Digital BW, The Print

Woody, Lexjet called me last week promoting this new media they are
selling.They are just dying to get it out there. They told me it was
created by two guys who were the Hahnemuhle distributors in the US. I
said, oh, the Innova people, and he said, yea,how did you know. It's
Innova Smooth Cotton and the new Innova Fiba gloss I'm sure. 

What is interesting to me is how Hahnemuhle has come down on their
prices ( not Crane or Epson though) since Innova made this big splash.
Hahnemuhle is selling their papers, except for the newest ones, at
Innova prices now. Good deal. It's about time.

John


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, <elwood@...> wrote:
>
> Hey all
> 
> Wondering if anyone has had the opportunity to use the new Lexjet
Ultrasmooth Cotton or the new Ultrasmooth Gloss papers? I just
recently received some 8X10 samples which i have found empirically to
be of great value! I have no idea of longevity et al but I really like
the prints I have made so far. The gloss is very like what I have been
hearing about the Crane Silver Rag and the Ultrasmooth should I think
be competing with HPR 308. I would love to see what others whose
opinions I respect have to say about their own opinions of these
papers. I sense that Lexjet have hired some of both Hahnemuhle and
Innova engineers and are making a run at this market.
> 
> Look forward to hearing from you
> 
> Woody Spedden
> 
> ----- Original Message ----
> From: Michael Vendrell <mjvendrell2@...>
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Sent: Sunday, March 26, 2006 6:49:48 AM
> Subject: [Digital BW] Re: Great Photographic Artists [was  Scanning
35mm vs digital camera)
> 
>    
>  Peter et al, Your list is so close to mine as to send
>  chills down my spine.  If I had to narrow it down to
>  two heroes it would be Andre Kertesz and Edward Weston
>  - in no particular order.  Both used tools appropriate
>  to their vision and sometimes  experimented.  One of
>  Kertesz's last projects was with a Polaroid SX70. 
>  Weston used a handheld Graflex SLR 4x5 for more
>  spontaneous portraiture.
>  
>  Not to compare myself but only to "take a lesson" from
>  the greats, I too have worked in 8x10 view, Medium
>  Format, 35mm, and digital. Artists frequently work in
>  "periods" such as Picasso's famous "blue" one.  I seem
>  to get out of a "different side of the bed" about
>  every decade. I started as a street shooter in 1969; 
>  next worked mostly MF interiors, still-lifes, and
>  portraits; then 8x10 interiors, still-lifes,
>  portraits, and outdoor night work; now have come
>  almost full circle, and am doing street and cafe
>  shooting once again.  I've had occasion to think about
>  all this as I sift through more than 30 years of
>  negatives for scanning, Photo-shop work-up, and
>  digital printing. And yes, almost all B&W to stay OT.
>  
>  For nostalgia I like working with former Soviet Leica
>  and Contax copies.  But I must say that for actually
>  acquiring images - digital is much better in virtually
>  all technical aspects for candid street and cafe work.
>   I just need to balance whether my nostalgic feelings
>  (e.g imagining I'm Kertesz or Bresson) , or working
>  with the tool they would have chosen if available to
>  them at the time is more important.  I don't think
>  there is much question that the Greats of
>  photographing that-which=is-in-motion would have
>  chosen digital if it had been available to them.  The
>  biggest problem for me is what is frequently touted as
>  digital's biggest advantage - immediate feedback. I
>  agree with Nick Brandt that the processes of
>  expectation (both realized and confounded), and chance
>  have always been important for me.   Digital sometimes
>  short-circuits this process too quickly.  It's 
>  relatively easy for most of us to obtain (again) what
>  we or others have already obtained - at least in terms
>  of the technical, subject matte,r and overall visual
>  intent .  What's hard is to develop ones vision in a
>  new way. To learn to see anew. Chance and percolation
>  time have been essential in this process for me- and I
>  would imagine for many.
>  
>  If the question is: "Is digital state-of-the-art up to
>  the task technically for hand-held work relative to
>  35mm film"  - I believe most would agree there is no
>  question about that in 2006. "Can digital  sometime in
>  the near-future rival a contact print from an 8x10
>  film negative (Weston's and my benchmark) and how near
>  is it and how much will it cost" is a more open
>  question and much more interesting for me.   As to how
>  one best finds the tools and methods that work best
>  for them in the evolution of their vision - that is
>  something only personal experience (including
>  listening and looking at the work of others) can
>  answer.
>  
>  As an aside, while browsing Clayton's site I followed
>  a link to the work of Nikolas Hartman.  His vision is
>  incredible.  Check-out his site out if you haven't. 
>  If you love Kertesz - I think you'll like his work. 
>  He happens to work with 35mm RF's and BO printing. But
>  that is, of course, just what works for him.
>  
>  Michael Vendrell  
>  --- Peter Marshall <petermarshall@...> wrote:
>  
>  > I've used 8x10 and I have to say it was never a
>  > match for 35mm for most 
>  > of the things I wanted to do as a photographer. It
>  > depends what you 
>  > want. There isn't a single path. My vote for the
>  > greatest photographer 
>  > of the 20th century would quite probably go either
>  > to Andre Kertesz or 
>  > Robert Frank or Walker Evans depending which side of
>  > the bed I got out 
>  > of this morning. Never of course to Ansel, although
>  > occasionally to 
>  > Edward W. and more often to Bill Brandt.
>  > 
>  > Regards,
>  > 
>  > Peter Marshall
>  > petermarshall@...     
>  >
>  _________________________________________________________________
>  > My London Diary                   
>  > http://mylondondiary.co.uk/
>  > London's Industrial Heritage:
>  > http://petermarshallphotos.co.uk/
>  > The Buildings of London etc: 
>  > http://londonphotographs.co.uk/
>  > and elsewhere......
>  > 
>  > 
>  > 
>  > cloudswimmer7774 wrote:
>  > > Man I hear this all the time.Mostly at DPreview
>  > dot comm.Is digital
>  > > capture really now a match for 8x10 BW film in
>  > fine art?I live on the
>  > > Calif. coast and frequent quite a few galleries.I
>  > have yet to see a
>  > > digital captured BW image that drops my jaw like
>  > Brett's stuff shot
>  > > with his old Calumet C-1, or Ansels large 8x10
>  > stuff.I'm not totally
>  > > convinced these guys would be capturing with
>  > digital.
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >   
>  > >> It's worth something. Not a single one of the
>  > photographers you
>  > >> mentioned, if they were in the prime of their
>  > career would NOT be
>  > >> shooting digital capture, especially Ansel Adams.
>  > He told us himself 
>  > >> decades ago before he died that he wished it was
>  > available to him
>  > >> then. It wasn't. 
>  > >>     
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