Digital BW, The Print

I think that is a good point. If a perfectly created platinum contact
print of that image by Frederick Evans had been there you could have
said it looked "weak" - and that would be wrong. You know is is hard
enough to judge two or three well done prints together, much less a
room full. But it was interesting. For me some of the ones that had
both delicate smooth light variations across the surface along with a
sharp textural component, AND a substantial dmax were the most
desirable, but that is just my taste this month.

Related to this, upon first look the 2400 K3 prints looked sharp,
strong, and clean, but after longer looking had something missing in
the midtone and ultra highlight seperation. But it is subtle. 

John




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Eric Neilsen
Photo " <e.neilsen2@...> wrote:
>
> David, And these are today's ( as of Saturday) Dmax. Will all of the
black
> have an equal fade? (shhhhh _ just a wee bit) . Perhaps, life in
Taos, NM
> and the southwest altered my view on this subject matter, but I saw
many of
> these prints as OVER the top in contrast. It is sand after all with
a soft
> light spilling all over the front of it. Heavy Color tint? Weak?
These would
> not be the words that I'd use to describe the differences; Appropriately
> colored and Open. 
> 
>  
> 
> I suppose one might also get a much different take looking at the in a
> daylight situation with mixed lighting which is a more normal viewing
> condition than only tungsten light. 
> 
>  
> 
> Eric
> 
>  
> 
>  
> 
> Eric Neilsen Photography
> 
> 4101 Commerce Street, Suite 9
> 
> Dallas, TX 75226
> 
> 214-827-8301
> 
> http://ericneilsenphotography.com
> 
>  
> 
> Skype : ejprinter
> 
>   _____  
> 
> From: DigitalBlackandWhiteThePrint@yahoogroups.com
> [mailto:DigitalBlackandWhiteThePrint@yahoogroups.com] On Behalf Of
> CDTobie@...
> Sent: Tuesday, November 07, 2006 11:45 AM
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Subject: Re: [Digital BW] B&W Print Off comments
> 
>  
> 
> 
> In a message dated 11/7/06 11:25:38 AM, e.neilsen2@worldnet
> <mailto:e.neilsen2%40worldnet.att.net> .att.net writes:
> 
> > 
> > I am sure that we can all make gray scale ramps from our settings
if that
> > truly would mean something. However, as a silver printer for many
years, I
> > know that there are many ways to skin a cat, and file prep for
printing
> will
> > vary as does negative creation and printing still do in the land of
> silver.
> > 
> 
> The way I see it is this: everyone was shocked by the level of
variation of 
> the different systems on a standard file, in the "A" prints. The
adjusted
> "B" 
> prints were typically less dissimilar, as people had used image
adjustments
> to 
> attempt to correct for system nonlinearity. This wasn't necessarily a
> concious 
> thing, but as you use a system, and learn how to get the best out of
it, you
> 
> are working towards an optimal print. Eric's Piezo Sepia prints were
nicely 
> optimized... but for a system with a significantly lower d-max and a
heavy
> color 
> tint, so that put them in a different range. They look great by
themselves, 
> but weak on a wall of prints with deeper blacks. Its like natural paper
> looking 
> white alone, but beige next to a whitened sheet.
> 
> So yes, I'd love to measure and plot a standard stepped grayramp
from each
> of 
> these systems, it might not interest everyone, but it would very much 
> interest me. If others are interested, I'll volunteeer as
measurement geek,
> and 
> graphing geek, and will post the results. Let me know if there is
interest
> in this, 
> and I'll post shipping and mailing addresses, and sent out a
standard ramp 
> file that I can measure.
> 
> C. David Tobie
> Product Technology Manager
> ColorVision Business Unit
> Datacolor Inc.
> CDTobie@colorvision <mailto:CDTobie%40colorvision.com> .com
> www.colorvision.com
> 
> [Non-text portions of this message have been removed]
> 
>  
> 
> 
> 
> [Non-text portions of this message have been removed]
>