I guess it's time for me to chime back in on this one. I am the one
who stated that it takes years of experience to print at that level.
Well of course we all have our idea of what "that level" is. I print
for hire, and have for many years. I see all kinds of prints made by
my customers they supply as "this is how I want you to print it".
Some a very good, but most are crap. Some of these customers have
been doing this for some time and some have not. The experience level
of them seems to make some difference. I can almost always improve on
what they supply. I am very anal about my printing quality and my
customers expect that. This is where I get my facts for the statement
I made. Sorry if I upset the group but I feel I have paid my dues for
years to get here and I sure hope I could have not learned it all in
a week at a workshop (I'm joking folks). And no, I do not know it
all, I learn something everyday, like I hope most of you - that's
what keeps it interesting. I wish the original poster the best of luck.
Mark
On Mar 10, 2006, at 2:06 PM, john dean wrote:
> > John,
> > Are you saying it's not possible for a reasonably intelligent person
> to take
> > the 4-day Black and White Digital Fine Print workshop (K7) at
> Cone's and
> > produce gallery quality prints from artist's files in a very
> short time?
> >
> > Best regards,
> > John Moody
>
> -----------
>
> Yes that is exactly what I am saying. Produce "gallery quality"
> prints. Well there are a multitude of bad galleries out there that
> have all kinds of horrible imagery in them, inkjet and otherwise, and
> some people like that work, some don't.
>
> What I am saying is that there is an art to digital printmaking which
> is no easier than the art of silk screen printing, Cibachrome
> printing, lithography printing, or platinum printing. The better the
> technology gets the higher the bar is for the printmaker to
> distinguish himself from everyone else. Yes, the technology gets a lot
> better, it all depends on what you are used to looking at how far you
> need or want to go, and who your clients are. Photo literature has
> always been full of marketing of this system or that system or this
> new paper or this new film, to make the job easy. That never happens.
>
> Printing from a perfectly conceived and interpreted file is a huge
> luxury that most of us do not have unfortunately. 90% of what people
> pay me to do is to interpret their files, or translate them, however
> you want to look at, into a specific medium - a specific ink-media
> combination with a look suitable to that persons vision and
> personality for that particular context. Every image is different and
> very rarely is a file "finished" when it is ready to be output. Almost
> never in my experience.
>
> For black and white I find critical curve shapes and level adjustmets
> and dodging and burning zones within the area is usually necessary for
> the finest result, whether that be from the best drum scan or a sad
> noisy digital camera file. That experience is gained not by a 4 day
> workshop but by years of looking at and refining images and learning
> to "see" things. The negative is the score and the print is the
> performance. If we all had the same file to work from we could have
> multiple performances, many may be equally valad, many similar, but
> rarely would they all be the same. If that were the case I wouln't
> want to be involved in this at all. Everything would be a mechanical
> rendering of a pre-existing file. Now that would be boring beyond
> belief. We could just create a robot do it all.
>
> John
>
>
>
>
>
>
>
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