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Thomashodges
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Mathew, I just wanted to mention that personally I always use LED whiteboards to illuminate my backlit transparencies; these produce zero heat and have perfect light dispersal. You can see an example here. You might want to check out this option.
Toggle Commented Jan 18, 2011 on A Note from Photo LA at The Online Photographer
Thanks John for a very interesting insight to the show. Just a few comments and observations of my own. I certainly agree with your opinion of Photoshop produced works, as from the perspective of being both a full-time photographic artist and a collector, I can never somehow bring myself to appreciate Photoshop constructed works as true and authentic photographic art. Perhaps I'm just a traditionalist, but I really like the purity of a photographed produced uniquely from a photographic process, even if this does involve the digital darkroom as opposed to the wet darkroom. Taken beyond processing, I feel the image has lost its quality as a photograph (just my opinion). As regard black and white prints using digital technology, the quality is out there, but it takes some hunting. I have only 3 labs that I use world-wide, so for sure it is a challenge. Large or small works, well I endorse the comment above, I believe the image size should be an extension of the artist's intention and objective. If it needs to be big because that's how the artist intended it to be, so be it. However, if it works best small, keep it small! I agree that size just to make bucks is a very short-term view. I like some back-lit works, where the rear lighting fits the work. these produced on the likes of transparent opaline look excellent and do have good archival qualities. I think we will see more of these in the future, as not everybody wants to look at them in a field, being quite happy to hang them above a power socket in their main entrance hall or lounge. Tim commented above on art papers for pigment prints. In my opinion there is no single answer to this, as each work is different and as with size, paper should be matched to the image and to the artist's interpretation of the work. This said, I quite like "Innova FibaPrint" for glossy prints, and would say this is well worth taking a look at if you are not familiar. As regard the word "giclée", I much prefer the term "pigment print" which effectively is what it is, and probably how you are going to see it described in an auction catalogue. Notwithstanding, I personally still like dye destruction and chromogenic prints, with the former still considered to have the best archival quality of all, even with the ever improvement of Ultrachrome inks. Both of the latter produced from a digital file via a Durst Lambda or Océ look magnificent (providing they are done right of course!). I still think the best photographic works are "pure" photographic works. It may be digitally produced, but this does not mean it cannot be "pure" using the word in an artistic context. Content and concept are often far more intriguing to me than production technique. I need to see the artist's expression in the work, regardless of how it was made. We all know we can manipulate anything into anything with today's available technology, but this does not necessarily mean we should or we must!
Toggle Commented Jan 17, 2011 on A Note from Photo LA at The Online Photographer
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Jan 17, 2011