What makes a photo feel realistic? Nature, in many respects, is flawless: its colors, lighting, textures, and structural patterns are exquisitely balanced. Yet the perception of reality hinges on subtle imperfections—tiny deviations from an ideal pattern or shape. A face may appear nearly perfect, but the minute irregularities are what ultimately convey beauty. This principle isn’t confined to visual media; it applies equally to music. Vinyl records have surged in popularity precisely because analog recordings capture nuances that digital formats often miss. The authenticity of sound—those slight imperfections—is why we still crave live performances. Music is far more than a technically perfect signal; it is the imperfect, human expression that transmits an artist’s passion and interpretation.

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Why these systems are widely regarded as the best

Evidence supporting their reputation

Leica lenses consistently win Best Lens awards from publications such as DPReview and Photography Life, praised for their contrast, bokeh quality, and durability.
Sinar large‑format systems are the choice of award‑winning fine‑art photographers (e.g., Ansel Adams’ successors) and are frequently cited in the American Society of Media Photographers (ASMP) guidelines for ultra‑high‑resolution work.
Hasselblad cameras have been the official equipment for NASA’s space missions and are regularly featured in World Press Photo winning images, underscoring their reliability and image fidelity.
Canon and Nikon dominate the Professional Photographer of the Year contests in categories that require fast autofocus and high ISO performance, confirming their suitability for mainstream commercial production.
Together, these systems give us the speed, optical excellence, and tonal richness needed to create posters that retain razor‑sharp detail from the original negative right through to the final large‑format print.

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The competition among the three main printing processes, as some experts agree, is fought less in the printing press sector than in the areas of reproduction/printing plates, paper, and ink and drying issues. The latter are far more crucial in many applications than is commonly assumed. For example, the author is aware that a new magazine with a large print run was switched from gravure to offset printing solely to save on ink costs. The company in question, which has access to all three processes, also commissioned external reviews. Both parties reached the same conclusions.

More often than not, the quality of the reproduction results determines which type of press is used. This leads to the conclusion that book printing has—or should have—a very strong interest in the rapid and successful development of photolithography and electroplating.

But what is the situation here? In Switzerland, for example, printing and photolithography are affiliated with two different associations.

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For many readers, the future of their profession is akin to the future of their own identity. This is certainly true for all those for whom their work is more than just a means of earning a living. Thus, it was an enticing task for the author to put down some thoughts on the above topic, having had the rare opportunity to observe, using a wealth of comparative material, how strongly book printing, this oldest printing method, not only maintains its position amidst its competing processes but is also evolving rapidly.

Introductory paragraph from the Busag-Cliché Bulletin, Journal for the Promotion of Illustrative Book Printing, published by Clichéfabrik Busag AG, Bern and Zurich, issues 9 and 10.

The post The Future of Book Printing first appeared on Busag Ventures.

In a late‑1970s campaign, Busag partnered with renowned photographer Jost Wildbolz and multifaceted artist Grace Jones. Wildbolz was already one of Europe’s leading photographers, while Jones had made her mark as a model, singer, songwriter, and actress. She later achieved major musical success with “Slave to the Rhythm” and appeared in films such as Conan the Destroyer and A View to a Kill.

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