Ain't it fascinating how much of our appreciation of even "monochrome" prints is dependent upon color vision? I'm fanatical about how even "ordinary" silver gelatin prints are specifically toned - not in some over-the-top artsy/craftsy sense, but in a precisely nuanced manner.
Not just subtly toned, but also the color/tone/brightness/texture of the paper we print on!
It's all good. I tone everything, fiber base paper has always been my go to. I have to say that Ilford's RC, glossy dried with my old Ilfospeed dryer looks pretty great until someone smacks a big thumbprint on it. Still PE paper always has a bit of an ugly sheen.
I processed som E6 6x17 the other day it's beautiful. I will probably scan and inkjet, wish I still could get Cibachrome.
I still dabble from time to time with RA4, start with medium or large format film you can get amazing results.
This exhibition announcement came to my attention today from the Sasse Museum of Art. The accompanying appraisal of black and white photography hits the mark.
It's an honor to have my work included.
https://sasseartmuseum.org/exhibits2...collection.htm
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