Digital BW, The Print

Steadman,

You are absolutely right about the name. When I set this up the 
program would not let me use any spaces, commas or & signs. I am new 
to this, but I will correct is as soon as I figure out how!

Thanks,

Martin

P.S.
What about that great paper to replace EAM you were goint to tell me 
about?


--- In DigitalBlackandWhiteThePrint@y..., "Steadman Uhlich" 
<steadmanuhlich@k...> wrote:
> George, 
> Interesting comments from you.  
> 
> I bought a six of Killian's Red tonight and will share one with you 
anytime.  
> 
> O.K. Here is a rather simple observation for our moderator...
> 
> The name of the list "DigitalBlackandWhiteThe Print" takes up much 
too much space in the subject line on my email list.  There is only 
room for a word or two of what the real subject is on the email.  I 
suggest you truncate the list title or pick a shorter acronym or 
name.  
> 
> Good light to all, 
> Steadman
>   ----- Original Message ----- 
>   From: George DeWolfe 
>   To: DigitalBlackandWhiteThePrint@y... 
>   Sent: Saturday, July 28, 2001 10:00 PM
>   Subject: [DigitalBlackandWhiteThePrint] Re: Initial Thoughts
> 
> 
>   Hi All
> 
>   There are some real issues to be tackled. One is the reluctance 
>   of Adobe to support 16 bit fully in Photoshop. This filters down 
>   into the plug-ins, like Silverfast, where all you can scan in is 
16 
>   bit RAW. I did find a way to overcome this slightly - by changing 
>   the default gamma from 2.00 to the maximum of 3.00 - and you 
>   get a better looking image, but the companies just shuffle their 
>   feet. Let's do some real workflows around this problem.
> 
>   Scanning protocols are also problematical. Silverfast is the only 
>   third pary scanning software that allows you to make your own 
>   LUT's. I've fooled around and come up with N+1, N-1 and N+2 
>   LUT's, and they work well - in 8 bit, of course. Both Mike Kravit 
>   and I scan in 16, drop down into 8 bit Silverfast HDR and 
>   optimize the image before it even gets into Photoshop. What do 
>   you guys do at the scanning stage? What works consistenly?
> 
>   Does anyone have a solid technique for combining shadow and 
>   highlight exposures into one seamless image without resorting 
>   to hair-pulling in and after the Apply Command? Seeing as we 
>   are trying to get out of the darkroom into the lightroom, we need 
>   to explore "closed loop" solutions like Polaroid films, where we 
>   don't have much development control, but it doesn't go to the lab 
>   and get scrunched either. And if we don't have development 
>   control, what can we do with split exposures that takes care of 
>   the contrast problem well with little fuss and bother? What, for 
>   instance, defines a good highlight exposure and a good shadow 
>   exposure for this kind of process?
> 
>   Can we arrive at a general workflow through Photoshop that a 
>   beginner could take and make a good print? This would be sort 
>   of like the Develop/Stop/Fix/Wash routine of the old darkroom.
> 
>   How do we teach beginners about Black and White tonal 
>   values? I find in teaching workshops that the hardest part of 
this 
>   is for people to actually see that something is wrong and needs 
>   to be corrected tonally. But this is what probably separates 
great 
>   printers from simply mediocre ones.
> 
>   As far as I can see, having tried all the Quadtone types 
available 
>   to date(and in spades, I might add),  Piezography is hard to 
beat, 
>   and for several reasons: 1) It has a 2100dpi RIP, 2) It has 
>   proprietary profiles for the inks and papers 3) It was designed 
by 
>   a photographer and a printmaker, not a businessman, 4) If you 
>   have a 7000, it prints in 16 bit, and 5) uses grayscale files.  
The 
>   others suffer from the fact that they are CMYK or RGB files, do 
not 
>   have profiles, and cannot get over the hump of the 720 Epson 
>   driver - in reality, they sell inks, not a total process.
> 
>   I also applaud Steadman's desire to talk about other important 
>   issues surrounding Black and White printmaking - Picasso once 
>   said that whenever artists get together all they want to talk 
about 
>   is where to buy good turpentine, and I suppose we're no 
>   different.
> 
>   I, too, would like to have this be a serious discussion and not 
the 
>   typical "my brother stepped on a frog" list that the others tend 
to 
>   be.
> 
>   We are the pioneers.
> 
>   Somebody open a six-pack.
> 
>   George
> 
> 
> 
> 
> 
> 
> 
> 
> 
>   -
> 
> 
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