Pennsylvania Avenue Subway, Reading Railroad, Philadelphia, 2004.
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this post was submitted on 01 Oct 2024
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@dwallach @mattblaze I have yet to experience from a digital photographic system the joy and excitement of watching an image emerge from a sheet of photographic paper as it sits in the developer tray.
@karlauerbach @mattblaze I used to spend a lot of my time in the 80's in darkrooms. While I have a soft spot in my heart for the sharp smell of stop bath, the ability for Photoshop to adjust an image in seconds what would take substantially longer in a darkroom? Priceless.
What the shift to digital from film did for me, both in terms of shooting and processing, was that it increased my willingness to experiment by lowering the cost (time and dollars). I really leveled up in my skills.
@dwallach @karlauerbach I think I genuinely miss about 20% of darkroom work, and say “good riddance” to the other 80%.
@[email protected] @[email protected] @[email protected] I was always pretty awful at darkroom work—pictures that I knew were there never came out the way that I felt that they should. I eventually resorted to dealing with a high-quality commercial lab. With digital, I can try things, undo them, copy the original and try different combinations, and more. Plus, of course, the nature of my chosen subjects means that I have to take a lot of pictures, most of which will be worthless.
@[email protected] @[email protected] @[email protected] One of the benefits of being in NYC during the film era was the ready availability of high quality commercial labs - often open 24hrs - that served the commercial photography, advertising , and publishing industries. Particularly for E6 transparencies, you could get dip&dunk processing in less than an hour at any time of day for a few bucks/roll. Basically no commercial photographers, and even few fine art photographers, bothered to maintain dark rooms.