Digital BW, The Print

This was in the 70's - yes they were silver. Kerstel was very demanding 
on his prints - and on his students. He used every creative path at his 
disposal for to communicate his message - be it grain or tone of the 
prints. The grain (or lack of) in his prints and the tone on his prints 
were integral to his prints.

Prints - even silver - look different under different lighting. Poor 
lighting can dump the shadows or highlights. A neutral print under under 
a warm florescent light takes on an ugly olive green - slight as it 
might be it is still. there. Once a print is sold it's up to the new 
owner to determine how to best display it. It's out of the hands of the 
artist at that point. In an exibition he wanted his photographs to 
convey his message. Excessive, maybe. But aren't all true artist a bit 
escessive?

Truman



Martin Wesley wrote:

> ----- Original Message -----
> From: "Truman Prevatt" <tprevatt@...>
> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Sent: Saturday, August 03, 2002 4:17 PM
> Subject: Re: [Digital BW] choice between 1280 with PiezoTone carts vs. 
> Epson
> 2200 for b/w output
>
>
> > This is true. Richard Kerstel, who I had for a few courses at Maryland
> > Institute of Art told me one time that he always makes several versions
> > of his prints for exhibit. One for florescent lighting, one for indirect
> > incandescent and one for direct incandescent and one for a "mixture." He
> > makes the decision when he gets on site which work best. He also would
> > carry some of his own lighting and use it if he could. With printers
> > that's easier than with wet prints.
>
> Truman,
>
> These were silver prints? I have to say that sounds excessive and somewhat
> futile. A good print should look good in a variety of lighting conditions
> since you never know where it will ultimately be displayed once you have
> sold it. As far as printing time goes, I am finding it takes about as long
> to get a good digital prints as is does in the darkroom. Even reprints can
> be just as time consuming as with silver as you change paper and ink lots.
> >
> > So what I hear is with MIS you have more control on the warmth using
> > profiles with a fixed ink than you do with Piezo?
>
> With the standard MIS-VM you have a cyan blue toner ink used with red-warm
> grays so that you can go from a very cold blue print to a rather warm 
> print.
> The Sepia-VM has an orange-red toner ink so you can go from a sepia toned
> print to a slightly warm neutral print. There are some examples of the 
> Sepia
> VM in the Files section.
>
> Martin Wesley
>
> >
> > Martin Wesley wrote:
> >
> > >
> > > ----- Original Message -----
> > > From: "Truman Prevatt" <tprevatt@...>
> > > To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> > > Sent: Saturday, August 03, 2002 11:36 AM
> > > Subject: Re: [Digital BW] choice between 1280 with PiezoTone carts vs.
> > > Epson
> > > 2200 for b/w output
> > >
> > >
> > > >
> > > > Florescent light is the worst possible choice of lighting to use to
> > > > evaluate a print of any kind. A selenium toned print is cool to cold
> in
> > > > tone which means it's toward the blue end of the spectrum. I prefer
> > > > this, but that is a personal preference.
> > >
> > > Truman,
> > >
> > > Unfortunately you will find fluorescent lighting in many galleries and
> in
> > > office setting. So if you have any interest in selling through those
> > > channels you need to have prints that still look good under that 
> light,
> > > unpleasant as it is.
> >
> >
> >
> >
> >
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