Digital BW, The Print

Ok, I'll say it here first MIS and Pul should be called "geniuses"...

I ran two prints last night.. The first onto EAM, the second onto 
Hahnemuhle Torchon...

The prints were B&W Infrareds of a wedding scene outside a church 
between an African_amreican father and daughter (he in black tails, she 
in white dress), ad in the dark and brooding sky and you have a 
printer's nightmare - if printing with an enlarger onto silver paper..

I ran the print on EAM first, wiuth the Warm curve... It looks nearly 
sepia... Even warmer than an old Brovira Silver print.. It has a touch 
of olive very reminiscent of the way Oriental Seagull could print..

On to the Hahnemuhle print... Done with the medium warm curve..  This 
combination I simply love..  If I saw it sitting in a darkroom I would 
think it WAS an new rint on Agfa Brovira.. But, picking it up... well it 
feels like my old traditional Luminos papers (no surprise since 
Hahnemuhle makes paper for Luminos),,,

On both prints the tonal scale is fantastic...

Photoshop of course lets me easily compress tonalities for printing 
properly... Much easier than varying development or contrast grade ever 
was..

There seems to be a tiny bit of posterization inthe print on Torchon (in 
near black areas that merge rapidly into midtones) , hopefully dry down 
will cure that.  If not, it should be curable with a bit more 
profiluing.. In any case, there are true blacks on both prints and good 
detail held in the highlights.. Wish I had these tools when I was 
learning to print..

BUT.. For the very first prints I have made with these inks, I am truly 
impressed..  For me, the warm curve is quite warm enough thank-you..  No 
need to go all sepia.. ;-)

Now  to get some rest and print a cold  curve print later..

Paul and Bart, thanks for all the help!!!

Keith





[Keith]
 
 

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