A Quote by Sally Mann

Matte digital prints are gorgeous, don't you agree? But the glossy digital prints, I just can't stand that paper. — © Sally Mann
Matte digital prints are gorgeous, don't you agree? But the glossy digital prints, I just can't stand that paper.
Most of my work involves slowing down rather than speeding up. I prefer to look at prints than scans, and I prefer to look at original silver prints rather than digital prints. I prefer to look at fewer images, but spend time with those individual images.
I have control over every single frame on Blu-ray. If I want a scene bluer, I get that scene bluer. Originally, there was some fluctuation with the prints. If you made a thousand, or a few thousand prints, there is no control over any of that. But now I can make a master using the digital process.
A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.
We make the patterns on the computer, but we also paint them by hand - it's a combination of digital and screen-prints. I'm trying to do as much as I can myself in the studio.
My ideal is to achieve the ability to produce numberless prints from each negative, prints all significantly alive, yet indistinguishably alike, and to be able to circulate them at a price not higher than that of a popular magazine, or even a daily paper. To gain that ability there has been no choice but to follow the road I have chosen.
I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.
My affinity for beef extends into my home life, so you'll notice canvas prints of cows, a cowhide rug and prints of Smithfield meat market.
I first met Michael Angel when he came to my office with a box of prints and asked me whether I thought he should make dresses from the prints.
Digital is a disaster. No digital radio has the correct time and they don't even agree with each other.
As a filmmaker, you complete a film you have spent years obsessively making, and you know the release prints will never look quite the same; prints get scratched and dirty.
Studios are so used to digital now and there is a mythology that it's cheaper. But it's really not cheaper. For instance, digital is great for night exteriors, everybody knows it's a video tap, so it's very responsive to light. So you can go out at night, shoot with digital and it's gorgeous, beautiful to look at . Conversely, you go out and shoot day exterior, and it slams you, just like you know from your own video recording.
There is - you know, there's receipts for rented cars and license plates and guns and hand prints and palm prints and fingerprints. You know, I want to wait until I'm in a court.
I love floral prints for little girls, and I love mixing prints.
Wearing a bold print gets harder as you get older. It's safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
Wearing a bold print gets harder as you get older. Its safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
I would begin by collecting lithographs and etchings. It's a way of coming in and benefiting from real quality art. Even younger artists make wonderful prints. Prints can become very valuable. That's how I began collecting.
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