adrian_tyler

hi nathan, if price is important to you then it may be a good plan to buy second hand, if you are going to work with colour then you will need some change to pay for film and developing.

i got a sinar that switches between 6x12 6x9 6x7 6x6 and 6x4.5, slides under the back, uses 120 or 220, works a treat with my master tech.

the one i am using at that given moment.

thanks tim, i never heard of volquartz, fine work.

i just had to say that since my wife brought home the catalogue for the exhibition "rembrandt by himself" from the national gallery, london, i kind of put it way ahead of all the self portraitists of all time, all mediums and formats, ever.

well you know the problem for me tim is that i don't really think that he/she exists, for me colour is about knowing how to use it not about ground-busting.

 

it's gradual acceptance into "art" photography has been just that, gradual. so if you really want a colour photographer who has broken ground and is expressing something way beyond photos, try nan goldin, of course she (we all) owe a great deal to eggleston, and i'm not putting her in your "universal heroes" list, but i think based on your criteria of truly great all time masters of the universe, it had pretty much been sown up before mass market colour reared its delightful head. colour just worked its way in there, like egglestones photos, they are beautiful, but they just "are", and the universal greats are a lot more.

tim, i don't think that the beef is with eggleston, it is the fact that you are proposing him as one of the 4 most important photographers of all time. sure his influence is undoubted, but can you stand back and say that he has left (will leave) a legasy such as atget?

 

well i mean its a dumb thread to get to worked up about that no one agrees with you on eggleston so while were here, here's one you all forgot: canaletto, first large format photographer ever, and in colour....

i agree with you as i work principally in colour, but it ain't enough to get a top 4, you can't include eggleston just on the ground of "he's colour", and he was a pal of szarkowskys and got an epo. at the moma. sorry his work is good but it doen't say enough as the big guns. over to frank.

ps right on mathew stanton, great photography is MUCH more than having friends in the moma.

tim, if you gotta haved 4 then robert frank has to be one of them, ditch eggleston, photography has to be more than arranging the colours in your back yard.

quick disk dosen't work when you need to do really close up

freedom fries take over french fries

 

and now steichen takes over nadar

 

this neo-conservatism really swings!

maybe a way to look at is as photographs taken in america as adverse to photographs taken in europe, the vast majority would be of couse by "national" photographers. addressing the question in this respect would certainly thow up some interesting thesis, as there in no doubt, there is a big difference. brandt/evans for eg....

thanks for all your help, as i feared it seems that getting good scans out of negs is a bit of a slog. oh well thanks again for the start up info, i'll get to work then....

leonard, what i am trying to communicate with "dot gain" is the exageration of the film grain produced by "high end" scaners. for example i have a well exposed small format chrome which i have succesfully enlarges as a cibachrome to 1 meter wide, however the corresponding drum scanned image starts to produce a far more "grainy" sky (and exaggerated contrasts between subtle tones) at 40cm, less than half the size.

 

it seems that this is a touchy subject?

getting serious about scaning

 

i have worked for many years in the graphic arts and have produced many good quality art books, reproducing (drum scanning)

from chromes into cmyk colours, or working with prints and reproducind in on two or three inks for black and white

reproductions. however my "high-end" scaning houses know very little about scanning colour negs in rgb for output to a lightjet,

although they have made some (hundreds) of nice scans from chromes for me which have made excellent prints.

 

now i am finally facing the big crossover, i have put it off long enough, i need to scan some colour negs, and i would really

appreciate some advice:

 

i want to scan for exhibition some images (which need a bit of retouching) within a series of that will be displayed alongside

"direct" (ie traditional) copies, i want to do the job the best way i possibly can and expense in not a problem.

 

i have the following dilema:

 

most scanned chromes or negs seem to be affected by "dot gain", that is to say that traditional prints seem a bit finer, which i have

to say i prefer.

 

my "high-end" scaning houses have a very expensive linotype-hell drum scanner and a quite expensive fuji novia flatbed, but

little experience with colour negs.

 

my photo lab have an imacon (a danish scanner) and they say that it is better for colour negs than the drum scanners because it

was specifically designed for that purpose.

 

should i go with the drum scanner? or with the imacon? any way to reduce the "dot gain"?

 

any advice would be greatly appreciated.

 

thanks

getting serious about scaning

 

i have worked for many years in the graphic arts and have produced many good quality art books, reproducing (drum scanning)

from chromes into cmyk colours, or working with prints and reproducind in on two or three inks for black and white

reproductions. however my "high-end" scaning houses know very little about scanning colour negs in rgb for output to a lightjet,

although they have made some (hundreds) of nice scans from chromes for me which have made excellent prints.

 

now i am finally facing the big crossover, i have put it off long enough, i need to scan some colour negs, and i would really

appreciate some advice:

 

i want to scan for exhibition some images (which need a bit of retouching) within a series of that will be displayed alongside

"direct" (ie traditional) copies, i want to do the job the best way i possibly can and expense in not a problem.

 

i have the following dilema:

 

most scanned chromes or negs seem to be affected by "dot gain", that is to say that traditional prints seem a bit finer, which i have

to say i prefer.

 

my "high-end" scaning houses have a very expensive linotype-hell drum scanner and a quite expensive fuji novia flatbed, but

little experience with colour negs.

 

my photo lab have an imacon (a danish scanner) and they say that it is better for colour negs than the drum scanners because it

was specifically designed for that purpose.

 

should i go with the drum scanner? or with the imacon? any way to reduce the "dot gain"?

 

any advice would be greatly appreciated.

 

thanks

i use the 60 and the 80, together, a lot of the time, and i think that it is a great combination.

 

the 50 gets too distorted for my liking and you have to start really thinking about how to diguse the effects, and if you are going to go that wide then why not go the whole hog and get a swc...

i have the same camera and shade, the only time this has hapend to me is when i took some shots without ralising that the shade had revolved a bit as i took it out of the bag, it happens easily as the shade is not really well fixed on.

ok, it's springtime and i am taking a few photos around the house, then i read my book for a while, then another photo, then lunch,

then another photo.

 

so the question is, should i leave the thing on the whole time, or power it on and off with every shot...

 

thanks

great camera, handles like a BIG leica although you don't go rattling the shots off like the leica, i use the gw690 = 40mm in 135 format, but 90mm in 120 format so not the same depth of field, gets a little soft at infinity if it's not focussed there, lots of threads on the medium format forum under "fuji rangefinders".

i get my wife to do it, she has a business restoring old master paintings, not that my pictures are old masters, but if she can retouch a velazquez i'm sure ain't gonna make like a fool with the spotone.

 

seriously, i know excellent printers who retouch terribly, so if you have someone close who is a "dab hand", it may be worth a try...

actualy, it´s all part of the deal blair made with bush, you'r going to loose good old christmas too... culture-cola - here we come!

i have just picked up a used 8 x 10 monorail and discovered 8 x 10 contacts, unfortunatly this camera is not very practcal in the

field, so if anyone wants to �move down� i have a leica m6 classic with a .85 viewfinder and a summicron 50mm f2 lens i would be

interested in trading for a quality 8 x 10 field camera.

 

the camera has had about 200 rolls put through it and a small bump on the baseplate (3mm) but apart from that is in perfect

condition, with its box and recipts etc. the lens is very good too, with its case and box.

 

i would prefer something like a wisner or a gandolfi or a deardorf, i don�t mind about cosmetics, and am willing to consider good

advice, but, as i do not have access to lf parts and tecnicians here i has to be in good working order.

 

thanks

it is standard procedure for forigners to pay traffic offences in cash, i got hit for 65$ for not having a seat belt last week, you will have been given a recipt, i'm not a police fan but if we gotta have them i'll stick with the spanish ones, and i do have a bit of experience...