Digital BW, The Print

Thank you, John, for reconsidering the gloss differential on Silver rag. I was beginning to think we were printing on entirely different papers. I made sixteen tests using a 21-step step wedge and no matter what adjustments I made, the darker patches always glared a much brighter white than the surrounding white paper when held at an off angle.

 

 In some photographs the gloss differential is only slightly distracting. Within a photograph without large dark areas next to large light areas the effect might even go unnoticed. But at the border, where a dark part of the image meets the unprinted paper, it becomes obvious that the image is much glossier than the paper. I could accept this. But when there is great contrast within the image itself you have a real problem. It is very distracting to see shadows momentarily flickering brighter than the highlights.

 

I have found that under glass this effect is reduced though not eliminated. The glare on the glass masks the gloss differential.

 

Incidentally, I agree with Harry Saddler when he says, "Another problem (for me) is that the surface is very sparkly when viewed in direct light (e.g. a gallery spot) at certain angles." I have nothing against sparkle but it does tend to obscure shadow detail.

 

Speaking for myself alone, my quest for a paper with the characteristics of "glossy silver gelatin, air dried," is not based on sentimental attachment or the desire to fool people, but on the desire to produce photographs that do not have the distracting elements of dottiness, low Dmax, gloss differential, fading, color shift and so on. Air dried glossy never had any of these problems. Someday someone will produce an inkjet paper and ink combination that will satisfy me - if I live long enough.

 

Olaf Ringdahl


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