T h e   Q u i l l   I n   F o c u s







I just returned from Photo East which was held at the Javits Center in New York City. As expected the attendance was down somewhat from last year. But, the quality of the attendees was quite high. People are always divided into three categories.

Those who know and know that they know (They are wise; learn from them.)

Those who know not and know they know not (They are wise; teach them.)

Those who know not and know not that they know not (They are fools; shun them)

I had an opportunity to meet them all. It was fun and very educational for me. Let me pass on the most exciting information.

in the recent years there has been a lot of talk and a great deal written about The Digital Darkroom. Up to now it meant that you had a computer, scanner, printer, inks & paper that are archival (or at least you believe they are) a working knowledge of Photoshop and off you go. In the days of traditional darkrooms, many of you processed and printed your own black & white and sent your color work out. Granted, there are a few that processed their own color as well. Just a few, on the scale of things.

Then came The Digital Darkroom and everything changed. The masses started printing their own color images on tabletop inkjet printers and black & white was not part of the Digital Darkroom. So the Digital Darkroom wasn't truly comparable to a traditional darkroom yet. Then along came Quad Black inks, cartridge filled with ink of various shades of gray. Now, the ability to print black & white images in the Digital Darkroom came to pass. Suppliers such as PiezographyBW sold a RIP that could produced an image of high quality. However, we're not quite up to the capabilities of the "traditional" darkroom. With Quad Black inks you're limited to shades of gray. NOW, with the quantum leap of Lyson Small Gamut inks the Digital Darkroom out performs the traditional darkroom in every aspect.

Think of it. You can produce a print that is neutral or warm or cool, split toned (and know exactly where the split tone takes place), tinted (where ever you want it tinted), selenium toned, and produce a black that looks bottomless. With the tremendous choice of media to print on and an archival rating of greater than 100 years; you are producing an original image far superior to any silver halide print. And the best news of all is that the learning curve associated with Small Gamut inks is quite low.

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