Digital BW, The Print

>The story of how he coated the paper >and recoated the prints and
>with perfect registration re-exposed in >order to increase density
>amazed me.

The NY Times reporter gushed over that too but there's nothing unusual or 
particularly difficult about  rexposing in registration with one or more 
previous exposures. The techniques are well known and relatively easy. Not 
to take anything away from the quality of Penn's prints which I'm sure are 
outstanding but gum printers commonly expose, process, and re-expose many 
more times than Penn did.

----- Original Message ----- 
From: "Andrew Unger" <ungram@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Sunday, June 26, 2005 2:16 PM
Subject: [Digital BW] Matte Black and Platinum


I just saw the Irving Penn show of Platinum Prints at the National
Gallery here in Washington, DC and am struck by the similarities
between Platinum and Matte Black digital looks.  Both are warm toned
and have a long tonal range without intensely dramatic blacks.

The Penn prints were of some of his most interesting images during
the course of his career.  In the '70s he decided to print these
himself.

The story of how he coated the paper and recoated the prints and
with perfect registration re-exposed in order to increase density
amazed me.

The show is outstanding.  There are interesting reviews of it in The
Washington Post and New York Times.  After seeing this show I think
that as far as working with Matte Black the "Holy Grail" should be
Platinum prints, not Silver Gelatin on air dried fiber.  I'd bet
that the Penn prints could be reproduced very closely with Matte
Black ink on high quality paper.

Andrew




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