Piezography Pro

[Calzone]

Agree the best thing that happened to me was when a friend pushed me to get into printing. I think it improves your photography in just about every direction, and like you, I like printing as big as I can... at home.

Love seeing someone using Piezography. I've read up on, thought about it, but couldn't
pull the trigger. Upgraded from a Canon Pro 100 that basically I bought for the price of the ink... to an Epson P800 which is very nice. My plan is to stick with the OEM inks while the warranty remains in effect... and after that look to Cone's stuff and the MSI (MIS?) group that distributes both B&W and color for him. They're still working out the P800, but it'll probably happen this year (so they tell me in emails). I've corresponded with Paul Roark who's also into custom ink mixes. We don't have Leica's, but Sony and he's done the Kolarivision mod for Astrophotography to pick up red sensitivity rather than go the Monochrom route. I'm undecided at this point as that's probably a year or more out for me. Yet I've thought and continue to think about the latter as Monochrom's are coming down in price (used). Curious which of the MM's you're running? M9-M or the current model? Also curious whether you've used the MSI/MIS (whichever it is) for color, too. I'm using Imageprint rather than the Quadrip at the moment and while expensive, it does a VERY nice job. Finding Matte papers ain't bad and often just right for B&W, but color is more of a Luster or Satin finish.

There should really be a forum here for printing!!!! that isn't a Yahoo group. "Just sayin'".

Roscoe,

Thanks for joining this thread. I think printing makes one a complete photographer, and in this manner who would not want to be like Eugene Smith and be both a remarkable shooter as well as printer. I likely will never be of Gene's stature, but I hope to emulate him as my role model.

I was an early adopter of the Monochrom. I had to wait 5 months for delivery, many of my friends thought I was nutz because I was a B&W film die-hard, but Leica kinda made my dream camera. So now my 4 year old Monochrom is at Leica N.J. getting a sensor replacement, and I expect 4 more years of trouble free service after getting an overhauled camera back.

So here is a secrete that I have published multiple times on this forum. I did a controled experiment comparing a B&W 2X yellow filter against a Heliopan 2X yellow contrast filter. The Heliopan is noticably lighter even off the camera, so I was expecting a bit less contrast, but I was blown away by the noticable dramatic difference in the histogram.

Somehow I got rid of the clipping, the midrange became prominent, and the histogram covered ten-zones denoting perfect exposure. Somehow the Heliopan filter hit the sweet spot of the MM sensor. I explored further and compared Heliopan 2X yellow filters: one was marked "Digital;" and the other wasn't. The Digital marked filter had something special going on, and I would later learn that Heliopan filters marked "Digital" have additional UV and IR filtering to eliminate those lumanance signals.

My friend Willie would correct me if I call the unwanted signals noise, but this filtered out light only adds to dilute the visual information, and in my context I call it noise. Anyways the "Digital" 2X yellow filter has a few effects: it removes unwanted non visual signal that adds to clipping; it allows one to maximize exposure (shooting exposure more to the right) for cleaner files with a higher signal-to-noise-ratio; and it creates files that only require minor tweaking so printing big without digital artifact is pretty easy.

Ultimately I would want a M-246 as well as my MM, but if I could only have one it would be the MM warts and all. The M-246 is a much more advanced camera with better shadow detail and softer roll-off in the highlights, then you have great high ISO performance, and a more updated camera, but the rather primative CCD has the huge big midrange that offers an organic midrange that resembles medium and at times large format.

So basically if you want long tonal range for that larger format film look than the MM is the better camera, but the M-246 is a better camera in just about every other way. Boosting the mids to get a similar effect in post processing might be easy to do, but realize this boosting of mids to attain the levels to resemble larger formats I believe will add digital artifacts and hurt IQ. My experience from heavy use of sliders and curves in LR5 suggest a more organic midrange is easier using the original Monochrom with Heliopan filters, but I am unsure the M-246 will respond with filters in the same way or to the same extent.

But here is a spin: the 18MP CCD sensor utilizes a 14 bit processor so 18MPx14-bit= 252MB files, but the M-246 although has a 24MP CMOS sensor is only 12-bit, so 24MPx12-bit=288MB. The end result is that the files from the M-246 are only marginally bigger.

Since I own a Leica SL, I have to say that it is big deal that the SL has a processor derived from the Leica "S" medium format camera, because due to the more advanced processor the SL has the processing speed to go 14-bit, so 24MPx14-bit=files that are 336 MB. So if you compare a M-240 to a SL you really can't.

The new M-10 is 14-bit BTW and now that Leica "S" procesor has trickled down into a color M digital. Wow. Know that the M-10 is streamlined when compared to the SL which has AF, Matrix metering and video, but the M has a rangefinder and its compact size and weight are its most obvios advantages.

So the reason I mention the M-10 and SL is I predict that a SLM will come out perhaps this fall at PhotoPlusExpo, anyways that is my wish, and it will likely get staggered till 2018 that a M10M might come out.

For me since I already own and shoot a SL a SLM would suit me just fine since I love "R" glass, already pre-paid for a 50 Lux-SL, and am number 5 on a dealer's waiting list.

Cal

 

[Calzone]

to an Epson P800 which is very nice. My plan is to stick with the OEM inks while the warranty remains in effect... and after that look to Cone's stuff and the MSI (MIS?) group that distributes both B&W and color for him. They're still working out the P800, but it'll probably happen this year (so they tell me in emails). I've corresponded with Paul Roark who's also into custom ink mixes.

Roscoe,

Jon Cone is a mighty stubborn man, and if anyone can figure out a workaround to locking in OEM inks on a P800 it is him. My understanding is that the P800 runs on a higher pressure to avoid clogs, and generally it is best to utilize the larger printers that use pressurized carts for ink feed and for longer term durability.

I am not a color printer, but it remains highly probable that eventually I might convert my 3880 into a color printer, or secure a P800 when a workaround is developed. There is nothing wrong with Epson OEM color inksets, except the price. For me it makes sense to purchase refillable carts and use Jon Cone's Archival Pigment Inks, which happen to be mixable and compatible with Epson OEM inks. Kinda seamless and you can even continue to use your system as is, or if you want the OEM Epson curves.

Anyways the cost savings is mighty big. I've only stumbled into Paul Roark's website a few times. I'm not that familiar to know anything other than he has an alternative system.

Cal

 

[Calzone]

I worked on the Woman's March image again last night. I am pleased. It seems consistent when I develop an image that each iteration creates more spacial depth via detail and tonality.

In my fifth version the bald man, the cop, the upside down American flag, and a steam cloud framed by the unfurled flag being blown to the right are kinda optimized, and in a way it almost appears like in a wet print where dodging and burning were performed to highlight local areas.

Anyways I did no such advanced manipulation to the file, yet I am able to control the level of detail profoundly. The amount of depth created I would say is almost holographic and there is a real sense of space via the rendering. Anyways all this came as a surprise because I was just playing around and trying to do something I never did before: make a B&W print from a color file.

Tonight I will tone down the warmth further in Print Tool via the blending of the three curves. I performed a baby step in that direction last night, but I do not know if version 5, last night's last print, is my master print, or if tonight's version 6 will exceed version 5.

Now if we judge all five prints made thus far, none would be bad prints, but I think so far version 5 is the best and displays the greatest skill. I am impressed by the results. BTW I will be giving this print away this Sunday at the NYC Meet-Up as a prize for our "Camera Circus."

Cal

 

[Calzone]

I inspected the print I made last night this morning, and I am very-very pleased. I kinda figured out what makes this image so compelling is a sense of timelessness because one does not know what the protest is about because the signs are soft and in the background. The main subjects were in the foreground and are close focused for the detail nearby.

I whitened a steam cloud emerging from a manhole chimeney which draws in the eye to the brightest highlight on the page. Above is the upside down American flag and underneath is the bald man, but when one follows the profile of this one person in a sea of people the eye is drawn to the profile of the cop looking back at the bald man.

The level of information I teased out has pronounced clarity of certain elements of the image, and present themselves as a heightened reality. Perhaps I am more fully exploiting the added resolution of digital photography, as well as the expanded dynamic range, but the beauty of this image clearly would be lost and compressed on a display.

I did tone down further the prevailing warmth a bit further. The increments were small, but the effect profound. The amount of depth in this print is mind blowing. Even though it displays grain in the shadows I still wonder if I could still print bigger, even if just a bit bigger for impact.

Anyways I think I did good work, although it cost me six sheets of paper or about $24.00 plus ink. I'm still learning a lot, but this is the space where wonderful discoveries are happening every day.

Cal

 

[brennanphotoguy]

Self Explanatory

 

[Calzone]

Self Explanatory

Brennan,

Images I shoot for my gal's blog get "lifted" all the time. Most of the time no photo credit. I am talking fashion magazines that may be in foreign languages like Vogue, Marie Clair...

Basically I am giving away my photography for the sake of my gal, but for my fine art I will not do that.

Also the best way to show my work is prints, The response from Brent, Chris and the rest of those guys is what I live for. Then there is Gil in the Paper and Printing department.

Like I said, a display does no justice, and I think I have enough of a reputation to stand my ground. I'll let my prints do the talking. Where have you been? Its been a while since I've seen you at work.

At the NYC Meet-Up I frequently bring out folios of prints, many large, and this Sunday at the February NYC Meet-Up/Camera Circus I will be bringing the print I am writing about to the Meet-Up to give to someone as a prize for a bring out a cool camera. If you want to see it come to Lorelie's on Rivington this Sunday.

Cal

 

[brennanphotoguy]

I got a raise (and a better job) buying for the Used Dept in the Navy Yard about 18 months ago. I'm moving to Nashville in March and working for Musea doing print/mat work and color correcting for Indie Film Lab plus my own work.

 

[robert blu]

At the NYC Meet-Up I frequently bring out folios of prints, many large, and this Sunday at the February NYC Meet-Up/Camera Circus I will be bringing the print I am writing about to the Meet-Up to give to someone as a prize for a bring out a cool camera. If you want to see it come to Lorelie's on Rivington this Sunday.

Cal

One day I'll jump on a plane to join one of your meetings...
robert
PS: if money and your president will be not a problem ... 🙂

 

[Calzone]

I got a raise (and a better job) buying for the Used Dept in the Navy Yard about 18 months ago. I'm moving to Nashville in March and working for Musea doing print/mat work and color correcting for Indie Film Lab.

Brennan,

Your expertise is well served by your new position, but I also understand the brave and abrupt moves for a creative like you.

Nashville is a cool city, but I pegged you as a New Yorker, even though you originally are from Tenn.

Anyways I wish you all the best, but know that the world is not that big.

Cal

 

[Calzone]

One day I'll jump on a plane to join one of your meetings...
robert
PS: if money and your president will be not a problem ... 🙂

Robert,

Looking forward to the day.

I learned that New York is not as big as Paris, London and Milan, as well as Japan and China for my Fashion Blogger gal.

I might meet you in Milan before I meet you in New York the way things are looking.

Anyways trying to stay positive, but the world is full of problems. I feel bad for my younger friends like Brennan. It seems we baby boomers got more than our fair share.

Cal

 

[Calzone]

So the print I brought to the February NYC Meet-Up/Camera Circus was well received. At this year's event there was a massive selection of gear and glass, but my choice for winner was a black paint (dechromed/repainted) last batch M2M with black paint 35 Cron ASPH that had a fresh "DAG-seal."

While Joe IMHO had best in show, Sam was awarded the print because of the collection of rarities he brought. It was like a museum currated show by Sam, and Joe who I see every month will get another print in the future.

Two of our guests are pro graphic artists, and Landrew's friend was new to the meet-up and is a pro photo retoucher. Deeply impressed by the look and IQ the remark that was made is "It looks like film, but without the grain."

I found this comment interesting because I heard the same comment from the film Die-Hards at B&H. I would not say that my prints look like silver wet prints, but I would say they have their own look that is strongly and firmly filmish.

In this forum someone posted that they don't like Fuji Acros because it looks too digital, and because this happens to be one of my favorite films I respond strongly, thinking that this poster likely would hate large format photography. Anyways my digital prints kinda resemble Fuji Acros in rendering that is shot at box speed and processed in Diafine, a compensating developer.

From my analog photography and my appreciation of large format it seems the fine grain of Acros is conveyed in Piezography, as well as the strong blacks and shadow details. The way I post process resembles the expanded dynamic range I get via using a compensating developer with ample/enhanced shadow detail, smooth highlights, and broad mid tone that I would say suggests a bit of HDR film.

I expressed concerns that my HDR might express too much, but the extra detail I tease out in my prints does seem to be well received, and I don't get told that I went too far or over processed. I think the anology to film is because my prints, although highly detailed, have inherent smoothness that suggests film and not digital. Anyways the responses from different groups of people seems to be very consistent, and I have gotten many responses/comments that my prints don't look like digital prints.

Interesting the "No grain" response because I feel I actually pushed the shadows perhaps to my limit, and in detail I can see "digital grain" meaning noise in this Woman's March protest.

There is also another thing that has happened: because I print I detect the slightest imperfection, I see many things that others don't notice.

Gil at B&H suggested that because I print my own work that my vision has evolved more fully, and I think that is true. A good reason to print is to become a better photographer.

Cal

 

[Calzone]

At the Leica Gallery in SoHo they always have interesting shows, and I saw a new exhibition of silver wet prints from David J. Carol last night.

Right by the door is a large print that kinda grabs you, and in the back is a big display of smaller prints. Anyways silver wet prints speak for themselves when done well. The presentation of rich blacks and smoothness of detail for me is what makes a wet print so vast, even though Piezography offers wider dynamic range, higher resoluton, and finer detail.

Anyways an impressive display at the Leica Store as always. Film will always be part of me, and I still shoot film and have way too many film cameras, but digital and Piezography are clearly to me a discreet separate medium. It is truely wonderful to be good at both.

Interesting to note that these shows at this Leica Store are generally supported by books and book signings. Something to remember because book signings have mucho value added and at this event books will be available in both "trade" or limited editions. I'll surely be going to gather more smut and see how it gets done.

Anyways Renee, the Curator at the Leica Store, did another great job. seems like they present a photographer's photographer at every show. The book signing is February 16th from 6-8 PM.

Cal

 

[Steve M.]

This "thread" has taken the concept of bumping to the nuclear level.

 

[Calzone]

This "thread" has taken the concept of bumping to the nuclear level.

Steve,

I hope it is all good and inclusive. Call me confused, but I love film as well as digital.

Anyways my mind is blown away by great photography. Something to feel passionate about, something to live for, and something to share.

Kinda makes more sense than the rest of the world. Makes me feel more alive.

Cal

 

[Calzone]

It seems that the difficulties with bypassing Epson OEM inks on new "P" series printers has become too big a hurdle to jump. Somehow people in Europe and Asia have access to chips that are not able to be imported into the USA.

Anyways Jon Cone is likely the second most stubborn man I know, with the first being my deceased father. I had placed my bet that Jon would be able to undercut Epson's lockout, but this most recent newsletter I received today underscores the defeat because in the newsletter it is underscored hoarding a supply of 3880's and having a fleet of large format pro printers that can be kept going indefinitely.

So part of this newsletter is the pitch that if you want the darkest available blacks that upgrading your inkset is the way to go and keep on using your old printer. The new PK-HD that was developed for Piezography Pro, that is both the measured and visually seen darkest available black that exceeds all current new OEM inksets, is an upgrade for my K7 and also color inksets.

At this point the anticipated mid February public release of PK-HD and Piezography Pro seems to be pushed out to March. Basically sometime in March everyone can buy PK-HD and PP, and the inks will be stocked in a warehouse by then.

So to update my K7 with PK-HD (already own a stockpile from being a PP early adopter) I would have to either subscribe to Piezography Professional Edition (software to linearize my system with an I1 Pro) for $150.00, or have a curve made for me, or wait for a new "canned" curve to be added to the updated library.

PPE also would be required to linearize a color inkset, and to be able to make one's own curves for making digital negatives. Thus far I am only using the "canned" curves made for the new library that costs nothing.

So the heads up here is for those of you who recently bought refurbished 3880's know that you did a very smart thing, and for people like me consider hoarding a spare or getting a large format X800 or X880 for longevity and durability.

Eventually the library will get updated with new "Canned" K7 curves that use the PK-HD. It seems that if you like really black blacks or the blackest blacks one now has to be more open to matte printing because PK-HD is a game changer.

If anyone would like the newsleter I received today just send me a PM with your e-mail and I will forward it to you.

My most recent print involves using a color file from my SL. What makes this file so remarkable is that it was created using the 24mm-90mm Zoom set at 24mm and was captured at night using only 400 ISO wide open, but exploiting image stabilization. I am amazed how remarkably sharp is the image due to the low shutter speed.

So there is a mural that is brightly illuminated on Houston Street at night of horses displaying fury, but there are people walking on the sidewalk that in scale are dwarfed and are in the shadows. Two are men walking their small dogs, and the dog most further away is looking back at the other dog.

Anyways what makes this image is the remarkable sharp contrast that is matched by the wide angle resolution that makes everything so vivid and a heightened reality.

I only had to make one print, and no further development was required. I imagine when I get my 50 Lux-SL that is pre-paid (number 4 on a waiting list) that the possibilities to exploit the image stabilization will make for mucho amazing urban night shooting. Something to consider if one is thinking of getting a M10: image stabilization works extremely well on the SL. BTW Leica lent me the 24-90 for Fashion Week.

Sometime later this month I should be getting my Monochrom back from Leica with a replaced sensor. I can't wait.

Cal

 

[Calzone]

Last night printed two high ISO (3200) files that were originally color files shot with my SL. The clean files from the SL are really amazing and remarkable. I first post process the images fully as color shots before converting to B&W for further tweaking. I find I get the best prints by doing a little extra work. Both of these images were taken at night: one outdoors; and the other inside a swanky club.

One image was of a black 56 Chevy four-door parked near Cooper Union shot with the 50 Lux-R "E60" shot at F2.8 and the sharpness is displayed by the registration sticker on the windshield where the lettering and bar code are legible even though the profile shot is of the entire car in darkness. Pretty much black on black at night. On this print because there was so much black I dialed down the warmth a lot and relied mostly on the inherent warmth of the Canson Baryta Photographique to establish its presence. Anyways this shot says a lot about the SL and Piezography because technically the shot is stunning: the shutter speed was 1/15 second with a 50!!!

I culled from three different shots, all three were remarkably sharp, but the one I printed was the sharpest. Kinda funny is that I focused on the registration sticker in each of the three shots basically as a test, and a few times I am very surprised by my testing because a few times these tests end up being my best shots of the night.

The other print was at a fashion event at a midtown club celebrating a modeling agency's 10 year anniversary. At 5"10 I felt rather short in the mob of models/amazonians, but I took this shot of "Madison" a Make-Up Artist I knew holding an empty glass filled with ice looking kinda beved up and slyly giving me the eye peering around a man's head inbetween us. This shot was with a 35 Lux-R 3-cam shot at F2.8 and because of the slight amount of stopping down combined with the very close focusing isolated Madison from the crowd all around us in a rather striking manner. The rendering of sharpness and softness is kinda high contrast, exaggerated by a close distance.

Lately I have been in a groove not having to dial in the split toning by having to make test prints to make the prints I envision. I kinda have a sample library of blended curves as print samples that I utilize as a reference. It was clever to create all the documentation, not only for repeatability, but also as a reference for future printing as a library.

Anyways I'm really excited by all the possibilities of exploiting the SL's high ISO capabilities and image stabilization (built in native SL lenses like the 50 Lux-SL). Pretty much living in NYC with such capabilities is like living in paradise. The IQ is mind blowing.

Cal

 

[Calzone]

I forgot to mention that because the world is not so big that I found out how that one MFA grad from the Milk Studios exhibit made these divine prints that suggested watercolors. At a fashion pop-up event at a gallery on the Bowelry I ran into someone else who was at the very same opening at Milk Studios, but we did not run into each other at that opening.

It just so happens that my friend I met up with in the gallery in the Bowelry is friends with the artist who made the large prints I so admired, and I got the smut on how it was executed. It seems the latest version of Photoshop has some function that masks in the detail.

We both noticed the "headstrike" on the left border, but we also said unless one is a printer the defect would go mostly un-noticed.

Cal

 

[walkerblackwell]

Just finished in the clean rm for Batch 2. Will take a bit of time to bottle and fulfill but we are on schedule for a much larger second batch that *fingers crossed* wont sell out before we can get more ingredients into our production facility in Vermont for #3. This Pro ink is artisanal to say the least, lol.

best all,
Walker

 

[Calzone]

Just finished in the clean rm for Batch 2. Will take a bit of time to bottle and fulfill but we are on schedule for a much larger second batch that *fingers crossed* wont sell out before we can get more ingredients into our production facility in Vermont for #3. This Pro ink is artisanal to say the least, lol.

best all,
Walker

Walker,

I have two friends that recently bought refurbished 3880's to set up with PP. Anyways this is all good news. They have been waiting...

Over the weekend I was looking at my prints and was hunting down an old K7 print. It seems I have grown use to the new black-HD. The K7 prints still are great prints, but the new black really kills it.

Anyways I'm really loving PP. The results are stunning. I'll be showing off some new prints at the NYC Meet-Up March 12th.

Cal

 

[Calzone]

Mid March is when PP is expected to be in the warehouse and will be available to the general public.

BTW I have been very busy printing, I ran down my stockpile of paper, and I need to bulk up again.

Cal