At what point is the relative brightness from printed solid black to
pristine white paper the greatest? It seems logical that somewhere along the
line you'd be relegated to that limitation. With the software available, you
could conceivably expand the range between those two extremes and create
more intermediate grey tones, but isn't it just a revisitation of the Zone
System? In the silicon world, I suppose it would be possible to have
hundreds of stops between the darkest and lightest areas by shooting the
same scene repeatedly with ridiculously long and short exposures and then
layering. But how would you go about printing something like that?
Am I way off-base with this assumption?
Darin Heinz
Melbourne, Florida USA
See my photographs online at http://www.darinheinz.com
