From: Manuel Gomes Teixeira (PunctumStudios@netc.pt)
Date: 03/09/02-08:35:54 AM Z
Alejandro;
I want to full support your thoughts about this matter.
Of course that all wetprinters are worried about the advances of digital
photography, mainly because of possible discontinuing of excellent
products.
But in other way the wetprint , as you called it, will be seen with other
eyes as "something special" and not as a mainstream product.
I think that "wetprint" is a good designation because at this moment even
traditional silver printing is already an "alternative" process.
And those facts in terms of Fine Art Photography are not bad news.
Every process has irreplaceable character and I think is nonsense trying to
compare or mimic with digital techniques the wetprints results.
Best regard,
Manuel Gomes Teixeira
Punctum Studios Ltd
Aveiro
Portugal
EU
Alejandro Lopez de Haro wrote:
Hi to all:
>
> The future of commercial and everyday photography it seems is in the so call
> digital photography. But, Fine Art Photography future and present is in the
> prints made by the hand of the artist. The uniqueness of the artist proof,
> the one and only print, or the number 23 out of 25 that make each of them a
> little different from the others is what makes the future of the "wet print"
> something special.
>
>
>
> The art of doing Art by the hand of the artist and the way it is translate
> into the image because in the manner in which the artist makes the strokes
> of the brush on that special paper, which he could have made himself, or
> because the rhythmic movements of his hands when he wants the image a little
> darker or lighter on silver base image. All of these, plus others
> intangibles like the artist delicacy in applying the coat on the paper, the
> application of pigments, the care of the print when it is being clear, wash,
> tone and dry, somehow makes a projection to the viewer which makes him
> respond with an special attraction to the image that is before his eyes so
> as to feel the full power of that which has been created by the virtuosity
> of the artist hand.
>
>
>
> Regards,
>
>
>
> Alejandro López de Haro
>
> ----- Original Message -----
> From: "Richard Sullivan" <richsul@earthlink.net>
> To: <alt-photo-process-l@sask.usask.ca>
> Sent: Friday, March 08, 2002 11:00 PM
> Subject: Re: The future of the handmade print?
>
>
>> Take the discussion away from photography for a moment.
>>
>> It the not too distant future one is going to be able to take a score and
>> play it through a virtual violin. Lets suppose one can adjust all the
>> nuances and such by digitally tweaking the output. Say that it could not
> be
>> distinguished by the ear from Issac Stern.
>>
>> Suppose one could digitally exactly* reproduce in paint the color and
>> surface texture any great piece of art, Van Goghs irises for instance.
>>
>> I will find the "real" Isaac Stern (now recently passed) concert more
>> satisfying and the original Van Goghs equally so. Do we not marvel at the
>> fact that a human can do that.
>>
>> The fact that Van Gogh painted by hand and not by pushing a button makes
> it
>> much more satisfying for me, even if he had incorporated his vision
> somehow
>> via a computer and then outputted it. The fact is that much more of the
>> physical Vincent was involved other than just the right index finger
>> pushing a button.
>>
>> Photography is an 19th Century process more in tune with the
>> Twentieth. "Push the button and we'll do the rest" says Victorian Kodak.
>>
>> Sorry Big Yeller, I want to do the rest.
>>
>> I want to buy work that represents both the art and craft of its producer.
>>
>> --Dick Sullivan
>>
>> * note how the words "digitally" and "exactly" seem redundant in that
> sentence!
>>
>>
>
>
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