and White printing was a superior form of
|The myths on
Color vs. Black-and-White Printing
The making of
photographic Black and White prints
has always been
regarded as a superior form of craftsmanship.
It has, however, been possible to manage the process with
This is so because the black and white printing process
is very intuitive in several ways:
- A minimum of
calculations is required. There are no
filter-factors and no color shifts. The paper
reciprocity is easy to adjust for.
- The chemical
process is very fast and is done in open trays
under normal safelight. In many ways you may say
that What You See Is What You Get .
- The required
materials are (relatively) cheap. If you don`t
like what you see, it is no big expense to make
Not so with COLOR Printing:
Done properly the maths
can be prohibitive. And they are always time consuming.
There are filter factors. There is the enlarger light
color, the color sensitivity of the paper. And - most
important - there is the Reciprocity: To make things
still more complicated this reciprocity varies with the
different light sensitive layers of the paper
These problems are
amplified through the use of different enlargers,
different papers, and different films. Most of these have
different color and reciprocity characteristics.The
chemical process is often slow. Once started it is not
possible to modify the result. You are not able to see
(and correct) anything until the process is finished.
The materials are
(relatively) expensive. The best materials very much so.
This makes it imperative both to obtain a high first-time
hit-rate and, if the first print fails, to have
complete control thereafter.
is all about
effects of these difficulties (and the unavoidable
associated myths) have been manifold:
- While Black and
White printing has continued to be regarded as a
natural part of the creative process, Color
Printing has been looked upon as something that
is better sent out of house.
- While a Black and
White print may greatly enhance or distort the
original, a Color Print is (wrongly) perceived in
another way. There is only one correct
print - and this print matches the original.
This has led to the
misconception that a Color Print is a mass-produced
commodity, while the Black and White print is the result
of pure craftsmanship.Photographers, printers and
manufacturers, have all tried to solve these problems.
With widely differing methods and still more different
results. These methods typically belong to one of two
- The Spontaneous Style: Only
lots of patience, experience and papers.
- The Electronic Avenue: With
lots of special equipment and calibrations.
First Expert System:
of course, have their advantages and disadvantages... To
solve the disadvantages and retain the advantages,
AnotherLAB takes another and completely NEW road:
AnotherLAB is the first Darkroom Expert System: A
Complete Computer Model of the dryside in any lab. A
brief encounter with the program will convince even a
skeptic that this approach also opens new and hitherto
unavailable creative possibilities:
|The History of
approach Demystifies the process of photographic color
printing. No more myths about the Correct Color Print. No
more myths about the Non-Creativeness of Color Prints.
Through removal of the purely technical/mathematical
hassles it opens for Creative Color Printing.
the entirely new concept of Print Styles it opens
new creative possibilities: Any discovered
special effect may be stored and repeated with
any equipment, with any paper.
updated Image- and Print-Database is unique to
this approach. Add dynamically linked Business
Clients and the program is unbeatable for any
Difficult to use?
- Not at all: AnotherLAB runs under MicroSoft
Windows with a very comprehensive Help System.
Any darkroom is easily described through a set of
very simple dialog boxes. Once set up - and you
do this only once - the perfect print is only
two mouse clicks away
||Download a non-crippled version of AnotherLab