And there-in lays the problem with the digital realm. It is upon us and many can do amazing things with it but, no, the galleries and buyers aren't yet interested in fine art on run of the mill printers. Iris and the like are being offered, though they are extremely expensive, but don't command the dollars that prints made the traditional way do. It will become the norm in time but not yet. Lenswork Magazine has an offer that is wonderful for people like me that want to have fine art by great masters but can't afford the bucks to buy it. The masters (Wynn Bullock, Huntington Whitherill, Barnbaum, Dusard, ect) produce a print that is just as they want it to look and lenswork has that print scanned and outputted back(?) producing a negative of whatever proportions the artist wants it to be. That neg is then contact printed to the artists satisfaction and offered for sale through the magazine for substantially less than a similar print done by the hand of the artist. I purchased one and it is exactly the same as a print I see all the time in LA that I can't afford even if I sold my wife and first born. And it is done on normal photographic paper (FB). You have to see it to believe it. I am going to get my negs scanned to files(I have a very good scanner and very large memory) and take the files to a bureau to have them outputted onto neg material and print them as contact prints in my darkroom. Already burned and dodged. One of the questions I have though is what do the tonalities become for an enlarged neg? You have to fill in the spaces so what goes in between the original spaces and how does it look? James
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