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Printing in Black and White
Traditional black and white printing goes digital.

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Glass Plate Project
Andrew McIntyre produces gallery quality A3+ prints from glass plates.

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Lee Jaffe Interview
The multi-talented Jaffe captures and displays artistic greats.

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SWAHILI CHIC: THE FENG SHUI OF AFRICA Press Release
The new coffee table book will be launched on Thursday, May 17th.

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The rebirth of Digital Printing
Software is transforming the way black and white prints are made at BowHaus.

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Herman Leonard Press Release
The Fahey/Klein Gallery is pleased to present Jazz Giants, the mural-sized photographs by Herman Leonard.

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Mark Laita Press Release
Mark Laita's Created Equal documents the diversity of American culture through carefully orchestrated portraits.

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Rocky Schenck Interview
Schenck's visual style is rooted in his personal past, family roots and the beginnings of photography itself.

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Rick Klotz Interview
Businessman blends his passion for photography, magazine publishing and clothing line with BowHaus printing software.

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IJC/OPM 2400 Support
New versions of IJC/OPM feature expanded support for Epson_s new R2400 with UltraChrome K3™ inks!

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Melvin Sokolsky Interview
Legendary fashion photographer talks about ideas, art and technology.

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Antonis Ricos Interview
The digital B&W guru reveals his secrets for using IJC/OPM, and highlights NEW Features in the Windows version.

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Nick Brandt Interview
Elegy to A Vanishing World:
the photographs of Nick Brandt

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Glen Wexler Interview
Glen Wexler talks about how digital imaging plays an integral role in his imagemaking.

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IJC/OPM + OS X!
Press release for B&W PrintMaking software for OS X.

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Quadtone Prints
Black & White archival printmaking using monochrome inksets.

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Lyson Marketing Agreement
Establishes New Alliance to Develop Digital Black and White Printing Solutions.

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IJC/OPM power-user Andrew McIntyre writes about using BowHaus' software and inkjet technology on his recent project.
Dorlin House Glass Plate Project
Pigment Prints Breathe New Life into Century Old Images.

By Andrew McIntyre

The first time I fired up IJC/OPM I was completely bowled over. The sheer precision with which it controlled inkjet b&w processes using user-editable profiles exceeded anything I had seen before. Better yet, I was able to grasp the principles involved, produce a batch of high quality gallery prints and write up my findings for the British Journal of Photography all within a couple of weeks.

Two years on, I continue to output all of my black & white work through the BowHaus software with the confidence that it will do full justice to my images. So when a local historian turned up on my doorstep last Fall with a ply box filled with whole-plate (8" x 6") glass negatives dating back to 1880 I felt well-equipped to offer a scan & print service.

Fools rush in! Much as I wanted to be involved with the proposed exhibition of 50 prints I did not realize what I had let myself in for until 48 hours later when I had time to view some of the plates over a light box. Those that had not faded beyond recall had either been thrown around and abraded by careless hands, or had suffered advanced fungal infection. And in an era before exposure meters had been invented there were inevitable instances of severe over and under exposure.

It was however a case of heart over head and recognizing the sheer quality of the photography and the historical importance of the images, I agreed to do what I could at a price far below the commercial rate. The sum available for rescuing them was so paltry that they would undoubtedly have disappeared for good without a hefty input of voluntary effort.

In the event, I spent an average five hours on each plate. The first challenge was simply to get a good quality scan an impossible feat until I managed to by-pass the limitations of the software supplied with our Epson flat-bed scanner. Vuescan came to the rescue enabling me to scan the plates in two halves with sufficient overlap to auto-merge them in PhotoShop. The results of this rather bizarre technique proved surprisingly good, though with hindsight I would have done far better to upgrade to one of Epson's newer scanners had I realized they can scan a plate in one shot.

Much of the re-touching in Photoshop was on a scale I have never experienced before. At times I was selecting material from several different plates to fill in missing detail, but fortunately there was never any risk of imposing my own interpretation on the originals.

Resipole Studios

The end result has more than justified the effort. Of the fifty plates I worked on, forty-seven yielded gallery quality A3+ prints which are now on public display at Resipole Studios in North Argyll. All were printed on an archival matte paper using IJC/OPM and visitors to the gallery have been full of praise for the fresh look of the prints and the sheer amount of detail they convey. Few if any are aware that they are viewing inkjet prints. Indeed conventional "wet" prints of an acceptable standard could never have been produced from glass negatives in such a dire state.

IJC/OPM has played a major part in all this. Three years ago I would have fought shy of committing myself to producing a long run of monochrome gallery prints. Bloodied and demoralized by inexplicable magenta casts, bouts of metamarism and blocked jets caused by misadventures with third party ink vendors I was ready to throw in the towel. It says much for the efforts of Charles James and Joe Berndt at BowHaus that I now actually prefer making black and white prints to full colour ones!


Author: Andrew McIntyre

Andrew McIntyre trained as a photographer in the Royal Air Force in 1960 and served for four years including a 21/2 year tour of duty in the Middle East (Cyprus and Aden.) On his return to civilian life he studied dye-transfer colour printing at a London laboratory for two years. Today he runs a couple of small businesses in Scottish West Highlands and is a freelance writer and photographer for the Scots Magazine and other journals. He 'sticks like glue' to his old Mamiya TLR cameras and film but took to digital printing as soon as it became available. He uses an assortment of scanners, Epson printers and high-powered loupes.



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