Digital BW, The Print

Clark Thomas, one of the members of this group, brought over 
an original silver print the other day. It's an Edward Weston, 
printed by him as well. I'd think it's an 8x10 contact print, signed 
"EW 1941". I found it useful as a kind of "reality check". I've just 
been so immersed in this whole inkjet thing, that it was useful 
(and pleasurable) to just sit and ponder this print. It's an image 
of some kind of folk art piece; hundreds of glass bottles hanging 
on a wood creation. Looks like it was shot about about 
f/one-million, because it's tack sharp from about twenty feet 
almost to infinity. Beautiful subtle shadow detail, even though it 
was shot in bright sunlight in late afternoon.

Note: Please nobody slam me. I am in no way "comparing" silver 
printing to inkjet. They are each their own animals, with their 
own great traits. All I'm saying is that I think I'm gonna start 
keeping some silver prints very close to the area where I judge 
my inkjet prints after they pop out of the printer. It could be useful 
to have some "control" print to get an objective reference.

-http://marktucker.com

--- In DigitalBlackandWhiteThePrint@y..., "Mark Tucker" <mark@m...> 
wrote:
(snip)

> Beautiful subtle shadow detail, even though it 
> was shot in bright sunlight in late afternoon.

Pyro developer on and 8x10 neg is pretty hard to beat.
> 
> Note: Please nobody slam me. I am in no way "comparing" silver 
> printing to inkjet. They are each their own animals, with their 
> own great traits. All I'm saying is that I think I'm gonna start 
> keeping some silver prints very close to the area where I judge 
> my inkjet prints after they pop out of the printer. It could be 
useful 
> to have some "control" print to get an objective reference.

My inkjet viewing and mulling location is right under a wall of 
silver prints. (Just Wesley's and no Weston's though. ;-)

I find this a good aid in checking the quality of tonal transitions.

Martin