> [EMAIL PROTECTED] writes
>> 
>> I also have a theory that photographers with experience of B&W printing who
>> used dodging and burning effectively have a different approach to tonal
>> control than those who have only ever shot colour on 35mm and sent it to a
>> lab for processing. My use of Photoshop is almost all an extension of B&W
>> printing.

Bob you can't be more  accurate. For me , photoshop became the alternative
to stop smelling vinegar and fixer and harming  my lungs , blood and nervous
system , all in one shot. But the experience remained and eased a LOT my
trancition to PS. THings have not been all the way that easier  in color,
since I did not make any colour printing ever, but I guess I am doing ok.

Regarding the look of images, you can still play with your variables if you
want them to look more analog ( many add noise/grain to the "too perfect"
digital files for a more human touch), but it has to be a concious
management or else it will fail. Having some knowledge on the way things
will output may guarantee the results.See below.


> The more that a photographer is able to look into the picture whatever
> the means of capture the better the end result and with Photoshop or
> whatever, it simply allows him/her to make the best use of the tools now
> available.  Thank heavens that skill and creative input still have their
> place and value!

Neither film nor digital would succeed if we were not skilled and creative
beings.
RIchard, this is the reason I ask so many times ( and get always  moooed) in
the digital forums about why going soo far into the printer's side of the
work, when I would rather be doing more shooting, just doing what I know and
what I like, and let the printers do their job, what they know and  like??
What is the limit? Are we now involved in taking part of the printer's job
because digital imposes this trend?

I am submitting another post with another face of this "emotional"
situation

   All the best.

  Jorge Parra
   APA/ASMP
www.jorgeparra.com 

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