>They are predominately large format >users
>which certainly has something to do with >it, while everyone on this list
>probably comes from the "miniature" or >35mm
I'm a large format user (4x5 and 8x10). I've seen several other people here
mention using large format cameras and others mention medium format as well
so not everyone here comes from 35mm.
I know John Sexton reasonably well from attending most of his workshops and
from spending a short amount of time photographing with him. I think he's a
great instructor and a great photographer/printer. I also think he's a very
honest guy and with a lot of personal integrity. I'm confident he wouldn't
make a statement such as the one quoted here unless he truly believed it and
he certainly wouldn't shill for film (and indirectly for Kodak) just because
of whatever financial arrangements he may have with them.
On the other hand, he's also human. His views of digital printing can't help
but be influenced by the fact that it's driving his materials out of
existence (including his primary paper, Kodak
Polymax Fine Art). I think he's also indirectly influenced by the fact that
digital printing does allow some printers to come closer to his level of
print quality than they likely could have in the
darkroom. And of course digital must be having a fairly big effect on his
darkroom workshops.
So while I like and admire John and am sure he believes what he says without
being directly influenced in any way by financial ties, if any, to Kodak I
wouldn't let his opinions about digital printing have the slightest effect
on my own. In truth I don't even know what he means by referring to silver
prints as "sensuous" and "tactile." Without having given it much thought, I
would have said that with all the different kinds of papers on which prints
can be made digitally they actually have a greater tactile quality than
silver prints.
I don't share the opinion often expressed that monochrome ink jet prints and
silver prints are two entirely different animals. I've exhbited both side by
side and when they're under glass it's pretty much impossible for anyone
except perhaps another digital printer to tell which is which.
----- Original Message -----
From: "Paul Aparycki" <tawow@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Saturday, August 20, 2005 8:57 AM
Subject: Re: [Digital BW] Re: John Sexton's comment on B&W print
>It might be worth remembering that John gets sponsorship from Kodak,
>has made a lot of his fame and income supporting film products, and
>just might be nudged by this relationship with Kodak to try and keep
>film products in demand. Not a bad thing, just a business.
. . . and the high-end art printers using ink jet are as pure as the driven
snow???? I am sure what you suggest would have NEVER, NEVER ocurred to
Epson, Hahnemule, and all the other digi-doers.
John Sexton is not the only one who feels this way . . . many, many of
the "master" printers, those whose skills most of us couldn't approach in a
thousand years, feel the same way. They are predominately large format users
which certainly has something to do with it, while everyone on this list
probably comes from the "miniature" or 35mm (THAT name should be changed
now) format. While my b/w printing skills are no match for Sexton or an
Adams, I spent about twenty five years perfecting my abilities and I got to
be pretty good. I am no master in inkjet, still on that never-ending
learning curve we all seem to be on, but I have yet to see an ink based
print that has that mysterious "depth" that a silver or platinum print can
get (saw something approaching it in a piezo print) . . . am still wishing
for a 6x12 single shot back so I can save a lot of time and then get fat in
front of my screen twisting curves, etc. trying to get the near perfection I
had before.
Paul Aparycki
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Yahoo! Groups LinksMessage
Re: [Digital BW] Re: John Sexton's comment on B&W print
2005-08-20 by Brian Ellis
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