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High Bridestones

Calling fitzcoraldo lock

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"Comparisons are odious and its like comparing a painting with a fine pen and ink drawing."

Artistically speaking I totally agree. Additionally I would argue there must be some kind of accepted quality benchmark for equipment to render a likeness of the original subject in as faithful photographic capture as is possible. This is not related to the photographer's or printmaker's individual vision or artistry, but to industrial benchmarks?

Taking that (technical) pursuit of faithful capture as a benchmark, the chosen output is then of course down to taste. And I too am sure that silver, bromide, platinum, polaroid, etc etc prints will be around for scores of decades yet.

Hells teeth, people make slides from digital captures and then print using chemicals, just the same as people scan negs and slides and then print them on ink or lightjet.

Huazzah!

Forgot to say, I spend about 6 times longer preparing a digital print than I remember in the 80's in a darkroom!

A darkroom print, with planning, developing, dodging and burning - let's say 1 hour planning and execution.

Nowadays, I'll typically do a 16 bit RAW conversion, dodged, burned, twiddled, sharpened and corrected for the print profile - all in all takes me about 16 hrs, two days for a panorama.

Of course one could get a reasonable print in an hour or less, but that's not good enough for the invisible autisti-git who lives on my shoulder and shouts "Look at those gazongas, I mean midtones" etc.

Bah. Onwards...

Working backwards to chemicals.

Yes and I'm not entirely retro. Digital has very many advantages and I'm moving that way myself. Perhaps I should explain that when talking about the advantages of film and silver printing, I am talking exclusively about black and white. Colour prints are always going to be about ink and so there, digital must have all of the advantages in terms of manipulation and enhancement. Chemical colour printing was always a messy muddle and only trannies were worth while.

For me, the real magic lies in the inkless reaction under the safety light. It is pure magic when the image swims up and then is fixed. A grainy chemical print can be really beautiful, but a pixelated digital one is just dotty.