P3D Re: Print- making

[rmt <rmt@xxxxxxxxxxxxxxx>]

John Roberts writes:

>I would consider dodging and burning, and hand-tinting, to be in the 
>outermost fringes of 3D print-making -...

That's like saying, "Tiger Woods is in the outermost fringes of golf".
I will not enter the prints-or-slides, color-or-B&W debate, I do them 
all and like them all.  The laboriousness of Fine Art Darkroom 3-d 
printing can be considered a drawback or a feature.  Or both.

Roberts says:
>(Incidentally, wouldn't burning and dodging be *much* harder to do for 
>3D than for 2D?

I reply:  So?

Roberts: >"I would think you'd be almost certain to introduce mismatches
between the two views."

Me:  Sure, if you don't know, or much care for, what you're doing.

Some more opinion:  Color transparencies in miniature format (35mm, 
Realist or European) or sub-miniature (Viewmaster) make wonderful 
originals and inadequate copies.  I have never seen a copy that could be 
mistaken for an original unless the original was substandard.  I'm sure 
the same thing would be true for B&W, or color for that matter, prints 
if the originals were in the min. or sub-min. formats.  This can be seen 
in the print folios, where most entries are from 35mm originals, often 
printed by Grand Photo, who do a fine job of making Holmes format prints 
from Realist-format negs. Nevertheless, when compared to the occasional 
Heidescop 60x130 format work, or a contact print from a 5x7 negative, 
the difference is striking.  And mentioned often.  Best to make those 
slide dupes in the camera.   Film is cheap, as someone said.

Dick Twichell


------------------------------