Digital BW, The Print

Wow, I remember that Spring stuff, now that you mention it.
I agree on all counts, it was just a revelation to compare side by
side. Additionally, I have an diificult image that's been used for
profile tests, a banana leaf with lots of saturated, but very light,
yellow, green, and orange. On PhotoRag it's beautiful. On Premium
Luster and other photo papers, with a clearly larger gamut, those
bright warm colors just die in the near whites, they just go gray.
Gotta be the OBAs/blue base, gotta be.

I don't need this stuff to match any prior materials, just need it to
be purdy.
Tyler


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, BKPhoto@... wrote:
>
> Tyler-
> 
> I feel your pain. I know you've consider this, but I just believe its a 
> mistake to literally compare any one media against another. Nothing new 
> about that opinion; but I do find it interesting that people relentless 
> compare inkjet to other media--especially silver gelatin--in a manner 
> that is almost entirely absence otherwise. No one expects a silver 
> gelatin to look like a platinum/palladium, for example; well, expect 
> for the photographers who got caught in that transition (they all 
> thought silver gelatin was cheap and "hard" looking).
> 
> Some of the OBA (supposedly) overuse reminds me of silver gelatin 
> printers who used the Spring Brightener (I think that was the name of 
> the product) back in the day. Talk about blue whites!
> 
> Bill Kennedy
> K2 Press
> Austin, Texas
> 
> 
> -----Original Message-----
> From: Tyler Boley <tyler@...>
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Sent: Mon, 4 Feb 2008 5:12 pm
> Subject: [Digital BW] paper bases- rant
> 
> 
> 
> 
> 
> 
> since I've been experimenting a lot with these new baryta and gloss
> 
> papers, both with UCK3s, and the new Selenium MPS set, a few things
> 
> have become very obvious.
> 
> We've been out of the darkroom for so long now we've become acclimated
> 
> to some new trends, not seeing the forest through the trees.
> 
> These new papers are all seriously blue, I've mentioned it before.
> 
> Many won't mind this, but to me it manifests itself in B&W prints that
> 
> are not harmonious throughout the scale, and color prints that lack
> 
> richness and subtlety in bright warm colors.
> 
> Just to get my bearings I dug up a lot of old prints last night, Azo,
> 
> Brilliant, Seagull, Portriga, Kodabromide, Gallery, and many were 
> matted.
> 
> Except for Gold Fiber Silk (and probably Silver Rag, but I have none)
> 
> they were far bluer than any of these old prints. Even GFS was
> 
> visually no warmer than Oriental Seagull, but it was brighter. There
> 
> was a serious disconnect between them and any matte board I have here,
> 
> even the Ilford was brighter though the hue ok.
> 
> Interestingly, the Gold Fiber Silk is described in all the on line
> 
> reviews by users as very warm. In fact it's neutral.
> 
> I don't think we should be trying to imitate those old materials, but
> 
> they have a look that we have responded to positively over many
> 
> decades, while at the same time many consider these new products a bit
> 
> unconvincing, seeming to lack "beauty", that illusive something extra.
> 
> I'm becoming more and more convinced this quality is part of the
> 
> problem. Also, since it is obviously connected to the questionable use
> 
> of a lot of OBAs, it would be nice to see this trend tamed
> 
> considerably. I've said in the past I have no big problem with OBAs,
> 
> but now it just ain't pretty...
> 
> OK, back to work.
> 
> Tyler
> 
> 
> 
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>     
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