Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@y..., SKID Photography <skid@b...> wrote:
snip
> Have you considered the work of Paul Caponigro (not his son, John Paul Caponigro).  He is unquestionably
> recognized as one of the modern masters...

Oh man! Don't get me started. Harvey, I'm right with you there. I'm not a collector, but one of my prized possesions is a  
Caponigro, one of the Stonehenge images. It has no white, no black, I've never been able to make a print as luminous. It 
definitely doesn't yell at you, sometimes you see it and, other times not. One day it'll practically bring me to my knees, the 
next day I'll wonder what was wrong with me. There is no way to take art like that for granted, it's always new.
Adams was an imense figure in the developement of the craft. He showed how far it could be taken, was extremely 
generous with his knowledge, and made some glorious art. But once that was absorbed by many artists, including those in 
the west coast school, they took that knowledge and explored all the possibilities of tonal expression, but maintaining the 
high level of craft Adams set for everyone. This is not new, many of these people were working back in the 50's, and many 
are/were landscape photographers. Printmaking has come a long way since Adams, at least for me.
I'm not going to enter the arguement with Jerry, I learned a long time ago...
Your post got me going though. Bringing monochromatic images alive on paper remains fascinationg to me, following the 
rules I have in my head can totally screw me up. Why is one gray image dead, and another glowing?
Doing it with ink is a new challenge, definitely.
Tyler