On 5/01/2012 2:13 PM, Noons wrote:
On Jan 4, 12:28 pm, wrote:

I rarely scan film - I hand print in the traditional way because it
adds value.

Cool! I can't afford the space for a dedicated print shop, so I've
got to stick with scanning.


have both the 5000ED and a back-up 4000ED, and also an Imacon
Flextight which I bought for a tiny sum of money at a bankruptcy sale.

How do you find the Flextight compared to the Nikons?
Always wanted one but Hasselblad's prices are a bit of a joke...

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A few years ago I bought a digital head for my Durst enlarger at huge
cost. At first it disappointed me because I expected I'd get the results
from c41 monochrome I could get using condenser enlargers and
conventional film.

In frustration I went back to condensers for saleable art printing.

It wasn't until I began using vuescan with Lumina fluid on my 750m Epson
scanner, I discovered the usefulness of digital enhancement of my
images. I know this method is primarily for trannies and color film at
that but C41 process is basically color.

When I decided to buy an s5 Fujifilm camera my perception of photography
changed forever. Now I don't have issues with grain at normal (ISO 160)
film speed and I can manipulate the images to make them impossible to
distinguish from any of 20 different film types.

The exceptional Dmax (in monochromatic mode) of a s5 is little
recognised by dyed in the wool B&W shooters. The thing that finally
convinced me to go 100% digital was DxO Film simulation software (to
imitate all the traditional films)

I've bypassed the mess we call a darkroom. Something I believed I would
never give up yet I've managed to achieve fine art prints from a Canon
12 colour inkjet printer I never thought possible. The big question now
is will they last as long as a properly fixed and correctly washed print.

Chloe