Jeff Spirer wrote:
I do 4x6 because the printer is the size of a lunchbox and has a
handle and I take two of them. I have seen people with a larger
printer, but it's a lot different in terms of space and supplies.
I don't know what kind of printer he has. I'll have to ask him about
that. He does have a van. Now I'm wondering how he powers the
printer...... Most lap tops have 12VDC adapters, but do printers?
Manipulation, IMO, takes us out of the realm of photography and into
digital art in some cases.
When someone can show me the line, I'll believe this. So far, nobody
has shown me the line. Most of my manipulated work is considered
"straight" by the people that see it because the manipulation is done
in a way as to not be obvious, even in composites. So where is the
line drawn if the print doesn't give any clues? And how is digital
compositing different than darkroom compositing, which has been going
on for over 100 years. There is a print in the Getty Museum from the
late 1800s that is a composite of five different negatives, done
because there was no way to capture the scene in one exposure. Nobody
ever complained about that one, so I don't get it.
I get your points, and I ask now as I did then, would any reader of a
newspaper know the difference?
I think the biggest reason I resisted entering the digital photo world
so long and so hard is that at the end of June I end an almost 40 year
career working in the digital world. My relaxation was in part dropping
a roll of film at the lab and going over the prints and in part spending
time in the darkroom instead of in front the computer like I did all day
at work.
Bob
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Curiosity killed the cat although I was a suspect for a while........
