The final acrobat test-print, which looked good to us but was nowhere near perfect in D’Agostin’s eyes. “That’s the beauty of the darkroom though, the manual element,” he explains. “There’s a little spot there, but you accept it. There’s that 2% of gray that you could keep going on for a year, trying to get it right. You have to be tolerant and you have to accept the mystic. Then sometimes you get the print that’s perfect in your eyes, and that’s when you don’t sell it. That’s when you keep it in your collection.”