What makes a good monochrome print?
November 15, 2015 in Crewe PS news
This is Peter Hrebien’s photograph of Martin Simpson. It shone out in our last competition for sheer print quality. What constitutes a fine monochrome print is something which all the old hands profess to know but nobody quite likes to commit themselves to define. You won’t quite see it here because this is small digital representation, lacking the size, feel, tangibility of the real thing. What you can appreciate better is the detail captured, but that is just one factor. If questioned those old hands will start to talk about the range of tones in the picture; the way black is rendered, right through to the white bits, but holding detail is all areas. These were the Holy Grail to darkroom workers, who often spent hours in a chemical fug for the pleasure of achieving that perfect print, often emerging, blinking, clutching their treasure and perhaps a bin full of rejects. Whatever you may think about the relative importance of content and rendition we all want our competition work to look good and what we can learn from each other in a club is just how work such as is illustrated here is achieved.