Damn! The bear didn't bite the stick. Rats! <g>
Would be nice to see a real blind (snicker) test using all-wet materials and
all-digital materials, to see if folks really can tell the difference. It's
always easier when you know going in what you're looking at. When you don't
know, it ain't so obvious. As for too-perfect, well, I ain't there yet. I have
a gracious plenty of flaws that more than compensate for the lack of chemicals.
<g>
And, from a purely personal perspective, I am utterly captivated by the
different ways I can, as they say, "express my vision" using digital tools.
Maybe I could do it all wet, but I don't have the time or the energy or the
inclination to learn. My last wet darkroom work was back during the Carter
Administration. <g> If one is not particularly worried about whether Tri-X 400
can have that kind of structure, then one can start at a base and work one's
way toward the promised land. Occasionally, I use plug-ins intended strictly
for portrait work to enhance landscapes in a way that I could not otherwise do,
excepting by a whole stack of layers and masks and blend-if messing around. If
what comes out at the end is not readily identifiable as emerging from any
particular school, then so be it. If it looks like I want it to look, then I'm
happy.
And if someone else buys it, I'm _really_ happy. <g>
--Bob
On May 10, 2011, at 11:35 AM, Ken Norton wrote:
> However, I have yet to see a B&W print from an entirely digital
> process, as you have identified, that didn't have certain tell-tails.
> Primarily, the digital version is a little too perfect. It is the
> flaws of film that give it the character. You can fake some of that
> character, but we can spot the fakes a mile off unless you go to great
> lengths to disguise the chosen effects library.
--
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