Calzone
Gear Whore #1
So it seems that the use of roll paper is a pretty big advantage because I can create custom sizes of paper. I kinda figured out that I can make 13x19.5's and still maintain 2 inch borders with a 17x23.5 paper size. The broad borders really lay down a strong foundation to establish a print as a spacial entity. Although 13x19.5 is not really that big a print, the borders make the print seem mucho bigger than it is.
Did a lot of gloss overcoating last night. I think I will burn through a roll of 17 inch wide paper.
One of my best images happened by mistake. I learned that the paper is glued to the roll at the very end, so the result was a tall skinny print where a black line of repeated overprinting happened due to the paper not advancing. It just so happened the shot is a very interesting composition that otherwise I might not have made.
I keep on going back and forth with the 20x30 of Sal ("Landscape-Face"). I do like the print, but I still like the smaller print more. Anyways the 20x30 of the Pit-Bull I call "Scar-Face" really works well at 20x30, even though it was shot with shallow DOF with retro glass (35/1.8 Nikkor in LTM). This print I purposely selected because it displays a wonderful use of my splitone inkset, and I also intend on making a print using Canson Platine Fibre Rag for a glossy look and perhaps more glow to the print. The glow is somewhat amplified on big prints BTW.
Anyways the exhibition prints make my earlier work prints look rather primitive. I had thought that this would kinda be like a insider pop-up show, but at my present rate it will no longer be like a gallery show, but more like a retrospective because the prints are piling up. Somehow I have hit my stride.
Chris tells me there are 15 who have firmed up, and this Friday is the cut-off (April 1st). Tomorrow I will be off because I have a paying gig that is kinda big coming up, and tomorrow I get the chance to scope out a roof near Union Square for a rather large home furnishings store that is luxury/high-end. If you need to firm up I would do it now rather than be closed out.
I'm cool with the smaller group though because those that attend will definitely get their money's worth.
Know that the 3880 has a very high probability of becoming a color printer. Lately I think I made the jump to liking color. On Maggie's blog she now has 30K followers after hitting 20K just in January. A shot I took Saturday that Maggie posted Monday had 1.9K likes already, and it was just posted yesterday. I expect 50K folowers on Maggie's blog sometime this summer.
Through Maggie I was sought out as the photographer for the Union Square gig. Generally these paying gigs that Maggie gets the client usually uses their own photographer, but this time they requested me. Funny thing is that yesterday we learned that a friend and fellow blogger from Austrailia is also part of the same campaign.
Cal
Did a lot of gloss overcoating last night. I think I will burn through a roll of 17 inch wide paper.
One of my best images happened by mistake. I learned that the paper is glued to the roll at the very end, so the result was a tall skinny print where a black line of repeated overprinting happened due to the paper not advancing. It just so happened the shot is a very interesting composition that otherwise I might not have made.
I keep on going back and forth with the 20x30 of Sal ("Landscape-Face"). I do like the print, but I still like the smaller print more. Anyways the 20x30 of the Pit-Bull I call "Scar-Face" really works well at 20x30, even though it was shot with shallow DOF with retro glass (35/1.8 Nikkor in LTM). This print I purposely selected because it displays a wonderful use of my splitone inkset, and I also intend on making a print using Canson Platine Fibre Rag for a glossy look and perhaps more glow to the print. The glow is somewhat amplified on big prints BTW.
Anyways the exhibition prints make my earlier work prints look rather primitive. I had thought that this would kinda be like a insider pop-up show, but at my present rate it will no longer be like a gallery show, but more like a retrospective because the prints are piling up. Somehow I have hit my stride.
Chris tells me there are 15 who have firmed up, and this Friday is the cut-off (April 1st). Tomorrow I will be off because I have a paying gig that is kinda big coming up, and tomorrow I get the chance to scope out a roof near Union Square for a rather large home furnishings store that is luxury/high-end. If you need to firm up I would do it now rather than be closed out.
I'm cool with the smaller group though because those that attend will definitely get their money's worth.
Know that the 3880 has a very high probability of becoming a color printer. Lately I think I made the jump to liking color. On Maggie's blog she now has 30K followers after hitting 20K just in January. A shot I took Saturday that Maggie posted Monday had 1.9K likes already, and it was just posted yesterday. I expect 50K folowers on Maggie's blog sometime this summer.
Through Maggie I was sought out as the photographer for the Union Square gig. Generally these paying gigs that Maggie gets the client usually uses their own photographer, but this time they requested me. Funny thing is that yesterday we learned that a friend and fellow blogger from Austrailia is also part of the same campaign.
Cal
That's great Cal. Good luck! Did you make the image from 3/28 on her blog? Looks nice.
Calzone
Gear Whore #1
John,
Yep. Lately I've advanced a lot. Not a small jump. The 58/1.4 makes shooting easier. Hate to say that trying to use MF lenses on a DSLR for action shots is really hard to do.
I think my street style and landscape style come across in Maggie's blog rather well. My friend Mike who is a pro fashion photographer says that trying to shoot real models on the street is hard to do. Also access to locations with a crew is a problem.
Cal
Don't sell yourself short.
Yes, it is harder but nobody cares if you use AF or MF. Photos don't have equipment captions.
Calzone
Gear Whore #1
Yesterday scoped out a Union Square rooftop for a shoot next week. Mighty cool getting some shots in already of a gritty run down stairwell illuminated by a skylight. Lots of texture and wonderful light.
It seems like lately the shots for Maggie's blog instantly gets 2K likes within a day consistently. You got to know that only in January Maggie got to having 20K followers and now she has 30K+ only a few months later.
Some of my shots are for another blogger friend who has over 50K followers who is from Oz.
Yesterday I bought over $300.00 worth of Canson Platine Fibre Rag: a 17 inch roll and a 24 inch roll. This will likely be my primary paper because the Jon Cone Type 5 is about $1.50 a sheet per print more expensive and because I like the glossy look that closely resembles a analog wet print. The JC Type 5 has a satin finish and I'm going to use it like my mat paper.
Had time to gloss overcoat some prints yesterday, but tonight I will be printing on the rolls of Canson. I have a new street shot I think I want to print 20x30 that I think of "Greenpoint Pastural" because it features three locals that reminds me of the Andrew Why-ith painting they used for marketing Corn Flakes. Anyways mucho attitude. I kinda love the leopard skin tights this one girl is wearing... Basically a picture of three drunks outside on a weekend.
Cal
It seems like lately the shots for Maggie's blog instantly gets 2K likes within a day consistently. You got to know that only in January Maggie got to having 20K followers and now she has 30K+ only a few months later.
Some of my shots are for another blogger friend who has over 50K followers who is from Oz.
Yesterday I bought over $300.00 worth of Canson Platine Fibre Rag: a 17 inch roll and a 24 inch roll. This will likely be my primary paper because the Jon Cone Type 5 is about $1.50 a sheet per print more expensive and because I like the glossy look that closely resembles a analog wet print. The JC Type 5 has a satin finish and I'm going to use it like my mat paper.
Had time to gloss overcoat some prints yesterday, but tonight I will be printing on the rolls of Canson. I have a new street shot I think I want to print 20x30 that I think of "Greenpoint Pastural" because it features three locals that reminds me of the Andrew Why-ith painting they used for marketing Corn Flakes. Anyways mucho attitude. I kinda love the leopard skin tights this one girl is wearing... Basically a picture of three drunks outside on a weekend.
Cal
Calzone
Gear Whore #1
Hurry up. The cut-off for sign up is today.
Cal
Cal
Calzone
Gear Whore #1
I got an e-mail from Piezography about their new Digital Negative process for doing Platinum and Palladium printing. It seems that things have advanced a lot, and now Jon Cone has a turnkey system for printing a digital negative on overhead projection film that basically has a simple workflow and that produces a print that matches your calibrated monitor.
What you see is what you get.
Anyways interesting to me for something to do in retirement, especially if I have to leave NYC because I can't afford it.
Cal
What you see is what you get.
Anyways interesting to me for something to do in retirement, especially if I have to leave NYC because I can't afford it.
Cal
Calzone
Gear Whore #1
BIG REVOLUTION: I started using a different profile that lays more ink onto the paper. This is counter to what was recommended by Jon Cone, and basically I load more ink onto the paper for added depth. Somehow the shift in contrast when printing large is now no longer an issue.
The next big jump was optimizing the heavy ink load for the Canson Platine Fibre Rag. This paper is smoother and presents a true glossy finish, while the Jon Cone Type 5 has more texture and has a satin finish. I really discovered how the smoother Canson paper resolves detail mucho better and that tonally the paper has a bigger dynamic range than the JC Type 5. On top of that I got that glow now that resembles a wet print.
I'm now pretty confident that I can print "Landscape-Face" 20x30, and the washed out look when printed big is now behind me. It seems that all of my earlier prints humbly are kinda flat and less detailed than these new prints. Anyways I think I hit my stride, and I don't expect thingas to get better than this.
Cal
The next big jump was optimizing the heavy ink load for the Canson Platine Fibre Rag. This paper is smoother and presents a true glossy finish, while the Jon Cone Type 5 has more texture and has a satin finish. I really discovered how the smoother Canson paper resolves detail mucho better and that tonally the paper has a bigger dynamic range than the JC Type 5. On top of that I got that glow now that resembles a wet print.
I'm now pretty confident that I can print "Landscape-Face" 20x30, and the washed out look when printed big is now behind me. It seems that all of my earlier prints humbly are kinda flat and less detailed than these new prints. Anyways I think I hit my stride, and I don't expect thingas to get better than this.
Cal
JeffNYC
Well-known
Look forward to attending your symposium
Calzone
Gear Whore #1
I am very happy with my recent 20x30's on Canson Platine Fibre Rag. These prints are a true glossy and reveal mucho more detail than my Jon Cone 5 prints that feature a satin finish. The Canson paper also has a lot bigger dynamic range, and now the JC Type 5 prints seem flat.
The surprise is that I'm printing with a lot more contrast because it is adding detail. I was surprised at the new resolution. Sal "Landscape-Face" has evident more detail in that the curtains now display the weave of the cotton. Also the new Canson prints have a lot of depth. The JC Type 5 seems rather flat in comparision.
There is "nose-factor" where the range of contrast is visible from far away and the closer one gets more and more detail sucks you in like a vortex, untill you are using macrovision to see all the texture and detail.
Anyways anyone who saw the Salgado show at ICP will recognize the profound contrast in my prints that resembles Salgado's work.
Cal
The surprise is that I'm printing with a lot more contrast because it is adding detail. I was surprised at the new resolution. Sal "Landscape-Face" has evident more detail in that the curtains now display the weave of the cotton. Also the new Canson prints have a lot of depth. The JC Type 5 seems rather flat in comparision.
There is "nose-factor" where the range of contrast is visible from far away and the closer one gets more and more detail sucks you in like a vortex, untill you are using macrovision to see all the texture and detail.
Anyways anyone who saw the Salgado show at ICP will recognize the profound contrast in my prints that resembles Salgado's work.
Cal
Calzone
Gear Whore #1
So the work flow has been making some Canson 13x19.5 prints with 2 inch borders as work prints/proofs and then printing the same image 20x30. Limitation is drying space where I can accommodate about 8 17x23.5's or three 24x36 prints.
Interesting to note that the effect of application of Gloss Overcoat is very different between the Jon Cone Type 5 and the Canson Platine Fibre Rag. With the JC Type 5 it is very much like in the darkroom and seeing a print under safelight. The blacks are muted and contrast is compressed, untill you get the print in the fixer and can turn on the lights to inspect the print.
With the Platine Fibre Rag the print looks like it is too dark and that you added too much contrast, but the first layer of Gloss Overcoat gets rid of the materism and gloss differential; a second result is that the paper reflects more light to appear brighter; and thirdly all of this detail comes out in the shadows. The second coat of Gloss Overcoat that is recommended with Canson papers just seems to add a tad more brightness and detail as the true gloss becomes evident.
Anyways this glossiness I can already imagine what it would do to a color print. Hmmm.
More printing this weekend...
Cal
Interesting to note that the effect of application of Gloss Overcoat is very different between the Jon Cone Type 5 and the Canson Platine Fibre Rag. With the JC Type 5 it is very much like in the darkroom and seeing a print under safelight. The blacks are muted and contrast is compressed, untill you get the print in the fixer and can turn on the lights to inspect the print.
With the Platine Fibre Rag the print looks like it is too dark and that you added too much contrast, but the first layer of Gloss Overcoat gets rid of the materism and gloss differential; a second result is that the paper reflects more light to appear brighter; and thirdly all of this detail comes out in the shadows. The second coat of Gloss Overcoat that is recommended with Canson papers just seems to add a tad more brightness and detail as the true gloss becomes evident.
Anyways this glossiness I can already imagine what it would do to a color print. Hmmm.
More printing this weekend...
Cal
Calzone
Gear Whore #1
Expect 27-28 plus 20x30 proofs, plus the 13x19.5 work prints. What is interesting in comparing the 13x19.5 prints from the 20x30 proofs is the transition in dynamic range, contrast and detail.
Big prints really sing and have more of everything, but they are not easy to do. Basically I'm printing bigger than my 27 inch EIZO, and if they made a 42 inch version I could use it.
I stopped by AI Friedman to get a 000 and 00 Sable brushes for spotting. Paper lint is a big problem. Also bulked up on acid free foam core board for packing.
I'll be bringing out those 24x36 on 30x40 Digital Silver Imaging fiber wet prints to compare against the Piezography. Basically they use the same RAW file that I used to print on Jon Cone Type 5 with the same post processing. Also know there are Canson Platine Fibre Rag versions that are laying down more ink via use of 7800 profiles that really open up the possibilities. A lot more detail, a lot more resolution, and a lot more dynamic range. In printing there is a huge leap between 13x19.5 and 20x30. The 20x30's are more alive and just breath. The smaller prints seem compressed in comparison.
Anyways lots to compare. Understand that I only got the 7800 online March 19th, but I have been printing ramp-PED-lee. With the Canson paper it takes 42 minutes to print the seven blacks, and there are two 48 minute sessions of printing the Gloss Overcoat, so 138 minutes printing time for a 20x30 on 24x36 (2 hours 18 minutes). Don't forget drying time...
Anyways to print for this symposium, expect to be impressed by the results. It seems at this level (fine art printing) there are several iterations of printing: a small (13x19.5) work print; a full sized artist proof (20x30 on 24x36); and finally a finished exhibition print that is fully tweaked. The 13x19.5's take about 22 minutes to do just one printing, so complete just one work print takes over an hour of printing time with the three passes.
I'll be limiting the Piezography prints I'll be showing this Friday to the ones I've printed using the 7800 because they have the most impact. What is most remarkable in the prints is how the detail does not fall off or get fuzzy. I have this shot from the old Rozzelli bookstore that I shot 1/30th of a second handheld indoors that I had stopped down to F5.6 that prints fine at 20x30. Everything is slightly blurred, nothing is sharp, but the image holds together very well with plenty of detail.
Cal
Big prints really sing and have more of everything, but they are not easy to do. Basically I'm printing bigger than my 27 inch EIZO, and if they made a 42 inch version I could use it.
I stopped by AI Friedman to get a 000 and 00 Sable brushes for spotting. Paper lint is a big problem. Also bulked up on acid free foam core board for packing.
I'll be bringing out those 24x36 on 30x40 Digital Silver Imaging fiber wet prints to compare against the Piezography. Basically they use the same RAW file that I used to print on Jon Cone Type 5 with the same post processing. Also know there are Canson Platine Fibre Rag versions that are laying down more ink via use of 7800 profiles that really open up the possibilities. A lot more detail, a lot more resolution, and a lot more dynamic range. In printing there is a huge leap between 13x19.5 and 20x30. The 20x30's are more alive and just breath. The smaller prints seem compressed in comparison.
Anyways lots to compare. Understand that I only got the 7800 online March 19th, but I have been printing ramp-PED-lee. With the Canson paper it takes 42 minutes to print the seven blacks, and there are two 48 minute sessions of printing the Gloss Overcoat, so 138 minutes printing time for a 20x30 on 24x36 (2 hours 18 minutes). Don't forget drying time...
Anyways to print for this symposium, expect to be impressed by the results. It seems at this level (fine art printing) there are several iterations of printing: a small (13x19.5) work print; a full sized artist proof (20x30 on 24x36); and finally a finished exhibition print that is fully tweaked. The 13x19.5's take about 22 minutes to do just one printing, so complete just one work print takes over an hour of printing time with the three passes.
I'll be limiting the Piezography prints I'll be showing this Friday to the ones I've printed using the 7800 because they have the most impact. What is most remarkable in the prints is how the detail does not fall off or get fuzzy. I have this shot from the old Rozzelli bookstore that I shot 1/30th of a second handheld indoors that I had stopped down to F5.6 that prints fine at 20x30. Everything is slightly blurred, nothing is sharp, but the image holds together very well with plenty of detail.
Cal
Calzone
Gear Whore #1
ICP, 1114 Avenue of the Americas.
Friday April 15th 6:00PM room "A" or "B."
Cal
Friday April 15th 6:00PM room "A" or "B."
Cal
Calzone
Gear Whore #1
ALERT: Some shots that are printed big display grain. The texture is fine and kinda reminds me of Acros enlarged big which almost no grain unless printed big.
I think the grain is pretty.
Anyways I would not say that the Piezography prints look like wet prints, although I have moved in that direction by using Baryta papers. Nothing like a real wet print, and the Piezography prints look like Piezography prints.
Cal
I think the grain is pretty.
Anyways I would not say that the Piezography prints look like wet prints, although I have moved in that direction by using Baryta papers. Nothing like a real wet print, and the Piezography prints look like Piezography prints.
Cal
Calzone
Gear Whore #1
And there's nothing wrong with that...
John,
I agree. The prints I think stand on their own. I am really amazed at the IQ, especially in the 20x30's. "The big prints don't lie," I say, and it seems that the bigger I print the more detail and dynamic range is revealed. The 13x19.5 prints don't say very much, or not as much as the big prints.
Anyways I still love film and wet prints, but it becomes evident that digital is the king of resolution. I would say the wet prints have this smoothness about them that is hard to beat.
Anyways looking forward to all those critical eyes and other opinions. I think Joe is correct: the Canson papers have deeper blacks than the Jon Cone Type 5.
Anyways I'm also wondering if the heightened reality I'm presenting if it is too much. On one hand it is amazing all the detail and the range of tone, but is it too much of an exaggeration? The big prints due to their size are kinda in your face even when standing 20 feet away. I find it interesting, but will others? Nothing subtle about these prints: they have "Calzone Factor." LOL. Kinda loud and a bit annoying. LOL.
Anyways I don't think I could do this with film...
I hope I have enough time to squeeze out two extra 20x30 prints by Friday.
Cal
icebear
Veteran
Hi Cal,
I think the few prints I had done at the DickBlick Art store in Paramus before they shut down their custom print service are on Canson Platine Fibre Rag. Unless you built up a calibrated chain so that what you see is what you get, you won't be able to max. out the potential of the files. The experience you are building in the process seems pretty unique to me. If you don't own the printer yourself, it will be nearly impossible to get beyond decent.
As for the detail ... I am always amazed by the detail level of the MM files but focus and composition and most importantly the subject of the shot are much more important than pixel peeping resolution.
Looking forward to your show on Friday. Found some parking already but not before 5:30pm for the night rate
.Calzone
Gear Whore #1
Hi Cal,
I think the few prints I had done at the DickBlick Art store in Paramus before they shut down their custom print service are on Canson Platine Fibre Rag. Unless you built up a calibrated chain so that what you see is what you get, you won't be able to max. out the potential of the files. The experience you are building in the process seems pretty unique to me. If you don't own the printer yourself, it will be nearly impossible to get beyond decent.
As for the detail ... I am always amazed by the detail level of the MM files but focus and composition and most importantly the subject of the shot are much more important than pixel peeping resolution.
Looking forward to your show on Friday. Found some parking already but not before 5:30pm for the night rate
Klaus,
For sure my pursuit is obsessive.
Last night I was looking at the Canson 20x30's and took note that some prints display moire in trace amounts near sharp edges. Really takes a lot of enlargement because in the 13x19.5's this artifact is not evident.
Anyways, "Big prints don't lie," and it seems that artist proofs are required and are not a waste of paper. Really happy to share this work with trained critical eyes.
Also the jump from 13x19.5 to 20x30 is a big leap. Comparing the two sizes will be interesting. Is 20x30 too big? Perhaps for some images, but for most bigger might be likely better.
Cal
Well, like your hero Salgado, not everything needs to be huge... varying print sizes seems to be the norm with a lot of one person shows. I don't have any reason to print huge right now... so I might take your advice and start leaving a larger border on the standard 13x19" paper (instead of the little half inch you get when printing at 12x18") my printer allows for.
Range-rover
Veteran
Cal,
I've been using Canson paper in my H/P Printer and I tried out the Platine Fibre Rag
and Rag Photographique and I must say oops!, I did something wrong there's ton's of
lines that's not in the regular photo I use. I must of set it wrong or something.
I've been using Canson paper in my H/P Printer and I tried out the Platine Fibre Rag
and Rag Photographique and I must say oops!, I did something wrong there's ton's of
lines that's not in the regular photo I use. I must of set it wrong or something.