![]() Apart from the many steps in the process away from the original photograph, also the lower quality of a paper, and particularly the line screen, make the image worse. The plate would be wetted with ink and then cleaned each revolution of the drum.Īs you see, a photograph is something completely different than a printed image. The plate was finally mounted on a drum in a printing press and the image would be transferred from the plate to a rubber blanket and then to the paper. Then this original was “burnt” with a special light on to an aluminium plate, so that an image was created on this plate. Then the separate negative films were mounted with glue or adhesive tape on to a reproduction original. This film, call it a Master, was developed with a photographic developer, then fixed and finally dried into a negative film. The sizes of the dots decided the overall darkness of the images produced. Between the actual photo and the film was put a screen, This screen was normally, as in Smith’s book, a line screen made out of lines of dots, often at 45 degrees angle, and at fixed distances. His developed original b&w photographs were put on a desk and photographed a second time with a reproduction camera. The technique in 1973 (when Smith’s book was printed) would have been something like this. It actually involves that the photographs are being photographed a second time and a screen being added. There is a huge difference between photographs and printed reproductions made from those photographs. But didn’t you consult just the printed b&w images in Smith’s book “Clement of Alexandria and a Secret Gospel of Mark” and the printed colour images published by Hedrick in “The Fourt R”? Smith never published any photographs, neither did Hedrick. Stephen, could you please enlighten me? You say that you “consulted both the black-and-white photographs that Smith published in 1973 as well as the color photographs that Charles Hedrick published in 2000”. ![]()
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