</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (David Hall @ Feb 25 2003, 08:16 PM)</td></tr><tr><td id='QUOTE'> At the risk of (once again) far afield from the topic...


Can you describe scenes that to you would be more suited to pt/pd, or Azo, since you are up on both processes? For instance, the scene of the mountains you showed me, the 17x20...would you redo that on Azo or is it right as is?

dgh </td></tr></table><span class='postcolor'>
Jeez....you are asking me a hard question here. As much as we try is hard to be totally detached and judge your own work, but let me give it a shot.

If I had shown you the silver print I made of the mountains shot, you probably would have liked it more. Since I am more skilled at printing in silver there are a few things that I wish I could have done with the pt/pd print. For one the negative was not optimum for pt/pd, I am still getting the hang of this. As CArl Weese said, it is very easy to make an acceptable print in pt/pd, very hard to make a stunning print. He is correct , every time I do a printing session I find and learn new things, this is just a normal process. Having said this, I wish I had not forgotten Clays print when I met you, his is an example of a superb pt/pd print. What you saw of mine is not by any means what constitutes the best example of this process. So at this time I would say the reprint in azo with my experience in silver printing would be better, BUT I firmly believe that once you see an excellent pt/pd print, you would want to learn how to do it.

So lately I have been eating a lot of crow, and having to go back to do the things I swore I would never do again. I am having to go back and do some testing. I found out that the BTZS is the best process to test and that actually once you get past the dry reading the method is very simple. So as much as I cuss and get discourage with pt/pd at the time, give me another year and you will see what I mean. I am finding out many things which run contrary to what I believed was good in a print. This is my opinion of course, but while I always thought the blacks and whites anchor the silver print, I am finding out the middle tones are what does it for pt/pd. If you fail to print these middle tones just right then you get the "dull and lifeless" print Smith talks about, I see a lot of this on my prints, but then I also have pt/pd prints from other people that are just perfect and no silver print could equal them.

So I am finding out that the pt/pd process requires a more exacting technique and an almost perfect negative. With silver is so easy and there are so many tricks at your disposal that almost any negative will do, as long as you have enough detail in the shadows. As a matter of fact if I was printing with azo I would probably print in grade 3 and SLIMT it back down to 2. This produces very sparkling prints ( before you ask what SLIMT is, is a technique developed by David Katchel where you bleach the print before you develop it, this causes a reduction in contrast. BTW this can also be used to "make" azo grade 1, I am surprised azo followers don&#39;t use this technique more, at least those who keep wanting azo in grade 1).

So to go back to the beginning of your question, the interior of a cathedral would be a perfect shot for pt/pd, for azo just about anything that you can print in enlarging paper can be done as well or better. Of course this is my opinion and your mileage may vary....