Old 02-03-2017   #121
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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 ...
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Old 02-03-2017   #122
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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
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Old 02-03-2017   #123
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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
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Old 02-06-2017   #124
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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
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Old 02-07-2017   #125
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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
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Old 02-07-2017   #126
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This "thread" has taken the concept of bumping to the nuclear level.
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Old 02-07-2017   #127
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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
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Old 02-15-2017   #128
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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
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Old 02-17-2017   #129
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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
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Old 02-17-2017   #130
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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
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Old 4 Weeks Ago   #131
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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.

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Old 4 Weeks Ago   #132
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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
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Old 2 Weeks Ago   #133
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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
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Old 2 Weeks Ago   #134
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Cal,

Sent a e-mail inquiring about availability, no answer yet.

What sizes do the PP inks come in?

Joe
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Old 2 Weeks Ago   #135
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Cal,

Sent a e-mail inquiring about availability, no answer yet.

What sizes do the PP inks come in?

Joe
Joe,

I'll send you the email I got from Jon Cone about the mid-March availability.

The inksets come in increments to fill your carts, but realize after the initial fill that about 1/3rd of the capacity of a 90ml 3880 cart would be gone and be in the lines and waste tank. I believe there are 110ml inksets

I only paid attention to the bigger sizes of 700ml and 350ml because I wanted to bulk up to save money. Anyways you know how much I print...

BTW as an early adopter there was incentive to bulk up: a 15% discount on ink and carts.

Cal
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Old 1 Week Ago   #136
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UPDATE: My pace of printing has been about a box of 25 17x22's a month and I'm down to my last box and will have to restock soon. My 7800 remains in storage mode and is loaded with Piezoflush. Sometime later this month I'll power up the 7800 and run a Power Clean just for good measure.

At this point I have a large stack of 18x12 prints that are fully developed work prints on 17x22 paper. The backs of these prints are annotated with useful information, and the way I have the borders set up there is a rather big offset of 3 inches from the left edge or top of the print depending on if the print is a landscape or vertical shot.

Over the weekend I kinda sorted into piles the urban landscape shots, street shots, and the combination. It became an obvious edit that eventually became two piles: one was more landscape where any people were incidental; and the other pile had either a person or people as the main subject. All were of NYC as the location, so in very broad terms this book will be about "street."

The size of this book overall will be 22x17 inches, and since this is a workbook that will be eternally edited and will be a container for organizing images, I now have a format that creates prints that are large enough to have meaning, but I'm creating a rather serious table-top book that will be a rather large object.

I decided to be clever and utilize a ready made clamshell box as part of the presentation to add elegance, so this locks me into the size of the overall size of the book, and the depth of the box is 2 inches deep, and overall we are talking a 45-55 pound book that when full might have 150-180 pages when full.

Initially I was going to sew the pages and make a conventionally bound book, but this project now I see as being better as being modular to support editing and continual evolution that will lead to fully developed body of work. The intent is to use my book as an editing tool primarily, but later it could be a grand marketing tool to display my work that hopefully leads to exhibition.

I intend on using these modular screw binders that will allow me to scale in the thickness I need as I print more, and the front and back covers will be intergrated into masking the screw binders. Because I have an extra two inches of either left or top border I have this amount of material to add to the border or spine.

So anyways I now have a workable concept that seems flushed out, and it seems I am really utilizing the 3880 in a grand way to build a serious body of work that has a lot of potential.

Sorry for the rant.

Cal
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Old 15 Hours Ago   #137
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I got an e-mail that the second batch will be available on March 28th.

I am greatful to have been an early adopter, and also know that I was wise to take advantage of sale pricing to "load up the truck" with a stockpile.

I remain deeply impressed with PP, and one pass printing surely speeds up my printing.

The book I am creating (personal workbook comprised of "workprints") is turning out to be rather impressive, and I think I will enlist a consult with the "Center For Book Arts" here in NYC to get some technical advice. I am pretty sure I could barter some prints or printing for the technical assistance with a book artist.

Cal
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