Blacker than black?

reub2000 said:

For the most part yes. But I don't think O Winston Link's prints would look some marvelous with a muddy gray as the darkest tones.

Be aware the pushing tones too close to the edge means pushing the darker tones onto the shoulder of the curve, where there will less definition. Also when judging wet prints, always be aware of the dry down effect, which is always unpredictable.

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I absolutely agree with that. My point is that the minimum exposure / maximum black through unexposed and developed film gives me a basis for a straight proof print. My basic, proof-print exposure places clear film where it should be - as the blackest black the paper can provide.

My "real" print is one where my exposure is determined by the highlights, with paper contrast used to bring the shadow tones to where I want them. I think of the "max. black" proof print as I think of box speed or development times - it's a point for departure. The proof gives me a starting point for each print.

I also agree that drydown is an important consideration. I don't evaluate prints until they're fully dried.

Bob H

tim_walls said:

Or in other words, if you ask like how much more black could this be? The answer is none. None more black.

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[YOUTUBE]http://www.youtube.com/watch?v=hlynf--lsxA[/YOUTUBE]

JBrunner said:

[YOUTUBE]http://www.youtube.com/watch?v=hlynf--lsxA[/YOUTUBE]

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Jason:

As a moderator, do you often find guidance in the wisdom of Spinal Tap?

Just wondering

Matt

JBrunner said:

(youtube)

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Phew! I'm glad someone gets it

JBrunner said:

[YOUTUBE]http://www.youtube.com/watch?v=hlynf--lsxA[/YOUTUBE]

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LOL

Martin