At 20:55 2/12/02, I wrote . . . before reading the latest Photo Techniques:
At 23:33 2/12/02, Bill Pearce wrote:
Where it can really matter is if you shoot a 35 chrome for a catalog, and
the client then decides that it should go to 20x24 for a display duratrans,
and then a 40x60 for a trade show booth. There's where it really pays off!
A superb example, although I'm uncertain how good a 40x60 would look from
35mm regardless how highly resolved the scan is.
And here I sit grousing about extracting 11x16's from 35mm small format
using the highest MTF films I can get my hands on (mostly chromes). My
standard is using a 5x loupe to examine the 11x16 and looking to either
find additional detail or if it starts to "fall apart" at its resolution
limits.
Just finished reading Ctein's well written article "Is Your Print Paper
Sharp Enough?" in the latest issue of "Photo Techniques" (got it today
after making this posting). Interesting, very interesting discussion about
human visual "vernier" acuity, something I've observed (especially with
Kodachromes which enhance this) but didn't quite know what to call it (I
called it "edge definition").
This is a _must_read_ for the digital camera maker marketing 'droids who
make "stretch" claims about how big a print their latest and greatest
digital can create. Translate what he writes about into pixels of
resolution in a digital print. It was enlightening!
Now I know a little more about why I'm grousing around and being very
finicky about the printing of ultra-fine grain and high MTF chromes on
11x16 Ilfochrome. It does make a difference.
-- John
[striving for retro-curmudgeon status]
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