Digital BW, The Print

Good points Paul.  

I especially think the archival nature of partially toned (and possibly those improperly processed) prints is a key issue....but not for them.  

Steadman
  ----- Original Message ----- 
  From: Paul Roark 
  To: DigitalB&WPrint 
  Sent: Tuesday, February 26, 2002 5:01 PM
  Subject: Re: [Digital BW] B&W Magazine "drops" digital prints


  Steadman Uhlich wrote:

  > In his letter to readers, the editor in chief says that digital prints do
  not have the tradition, heritage, and well....some other qualities he thinks
  important for collectors...given that they are made by "machine" and not in
  a traditional manner.  So...from now on...this mag will not have any
  articles or feature any discussion of digital prints.

  It seems to me there are a couple of approaches that warrant letters to the
  magazine that will get them into more of a corner.

  For example, I'd want to know if silver prints that went through a digital
  step are covered.  For example, what of the Lens Work type images.

  Next, I'd want to know how collectors or the magazine can tell if there was
  a digital step if the process.  Can they really police the policy?  Do they
  have affidavits from all their advertisers and the photographers and others
  whose photos are published?

  I wonder what the other attributes of digital are that are of concern?
  Maybe they could be specific.

  If longevity and light fastness is one factor, how do they know that the
  photos that are featured and advertised are properly processed?  If they are
  not the carbon pigments on good paper is probably more archival.

  In fact, if the partial toning that we silver printers were doing, it turns
  out that the images are not really that archival.  I think I'll be able to
  measure the yellowing of  partially-toned silver prints.  It may be low, but
  I hope to match it -- in fact non-warming paper (no brighteners) may do it
  already.

  We must confess that the easy of making many copies is a problem for any
  machine print.  Collectors want an object that cannot be made in quantity.
  How one raises prices, all else being equal, is to limit output.  From an
  economics perspective, the control that a monopolist has is limiting output.
  It is only from that action that prices rise.  So, out put limitations is a
  key to collectible value.  But, how many prints to A. Adams "make?"  I think
  over 80,000, but this is hearsay.

  So, there are issues we can work with here.  If the magazines' policy
  becomes self-defeating, they'll change.

  Paul
  http://www.PaulRoark.com


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