-snip
First, scanning. Tom, stick with negative film. My lab owning friend says
you're better off. He can get better results scanning from a neg than a
chrome, tonal range, etc. He says that the commercial world will never own
up to that, and chromes will continue to be the standard, simply as there is
a reference for color and density. No one wants to take responsibility for
judging these things in the magazine and commercial world.
-snip
For once, I agree with my father: change is bad.
Bill Pearce
I agree with your assessment here that sometimes change is bad.
Photographers used to select lenses and film for the "look", color
rendition, contrast, gradation, etc. and use them until they really
understood how their system worked and could give them the results
they wanted. Thousands of photographers howled in protest when Kodak
made changes to Kodachrome. Your lab guy doesn't like chrome because
it is harder. It takes a better and more expensive scanner to capture
the range of a chrome. It might even be necessary to do a shadow mask
in Photoshop to get an accurate representation of the chrome in a
print. With a negative he has no idea what the picture is supposed to
look like and he can get a decent print even it doesn't look much
like what the photographer intended.
As for his judgment that the commercial photography world is too
timid to switch to obtain "better" results just seems silly to me.
Think about it. A client with lots of money hires a super, high rep
photographer who has established his/her reputation by controlling
the process as much as possible to give his pictures the look that
his clients pay for. Usually that is a chrome process because he can
then point to the chrome and say this is the picture I took. Print
that. He is not going to turn over interpretation of a negative to
some anonymous guy with a scanner who has no idea what he had in mind.
--
Winsor Crosby
Long Beach, California
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