Digital BW, The Print

Just my opinion, but the high dMax prints have not really done that much for me visually. I really like open (palladium type linear) shadows which is probably very obvious at this point.

So for me, being able to create a perfect linearization from L*1.5 to L*96.5 is something I have never visually seen before - and this is an impact I am responding to.  The monster black does not take on all the "meaning" - rather the depth of the darkness before it is what I find very visually compelling. To me it's like giving steroids to Piezography. The dMax is not an "accessory" to call attention to the outfit.

dMax for dMax sake is a vestige of silver print (IMHO). Silver gets very black and photographers like "very black". But it does not get there gradually. The gradual of silver is through the middle and then it darkens fast.  

So for me, dMax without all the wonderful detail leading up to it is imitative. I think as we move the medium further that the bar should also be raised.  I don't think it's enough to say one is almost as good as silver print, or as good as silver print... I prefer to try and make processes that become their own level, and that necessarily means adding something that is not familiar. And also, may not be everyone's cup of tea.

I do not know that others will agree with my opinion on dMax, until they see open linearization just up to dMax. Most of the digital b&w glossy that I see is very closed shadow. I also do not know what will be gained by going deeper. I just know that I have not yet come up against the point at which I can not get it "blacker". I think it will only make the dynamic range more expansive - rather than punchier. If I were to release this system in some way that could be used on Epsons, I would have no doubt that most users would prefer to force more of the 3/4 range into blackness and go for the "punch". To me that reduces "image quality", but might enhance the "wow" factor for the photographer.

SO my question to you Ernst, is "What is image quality?"

best,

Jon


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@...> wrote:
>
> It's an open question for me and I would like to see some comments on it.
> 
> Quotes from different threads:
> 
> The other is Piezography Glossy Selenium MPS system with GO and a new 
> very high
> dMax MPS black. This new black is a technological breakthrough as it 
> uses a new
> type of macro-molecular modification that is not normally applied to ink 
> making.
> The black without GO is typically about L*5. With GO at L*1.75 to L*1.5 
> and I
> have not yet bottomed it out in curve designing.
> 
> This is still in progress and the inks are designed around heated paper. 
> But the
> prints are very good. dMax is 2.45 or better on the 5 papers I am 
> bringing. I
> think with time I can get more dmax but I do not know if anyone can 
> really tell
> how black black gets visually after 2.50. The linearization on these 
> prints is
> very open. The shadow detail is extraordinary considering the dMax. I 
> personally
> have not see anything like this before. They look very much like silver 
> prints
> with a palladium linearization (straight line). The expectation of the 
> silver
> toe and shoulder are missing.
> 
> I plan to perfect the surface sheen and offer several GO options and 
> this will
> become the heart of the Piezography B&W Printing Labs. The next phase 
> will be
> split-tone Gloss.
> 
> Jon Cone
> 
> The 1400
> with HP PK on Crane Silver Rag hits a dmax of 2.72, not 1.72 as
> written in the original post.  The 2.72 100% QTR patch has now
> dropped to 2.61 after over a week of drying.  Needless to say, this
> is outstanding.
> 
> Paul
> www.PaulRoark.com
> 
> end of quotes
> 
> 
> 
> -- 
> Met vriendelijke groeten,   Ernst
> 
> 
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> 
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