Digital BW, The Print

Mark

I don't have an axe to grind here although there seems
to be many who do.

Perhaps it is my profiles in QTR that are to blame. I
don't know but I do know that I carefully followed all
the advice in the QTR procedures as to how to make the
best profiles. I use the XRite 810 and do my best to
be fair.)

I have simply tried to bring to the table my personal
experiences to date regarding the results. I don't
think that people go into galleries to view an Ansel
Adams print hoping the gallery owner will take it down
from the wall so they can look for dots, or whatever
factor they consider problematic. I believe that we go
into galleries and look at the prints and come away
with a feeling of awe, wonder or what is this all
about based on our feeling for what the print has
brought to our attention.

I want to learn all there is to know about making fine
art prints. As I stated in my letter to Clayton, most
of you are far more experienced and knowledgable about
these processes than I.

I do however stick to my observations about what I see
and what I am pleased to see. So I also stick to my
observations as stated earlier.

As to my family and their observations, they wouldn't
know a BO print from a whatever. They simply looked
and told me what they preferred. I think this is
important only in that most "buyers" behave the same
way. They like what they see, and they buy what they
like..........independent of all of our ministrations
as to how the prints are made or what should be more
perfect than others.

Like Clayton, I simply profess what I like. I don't
care to get into a debate as to "who is right" because
I think this is mute.

Whatever you love, go for it. The most important thing
about this forum is that all points of view get aired.
The ultimate objective is for everyone, with all their
differences, get to make the kind of prints they enjoy
and can sell.

With that as the objective let's keep the
conversations going.

Your friend
Woody

First, I am not knocking the QTR approach, far from it
indeed. I think it is a great RIP and I commend Roy
and all who followed for making such a tremendous tool
available to us all for the miserly sum of $50 (which
a number of people seem destined to try to avoid!)

--- Mark Rabiner <mark@...> wrote:


---------------------------------
On 8/7/05 6:06 PM, "woodyspedden"
<elwood@...> typed:

> Everyone
> 
> I recently sent a private email to Clayton Jones
regarding BO
> printing in which I was highly complimentary of his
work.
> 
> He suggested that I should send this to the entire
forum so that BO
> Printing can be placed in context with other viable
methods. So here
> goes:
> 
> Clayton
> 
> A while back I purchased three of your BO prints and
> absolutely loved them. (At the time I wasn't
embroiled
> in the Black and White Print Forum.)
> 
> Once I got involved in the forum I became
"concerned"
> as people with far more experience and knowledge
than
> I ranted on about "the dots" and how continuously
> toned prints were so much better.
> 
> I already had a copy of imageprint, but I purchased
a
> copy of QTR from Roy and have spent a large amount
of
> my free time for the past month or so developing
> profiles for my most common papers (which quite
> frankly is a good mirror of your "great paper
chase."
> 
> Today I printed a detailed image on all of those
> papers using my QTR profiles and also with BO. I
then
> enlisted my wife and daughters support
(independently
> of each other) to evaluate the prints with no
> knowledge of how they had been created. Both very
> quickly picked the BO prints over the toned prints
and
> by a wide margin.
> 
> The ultimate winners for this image were Premier Art
> Hot Press High WHite Matte, and the Red River
Dourian
> Art!
> 
> Certainly not that you needed the validation but I
for
> one just wanted to thank you for the work you have
> done; communicating the basis for that work; and for
> me providing me with a solid foundation for the
> creation of my images.
> 
> By the way, both my wife and daughter raved most
about
> the transparency of the images (read the luminousity
> of having the white show through.) To them, and to
me,
> the continuous toned prints, by comparison, appeared
a
> little "muddy."
> 
> Thanks ever so much
> 
> Woody Spedden
> 
> I offer this as strictly my opinions.
> 
> Thanks for reading
> Woody Spedden
> 
> 
That\ufffds great Woody!! But we know you did a great job
on your all black
prints but we don\ufffdt know what kind of job you did on
your all color prints
other than I guess you said they were muddy!!
I do know that all black printing gives one a quicker
and easier result.
As far as doing into the objectivity of ones spousal
support system we don\ufffdt
dare go there 1 :)

To me when you have a machine which has 8 or whatever
printing heads and you
use only 1 of them right off you\ufffdre not doing what the
machine \ufffdwants to
do\ufffd.  As Feynman might approach it He would want all 8
of a shuttles rockets
to go off even though one of them he might have real
close feelings about..

Too summon up a skued metaphor if one compares a muddy
platinum print
against a clean looking Gum Bichromate with Crayola
hand accents it\ufffds the
Gum Crayola which is going to win out.  Because the
Gum Crayola was done
right.  It was clean.  A muddy print is a muddy print.
Who likes mud? Even
if I\ufffdts platinum mud!
I'll take Clean Crayola over Platinum Mud anyday!
:)



Mark Rabiner
Photography
Portland Oregon
http://rabinergroup.com/





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