Apache-Talk @lexa.ru 

Inet-Admins @info.east.ru 

Filmscanners @halftone.co.uk 

Security-alerts @yandex-team.ru 

nginx-ru @sysoev.ru 




      :: Filmscanners
Filmscanners mailing list archive (filmscanners@halftone.co.uk)

[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

[filmscanners] Re: Black and white scans on LS4000 ED andotherissues

Thanks Brian,

Only having taken up serious photography a couple of years ago when I
retired, I don't have the background of experience that you do. It's just
that every now and again someone like Art states something (without giving
any clear evidence) and my scientific background says "Hang on a minute,
what's the proof of that?". It may be that you and Art are right; I would
just like a clear scientific explanation of why you are right.

Bob Frost.

----- Original Message -----
From: "Brian" <bdplikaytis@bellsouth.net>


    For what little my opinion may be worth, Ansel Adams was one of the
early pioneers of the use of diffuse light sources in the darkroom. If you
have any doubts that diffuse light sources can deliver sharp images, just
look at some of his work. His prints are sharp as tacks. I have been
shooting large format (4x5) black and white for over 20 years and teach the
zone system in a local school of photography where I live. As long as you
expose and develop your negatives for the light source you print with, you
should be able to produce identical images from a condenser or diffuse light
    There was a time when the pros debated back and forth whether the
diffuse light source delivered better images. Fred Picker up in Vermont was
a cold light acolyte and defended them with an evangelical fervor. He
claimed you just couldn't produce as good an image with a condenser as you
could with cold light. Howard Bond wrote a series of articles for Creative
Darkroom Techniques (now Photo Techniques) a number of years ago disputing
this. The article included a number of prints used to illustrate his points.
This lead to an interesting exchange between the two, some of which Photo
Techniques published. For those of you old enough to have known Picker you
know he doesn't give up easily and ultimately he never conceded the point.
Up until this time I was solidly in Picker's camp, instructing my students
using his views. Bond's arguments persuaded me to change my mind, however
and I now believe that a black and white photographer that has a solid
knowledge of how to manipulate exposure and development controls can achieve
the same contrast and tonalities from either light source.
    It may sound like a contradiction but it seems to be true.

just my 2 cents worth.

Unsubscribe by mail to listserver@halftone.co.uk, with 'unsubscribe 
or 'unsubscribe filmscanners_digest' (as appropriate) in the message title or 


Copyright © Lexa Software, 1996-2009.