Digital BW, The Print

"S. Colson" wrote:

>
> <big Snip>Lenswork accepts submissions of Piezographic B&W prints, however they
> prefer scanning gelatin silver prints. If piezo prints are accepted they
> would probably prefer working from the digital files. This is what they
> are used to. Some things take time to work out.

I actually think that Lenswork doesn't like scanning from inkjet prints because, historically, there seems to
have been a problem with scanner technology and inkjet output.

When we set up our ads in 2 different sourcebooks this year (Klik and Alternative Pick) both production
departments said that they would not accept inkjet print art work.  They also both said that the problem with
using inkjet artwork was with the way the scanners reacted to the ink patterns; it tended to 'clump' them, and
give the impression of grainy output.

Interestingly, at Klik, we gave them both the high res RGB scan (of a b&w Polaroid type 665 negative), and our
Epson 2000P (color OEM pigment inks) output (on Epson Archival Matte paper).  The original RGB scan was
converted to grayscale (to remove any color) and then back to RGB, spotted, and a small amount of 'levels'
adjustments in PS.  We sharpened the scan for output to the Epson 2000P via unsharp mask.

This week we got 2 proofs (4 color halftone) from Klik.  One was from the scan (as described above, but
'ripped' to CMYK on their machines, and sharpened by them) and the other was from their scan of our Epson
print (Scanned at 100%).  Surprisingly, everyone agreed that the scan of the Epson output was, by far, the
better of the two.  It was not perfect, but given the smaller gamut of 4 color halftone reproduction, it was
good.

I would think that scanning the output from current inkjet printers would be superior way to 'evoke' the
prints than from printing from the original scan.  The prints we are all doing are 'objects, if you will, and
are *more* than just a scan.  We all pick specific inks and papers to get a print to have the look and feel
that best expresses our visions.  By going directly to 4 color magazine production from the scans, the
magazine is bypassing all of our specific artistic decisions that we make for our final outputs.  What I am
tying to say is that by scanning from our final inkjet output, the magazine would get closer to showing a
'facsimile' of our work than form going directly from a scan.

Harvey Ferdschneider
partner, SKID Photography, NYC


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