Please refer to my first post ; normal editorial practice would be to disclose whether the writer of an article praising specific products commercially available, with reference neither to specific testing data nor to competing products, had a commercial interest or not in those products. This just hasn't happened in this case. That's all.
I don't know why you think it would be normal editorial practice for DeWolfe to deny that he has any financial interest in Cone Editions Press or Piezography (other than teaching Piezography at his own workshops). Many people talk about the products they use without such denials. In fact, I don't recall seeing anyone deny a financial interest in a product they discuss. Obviously, if the reverse is true, and someone does have a financial interest, then it should be disclosed.
at the risk of repeating myself ; because of the way the article was written, and where it was already publically available. Have you actually read it?
Dan, I think we need to give Jim a rest and continue the thread somewhere else, maybe in the news group. In respect to your post, I agree with you (big surprise being a LF fotog myself) but lets face it, DeWolf and all these other people are just trying to drumm up business for themselves, When I first read the article I dismissed it right away and now I am wondering why I got sucked into this discussion. The article is a self serving piece, lacking depth and I saw it more as a piece of advertisemnt than a "real" article. If anything I think we must be more concerned with Simmons's choice of article and ask ourselves why he keeps running it in his two magazines? If his magazine is titled the Journal of Large Format Photography, why is he running this c**p? As a chemist I have never seen the ACS Journal run a piece without explanation, background and examples, so lets face it we LF fotogs are in a tizzy because of what one self serving snake oil salesman said in a run of the mill magazine. Maybe WE are the fools for paying attention to this guy, if anything he accomplished his goal he got some of us curious. In the end I think those of us who enjoy LF and darkroom work will keep on working like this, and those who are itching to try piezography can't wait for the prices to go down, or to win the lottery. In any case we will not decide this here and I doubt we will change the opinions either way.....
Perhaps, again, a different thread but might I expand your discussion with a view from across the pond?
Here in London there is a very large sector of "traditional" photographers, and as a result we have some very fine B&W printers. I myself use a celebrated fellow called Robin Bell (prints for Bailey / Avedon / Griffiths etc) to make my 'exhibition' prints, whilst using my own cosy (though properly set up) darkroon in my basement for more commercial printing. I have recently setup a little digital side to this (now even more cosy) room and so have a 'dry' process at my disposal.
I have three points to make. Appropo of nothing I took in a test print of mine to Robin to ask his opinion. This was printed on an Epson 2000P converted to running with Lyson inks, on some superb heavyweight (300gsm) Permajet Portrait matt paper. His jaw nearly hit the floor.
This was a test print, and Piezo24 is meant to be better than Lyson!
My assesment of his reaction is that he didn't realise how good digi has got and he also was looking at a print on paper of a weight and mattness that he cannot use. It looks like a piece of artwork. Thus he was actually reacting to it itself, rather than as a possible replacement for his traditional processes.
Sceondly, and echoing a lot of the previous comment in this matter, it is a widely held view by each and every decent snapper over here that you cannot put shit in and get shinola out. We live in a very competitive city where there are over 1000 people going for each commission, and I can assure you that discerning Art Buyers and Art Directors are not impressed by portfolios full of mundane images, however gimmiky the presentation. Conversely a stunning image, presented in an non conventional way (ie wonderful paper, modern process) gets extra attention.
I too was a n'ersaydigital, but am now fully into it. It suits my business, which is commercial photography - I need to output prints at a reasonable cost to my clients and with less drain on my time. Unfortunately I do have clients who won't let me only print up a lovely 20x16 of their darling Johnny, but insist on 20 7x5 and 3 10x8 also. Printing 20 matching 7x5 prints conventially is depressing. Digitally I get it right once and then bash 'em out. Frankly on a 7x5 you're pushed to see the difference. I think a lot of the discussion has come from people (apologies if I'm wrong) who sell their prints as art. These men are the true descendants of Adams and his like and have their own place in the current market. These are the guys who understand receiprocity failure and know how solarization really works. I'm old enough to have been through that school of learning, but at 36 young enough to embrace the good points of what is happening now (and indeed to look at what's happening objectively through experienced eyes). It's horses for courses.
Lastly a comment on large format. Firstly I would just like you over there in the USA to know that we cannot buy 10x8 Tri-X here, so count yourselves lucky. We sadly, really have to deal with the T-max issue. However I (not being stupid) get people to bring me some back when visiting NY, and have been doing some film/scanner tests.
The only point that I want to make that shouldn't arouse any controversy is that you really need to see the difference between a drum scan of a 10x8 and that of a 120 neg. WOW! It takes you back to that intial excitement of seeing your first 10x8 neg through a lupe. Now do a Piezo print from that and we can start to compare it properly.
However, if this takes things that extra stage that convinces the doubters then unfortunately another element comes into play - COST. There are numerous comments from the pro lobby about cost, and the inexpense of printing digitally. Well just in much the same way as LF photography is more expensive per image than 35mm so we should be aware of scanning issues in digital work. You cannot improve on the quality of a hi-end drum scanner. A 10x8 100MB 16bit Grey scan costs #200 ($350) from a bureau over here. The initial cost of a drum scanner (hardware) are obviously prohibitve and the learning involved in that.....................Let's face it; are you a photographer, a printer or a scanner chappy. As a commercial photographer, time spent scanning is time not spent shooting or touting for work, and with wanting to retain the printing element there is only so much time you can dedicate to your portfolio presentation!
In summary I think you have to adopt the old adage, "If it ain't broke' don't fix it".
If you already make a living from selling beautiful silver prints that you loved making - keep doing it. If you don't enjoy the smell of fix and having to print 20 7x5 all matching, get out of the wet and into the dry. There's no right or wrong, better or worse. This is simply an alternative way, and it needs perfecting - so Jon Cone should be applauded for that and, although his manner of delivery might has been less dismissive, for those that are interested George DeW's comments are worth hearing.
If you don't want to buy a car, don't go and talk to a salesman in your local auto dealers!
Posting Permissions
Reply With Quote
Bookmarks