. Years ago I was lucky enough to see some original prints by Sally Mann on an old Kodak paper- blacks you could just put your hand into. I also went to a large showing of original Ansel Adams prints- his very early work is full of soft focus and gentle contrast, then it ramps up into big, bold, impeccable, operatic printing. Luminosity- in a great print the highlights somehow look lit from within the paper itself. It's not even about printing with paper base showing- it's more about contrast; having the very lightest most delicate tone in the highlights set against the richest velvety black. Weston could do it, and I think Ravilious (though I haven't seen an original of his). I've just spent a long time saying I don't care about how modern inkjet compares with silver- I just want to focus on my own print quality, and making the richest, most 'luminous' prints I can. Cheers All! |
#12
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Skellum, I think we are both reading the same book
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#13
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Quote:
Me too, and very much so. Lots of inkjet (giclee) at work, and it's a case of - Can we sell it? Not, is it the best we can do for the budget, but is it good enough for the customer? Bugs me no end. The customer has no access to anything superior. Lots of friends in the same position, inkjet at home, and I rock up with some silver prints. Guess which ones end up on their walls? Of course, the fact that I make gifts of these prints might have something to do with it (ahem!) but it still feels good to show friends that they don't have to put up with inferior - yes, inferior quality. |
#14
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I must say that I agree with all thats been posted here, for me it has to be film,silver prints, I have seen Inkjet prints from digital files, and some have been not bad, but for me there has always been something missing, they don't have the Luminosity of silver prints, I find silver prints have more depth than inkjet, the tones, to me, in silver, are just better,a friend, a long time digital photographer, had a little competion, we both took the same photo, from the same spot, he printed inkjet, I printed on FB paper, and we both gave the prints to a independent person, seprately, and a day or so later we were shown the prints, not knowing which was which, the idea to choose the one we liked the best, he chose my print, I chose my print, and several other people chose my print, no one chose the inkjet, tells you something, he now is trying to learn to use film, and wants me to teach him darkroom, I remember a quote from a very famous printer,in a black and white magazine, many many years ago before it became obsesseb with Digital, he said that if asked to make 20 prints of the same negative then he would do his level best to make them all the same, but there were going to be differences, slight, but there as with silver printing there were slight changes to the print, differences in batches of paper, a second or so burning in or dodgeing, it was bound to happen no matter how good you are slight differences would be there in every print,every orint from same negative was very slightly different, the interviewer then asked him about digital/inkjet prints, well, every print would be the same in every print, it was simply silk screen printing,
Richard
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jerseyinblackandwhite.blogspot.com |
#15
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I agree.
People that haven't seen a darkroom B&W print or had forgotten how nice they look are amazed when shown one. OTOH I think a lot of the poor results from digital imaging chain are a combination of not getting the most out of the post processing chain and poor printing. I went to see an exhibition a couple of years back from a local pro who uses a D800E. I really liked some of his photos but my god his prints sucked big time, really awful flat dull lifeless unsharp prints and not even that big either, most I looked at where about 12x8 or a bit bigger and yet still sucked. |
#16
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Silver Prints
I find it had to think that some people have never seen a silver base print, it may be that they have seen them but failed to appreciate what they are and the work that went into producing them.
If you don't know what you are looking at, you don't appreciate what it is and the level of interest simply reduces to a passing glance. |
#17
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Hi John- for us it might be hard to think there are people unfamiliar with original silver gelatine photographs, but I think it likely to be true.
Even when film ruled the roost colour was the popular choice for family photos. Now, the huge majority of digital images taken are shared electronically. I work with a girl who ran her own wedding photography business. She now has a new career, and is almost completely out of photography. It seems customers want to be presented with digital files, and expect hundreds of images of their special day. Literally a tiny handful were printed. Where will someone of 25 or younger have seen a fine silver original? Gran's framed wedding picture on the wall, perhaps in a gallery if they attend exhibitions, or maybe when their parents crack open their old albums? What they won't come across is a top quality print, bigger than 10x8, unframed where they can actually see the paper surface. Where would they see such a thing? Not, from he sound of things, even at their local camera club. I think that is one of the problems any kind of film revival faces; potential film users just aren't seeing the prints which would persuade them the effort was all worth while. I've read a couple of articles suggesting film sales are up- good. However, I also get the feeling that shooting film is often promoted as 'quirky' or 'retro'. New users are tempted in by the presentation of film photography as being counter-culture and cool. Once there was only film, and the beautiful, iconic images which shape our cultural memory were all made that way. It's almost as if film now has to appeal in some other way, because digital is 'better'. Yes, modern digital cameras have astonishing low light ability. They are now capable of astounding levels of sharpness and detail collection. Digital photography is the new normal. The long and vitriolic arguments about which is best, beloved of some forums, should be over. Seems I've wandered off again We have some fine materials with which to work- PanF, Ilford Fibre Warmtone, Adox MC110, a selection of unusual papers from Foma, toners, and more. Yes, I wish I could still buy Royal Bromesko, HIE and Agfapan 25. But they're gone, they ain't coming back so I have to deal with it. In short, we can still make beautiful prints if we apply some hard work and time to master the materials we do have. Good luck in the darkroom everyone. |
#18
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Quote:
OK the RA4 prints were exposed from a digital laser enlargers from a digital file( memory card) but I take it the "look" we are talking about stems from genuine paper( silver gelatin or colour) processed in RA4 chemicals or B&W chemicals and not from film per se. In other words the "look" depends on traditional processing methods and not the exposure medium per se? Thanks Mike |
#19
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Quote:
Terry S |
#20
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I think so yes. I had some scans recently printed by AG onto Fujiflex by the RA4 laser exposure method. I was amazed how good they turned out in terms of depth of colour and tonality. My only regret is that I didn't sharpen the files much more, I was worried about the output showing grain or artefacts but they look really smooth albeit a bit mushy at the size printed (24x16 from 35mm). What is really annoying is that the fine detail is there if the print is eyeballed. The Fujiflex however has massive impact which only underlies my feeling it is nothing to do with the capture medium and everything to do with the quality of the print output.
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