fivetonsflax

I will go to 13"x19" once I am sure that I'm happy with my process. Experimenting is

expensive enough on letter-size. :-) I will keep an eye out for the Kirkland papers.

I'm intrigued by your comment about the "film stock". What is the "film" involved here? I

don't know much about paper technology at all.

So if Eboni is more archival, and looks good on glossy papers, what's the point of Photo

Black?

Allan, I removed the pizza wheels, and the problem is resolved. I can't thank you enough.

Images are starting to look the way I want them to. I've still got a few questions.

1) What's the largest I can print on 8.5"x11" papers, non-borderless? (And why is it that I

can't print borderless on the Ilford Smooth Pearl papers?)

2) Would I be better off switching from Eboni to Photo Black?

I hope I'm not taxing anyone's patience ...

It's definitely the rollers.

How do I get the carts out of the way to get at the right-hand screw?

A guy working at Adorama said that pearl and semi-gloss both refer to something

between matte and glossy. If one is closer to matte than the other, he didn't know about

it.

Big thanks to Steve Yeatts, Bob Michaels, Paul Sokal, and especially to Allan Chen for help

with figuring out various aspects of the 1280/UT2 setup.<p>

I'm using Ilford Smooth Pearl with the Roark workflow. The prints are getting pretty close

to how I want them to look, with one glaring exception: very black ("high density"?) areas

are punctuated every 1.5-2 centimeters (by eye) with horizontal lines of white dots.

Sometimes they are single lines<p>

...........................<br>

and sometimes they are double lines<p>

...........................<p>

...........................<p>

They seem to exist in lighter areas too, but they're much harder to see. Does anyone

know what this might be, and how I can deal with it? Thanks very much.

I'd definitely make my next DSLR a monochrome one if such a thing existed. I'm a low-

light weenie and I'd appreciate the extra sensitivity.

P.S. I don't think you'd get more dynamic range out of such a camera. DR depends, if I'm

not mistaken, on the size of the sensor wells. For better DR, get a camera with fewer

pixels for a given sensor size, or a bigger sensor for a given number of pixels.

The problem was that I was trying to print borderless. Apparently that's not supported

with that type of paper. Once I switched to non-borderless printing, the media option I

wanted became un-grayed.

The prints look pretty good.

Thanks!

The telemarke^H^H^H^H^Hvangelist spells his name Bakker, I think.<p>

Personally, my first thought was of <a href="http://en.wikipedia.org/wiki/

James_Baker">this fellow.</a>

I'm using whichever driver version came on CD with the printer. I'll go online and see if I

can find a newer one. Thanks.

I don't think I can return the paper, since I opened it already. No big deal. I'm having

work done on my apartment, so I laugh scornfully at the waste of a mere $14. Well, not

really.

Carry a camera at all times, and when you see a picture, take it.

Easier said than done, of course, but not *that* hard to do.

... Oh crumb.

In a hurry today, I bought Ilford Classic Pearl paper instead of Smooth Pearl paper.

I wonder if I can make this work?

Here's another issue. The MIS web page says that for Ilford Smooth Pearl, I should use

'Media Type: "Photo Quality Glossy Film."'. But in the print dialog box, under "print

settings", that media type is grayed out! Any ideas?

By "highest D-max" do you mean best (darkest) or worst (lightest)? I think a high D-max

means a darker black, but your emphasis gives me pause.

Do you have a non-matte archival paper you like with that setup?

I don't care if I make non-archival prints right now, since I'm still trying to figure out how

to get good results. But it'd be nice to have the option later.

Thanks, Allan. For some reason, I was under the opposite impression. I was planning to

pick up some semi-gloss papers today to check it out, though.

What's the difference between semi-gloss and pearl?

I have Eboni ink in the black position, so my choices of glossy paper are limited. But it

looks like there are some decent papers that are supported with this ink, so I'm not

worried about that. If I find that I'm really a glossy fan, maybe my next black cart will be

Photo Black.

</a>Thanks, Paul. Any comments on what works and what doesn't would be eagerly

appreciated -- though perhaps best taken to email, or to <a href="http://www.photo.net/

photos/fivetonsflax">my portfolio page</a>.</p>

Looks like I forgot to close a tag before, whoops.

I tried some different S-curves. That seems to help, to some extent. I'm also going to try

some pearl or semi-gloss paper. Thanks, everyone; I'll keep reporting back.

Thanks for the detailed answer, Brady. Do you have a website? I'd like to see some of

these photos of yours.<p>

Some of my music photography is up at <a href="http://narcissus.net/">my website</

a>.

I haven't done any wedding photography, but if I were invited to a gay wedding, I'd

definitely bring my camera along. Just think how easy it would be to avoid clichés and see

freshly.

When San Francisco was doing gay weddings, someone posted wonderful pictures and

captions on the web of the scene at City Hall. I don't usually cry at weddings, but the joy

and determination that these people showed really got to me. I wish I'd been there.

I like to photograph musicians. Sometimes they offer to buy photography from me.

What's a good way to figure out what to charge them? I shoot with a DSLR and spend a

fair amount of time in Photoshop converting to B&W, dodging and burning, etc. My

instinct is to give away the web-size stuff and charge for the full-res files for prints based

on what they're going to do with them. But I'm not sure that makes sense, as they seem

most interested in using my photos on the web. Another factor is that these guys are

mostly not exactly raking it in, and I have a day job and I enjoy the photography -- so I'd

rather charge too little than too much.

Not strictly relevant, but -- I recently had the pleasure of riding a bus from D.C. to NYC.

The Danish missionary sitting up front was chatting with the Chinese driver about the

weather in Bogotᠭ- in English, naturally.

I'm with you, WT. I keep black tape over the brand label on my camera. No one is paying

me to promote their brand. If someone asks, I will tell them, though.

I'm the fellow in the group of three on the left, holding a box of blueberries, out of focus

(it was that kind of day).

My favorite picture from the walls was the one with the fire hydrant and, I think,

laundromat. Very graphical/blocky. I am not so tall, so I had a hard time seeing some

pictures well due to reflections from the ceiling lights off the prints.

Nice show, Sam -- congratulations.