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D’Agostin using a wand with a small piece of paper attached to shield areas of the image while he burns in other areas. Dealing with the intricate edges of those areas is the most maddening part of making any print. “You can go on like this for days,” he says. “When you work in high contrast, it’s more tolerable, but when you work on very low values of grays, there you go crazy, crazy.”