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  1. #1

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    I rather like grain

    I managed to find a second-hand copy of Stephen Dalton's book 'Secret Lives'. This was published in 1988 and the quality of reproduction is really rather good - I have no idea how they got an image from a transparency into print in the late 1980's but perhaps someone could fill me in on this. Anyway, most of the prints come from 35mm Kodachrome 25 or 64 and are printed up to about 8"x11" or so for a full page print. The thing is, yes you can see the grain but it is actually really rather beautiful, especially in the out of focus areas of solid colour. The way that the tones change with the small dots is very painterly and very pretty. I used to hate grain in colour (I tend to love it in monochrome, especially Delta 3200), but I have now come to really quite value it. I think I shall take more in 35mm transparency and try to exploit this quality.

  2. #2
    AgX
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    The transparency was drum-scanned and three colour separations were made to form the printing plates.

  3. #3
    hdeyong's Avatar
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    I like grain, too. It gives film a character and it's one of the reasons I shoot film.

  4. #4
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    Me too

  5. #5
    Chris Lange's Avatar
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    Me 3:
    See my work at my website CHRISTOPHER LANGE PHOTOGRAPHY

    or my snaps at my blog MINIMUM DENSITY
    --
    If you don't have it, then you don't have it.

  6. #6

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    You might like some of the work by Harry Gruyaert, he used to shoot Kodachrome 200 pushed.
    Steve.

  7. #7

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    Quote Originally Posted by AgX View Post
    The transparency was drum-scanned and three colour separations were made to form the printing plates.
    The CEPS (Color Electronic Prepress Systems) like Scitex and Crossfield generally output 4-color separation negatives (CMYK). A lot of art was involved in the creating K separation; things like GCR (gray component replacement) and undercolor removal. In addition, there were a lot of fancy algorithms involved in creating the size and shape of the half-tone dots.

    Scitex started computerizing things very early in the '80s.

  8. #8
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    I've just been looking at the Colour [oops Color] book in the Time-Life Photography series-beautiful! That newfangled C22 process sounds quite longwinded though.
    "He took to writing poetry and visiting the elves: and though many shook their heads and touched their foreheads and said 'Poor old Baggins!' and though few believed any of his tales, he remained very happy till the end of his days, and those were extraordinarily long "- JRR Tolkien, ' The Hobbit '.

  9. #9

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    I'm not aware of any current color film that gives nice grain, at least to my eye. There used to be an Agfachrome 1000 which was simply
    wonderful, and a slow speed pre-E6 Agfachrome before that, avail even in sheet film, which was compelling, and I can think of a couple other
    extinct species. Of course, antique Autochromes, with their dyed potato starch grain, can be quite lovely. Doing it digitally just seems to be
    a wannabee approach, without the same finesse.

  10. #10

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    Quote Originally Posted by DREW WILEY View Post
    Of course, antique Autochromes, with their dyed potato starch grain, can be quite lovely. Doing it digitally just seems to be
    a wannabee approach, without the same finesse.

    I'm not sure where the 'finesse' was because the photographer had no control over the grain structure.

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