Digital BW, The Print

That sounds like enough of a PITA to keep me using my ceurrent 
solution, at least for the hand-coated Liquid Light prints: 
photographing the completed image of my monitor. That does quite 
well up to about 11x14, as long as you don't pull out the lupe.

Steve

http://www.stevekphoto.com
--- In DigitalBlackandWhiteThePrint@y..., Michael J. Kravit 
<mjkaia@k...> wrote:
> Steve,
> 
> I have read that the PQGF does not work well for digital 
negatives. It 
> imparts a gritty texture to the print.
> 
> What I have ascertained from the reading I have been doing and the 
> prints that I am seeing locally is that you need to make two 
negatives. 
> One for the shadow detail and one for the highlights. Then pin 
register 
> and print the sandwich. One local printer is actually 
experimenting with 
> three negatives, adding one for the mid tones. He tells me he has 
seen 
> no loss in gray scale range as suggested in an earlier post.
> 
> He is using the color table method of making digital negatives as 
> outlined in Berkholder's book.
> 
> Mike
> 
> 
> On Thursday, May 2, 2002, at 09:01 PM, stevekphoto wrote:
> 
> > HI all;
> > Here's my 2 cents worth on digital negs:
> > the idea of printing digital negs is what finally got me to buy 
into
> > the whole computer thing 3 years ago-but three years ago the
> > available printers wheren't good enough. I took another stab at 
it a
> > couple of weeks ago with Pictorico OTF and dye inks, test 
printing
> > the output on silver RC paper. I could see from the 2-3 tries I 
made
> > that it could work in terms of contrast and tonal range, but the
> > film showed marked microbanding that showed up a lot in the
> > higlights, and the heavy-inked areas like skies, also showed
> > gritiness similar to a black-only print. My first impression is 
that
> > this material in order to be useable, needs to be printed as a
> > spectral image in red-orange for non-VC papers, or perhaps 
magenta
> > for VC papers, with little or no black ink in use. I think it'll
> > work well for alternative processes, but not well enough for 
silver
> > prints. My next attempt will be on Photo Quality Glossy film-it's
> > available up to 13x19, and should produce a much smoother image,
> > though obviously the exposure time would be longer.
> >
> > Any one else?
> >
> >
> >
> >
> >
> > -- In DigitalBlackandWhiteThePrint@y..., Michael J. Kravit
> > <mjkaia@k...> wrote:
> >> Stephen,
> >>
> >> Your information is very interesting. Thanks for taking the time
> > to
> >> share it.
> >>
> >> I am going to check out the section of Dan's book that deals 
with
> > making
> >> two negs. Hey, If this does not work there is always traditional
> >> enlarged negatives.
> >>
> >> Mike
> >>
> >>
> >> On Wednesday, May 1, 2002, at 05:20 PM, Stephen Kundell, MD 
wrote:
> >>
> >>> Mike,
> >>> The digital neg is what got me here in the first place. I have
> > not
> >>> tried using my epson to produce a dig neg, but did produce 
image
> > setter
> >>> negatives that I contact printed on both silver and palladium-
> > platinum
> >>> as ziatypes. Some of the images were stunning, the best of both
> > worlds.
> >>> Unfortunately, I abandoned the effort because I found it
> > extremely
> >>> difficult to find service bureaus willing and able to do what I
> > needed.
> >>> Another occassional problem was related to the necessity of
> > using a
> >>> transfer function which tended to compress some areas of the
> > gray
> >>> scale. Realistically, you are probably dropping the number of
> > distinct
> >>> shades of gray to well less than 100. This works for some
> > images, but
> >>> in others you will see a little posterizing. This is why Dan
> > Burkholder
> >>> would often use two negatives for exposure, one to separate the
> >>> shadows, and one to separate the highlights. Printing your own
> > desktop
> >>> negs will similarly affect the gray scale. In essence, you are
> > going
> >>> from a fairly linear gray scale to a more logarithmic one,
> > consistent
> >>> with the response of photographic vs printing materials.  I 
will
> > be
> >>> interested to hear how it goes.
> >>> You might consider dye based inks on pictoro translucent media.
> > You
> >>> might also be able to acheive some of the effect of the 
transfer
> >>> function by varying the color along your gray scale, with red
> > obvious
> >>> being most dense as viewed by the sensitized photo materials,
> > blue
> >>> being more transparent. If I had enough time in this
> >>> life...............................
> >>> Stephen
> >>>
> >>>
> >>> [Non-text portions of this message have been removed]
> >>>
> >>>
> >>>
> >>>
> >
> >
> >
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