I understand your concerns and share your wish for a level playing
field. But don’t fool yourself into thinking that a requirement for
physical slides somehow translates into prevention of digital
manipulation of images.
My slides are produced from my digital files, which have in some
cases been cleaned up (nasty little pieces of lint that creep into
the background) and rebalanced (the light wasn’t QUITE right that
time, but I like the image). Those digital images then go to a
service bureau, who turns them into very nice slides for me. Those
slides get submitted to shows and, having seen them projected
alongside “real film” slides, are virtually indistinguishable.
In the long run, folks who misrepresent their work will not be
successful in this business. The promoters will “blacklist” them,
the buyers won’t buy from them, and their peers won’t give them the
time of day (not that they really care about that). So while it
doesn’t help you directly, the field will ultimately cull itself and
your reputation will extend beyond the hype of others.
A friend who is a master glassblower and I were talking today on the
topic of entering competitions and getting slides together. He
related that in art school (a very prestigious one), they were told
that it’s always worth getting the very best photography, because the
most impressive slides photographically would have an edge, sometimes
carrying less-than-stellar work into places it wouldn’t otherwise
Unfortunately, I think this is, to some degree, a truism. I also
think that it doesn’t matter whether that is done through digital
manipulation or funky lighting and mirrors.
So the best I can do is to do the best I can do, make sure the work
is represented as well as I can afford to represent it, and trust
that things will work out over time.
Hand-crafted artisan jewelry