On 7/1/2012 9:04 PM, Wayne Harridge wrote:
> An interesting technique but are the advantages significant ?
>
> My concern about this is that every additional step you introduce in the
> process is a source of degradation in the final image (print),
Even I can answer these.
> e.g. can you create a negative that has the full tonal range of the original
> digital image file ?
No, but it matters not a whit. The paper can't, either. I may even recall that
that may be one of the touted advantages,
giving two steps in which to adapt the larger DR and sometimes/often less than
ideal tonal distribution of the original
to its best representation on photographic paper.
> How large does the negative have to be to retain the resolution of the
> digital image file ?
It's a contact print, negative the same size as the final print. Again,
original resolution may be lost, but no more
than in making a regular digital print of the same size on paper.
It sounds to me rather like a lot of sound and fury, signifying nothing. But
the special advantages for B&W prints are
more subtle than the issues you raise.
Absent further evidence of my own eyes, I think most problems with digital B&W
prints are poor technique, both in
preparation and printing. For many artists, neither resolution nor perfect
retention of all highlight and shadow detail
are of interest.
As Kens says, many straight color to B&W conversions aren't ideal B&W. A couple
of version ago, PS added a more
sophisticated and powerful conversion tool, eliminating the need complex
methods used before that. However, as Ken Adams
says, sometimes the zones need adjustment.
OTH, I've seen some fabulous B&W inkjet prints, not least of which are BobW's.
How they would look side by side with the
same image printed on silver paper, or which I might like best, I just don't
know. Maybe I never will.
But then, I've not often swooned when faced with master prints using platinum
and/or palladium in the presence of
excellent silver prints, so I am likely a philistine.
Monochrome Philistine Moose
--
What if the Hokey Pokey *IS* what it's all about?
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