Hi Emily, I could not agree more. I really do feel that those of us that do have production art training or commercial art or dark room or lab experience do have a distinct advantage over those who do not. Those who do understand color seps, subtractive or additive method color printing, or even B&W lab work will have a better set of skills than those who enter the job. My thinking is, that as we get further and further from film and chemical based image creation those old skills will lessen and eventually go away. No one starts their cars with crank in the front of the radiator any longer (vbg). I really do think in the next 20 years image creation will continue to evolve into the electonic realm. I love the film looks. My 4x5 camera (Horseman 450) I adore. It sits patiently in its case, while I get the work done yesterday w/ digital. None of my clients want to see film on a lightbox any longer. I really do think that the filmus rexasaurus is about to be extinct. take care and take good sailboat pictures, Les It seems to me very important to connect what PS does with what happens in a darkroom. Using PS without that point of reference probably confuses and inhibits new photographers no end. How can one comprehend the dodge and burn tool if you have no idea what dodging and burning are? How can you manage color channels if you haven't a clue about the concept of assembling a tint from disparate others? There's a lot one can figure out by classes, reading, experimenting, eavesdropping on conversations. But getting the whole picture in focus quickly really starts in the darkroom, to me. -- Emily L. Ferguson mailto:elf@xxxxxxxx 508-563-6822 New England landscapes, wooden boats and races, press photography http://www.vsu.cape.com/~elf/
