Digital BW, The Print

Hello Chris,

>(Of course, there's also another issue, namely the claim that
>silver prints are "handmade", each being unique (and somehow more
>special), as opposed to machine-made, exactly-alike digital prints. 
>This gets into the whole argument about craftsmanship -- not just 
>in the template print but for each print -- being added value.) 

This is one of those things that will be debated forever, because all
opinions on this have some validity.  One could argue, for example,
that carbon ink prints aren't "photographs" since they weren't
produced using light, but should fall into the same category as
posters, books, calendars and greeting cards - printed with ink and
mechanical devices.

Steve K. and I have had many discussions on this subject.  I'm of the
opinion that their ultimate acceptance depends on us - how we treat
them ourselves.  If we show carbon ink prints along with silver and
put a higher price on the silver then we are helping to cement the
impression that carbon ink is inferior.    

I think that we are in an important interim period in the technology,
where the technical quality has arrived and more people are coming on
board and showing work, and therefore are attracting more attention. 
But at the same time the current problems with color shifting and
fading means that more work with problems is being seen, which has to
be creating impressions that will be long lasting and difficult to
change.

That's one reason why I have chosen to print black-only (BO) for the
time being - the color shifting and fading is pretty much a non-issue
(assuming good ink and paper).  As I write this I am looking at two
prints of a lovely still life made about 6 months ago from a scanned
Tri-X negative.  One is BO and the other is the full ink set (FI),
both from MIS inks on a 6-ink epson 870.  Both have been hanging
unprotected in about 18 hours per day of flourescent light for 6
months.

In technical quality they are indistinguishable without a loupe (I'm
getting excellent results with a 6-ink printer and I'm wondering if BO
got its bad rap in the days of 4-ink printers with larger
droplets...).  But as for color, the FI print, while originally
gorgeous, has faded somewhat and warm-shifted to an ugly "hershey bar
chocolate" color, while the BO print has retained its more neutral
color.  In fact, the BO print had a piece of cardboard taped over half
of it the entire time.  I removed it a few days ago to see if I could
see a difference and I cannot tell which side was covered.  Steve K.
has also seen this print and cannot tell.

I have no hesitation to send these BO carbon ink prints out into the
world with the same cautions for care that I applied to my silver
prints.  I am confident that carbon ink prints will find acceptance,
but there will always be those who will stick with silver and hold
themselves above the rabble, just as many Platinum printers consider
that a higher art.  I think this is good.    

There is something very romantic about the enlarger, the safelight and
the smell of hypo, and romance is part of what art is all about.  I
have many fond memories of late night hours in the darkroom and I sort
of miss it, but I'm getting older, have difficulty spending hours
standing and am more sensitive to the fumes, so I'm not sorry to leave
that behind (anybody want to buy my Zone VI cold light head and
Stabilizer?).  And it is exciting to be exploring new territory.  It
has a romance all its own.

Best Regards,
Clayton

p.s. - If anyone would like to see one of my BO prints I will be happy
to send a small print if you will send me an SASE.  Please contact me
by private email.

cj@...