For the benefit of JD, who I think was wondering where the track in the previous post featuring the misty farmyard went, here's a shot from the point where it just disappears - but looking back, if you know what I mean.
I've taken a little Photoshop licence with this shot, too. Well, OK, a lot. But I promise that I'll be back on the wagon as soon as my Durst L1200 is up and running.
I am really looking forward to seeing your darkroom work. From reading this and previous posts it is obvious you have a solid grounding in traditional b/w printing. I am sure that whatever you choose to print in the darkroom you will be able to convey your original intent and make it visible without the use of Photoshop.
ReplyDeleteI am not a Photoshop user myself and print in a traditional b/w community darkroom. From my perspective silver gelatin prints have a different feel and quality to them. I feel like I am fortunate not to have gotten caught up in all the Photoshop/digital hoopla. It is somewhat ironic because I had spent years wanting Photshop but found I could not justify the cost. Now I feel like my not being able to afford Photoshop has served as a kind-of blinder and kept me moving slow. I am currently thinking about setting up my own home darkroom. Darkroom equipment is really cheap these days if you are buying used.
Hi Carol,
ReplyDeleteI loved it when you used a Holga to shoot Paris and I think your photography has benefitted from being a Photoshop-free zone. Using film encourages you to be creative at the shooting stage, not when you're sitting in front of a computer and that's a vital difference. A lot of the stuff you do reflects that.
I've been pretty immersed in Photoshop for a number of years and it still amazes me what can be done with it. I know what I'm doing in the darkroom but there's no denying that Photoshop is far more versatile. The problem is that if you go down the digital route you're mostly stuck with digital prints which I see as the weak link in the chain.