Ken:
Thanks for the analysis. The two factors which m.atter most to me are anclival
quality and the tactile qualities of a wet print. In addition, no one has
mentioned platinum, palladium and other non-silver processes.
Earl
AG Schnozz wrote:
> Joel asked:
> > Is the proper way to digitize BW to scan the film? or is it
> > better to
> > make wet prints of the negative that realize a "performance"
> > of sorts
> > (Adam's lingo) and then scan that on a good flatbed?
>
> I personally like the scanned chemical print. An added
> advantage is that you don't actually need to get the print
> "exact". In fact, a little bit of flatness is good, because the
> scanning tends to expand the range somewhat. Saint AA even
> wrote about that in "The Print".
>
> Chemical B&W prints actually can cost quite a bit less than
> inkjet output. Especially if you are like me and tend to
> generate large expanses of Zones 0-III. Can you say "bronzing?"
>
> Joel, since I am right down the road from you, I'd be happy to
> print some of those rolls for you. <smile>
>
> I've chatted with a couple "fine-art" B&W photographers that use
> digital for the entire process and output with various
> multiblack inking systems. It is very tempting, but the reality
> is, they spend more time per print than they ever did in the
> darkroom. Cost savings? None. No matter how "profiled" the
> system is, each picture has it's own nuances that require
> eyeball adjustment after the inks dry.
>
> A B&W darkroom really doesn't cost very much to either setup or
> operate. Paper is frequently less expensive than inkjet paper
> and chemicals are pretty cheap. Time spent per print is usually
> less than in digital (expecially when batch printing). You can
> make some pretty huge prints, depending on your equipment. It
> doesn't take up much space and the investment doesn't become
> outdated in six months.
>
> AG-Schnozz
>
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