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  1. #11
    ThomHarrop's Avatar
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    The school at which I teach (Art Instititute of Colorado) is going all digital except for two classes I teach. One in the Zone system and another in alternative processes. The feeling here is that without a darkroom students will lose out on key concepts in contrast, dynamic range and many others. Does anyone know what school it is that is getting rid of its darkroom?

  2. #12
    ThomHarrop's Avatar
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    Answered my own question. I am pretty sure it is the New School in New York.

  3. #13

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    Well, the University of Arizona looks like it will be doing the same. The head of the program is talking about killing the color darkroom and installing a digital lab.

    Of course they have 3 excellent digital labs already, and up to 44" printing....

    But why not add another?
    Official Photo.net Villain
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    [FONT=Comic Sans MS]DaVinci never wrote an artist's statement...[/FONT]

  4. #14

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    The article about George Dewolf in maybe the july? shutterbug is just as depressing.
    Technological society has succeeded in multiplying the opportunities for pleasure, but it has great difficulty in generating joy. Pope Paul VI

    So, I think the "greats" were true to their visions, once their visions no longer sucked. Ralph Barker 12/2004

  5. #15
    lee
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    why do you all read all that stuff? I prefer to have my head down and covered with sand.

    lee\c

  6. #16
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    Quote Originally Posted by ThomHarrop
    ... without a darkroom students will lose out on key concepts in contrast, dynamic range and many others...
    Contrast and dynamic range are not analogue-only concepts -- there are commercial digital cameras with range upwards of 20 stops (far more than any neg), and contrast is control over the distribution spacing between input luminance and output density. These are concepts that can be vividly, cheaply, and quickly taught without film or paper. This includes the correlation between spatial frequency (film size) and dynamic range. This will become increasingly evident as 16-bit and floating-point pixels become the norm (as they already are in the movie world -- see openEXR.org for plenty of examples).

    A far better angle on wet process in schools, IMO, is the hand-made nature of the process, resulting in an object driven more by craft than technology. This is not a particularly po-mo idea, but a valid one -- just as playing Beethoven is not an innovative choice, but still a meritable artistic pursuit.

    "What Would Zeus Do?"
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  7. #17
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    I just got back from the Santa Fe workshops where George Schaub spoke tonight and showed some of his work.

    Not much to say.

  8. #18

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    [QUOTE=bjorke]Personally, I think that skills can travel both ways -- I feel my understanding of digital printing was enhanced by darkroom experience, but have also found that digital printing experience has influenced my darkroom printing (especially in my pre-visualizations of a wide range of exposure and contrast effects, which I got used to doing rapidly and cheaply via Photoshop etc).

    bjorke, I could not agree more! I've never made a digital photo but I've downloaded sample images from several web sites and played with them in Photoshop. The instant feedback of this process flattens the learning curve right out. I can try and see changes in seconds that would take hours in the darkroom. The flow of learning is smooth and uninterupted.

    It has changed and helped in many ways with my traditional work as well. I "see" differently because of this instant feedback.

    I'm better at my Photoshop "adjustments" because of my experience with the darkroom and I'm better in the darkroom because of learning speed in digital.

    I see digital as a win/win situation for all kinds of photography. And isn't it really "Photogrphy" we all love? After all?

    JOHN

  9. #19
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    Quote Originally Posted by bjorke
    Contrast and dynamic range are not analogue-only concepts -- there are commercial digital cameras with range upwards of 20 stops (far more than any neg), and contrast is control over the distribution spacing between input luminance and output density. These are concepts that can be vividly, cheaply, and quickly taught without film or paper. This includes the correlation between spatial frequency (film size) and dynamic range. This will become increasingly evident as 16-bit and floating-point pixels become the norm (as they already are in the movie world -- see openEXR.org for plenty of examples).
    I am very curious about a 20 stop digital camera.

    I would also like to understand the relationship of the input and output capabilities with regard to colour space. In other words are you saying that the colour space 'foot print' has final gotten larger and that they are not simply slicing the pie thinner and if so how is this being (re)mapped so that it is usable?

    *

  10. #20

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    Mrcallow,

    Nice signature though it can't be good for the chair or the keyboard.
    Technological society has succeeded in multiplying the opportunities for pleasure, but it has great difficulty in generating joy. Pope Paul VI

    So, I think the "greats" were true to their visions, once their visions no longer sucked. Ralph Barker 12/2004

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