> > One major change when moving to a digital medium is the ease at which
the captured image can be manipulated. In the past with film, the work>
involved was beyond the average photographer who does not process their own
film and prints (in a dark room).>>
I started going digital in '99 with the purchase of a small HP film scanner
and an Epson 1200. By now I've progressed to exclusively digital capture
(Nikon D1x, Nikon 5400) and I've used a Nikon LS2000 for the last three
years to process my chromes archive.
The Epson 2200 has been a revelation in terms of print production. A client
recently rejected use of digital for a set of office prints he wanted based
upon some of my chromes. I had some Ilfochromes made for him at significant
cost, but also gave him backup prints done on the 2200 and Epson Premium
Luster papers. He was astonished at the inkjet prints. The cost difference
is so enormous you have to acknowledge the inevitability of digital
dominance. Even more compelling, the archival qualities of these inkjet
prints kind of put the fork in the chemical processing argument.
Although my early results were horrid, and the learning curve has been steep
the ease of the workflow and immediacy of results are such that I'd never
consider going back to exclusively film & chemical processing. That's not to
say I don;t still get a thrill out of spreading a fresh box of Velvia
chromes out on a light table, but I now ask myself: "Why take this much time
and go to this expense as a PRIMARY means of capture?"
a virtually
Film does have a richness that's currently somewhat elusive, sort of a
fine-curve sort of thing I have difficulty nailing on every image.<!-- ~MESSAGE_AFTER~ -->
>> Stay informed about: To digital or not to digital