Digital BW, The Print

Silver is at the end of its line and the new sequence of digital
capture and inkjet is just at the beginning of its development. I also
think a huge percentage, though certainly not all, of the complaints
about inkjet monochrome are from substandard scans. And with more use
of average quality digital 35mm slrs that is only going to increase.

Now you can have an interesting merger of silver with Photoshop by
having very high quality large format negs output directly from
digital files and then contact printing them. Does anyone know of a
really good photographer who is doing this regularly? It certainly
isn't cheap but once you have that well made negative it could be a
lot easier for localized tonal control than working with your hands
within a one minute or less enlarger exposure and you only have to
have the negative made once. Subsequent prints could be a breeze.

I am going to be looking into these high-end enlarged negs this fall
for use with platinum. I think it is an under rated area of inquiry.
The digital+platinum or digital+silver methodology has a rich
potential worth pursuing.There is just not enough time in this world
to do it all.I'm surprise we don't have someone on this list who is
only doing that.

John 




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Steven
Karafyllakis" <steve@s...> wrote:
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Aparycki" 
> <tawow@s...> wrote:
> > 
> >     Having said all that, the most important observation made, and 
> I support
> > 100 per cent, is the fact that a gelatin print and an ink print 
> are two
> > different animals, not radically different like a dog and a cat, 
> more like
> > two dogs . . . a labrador and a shepard . . . close, but no 
> match . . .
> > never will be.
> > 
> > Paul Aparycki
> 
> Never say never-in fact, I'll bet you $100.00 that within five years 
> the difference in the best of both will be indistinguishable, and 
> that John Sexton will change his mind.
> 
> Steve Karafyllakis