Bruce, > > I'm sure that there are people who will be pleased to have this paper > available. I wish them success and happiness. Thanks, I am looking forward to it. > > <rant> > Inkjet is a new media, with it's own look and feel. Inkjet is clearly > *not* wanna-be silver gelatin. The inkjet look and feel is superior to > anything the darkroom has to offer, including the oft touted "air dried > F-surface fiber print." ... > > The desire to replicate the best of the darkroom prints is to me > specious at best. If what one really wants is a darkroom print, the > darkroom is still the best place to make it. This oft touted remark is IMHO the specious one. Prior to using the K3 inks on glossy/luster surfaces I would have agreed with you. I have been impressed with the "punch" that the K3 inks provide (I assume this is the terrific dMax). My impression is that if the PhotoRag is as good as is said, that it will indeed allow a *better* inkjet print of the same style as a silver gelatin print ... that is the inkjet print will best the traditional darkroom print ***at it's own game***. Granted not every photograph is best printed with the F-surface ... witness the beauty of platinum/paladium prints. And indeed the carbon inkjet prints do a great job in this style (e.g. MIS/Eboni BO and UT/EZ or Jon Cone's) That said, for certain prints DMax is very important, and traditional darkroom workers such as Adams had developed technical expertise in maximizing black. Workers such as Michael Smith working with Azo/Amidol have continued the technical standards achievable by silver-gelatin. One cannot summarize the tonality of such prints with the term "dMax" but high dMax is present in the darkest of areas in all such prints. Let's not kid ourselves ... an inkjet print with a DMax in the 2.5- 2.6 range is a great technical achievement in digital photography (assuming the lifespan of the print is reasonable). In my mind, this is the straw that breaks the darkroom's back. Jonathan
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Re: Crane Museo Silver Rag/beta testing
2006-01-03 by Jonathan Borden
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