I understand and I believe you, but there is still an impracticality
to something that needs to be viewed that way to have an impact. I'm
of an age that remembers the wonder of transparencies in stereo...
they were called Viewmaster and you used to be able to get cameras
that would allow you to make your own. Very impactful upon me as a
small child. But not many people have light tables mounted on their
walls to display large format transparencies. The closest we come to
them today are the menu boards at fast food chains.

On Thu, Feb 4, 2016 at 9:45 AM, John <[email protected]> wrote:
> On 2/3/2016 2:01 PM, Bob W-PDML wrote:
>>
>> On 3 Feb 2016, at 15:15, Darren Addy <[email protected]> wrote:
>>>
>>>
>>> [...]
>>>
>>> I understand that properly exposed chromes are amazing, but I
>>> never have understood the appeal of a chrome as the medium. Pass
>>> the slide viewer... ooh! I realize that there was a time when
>>> Cibachrome was a thing for getting impressive prints from
>>> positives.
>>>>
>>>>
>>
>> I used to shoot Kodachrome back in the day. When I went for my RPS
>> distinctions they projected them in a cinema to cinema screen size
>> (35mm is a cinema format) using the top-end Leitz projector onto a
>> top-end screen, and I can tell you that the experience for me was
>> stunning. Until then I never realised how good 35mm could be.
>>
>> When I took some digital shots to another distinction day and they
>> were projected, I was deeply disappointed with how flat and meh they
>> looked. The evaluators told me that they recommend people to print
>> digital stuff rather than project it.
>>
>> That was a few years ago. Nowadays with very large OLED  monitors I
>> think it's likely that the best results would be to show them on a
>> good monitor; they're not yet cinema size, but I reckon in less than
>> 10 years they will be.
>>
>> B
>>
>
> To really understand the appeal of large format transparencies, you
> probably need to actually see them on a light table. They have an impact
> that mere words can't describe.
>
>
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