Re: Off topic -- digital

[Jim Zietz <jzietz@unix1.sncc.lsu.edu>]

>would not the ideal be to do high res scans, manipulate in Photoshop and
>then output to large format BW negative, then go into the darkroom and
>create magic.

Ilford had a machine that would expose Ilfochrome material with a digital
file. The material was then processed normally. I don't know if it's still
available, but I do know it was expensive.

>some time before that's going to change. I have yet to use a scanner (best
>$17,000) and output device (Kodak dye sub printer $8,000 or Tektronix
>Phaser at $16,000) to even come close to TMax 400 or 100 or Delta 100,

The best digital prints that I have seen were done with a Fuji
Pictographics machine. They look as good as or better than what most labs
can print from color negs. The price has come down to about $14000,
depending on what configuration is ordered. These prints are said to be at
least as stable as modern-day C prints.

I would agree that silver/chemical processes are still better than digital
processes for making prints that are either to be exhibited or are meant to
last. But strides are being made with ink-jet type printers such as the
Iris.

Stephen Johnson, a west coast photographer who was once Ansel Adam's
assistant, has the right idea on doing digital work. He works on the
cutting edge and gets corporate sponsorship to pay for everything and
supply him with the equipment. About four years ago, he published a book on
the Central Valley in California. He had equipment given to him by Apple,
Radius, Leaf, and every other company that he needed equipment from to do
the job. He shot the book on film, and scanned everything with a LeafScan
45. He also published a book called "The Making of a Digital Book", which
has been one of my best sources of technical information.

Stephen Johnson is now shooting state parks with a 4x5 camera with a
digital back. He goes into the woods with a backpack containing the camera
equipment, a powerbook, a gps (so he'll be able to recreate the location
and angle) and a cell phone with a modem. He can send low-res files to his
designer (his wife, I believe) from where he is shooting the image. Large
Iris prints are being made of the images, which will be exhibited all over.
He has grants and corporate backing for this project.

Stephen has said that Ansel would have loved to work digitally, as he was a
cutting-edge kind of guy.

Jim Zietz