Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@y..., "Editor P.O.V. Image Service" <editor@p...> wrote:
snip
> IF Cone and others are creating tones the human eye can't distinguish 
> form another tone, who the HELL CARES?

I do.
Well done B&W inkjet prints look great, I've certainly committed to pursuing this form of reproduction for my work.
But,
When I look at a masterfully created silver fine art print, or a beautifully done platinum print, they seem to have virtually 
unlimited scale, that you can fall right into. One of the comments people make when viewing a great platinum print is that 
there seems to be an infinity of grays, even between close tones.
When I put my lovingly made quad prints down next to them, they don't give the same impression.
By themselves, they seem to approach it, but next to a great "analogue" print, not quite there.
Sorry.
I don't know if this is illusion. I don't know if it has anything to do with how many grays the two processes can put on paper. 
I do know that I would certainly want a system that can produce for more grays than I can perceive, for a start.
Music reproduction systems that have frequency ranges beyond our hearing ability still "seem" to sound better than those 
strictly limited to our hearing limits. The same thing may apply here.
I'm sorry this has bored people or seem irrelevant. But any possible way to bring the true feel of a great photographic print 
to the Epson, whether it be file prep, materials, or highly technical issues about software/hardware are certainly of 
immense interest to me.
I think this list is called "DigitalBlackandWhiteThePrint".
Tyler