Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@y..., Robert Morrison 
<rmorrison@p...> wrote:
Antonis Rico provided
> many hours of helpful discussion and helped in measuring 
dmaxs. 

Robert,

I could see how you'd get excited about this project. The very first 
time that I began to spread that Oleopasto over a watercolor 
print, my jaw dropped when I watched the black areas in the 
print; they went from what I "thought" was black, to what seemed 
like two stops darker. The print also went from what was 
originally about a quarter-inch feeling of "visual depth", to about 
an inch of visual depth.

For me, there were/are only two big concerns: the whole 
yellowing potential, which seems like you're trying to address. 
But even moreso for me, the amount of work/time for each print 
seems like it would get extended about a hundred-fold. First, you 
have to obsess over the color, contrast and density of the print, 
but then now also set up this huge production line and drydown 
area, and then build in drydown times. This is definitely NOT an 
idea for a "production darkroom"; it's much more of a 
personal-work, or gallery-work thing, when you're not printing for 
a job on deadline, with the FedEx driver standing there tapping 
his foot, with "that look" on his face. But as long as you accept 
that, it's a worthwhile pursuit.

It seems like I'm already chained to this computer most of the 
day as it is now; the thought of adding much more 
post-production time after the print pops out of the 7000 makes 
me feel squeamish "down there". But since you've already found 
a wife, then the hardest part of life has been accomplished, so 
forge ahead and keep us posted.

-MT