Archived posting to the Leica Users Group, 2002/03/24
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]> But that's the whole problem as I see it. As soon as you scan a film or > photograph using a digital camera, the next step is Photoshop before > printing. Once in Photoshop, well, the urge is there and 99% of the time, > the print you are printing has been modified to where it is not > representative of the original scene. Hell, Jim, the next step in your darkroom after exposing the paper is developer...and that light switch is RIGHT there...calling your name "Jim, Jim...turn me on, I want to solarize your print....Jim, Jim...". If you can resist turning on the light in the darkroom, I can resist all the fool bells and whistles in PS. > In the darkroom, I do a lot of burning, dodging, contrast mask making, > bleaching, etc., but I don't remove trees or power poles, move things > around, change color completely, etc. Almost no one does in PS either... I did remove a dust spot though. > All of my very large prints are drum scan - LightJet print, but with zero > manipulation. Nada. Between the scan and the print. That's actually not true. The scanner sharpens (typically without you knowing it, especially if it's a drum scanner), the scanner driver has setpoints and tonal curves...which is EXACTLY what most people do in Photoshop/scanner driver. Is setting setpoints, and applying tonal curves (contrast/brightness/dodging/burning etc.) manipulation? As Tina said, and I back up, I don't do anything in Photoshop that I didn't do in the darkroom, except it takes me seconds instead of hours... Austin - -- To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html