> Uh, I was there last weekend with Martin Evening, Bruce Fraser, Seth Resnick > & John Paul Caponigro as well as Greg Gorman. It was grand except for one > thing, Jay wasn't there. So, not sure where that quote came from. . .
Indeed Jeff I was mistaken, I was referring to another (smaller) event in Atlanta. Appologies. Fortunately the geographical location did not change the content , context and meaning of the discussion. > For the PEI Conference, I did 20x30 prints of both the film & the captures > on a 7600 Epson. The photographers in the audience were pretty shocked. Not > so much that digital won, but by how wide a margin digital out preformed > film and on so many levels. One question here Jeff, does comparing printing quality using Epson prints and printers would relate in exactly the same way when running CMYK printing, even at the level of Matchprints, or Chromalins?? My question comes , not for having he slightest doubts about digital getting over film, but to account on how color gamuts, extended tonal range,etc are very well represented in the Epson world , a process that may include the profiling of those printers ,inks and papers for maximum color accuracy, whereas clipping is known to occur naturally from camera files when jumping into CMYK, since even basic RGB/CMYK profiles do not catch up with the full color and tonal values/dinamyc range obtainable in camera. It is just great that photographers can obtain great prints, this is, Epson Prints in their own offices for their portfolio presentations and even for Gallery exhibits, and I would not hesitate ( just as I don't hesitate today) to fully replace conventional C-Prints from standard color labs for those great Epson prints , but going to CMYK is just another story and is the eventual destination of every conceivable commercial work. In other words, how can we cope with CMYK conversions when files from cameras have a wider dinamy range, color and tonal values when conventional 4 color printing is still so limited in gamut?? What is the advantage of having, say 8 stops tonal range when CMYK process would accept just 4? DO we all have to become CMYK color wizards or formally agree on delivering RGB files from camera? What are the options? Thanks for your input . Jorge Parra =============================================================== GO TO http://www.prodig.org for ~ GUIDELINES ~ un/SUBSCRIBING ~ ITEMS for SALE
