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  1. #121

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    ... oh, and even though that was made with old school 4x5 Ektachrome 64, you could probably count the legs on an aphid crawling across it.
    8x10 film on a flat plane like that would have held even more detail. There's a reason why people don't go hunting rhinos with a BB gun.

  2. #122

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    Drew, how is Christopher Burkett able to still do Cibachrome?

  3. #123
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    Enlargement size doesn't make a difference. Viewing distance does. The people who can't grok this are those whose noses are usually crammed up against the surface of the print.
    Stop worrying about grain, resolution, sharpness, and everything else that doesn't have a damn thing to do with substance.

    http://www.flickr.com/kediwah

  4. #124

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    Quote Originally Posted by Michael R 1974 View Post
    Drew, how is Christopher Burkett able to still do Cibachrome?
    Lots of paper stock?

    Hopefully this year ill get some cibi images done, smuggling chemical to other countries to do it.. Kind of insane...


    ~Stone | Sent w/ iPhone using Tapatalk

  5. #125

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    Quote Originally Posted by clayne View Post
    Enlargement size doesn't make a difference. Viewing distance does. The people who can't grok this are those whose noses are usually crammed up against the surface of the print.
    I don't think I will ever grok the fullness of it...


    ~Stone | Sent w/ iPhone using Tapatalk

  6. #126

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    Quote Originally Posted by clayne View Post
    Enlargement size doesn't make a difference. Viewing distance does. The people who can't grok this are those whose noses are usually crammed up against the surface of the print.
    This was addressed earlier in the thread. Unless you have razor wire around a photograph in a museum or gallery people will invariable walk up to it. Now if something is on a bill board 100 feet in the air and you are driving by it at 55 mph then yes you are 100% correct.

  7. #127

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    Michael & Stone - Burkett simply stockpiled a lot of Ciba supplies. Hopefully the frozen paper will remain good for awhile. I've largely switched over to color neg work and Fuji Supergloss, which has a similar look and capacity for extreme detail. The normal technique with 35mm and 120 film was to make a precisely masked enlarged 8x10 duplicate chrome; that way the color saturation of the original would hold up to the enlargement. Burkett and I have very different masking styles due to the significant difference in the light sources in our respective colorheads.
    But I'd certainly imagine people would put their noses right up to his prints too. If the detail is there, people will want to look at it every time.

  8. #128

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    Thanks I was curious about how he would still be doing Ciba and how he plans on doing it for the foreseeable future. People are always talking about how unstable it is in storage even under ideal conditions. He's got the time and equipment to constantly test the materials and recalibrate his system but boy what a pain.

  9. #129

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    This is a crazy discussion, although I'll confess that I haven't read it all. If you go to an exhibition of Cartier Bresson's photos, what size do you expect them to be? 10 x 8? Of course not.They'll be 20 x 16, despite the famously poor negative quality. But they look terrific, because the photo itself a rich print are everything.

  10. #130
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    Quote Originally Posted by Jonathan R View Post
    This is a crazy discussion, although I'll confess that I haven't read it all. If you go to an exhibition of Cartier Bresson's photos, what size do you expect them to be? 10 x 8? Of course not.They'll be 20 x 16, despite the famously poor negative quality. But they look terrific, because the photo itself a rich print are everything.
    A couple of years ago I did go to a Cartier Bresson exhibition.

    The prints were all original, period prints. They were printed very subtly - without the extremes of tones or contrast we tend to see now.

    Most of them were about 10" x 8" - they all came from private or museum collections.

    They were fascinating - not least because they drove home how different expectations are now.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2



 

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