Archived posting to the Leica Users Group, 2002/03/23

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Subject: Re: [Leica] David Bailey (slight return)
From: S Dimitrov <sld@earthlink.net>
Date: Sat, 23 Mar 2002 09:41:05 -0800
References: <v04011700b8bffc5e6bb6@[66.81.16.254]> <v04011701b8c016a73f7b@[66.81.23.100]> <v04011703b8c02a328801@[66.81.23.100]>

Materials contribute, in varying degrees, as to where the photographer's
capabilities might lead him, or her, to. Agfa, being the predominant
paper of that era, was also numbered differently. It wasn't until the
mid-70's that they changed their grading system to coincide with ours. A
standard grade in Europe used to be a grade 3, whereas our's was a grade
2. Right there, right away, one sees a distinction in the printing.

Myself, I learned to print in Europe, Germany to be precise, while
working with a German photographer for a couple of years. Once I came
back to the States, I had to do a sea change in my own printing style
for commercial survivability. I still get accused of printing too_hard_
on occasion. But then, I can still lay down a continuous grey tone like
there's no tomorrow.

The film that we see today from Europe hasn't deviated much from the
granularity from the that period either. I find the films from Agfa,
Efke, and Ilford  radically different in their tonal presentation than
from let's say Kodak, TMAX in particular, and to some degree Fuji. These
later emulsion are geared to an American visual public sensibility by
design, and not by happen stance.
Slobodan Dimitrov


Guy Bennett wrote:
> Then what are the properties of European printing as distinct from American
> printing?
> 
> =
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Replies: Reply from "Gary Todoroff" <datamaster@humboldt1.com> ([Leica] Kodak Bromesko Paper)
In reply to: Message from Guy Bennett <gbennett@lainet.com> (Re: [Leica] David Bailey (slight return))
Message from Guy Bennett <gbennett@lainet.com> (RE: [Leica] David Bailey (slight return))
Message from Guy Bennett <gbennett@lainet.com> (Re: [Leica] David Bailey (slight return))