Archived posting to the Leica Users Group, 2002/03/23
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]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? > > = - -- To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html