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Harry Harrison

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Everything posted by Harry Harrison

  1. Well that was timely, so only upload B&W if that's all you've got, so either film scans or Leica Monochrom presumably, it's not advice that's being followed very widely. Yes, surely it is the interpretation of the photographer when doing the conversion that is important here although I'm still not personally clear as to what pictures will sell in B&W on Alamy, and for what purposes, other than historical or reportage pictures of course. Edit: Sorry, correction, you could I suppose therefore upload in B&W but don't upload the colour version as well.
  2. +1 for James Ravilious, wonderful tonality though usually there was deep black and pure white somewhere there as well. I'm glad you mentioned him because I went back to the Beaford site and saw that they now have all his contact sheets there as well: https://beafordarchive.org/photographer-category/james-ravilious/ James Ravilous was photographer in residence but he replaced Roger Deakin, now the acclaimed Oscar winning cinematographer, they have his pictures on there also.You used to be ble to buy the film on DVD.
  3. It's a bit difficult to comment without picking out any bad examples, and it would be invidious to do that. Tonality is much easier for 'Art' pictures where contrast, light and shade can be much more subjective. If you do a search for 'England' and filter for B&W then that's not the overall impression that I get I must say though yes, there is a scattering of muddy lifeless ones as well. Looking at those pictures though it's clear that most are modern and almost certainly shot in colour, often colour and black & white versions have been uploaded. It does make me wonder under what circumstances it's appropriate to do that. Just scanning through I quickly saw two pictures that I have on Alamy in colour, very similar compositions, should I do them in B&W as well I wonder?
  4. I'll have a look at that, you just have to go to shows to see them all properly. I still haven't quite found anything that replicates the eggshell finish of unglazed Record Rapid. There is indeed a bewildering array of different paper types and quite a lot of jargon to get to grips with. I was at the Photography Show trying to work out the difference between two high end cotton based gloss fibre papers, one Baryta, one not. The guy on the stand told me that it more or less just marketing, old darkroom guys like the smell of Baryta! I melted gently back into the crowd.
  5. Eugene Smith could spend a great deal of time perfecting a hand print but then would generally make a copy negative of that print and supply prints from that to publishers. Even then he was frustrated by the huge differences in reproduction from different publications supplied with the same print. High quality scanners combined with Photoshop or Lightroom etc. have meant that it's possible to get good results from negatives that were very difficullt to print, particularly under-exposed thin negs. Over-exposed ones are not so good as the scanner can't see into the blocked up highlights on the negative. These pictures by Howard Grey of the Windrush arrivals have lain unprinted for decades because they were very under-exposed: https://www.theguardian.com/artanddesign/2019/oct/12/the-homecoming-windrush-photographs-of-howard-grey
  6. About 10 years ago I innocently thought that I would buy a s/h commercial grade printer, an Epson 4000, as it would be better made, over-engineered for my purposes and the cost of the ink in the large cartridges was far less per litre than in the prosumer models. All that was true but I had a lot of trouble with blocked nozzles and it could easily cost £50 in ink just to clear them. False economy! A friend still has the A3+ 2100 prosumer version with the exact same print head and ink set, never has a problem. There’s a lesson there. I don’t blame the printer, in fact I now know that the fault is most likely down to the ‘capping station’ where the head parks itself, the rubber seal to the atmosphere goes and the head dries out. I should have replaced it, still could actually but I have its successor, the 4880, now and that has been faultless. Incidentally since we’re talking about digital B&W, the single ‘Light black’ grey of the 4000 meant it was never very good for B&W prints, the 4880 has two greys, adding a ‘Light Light Black’ and is excellent, particularly if using the Epson Advanced Black & White printing mode (ABW). The only downside to the 4880, which is true of a lot of printers, is that switching from gloss Photo Black ink to Matte Black is fairly convoluted and again wastes about 50 quid’s worth of ink as the tubes and head are flushed so I don’t tend to do it. Edit: Oops, we're not talking about digital B&W here, that's the other thread. Sorry!
  7. Ilford (now Harman Technology) are still in business and they do still list Galerie, though oddly only in Grade 3, probably because Multigrade has rather taken over the market. Still fibre-based, still heavyweight. Still the same? I'm not sure. https://www.ilfordphoto.com/ilfobrom-galerie-fb-grade-3
  8. According to the article I have that he wrote in 1977 he used Kodak Polycontrast F in Dektol but with a great deal of localised burning in and chemical reduction, a true perfectionist. But when he wrote the article in 1977 he had seen prints he'd made in 1951 and just couldn't get the paper to match them! Quote from the article: "I absolutely despise printing, I look at the negative, and I look at the print. I come face to face with all the mistakes, I know the print I want, and know I'll probably get it, but it's sheer drudgery. My formula for successful printing remains ordinary chemicals, an ordinary enlarger, music, a bottle of Scotch, and stubbornness".
  9. Beautiful stuff, I still use Record Rapid prints to compare with to see if I'm, on the right track with my inkjet "Giclee" prints, doesn't really come close though, unglazed Record Rapid is hard to beat. Inkjets are great for colour though. I read that the late Fred Herzog was only really discovered because he could finally print his Kodachromes out how he liked them. Thanks very much for the offer of the RR but I don't really see me setting up the print darkroom again even though I've never been able to part with the equipment.
  10. Long time since I've bought any but Ilford still make it here in the UK, and Foma in the Czech Republic, there will be others I'm sure, whether they have as much silver in I don't know. https://parallaxphotographic.coop/product-category/darkroom-paper/black-and-white-darkroom-paper/?pa_paper-type=fibre-based-paper My favourite was Agfa Record Rapid - long gone.
  11. Maybe they've just done a straight colour to B&W conversion in Photoshop or Lightroom, that never works imho, always needs more contrast and/or playing with sliders. Fabulous picture, somehere I've got a very detailed article he wrote about just how he produced his prints.
  12. Interesting article by Guardian picture editor Fiona Shields: https://www.theguardian.com/environment/2019/oct/18/guardian-climate-pledge-2019-images-pictures-guidelines?CMP=share_btn_tw
  13. I'm with you there, but as MDM says I was never really that happy about the chemistry, particularly the replenished colour chemistry that I was getting rid of. That said there's a pretty huge environmental cost to inkjet printers, my local tip is full of them, either because they have blocked up or more likely the drivers have become unobtainable so perfectly good printers are junked. High end printers are no better sadly, they very quickly become uneconomical to repair: https://www.youtube.com/watch?v=Bf6kOEtgQqE
  14. Carol, I don't do much under the bonnet stiuff on a Mac but this thread sounds similar: https://feedback.photoshop.com/photoshop_family/topics/photoshop-2019-cc-vs-macos-catalina-doesnt-save-files The instructions that Apple gave you are pretty straightforward to do so I'd try that first, it seems that security settings for external drives is the problem - though you don't say whether you are saving to an external drive. Don't know why it wouldn't affect saving jpegs though.
  15. Interesting to see the 'bar graph' comparisons, though it is also worth doing one's own from time to time by stacking images or sections of images as layers in Photoshop saved at different jpeg compressions in order to see the way jpeg compression degrades the image. Presumably ImageMagick is used by Alamy rather than Photoshop but it's likely to have broadly similar results. What struck me on this particular example is how there is quite an obvious band on Level 07 about 2/3 of the way up which isn't there on examples to the right, unsurprisingly, but isn't as obvious on Levels 05 & 06 to the left either. There is going to be some randomness in how these blocky artefacts are produced after jpeg compression.
  16. Jessops are in trouble I think, looking to call in the administrators.
  17. Thanks Steve, I'm surprised that this could have produced these marks that you describe but I'll of course bow to your first-hand experience. I was thinking that you were going to say that they were on the rear element so close to the film plane/sensor. Going back to the post, I use a lot of old manual lenses and it has never happened for me in probably tens of thousands of images, either on film or digital so I do think you'd have to be unlucky, others might have different experiences of course.
  18. Thought it might be a good opportunity to try out the 'find similar' search, doesn't seem to have come up with anything though. Alamy Find Similar
  19. What did this dust look like and where was it? Was it in a clump? It sounds like it must have been very serious.
  20. I think you might be a little over cautious there. I've sold a few lenses on ebay and I think I've always stated that there was some dust in the lens, it's just general good practice to do so because there almost always is if you look hard enough with a bright LED torch (or phone torch) shone back through it and you have to cover yourself. I've never sold a lens where it would actually make any difference to the quality of the image. Haze does, fungus probably does and you wouldn't want that anyway, but the odd spec of dust here and there won't as it is unfocussed light that is passing through.
  21. Beautiful pictures, I'm in awe of the efforts that you must have gone to in order get to some of those locations, but then you still made sure you took excellent pictures when you got there. Just to pass on things I've learnt from the forum, I gather that it pays to repeat the main details in both the keywords and the caption if you can. Also it's good for any potential buyer that you have entered information in both the Location and More information fields but they are not searchable*, not in the main search anyway. *In fact the terms 'UK', 'USA', 'Europe' and 'Australia' in the Location field are picked up for the Location dropdown filter in the main search so you might consider putting Europe in there. Goodness knows how often it is used though, it misses out vast areas of the globe.
  22. A new 'social media' sourced library might be able to get the numbers but it's not much use if nobody can find what they want. There is a relatively new entrant offering free images and they use AI tagging but although you do certainly get related images coming up it's very hit and miss (thankfully), not a good experience at all in my opinion. Certainly even if you find an image that you like there's virtually no accompanying information to draw on or provide context. Presumably Alamy are using some kind of AI for their new 'Similar' images' search tool and I've read that other libraries use AI to suggest keywords on upload that you can choose to accept or ignore, that could be quite useful. An AI assisted search would be good also, Google Image Search is pretty sophisticated.
  23. Yes, nice to have a happy ending, and does no harm at all to Fuji's reputation. Fuji say that "The lens is also weather and dust resistant and operates at temperatures as low as -10°C, making it an ideal choice for outdoor photography." Absolutely.
  24. Yes, I suspect that might be the case, and it's hard to get an idea of how fast, or otherwise, new individual contributors are joining up. Outsourcing would certainly be an option I would have thought. I know of an events photographer (marathons, bike races etc) who uploads everything to the Far East somewhere along with the list of entrants and their race numbers. Images are then ready for download the following morning captioned by name. Neat.
  25. Are all these 106,000 images QC'd in the Abingdon office? I know of course that they only spot check a small proportion but that's still a lot of upload batches to go through. Extraordinary really.
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