Digital BW, The Print

Tyler Boley wrote:

>I think this also has a lot to do with image tonality. Certainly
>something like a still life on a black background or anything with
>areas of solid K are going to definitely appear different, no
>question. The prints we were comparing were clearly printed with a
>high emphasis on the middle tones sitting just right, and detail
>everywhere. This means only very small areas of full dmax. 
>I also was not attempting to re-introduce the tired matte vrs glossy
>issue, just describing an interesting experience with an unexpected
>outcome.
>I've heard from 3 or 4 big name (very) west coast silver printer
>photographers that they "hate" platinum prints, the density range is
>"inferior". Too bad, some of the most beautiful prints I've ever seen
>are platinum, some of the deadest flat prints I've seen are platinum.
>Some of the most beautiful prints I've seen are silver, some of the
>harshest ugly prints I've seen are silver. I don't get the dogma, I
>just don't get it. You'd think these people would know how to look at art.
>Also, I've said it before, I didn't say the Turner blacks appeared as
>dark as the gloss placks, I said the Turner prints were richer in
>impression, and the blacks "felt" as black.
>I realize some will have a lot of trouble with that kind of talk, all
>I can say is that these decisions are the individual artist's and
>these kinds of comparisions, with real prints not numbers, have to be
>done by those interested in nailing down a personal materials preference.
>Tyler
>
How about a music analogy? B&W on matte paper is sort of like a string 
quartet. It can have really smooth tones, is exquisitely detailed, and 
has sufficient range that you don't feel like you need any more with 
many scenes. Yet the range of expression is limited. There are only a 
few instruments, and you lack the brilliance of trumpets or the bottom 
end of string bass and tuba. But if you operate within the limits of the 
medium you can do amazing things. After all, there are many people who 
think the string quartet is the apex of music, and they have a 
creditable point.

The reason people want greater Dmax with their B&W prints is because 
they want more than the limited range of expression available from a 
string quartet. They accept optical brighteners because the want the 
brilliance of trumpets. They pursue gloss media for the greater Dmax 
because they want that solid bottom end of string bass and tuba.

Really, increasing Dmax is about the only thing we have left to pursue. 
B&W only communicates though variation in value. The highlight end is 
already pretty amazing. The only way we can meaningfully increase our 
visual vocabulary then is to increase Dmax.

If we could get a Dmax of, say, 2.2 on a smooth matte paper, we'd have 
all the range we could meaningfully use, and be left to actually use it. 
And that would be a hard day for many ;-)
--
Bruce Watson