Yes, it's apparently old home week and I too was an avid adherent and follower of Zone VI and although I reveled in the system way back when, I not sure I'd have the time or patience these days. Somewhere packed up are various components of my dedicated Bessler and some paper. My experience with piezography inks with an epson (4880) has been limited to working extensively with a colleague, but using a meticulous approach, the B&W output is certainly impressive.
Since I often have to print large in both color and B&W, I've currently opted to use conventional Epson inks for the time being with the 24" and larger printers along with a imageprint RIP, which although is often a compromise, can do quite well when the files are appropriately handled. Paper selection of course is also critical.
I agree with those that feel the digital negative may not be the way to go. I've seen some good work going that route but it doesn't hold up to a conventional silver print in my opinion. I've seen some spectacular B&W ink jet prints and like Jeff feel it's not a matter of trying to emulate the silver print with ink jet output, but to approach the esthetic quality to the point that the medium is as much an art form of expression of the subject matter as it was back in the darkroom days. In my experience and from what I observed with other, it's taken a lot of work, time and considerable trial and error to get to the point where ink jet technology has given B&W prints of acceptable quaily. It's definitely no push button operation but then again, neither were those hours toiling in the wet darkroom.
With regards to the best silver prints of yesteryear compared with those of today, they're certainly different. Technique, paper, chemistry and more has all changed and the differences can easily be seen in a gallery showing of both types.
On a seperate note, does anyone know if Salgado's Genesis will make it's way to the U.S. this or next year, or is Toronto the closest it will get to the east coast (U.S.)?
Dave (D&A)
Since I often have to print large in both color and B&W, I've currently opted to use conventional Epson inks for the time being with the 24" and larger printers along with a imageprint RIP, which although is often a compromise, can do quite well when the files are appropriately handled. Paper selection of course is also critical.
I agree with those that feel the digital negative may not be the way to go. I've seen some good work going that route but it doesn't hold up to a conventional silver print in my opinion. I've seen some spectacular B&W ink jet prints and like Jeff feel it's not a matter of trying to emulate the silver print with ink jet output, but to approach the esthetic quality to the point that the medium is as much an art form of expression of the subject matter as it was back in the darkroom days. In my experience and from what I observed with other, it's taken a lot of work, time and considerable trial and error to get to the point where ink jet technology has given B&W prints of acceptable quaily. It's definitely no push button operation but then again, neither were those hours toiling in the wet darkroom.
With regards to the best silver prints of yesteryear compared with those of today, they're certainly different. Technique, paper, chemistry and more has all changed and the differences can easily be seen in a gallery showing of both types.
On a seperate note, does anyone know if Salgado's Genesis will make it's way to the U.S. this or next year, or is Toronto the closest it will get to the east coast (U.S.)?
Dave (D&A)