Digital BW, The Print

In a message dated 11/12/06 9:50:00 PM, picnic@... writes:


> DAvid, could you elaborate on this??  What paper in particular--
> sounds as though you mean a luster paper since you mention bronzing,
> but I usually mean a matte when I say fine art paper.  Whichever--it
> will def. take some getting used to.
> 
At least I'm sure I'm the right David on this one... one of the advantages of 
being called CD on line is it weeds me out from all the Davids. 

Yes, I meant matte media, I used several, but most clearly in mind are 
Entrada Bright and Entrada Natural. The 3800, through a well linearized profile, 
produced shadow zones (here I mean really deep areas, not 3/4 tones) that were 
totally black... to the point that I nearly tossed the print and started the 
profiling process over again. But 20 minutes later, after drydown, the print was 
as expected. Entrada has a very high ink limit, so this is not due to excess 
inking on a media that can't handle it. 

There is also, at the same time, a form of bronzing (though it is shiny, it 
does not have a bronze or purple tint, just a sheen) that is equally disturbing 
in the dark areas. This, too, disappears with time. It made me think of my 
furnituremaking days, when I would coat a completed piece of furniture (say a 
month's work) with shellac when the humidy was high... and watch the entire 
piece turn a milky white. I would hold my breath, as the finish slowly became 
transparent again... unless it didn't! With that type of trauma in my past, 
waiting for shadow detail to appear, and bronzing to disappear is not pleasant; 
certainly not akin to the pleasant process of watching the image appear in the 
tray in a darkroom.

C. David Tobie
Product Technology Manager
ColorVision Business Unit
Datacolor Inc.
CDTobie@...
www.colorvision.com


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