From: Janet Neuhauser (jneuhauser@silverlink.net)
Date: 07/29/02-10:14:10 PM Z
>
> After all, why would anyone
> want to slave away in the dark to make monochrome silver prints that
> are less archival than digital ink-jet prints? As for color, the
> Epson pigment printers are already vastly superior to all wet
> processed color prints in terms of stability.
>
> Sandy King
Sandy,
It is an interesting question about "slaving away in the darkroom to make
monochrome silver prints" and I am not entirely convinced that one can make
black and white prints that are more archival than digital prints. At least we
know with certainty that well made silver gelatin prints do last a very long
time and have indeed a very tactile quality that I personally have yet been able
to accomplish digitally. Especially when one adds toning to the silver gelatin
mix--I haven't seen a digital print that can capture that kind of depth. Not
that I have a lot of experience printing black and white digitally--but have
been printing my color work on an the Epson 1280 and agree wholeheartedly with
you that even with my limited experience color pigment prints are vastly
superior to the plastic RA-4 prints readily available. Of course I happen to
still be in love with the darkroom, the alchemy, the sound of running water, the
mystery of the print as it appears in the developer. (Though as an
"environmentally conscious" photographer, the darkroom does become more
problematic as time goes on.) The interesting thing about digital is how
difficult it is to get a straight non manipulated color correct print bypassing
the temptation to "mess around" :) in Photoshop. More challenging than printing
color traditionally and certainly less grueling. At least one is sitting down!
As one with a long term interest in hand made photographs having used platinum,
cyanotype, van dyke and liquid light over the years, I would find it hard to
trade in the brushstroke for a keystroke. Though I am certainly willing to give
up enlarged silver negatives for digital ones. Dan--could you teach a workshop
in Seattle???
By the way, as a person who has mostly listened in and enjoyed the discourse
from the list over the past few years, I want to say how much I appreciate the
knowledge and contributions from people on the list. It looks like my life
might be somehow sorting out in terms of time and as I am able to actually do
more work now, I look forward to contributing more.
Having said all of that, I would be interested to see archival quality
monochrome digital prints in person. Any suggestions of people, shows, etc.
that compare to the fine silver print? Let's not abandon hope -- may the black
and white darkroom survive along with all those OM1s! Funny to think of all
metal, manual SLRs as purveyors of "alternative photography."
Janet Neuhauser
PS--Bob's question about how to teach real photography without manual cameras is
interesting because all the knowledge about shutter speeds, lens, apertures,
etc. really do teach students to examine the light which I think automatic and
digital cameras allow them to ignore. Also, what is the digital aesthetic and
how is it defined? It seems to me that when students work with the digital
camera, the idea of the image is so much more disposable and not so precious.
Perhaps the moment and its importance is some how lost with out the tension that
having to capture the image on film creates--that not knowing immediately what
you have gotten, makes for a less lazy work ethic than the instant playback..
any one else have thoughts on that?
>
>
This archive was generated by hypermail 2.1.5 : 09/19/02-11:11:01 AM Z CST