From: Judy Seigel (jseigel@panix.com)
Date: 01/05/03-02:17:56 AM Z
On Sat, 4 Jan 2003 FDanB@aol.com wrote:
> Magazines are almost always printed in what's called "process color"
> which uses cyan, magenta, yellow and black inks. To create the brown
> monochromatic look they must use some combination of those four standard
> inks.
Yes. I know that.
> Now take your loop to a fine magazine like Lenswork Quarterly and you'll
> see two things that are different. The warmth in the reproductions comes,
> not from four color inks, but from a black and a warm gray; the dots are
> very tiny and random, not lined up like most offset printing. This
> combination of duotone printing and stochastic output makes for stunning
> reproductions.
This must be what they mean about horseraces... I don't see Lenswork
Quarterly that often, but what I have seen never looked "stunning" to me,
rather same old same old. And yeah, I like that lined-up dot look.
And Carl,don't be so touchy. I wasn't accusing you of "making rules,"
although I see in retrospect you could have taken it that way. I was
addressing a different issue --that is, the question of color versus black
and white versus monochrome, which to me is ever intriguing and never
answered.
In fact I find it one of the most dynamic, perplexing and intriguing
issues in the visual arts.... the transmogrification of an image by its
color gamut. Although a related question is the difference in "aura"
between reproduction and original. I do NOT always find more power in the
original, incidentally. Sometimes having seen something reproduced,
small, I rush madly to see the ding an sich, which can turn out to be kind
of inert. I think maybe blue smoke & mirrors can occur on one side or the
other.
Katherine's issue as I recall wasn't black & white versus color so much
as a rather ho hum (apparently) black and white repro versus the real color of
her originals.... So, excuse me, I strayed into another line of thinking.
Is that OK?
Judy
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