From mikes1mom at comcast.net Mon Nov 4 01:48:15 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Sun, 3 Nov 2013 20:48:15 -0500 Subject: [Alt-photo] Papers for Palladium Message-ID: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> Hi! I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? Thanks. Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. From alt.photosbyjeremy at gmail.com Mon Nov 4 02:15:15 2013 From: alt.photosbyjeremy at gmail.com (Jeremy Moore) Date: Sun, 3 Nov 2013 20:15:15 -0600 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> Message-ID: <2F7DDA13-FF7A-4CFB-9B32-D51B7F5D118C@gmail.com> Catherine, have you had luck printing palladium on any paper? I ask, because Cot 320 is often considered the gold standard for pt/pd printing and it is usually easier to reach a good dmax on that paper than others. The good folks here can help you figure out what's going wrong if you can provide some more info on your process. What size image are you printing and how many drops of what solutions are you using? Not using enough solution or mixing a very contrasts solution can affect dmax. Really low humidity can also result in a lower dmax when printing, such as using a hair dryer on the print then immediately exposing it. Can you provide links digital images of the prints on Flickr or some other location? (This list doesn't accept attachments so the images need to be hosted somewhere else.) Jeremy Sent from a mobile device. > On Nov 3, 2013, at 7:48 PM, Catherine Costolo wrote: > > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a little on yourself. > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From bobkiss at caribsurf.com Mon Nov 4 02:20:35 2013 From: bobkiss at caribsurf.com (bobkiss @caribsurf.com) Date: Sun, 3 Nov 2013 22:20:35 -0400 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> Message-ID: DEAR CATHERINE, I have used COT 320 for over a decade for pt/pd printing (mostly palladium) and achieve excellent Dmax. Whoever told you that it doesn't give good Dmax simply isn't using it correctly. The only issues I had with COT 320 were supply issues and those were resolved. There was one package a while back that seemed to have streaks but I never saw that before and have not seen it since so I continue to print with COT 320 with excellent results. Julia Cart and Diana Bloomfield (both on this list) have seen my pt/pd prints and will, I believe, confirm that I get good Dmax and nice tonal range. The world of pt/pd seems to be divided into two rival camps; the COT 320 and the Arches Platine camps, both of whom claim that their paper is best for pt/pd printing. If you are having problems with both of these highly regarded papers I am sorry to say that you may have a problem with your procedure and process. Perhaps you should share your process with one of the pt/pd gurus (Dick Arentz, Eric Neilsen, and many others) and see if they can help. Many of them read this list. CHEERS! BOB On Sun, Nov 3, 2013 at 9:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success > with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper > from Legion? > Thanks. > Catherine > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a > little on yourself. > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From dlhbloomfield at gmail.com Mon Nov 4 04:06:19 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Sun, 3 Nov 2013 23:06:19 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> Message-ID: <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Hi Catharine, I used to use both Arches Platine and COT 320, but I started having a lot of trouble with batches of COT320 in the last year or so-- lots of graininess and problems. I have no idea what they've done differently with the paper, but I have to believe they made some change with it. I know a couple of other people who have had the same trouble with batches they purchased. And while I like Arches Platine, I did start using Revere, probably based on someone's recommendation here-- and it's truly the best paper I've ever used for pt/pd. Really beautiful results. Now I don't use anything else. Diana On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > From dlhbloomfield at gmail.com Mon Nov 4 04:11:33 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Sun, 3 Nov 2013 23:11:33 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> Message-ID: <9FA9C1E5-3E66-42DC-ACF2-27F968CE76DD@gmail.com> Hey Catharine, Just a follow-up here-- I did see Bob's prints-- and they really are spectacular in every way. But for some reason, the last several batches (and I bought from different places and at different sizes) of COT320 I purchased all had problems. I have a friend here who prints pt/pd as well, and I told him not to get the COT320 because of these issues, but he did-- and he had some of the same problems I did. So I lent him some of my Revere, and he was as blown away by the results as I am. So-- I don't know-- for some reason, we were just getting bad paper here-- but I'd encourage you to try the Revere. The only issue I ever had with Arches, which I also like, is that it always seemed to encourage those tiny little black specks. I've had no problems with Revere at all-- just beautiful paper for pt/pd. Diana On Nov 3, 2013, at 9:20 PM, bobkiss @caribsurf.com wrote: > DEAR CATHERINE, > > I have used COT 320 for over a decade for pt/pd printing (mostly > palladium) and achieve excellent Dmax. Whoever told you that it doesn't > give good Dmax simply isn't using it correctly. The only issues I had with > COT 320 were supply issues and those were resolved. There was one package > a while back that seemed to have streaks but I never saw that before and > have not seen it since so I continue to print with COT 320 with excellent > results. > Julia Cart and Diana Bloomfield (both on this list) have seen my pt/pd > prints and will, I believe, confirm that I get good Dmax and nice tonal > range. > The world of pt/pd seems to be divided into two rival camps; the COT > 320 and the Arches Platine camps, both of whom claim that their paper is > best for pt/pd printing. If you are having problems with both of these > highly regarded papers I am sorry to say that you may have a problem with > your procedure and process. Perhaps you should share your process with one > of the pt/pd gurus (Dick Arentz, Eric Neilsen, and many others) and see if > they can help. Many of them read this list. > > CHEERS! > BOB > > > On Sun, Nov 3, 2013 at 9:48 PM, Catherine Costolo wrote: > >> Hi! >> I have used both Cot 320 and Arches Platine but have not had much success >> with them. Also I was told that Cot 320 does not give good dmax. >> Any suggestions for a paper I might try? Has anyone tried the Revere paper >> from Legion? >> Thanks. >> Catherine >> >> >> Catherine Costolo >> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >> (404)291-2181 (cell) >> Visit my website 24/7 www.marykay.com/ccostolo >> Happiness is like jam.....you can't spread it around without getting a >> little on yourself. >> >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > _______________________________________________ > Alt-photo-process-list | altphotolist.org From e.camerling at tiscali.nl Mon Nov 4 08:36:31 2013 From: e.camerling at tiscali.nl (Erich Camerling) Date: Mon, 04 Nov 2013 09:36:31 +0100 Subject: [Alt-photo] density Pictorico film Message-ID: <52775C8F.2000708@tiscali.nl> Dear Members, With my 365 nm UV-Densitometer I measured the optical densities of : -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece yesterday because they told me they have a new, better quality (CG Screenfilm) and I want to measure that ( 0.13 ??) -Permajet Digital transfer film 165 ?. D=0.39 -Agfa Copyjet D=0.28. But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP Ultra. Can anybody send me a small piece? (5 x 5 cm) is enough. I will put the data on the alt-photo site. From christnze at gmail.com Mon Nov 4 09:09:10 2013 From: christnze at gmail.com (Christian Nze) Date: Mon, 4 Nov 2013 10:09:10 +0100 Subject: [Alt-photo] Re: density Pictorico film In-Reply-To: <52775C8F.2000708@tiscali.nl> References: <52775C8F.2000708@tiscali.nl> Message-ID: I have some revolution transfer HD and premium and also tecco at home if you want some sample just send me your address 2013/11/4 Erich Camerling > Dear Members, > > With my 365 nm UV-Densitometer I measured the optical densities of : > > -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece > yesterday > because they told me they have a new, better quality (CG Screenfilm) and I > want to measure that ( 0.13 ??) > > -Permajet Digital transfer film 165 ?. D=0.39 > > -Agfa Copyjet D=0.28. > > But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP > Ultra. > Can anybody send me a small piece? (5 x 5 cm) is enough. > I will put the data on the alt-photo site. > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From emanphoto at gmail.com Mon Nov 4 08:36:57 2013 From: emanphoto at gmail.com (eric nelson) Date: Mon, 4 Nov 2013 15:36:57 +0700 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Message-ID: I've attributed my past issues with humidity or some such thing in my process using both Platine and 320. I have a huge stockpile of papers and plenty of humidity, but no darkroom for now to test things out. Small changes in your process can make all the difference. e > On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > > > Hi! > > I have used both Cot 320 and Arches Platine but have not had much > success with them. Also I was told that Cot 320 does not give good dmax. > > Any suggestions for a paper I might try? Has anyone tried the Revere > paper from Legion? > > Thanks. > > Catherine > > > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From mail at loris.medici.name Mon Nov 4 09:22:08 2013 From: mail at loris.medici.name (Loris Medici) Date: Mon, 4 Nov 2013 11:22:08 +0200 Subject: [Alt-photo] Re: density Pictorico film In-Reply-To: <52775C8F.2000708@tiscali.nl> References: <52775C8F.2000708@tiscali.nl> Message-ID: Hi Erich, thanks for the info. Interesting though; in my (many) step tablet tests (with many different processes), I always observed <= 2 steps (log 0.2 max.) difference with Agfa SelectJet, never 3 steps (0.3). Step tablet tests with Pictorico always show 3 steps (log 0.3) difference to me. I only have the old stock (> 5 y/o) Pictorico (I think they've upgraded / updated the product since then...), let me know if you still need it. Regards, Loris. 2013/11/4 Erich Camerling > Dear Members, > > With my 365 nm UV-Densitometer I measured the optical densities of : > > -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece > yesterday > because they told me they have a new, better quality (CG Screenfilm) and I > want to measure that ( 0.13 ??) > > -Permajet Digital transfer film 165 ?. D=0.39 > > -Agfa Copyjet D=0.28. > > But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP > Ultra. > Can anybody send me a small piece? (5 x 5 cm) is enough. > I will put the data on the alt-photo site. > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From bobkiss at caribsurf.com Mon Nov 4 13:05:44 2013 From: bobkiss at caribsurf.com (BOB KISS) Date: Mon, 4 Nov 2013 09:05:44 -0400 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Message-ID: DEAR DIANA, Please recall that you and I had problems with COT 320 at about the same time a few years ago. Before that B&S had problems with Bergger meeting their demands for supply of it. And you and I had a problem getting John Horowy to communicate with us in a way that would solve the problems. That was a while ago and both of these issues have been resolved. 1) Melody must have had a "moment of prayer" with John because B&S had an extensive supply of COT 320 in all sizes up until recently. I just checked their website and all the COT 320 seems to be out of stock.again a supply issue!!! I have e-mailed Melody to ask why this problem again but it is only 6:30 am in Santa Fe. Though she gets up and starts work early, I don't expect a reply until later and will forward the info. 2) The problems I had back then with COT 320 were resolved and the last 4 batches of 20X24/25 sheets have been perfect so I would not shy away from it. And Melody is a lot nicer to deal with regarding any issues with the paper! 3) Which Revere do you use? The one sold by B&S? Do you use the lighter or heavier paper? As I like 320 gsm I am assuming I should try the Revere 300 gsm, yes? CHEERS FROM BARBADOS! BOB _____ From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Diana Bloomfield Sent: Monday, November 04, 2013 12:06 AM To: alt-photo-process-list at lists.altphotolist.org Subject: [Alt-photo] Re: Papers for Palladium Hi Catharine, I used to use both Arches Platine and COT 320, but I started having a lot of trouble with batches of COT320 in the last year or so-- lots of graininess and problems. I have no idea what they've done differently with the paper, but I have to believe they made some change with it. I know a couple of other people who have had the same trouble with batches they purchased. And while I like Arches Platine, I did start using Revere, probably based on someone's recommendation here-- and it's truly the best paper I've ever used for pt/pd. Really beautiful results. Now I don't use anything else. Diana On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > _______________________________________________ Alt-photo-process-list | altphotolist.org __________ Information from ESET Smart Security, version of virus signature database 9001 (20131104) __________ The message was checked by ESET Smart Security. http://www.eset.com __________ Information from ESET Smart Security, version of virus signature database 9001 (20131104) __________ The message was checked by ESET Smart Security. http://www.eset.com From mail at loris.medici.name Mon Nov 4 13:18:59 2013 From: mail at loris.medici.name (Loris Medici) Date: Mon, 4 Nov 2013 15:18:59 +0200 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Message-ID: Hi all, Not that I'm encouraging people from refraining papers that work great right out of the box but; anyone investigating paper alternatives and not shy from a little extra effort, should also take this into account: http://www.apug.org/forums/forum42/118153-sulfamic-acid-paper-acidification.html My current favorite paper for Pd is Fabriano Artistico Extra White 300gsm, better dmax than COT320 after sulfamic acid treatment, same creamy tones but with better overall contrast. (Since the paper base is brighter and cooler - almost perfectly neutral...) Regards, Loris. 2013/11/4 BOB KISS > DEAR DIANA, > > > > Please recall that you and I had problems with COT 320 at about > the same time a few years ago. Before that B&S had problems with Bergger > meeting their demands for supply of it. And you and I had a problem > getting > John Horowy to communicate with us in a way that would solve the problems. > That was a while ago and both of these issues have been resolved. > > > > 1) Melody must have had a "moment of prayer" with John because B&S had > an > extensive supply of COT 320 in all sizes up until recently. I just checked > their website and all the COT 320 seems to be out of stock.again a supply > issue!!! I have e-mailed Melody to ask why this problem again but it is > only 6:30 am in Santa Fe. Though she gets up and starts work early, I > don't > expect a reply until later and will forward the info. > > > > 2) The problems I had back then with COT 320 were resolved and the last > 4 > batches of 20X24/25 sheets have been perfect so I would not shy away from > it. And Melody is a lot nicer to deal with regarding any issues with the > paper! > > > > 3) Which Revere do you use? The one sold by B&S? Do you use the > lighter > or heavier paper? As I like 320 gsm I am assuming I should try the Revere > 300 gsm, yes? > > > > CHEERS FROM BARBADOS! > > BOB > > > > _____ > > From: alt-photo-process-list-bounces at lists.altphotolist.org > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf > Of > Diana Bloomfield > Sent: Monday, November 04, 2013 12:06 AM > To: alt-photo-process-list at lists.altphotolist.org > Subject: [Alt-photo] Re: Papers for Palladium > > > > Hi Catharine, > > I used to use both Arches Platine and COT 320, but I started having a lot > of > trouble with batches of COT320 in the last year or so-- lots of graininess > and problems. I have no idea what they've done differently with the paper, > but I have to believe they made some change with it. I know a couple of > other people who have had the same trouble with batches they purchased. > And > while I like Arches Platine, I did start using Revere, probably based on > someone's recommendation here-- and it's truly the best paper I've ever > used > for pt/pd. Really beautiful results. Now I don't use anything else. > > Diana > On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > > > Hi! > > I have used both Cot 320 and Arches Platine but have not had much success > with them. Also I was told that Cot 320 does not give good dmax. > > Any suggestions for a paper I might try? Has anyone tried the Revere > paper > from Legion? > > Thanks. > > Catherine > From sanking at clemson.edu Mon Nov 4 13:29:46 2013 From: sanking at clemson.edu (Sandy King) Date: Mon, 4 Nov 2013 08:29:46 -0500 Subject: [Alt-photo] Re: density Pictorico film In-Reply-To: References: <52775C8F.2000708@tiscali.nl> Message-ID: Early versions of Pictorico, back around 2000, measured about log 0.13 - 0.17 by UV transmitted light. Current versions, including Ultra Premiums, measure about log 0.25 - 0.26 by UV light. I have measured Pictorico with both an X-Rite 361T and a Gretage D200II so I am confident the density readings are reliable. Sandy On Nov 4, 2013, at 4:09 AM, Christian Nze wrote: > I have some revolution transfer HD and premium and also tecco at home if > you want some sample > just send me your address > > > > 2013/11/4 Erich Camerling > >> Dear Members, >> >> With my 365 nm UV-Densitometer I measured the optical densities of : >> >> -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece >> yesterday >> because they told me they have a new, better quality (CG Screenfilm) and I >> want to measure that ( 0.13 ??) >> >> -Permajet Digital transfer film 165 ?. D=0.39 >> >> -Agfa Copyjet D=0.28. >> >> But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP >> Ultra. >> Can anybody send me a small piece? (5 x 5 cm) is enough. >> I will put the data on the alt-photo site. >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > _______________________________________________ > Alt-photo-process-list | altphotolist.org From dougtaylor13 at mac.com Mon Nov 4 13:46:41 2013 From: dougtaylor13 at mac.com (Doug Taylor) Date: Mon, 04 Nov 2013 08:46:41 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Message-ID: <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> I've been using Fabriano Artistico EW HP for pt/pd with a 1% oxalic acid bath for 5 minutes prior to printing with the paper, and am getting good results. I'm curious if users of COT320, Arches Platine, and Revere paper find it necessary to acidify the paper before use, and if so, what is that process? Thanks, Doug On Nov 3, 2013, at 11:06 PM, Diana Bloomfield wrote: Hi Catharine, I used to use both Arches Platine and COT 320, but I started having a lot of trouble with batches of COT320 in the last year or so-- lots of graininess and problems. I have no idea what they've done differently with the paper, but I have to believe they made some change with it. I know a couple of other people who have had the same trouble with batches they purchased. And while I like Arches Platine, I did start using Revere, probably based on someone's recommendation here-- and it's truly the best paper I've ever used for pt/pd. Really beautiful results. Now I don't use anything else. Diana On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > _______________________________________________ Alt-photo-process-list | altphotolist.org From bobkiss at caribsurf.com Mon Nov 4 14:03:21 2013 From: bobkiss at caribsurf.com (BOB KISS) Date: Mon, 4 Nov 2013 10:03:21 -0400 Subject: [Alt-photo] Re: COT 320 AT B&S was Papers for Palladium References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Message-ID: DEAR ALL, I just received a reply from Melody at B&S and she said they are expecting a full supply of all sizes of COT 320 by the end of the week. Further, she said they were working with John to maintain sufficient supplies of COT 320 in the future. CHEERS! BOB _____ From: BOB KISS [mailto:bobkiss at caribsurf.com] Sent: Monday, November 04, 2013 9:06 AM To: 'alt-photo-process-list at lists.altphotolist.org' Subject: RE: [Alt-photo] Re: Papers for Palladium DEAR DIANA, Please recall that you and I had problems with COT 320 at about the same time a few years ago. Before that B&S had problems with Bergger meeting their demands for supply of it. And you and I had a problem getting John Horowy to communicate with us in a way that would solve the problems. That was a while ago and both of these issues have been resolved. 1) Melody must have had a "moment of prayer" with John because B&S had an extensive supply of COT 320 in all sizes up until recently. I just checked their website and all the COT 320 seems to be out of stock.again a supply issue!!! I have e-mailed Melody to ask why this problem again but it is only 6:30 am in Santa Fe. Though she gets up and starts work early, I don't expect a reply until later and will forward the info. 2) The problems I had back then with COT 320 were resolved and the last 4 batches of 20X24/25 sheets have been perfect so I would not shy away from it. And Melody is a lot nicer to deal with regarding any issues with the paper! 3) Which Revere do you use? The one sold by B&S? Do you use the lighter or heavier paper? As I like 320 gsm I am assuming I should try the Revere 300 gsm, yes? CHEERS FROM BARBADOS! BOB _____ From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Diana Bloomfield Sent: Monday, November 04, 2013 12:06 AM To: alt-photo-process-list at lists.altphotolist.org Subject: [Alt-photo] Re: Papers for Palladium Hi Catharine, I used to use both Arches Platine and COT 320, but I started having a lot of trouble with batches of COT320 in the last year or so-- lots of graininess and problems. I have no idea what they've done differently with the paper, but I have to believe they made some change with it. I know a couple of other people who have had the same trouble with batches they purchased. And while I like Arches Platine, I did start using Revere, probably based on someone's recommendation here-- and it's truly the best paper I've ever used for pt/pd. Really beautiful results. Now I don't use anything else. Diana On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > _______________________________________________ Alt-photo-process-list | altphotolist.org __________ Information from ESET Smart Security, version of virus signature database 9001 (20131104) __________ The message was checked by ESET Smart Security. http://www.eset.com __________ Information from ESET Smart Security, version of virus signature database 9001 (20131104) __________ The message was checked by ESET Smart Security. http://www.eset.com __________ Information from ESET Smart Security, version of virus signature database 9001 (20131104) __________ The message was checked by ESET Smart Security. http://www.eset.com From dlhbloomfield at gmail.com Mon Nov 4 15:16:42 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Mon, 4 Nov 2013 10:16:42 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> Message-ID: Hi Doug, I've never acidified paper for Arches, COT320, or Revere. Diana On Nov 4, 2013, at 8:46 AM, Doug Taylor wrote: > I've been using Fabriano Artistico EW HP for pt/pd with a 1% oxalic acid bath for 5 minutes prior to printing with the paper, and am getting good results. I'm curious if users of COT320, Arches Platine, and Revere paper find it necessary to acidify the paper before use, and if so, what is that process? > Thanks, > Doug > > > From dougtaylor13 at mac.com Mon Nov 4 15:38:06 2013 From: dougtaylor13 at mac.com (Doug Taylor) Date: Mon, 04 Nov 2013 10:38:06 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> Message-ID: <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> Thanks Diana! That saves a step. Doug On Nov 4, 2013, at 10:16 AM, Diana Bloomfield wrote: Hi Doug, I've never acidified paper for Arches, COT320, or Revere. Diana On Nov 4, 2013, at 8:46 AM, Doug Taylor wrote: > I've been using Fabriano Artistico EW HP for pt/pd with a 1% oxalic acid bath for 5 minutes prior to printing with the paper, and am getting good results. I'm curious if users of COT320, Arches Platine, and Revere paper find it necessary to acidify the paper before use, and if so, what is that process? > Thanks, > Doug > > > _______________________________________________ Alt-photo-process-list | altphotolist.org From dlhbloomfield at gmail.com Mon Nov 4 15:39:45 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Mon, 4 Nov 2013 10:39:45 -0500 Subject: [Alt-photo] Re: COT 320 AT B&S was Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> Message-ID: <9BDC40CD-BB8C-4A3D-B154-0F9F348809E5@gmail.com> Hi Bob, I do remember all that, and between the time they must have got their act together (Bergger, not B&S), I had switched to Revere and never looked back. I do have this friend here who had just started printing in pt/pd, and he had a very old supply of COT320 someone had given him, which he used and loved. When he needed more, I told him about my problems, but he loved that paper so much, and I guess he thought I was just fabricating issues, because he ordered more, and it was from B&S. He came over to show me the results-- it was the same grainy splotchy issues I had experienced. And this was probably less than a year ago. So I gave him some samples of Revere I had, and now that's all he uses. Really-- it's the most beautiful paper I've ever used for that process. It's a dream to work with, too. I do not get the Revere from B&S. I initially got it from Talas in NYC. I don't actually order anything from B&S anymore-- their shipping costs are too high for me, and I can get most of what I need here on the East Coast. I also have a Jerry's Artarama about 3 miles from me, and an excellent art supply store that has all kinds of papers. I asked them to start ordering the Revere for me, too, which they did. I get my chemicals mostly from Artcraft, in NY, so it's a lot faster and cheaper for me to not shop at B&S-- although they're very very nice people. :) Oh-- I've used both the lightweight and 300 gsm, and I do prefer the 300 gsm-- just less worry in the water. Diana > > DEAR DIANA, > > > > Please recall that you and I had problems with COT 320 at about > the same time a few years ago. Before that B&S had problems with Bergger > meeting their demands for supply of it. And you and I had a problem getting > John Horowy to communicate with us in a way that would solve the problems. > That was a while ago and both of these issues have been resolved. > > > > 1) Melody must have had a "moment of prayer" with John because B&S had an > extensive supply of COT 320 in all sizes up until recently. I just checked > their website and all the COT 320 seems to be out of stock.again a supply > issue!!! I have e-mailed Melody to ask why this problem again but it is > only 6:30 am in Santa Fe. Though she gets up and starts work early, I don't > expect a reply until later and will forward the info. > > > > 2) The problems I had back then with COT 320 were resolved and the last 4 > batches of 20X24/25 sheets have been perfect so I would not shy away from > it. And Melody is a lot nicer to deal with regarding any issues with the > paper! > > > > 3) Which Revere do you use? The one sold by B&S? Do you use the lighter > or heavier paper? As I like 320 gsm I am assuming I should try the Revere > 300 gsm, yes? > > From dlhbloomfield at gmail.com Mon Nov 4 15:44:29 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Mon, 4 Nov 2013 10:44:29 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> Message-ID: <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> Yes-- I'm all about saving steps. Try Revere; you'll love it. (And, no, I do not have stock in it, but I wish I did.) As an aside, I had been using Fabriano soft-press for gum printing (no pre-shrinking and no sizing needed), and when Chia mentioned using the heavyweight BFK Rives, I ordered some of that, and really like it, too. I don't have to do any pre-shrinking or sizing on that paper, either. I've started using that now instead of the Fabriano, because I just like it better-- but for gum printers on here-- that's a great paper, too, for saving some steps. On Nov 4, 2013, at 10:38 AM, Doug Taylor wrote: > Thanks Diana! That saves a step. > Doug > > > On Nov 4, 2013, at 10:16 AM, Diana Bloomfield wrote: > > Hi Doug, > > I've never acidified paper for Arches, COT320, or Revere. > > Diana > From christinazanderson at gmail.com Mon Nov 4 15:58:15 2013 From: christinazanderson at gmail.com (Christina Anderson) Date: Mon, 4 Nov 2013 08:58:15 -0700 Subject: [Alt-photo] Re: density Pictorico film In-Reply-To: References: <52775C8F.2000708@tiscali.nl> Message-ID: Sandy et al, This is interesting. I don't use, nor feel the need to, buy the Ultra Premium (is that the black label one?) but I do use the regular Pictorico and add 1/2 stop (by dividing the final printing time by .707). WIth your logs if I read logs correctly you are adding less than I, correct? I don't have a UV densitometer and just do it all by math and the Stouffers. Chris Christina Z. Anderson http://christinaZanderson.com/ On Nov 4, 2013, at 6:29 AM, Sandy King wrote: > > Early versions of Pictorico, back around 2000, measured about log 0.13 - 0.17 by UV transmitted light. Current versions, including Ultra Premiums, measure about log 0.25 - 0.26 by UV light. I have measured Pictorico with both an X-Rite 361T and a Gretage D200II so I am confident the density readings are reliable. > > Sandy > > > On Nov 4, 2013, at 4:09 AM, Christian Nze wrote: > >> I have some revolution transfer HD and premium and also tecco at home if >> you want some sample >> just send me your address >> >> >> >> 2013/11/4 Erich Camerling >> >>> Dear Members, >>> >>> With my 365 nm UV-Densitometer I measured the optical densities of : >>> >>> -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece >>> yesterday >>> because they told me they have a new, better quality (CG Screenfilm) and I >>> want to measure that ( 0.13 ??) >>> >>> -Permajet Digital transfer film 165 ?. D=0.39 >>> >>> -Agfa Copyjet D=0.28. >>> >>> But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP >>> Ultra. >>> Can anybody send me a small piece? (5 x 5 cm) is enough. >>> I will put the data on the alt-photo site. >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From dougtaylor13 at mac.com Mon Nov 4 16:43:16 2013 From: dougtaylor13 at mac.com (Doug Taylor) Date: Mon, 04 Nov 2013 11:43:16 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> Message-ID: <8E8C3DAA-2257-4676-BD8B-51435F2E6BE0@mac.com> I appreciate your generosity in sharing Diana. I'm definitely going to give the Revere a try. I bought some of their Magnani Platinum a while back but haven't tried yet. Thanks, Doug On Nov 4, 2013, at 10:44 AM, Diana Bloomfield wrote: Yes-- I'm all about saving steps. Try Revere; you'll love it. (And, no, I do not have stock in it, but I wish I did.) As an aside, I had been using Fabriano soft-press for gum printing (no pre-shrinking and no sizing needed), and when Chia mentioned using the heavyweight BFK Rives, I ordered some of that, and really like it, too. I don't have to do any pre-shrinking or sizing on that paper, either. I've started using that now instead of the Fabriano, because I just like it better-- but for gum printers on here-- that's a great paper, too, for saving some steps. On Nov 4, 2013, at 10:38 AM, Doug Taylor wrote: > Thanks Diana! That saves a step. > Doug > > > On Nov 4, 2013, at 10:16 AM, Diana Bloomfield wrote: > > Hi Doug, > > I've never acidified paper for Arches, COT320, or Revere. > > Diana > _______________________________________________ Alt-photo-process-list | altphotolist.org From bill at iversonimages.com Mon Nov 4 16:43:11 2013 From: bill at iversonimages.com (Iversonimages) Date: Mon, 4 Nov 2013 11:43:11 -0500 Subject: [Alt-photo] Re: Papers for Palladium Message-ID: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> Does anyone know a source for the Revere Platinum (as opposed to the various other Legion Revere papers) other than B&S? The Legion website also lists Talas and New York Central Art Supply, but neither of their websites list Revere Platinum or indeed any Revere paper. Bill Iverson From steve.scherbinski at gmail.com Mon Nov 4 16:47:34 2013 From: steve.scherbinski at gmail.com (Steven Scherbinski) Date: Mon, 04 Nov 2013 11:47:34 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> References: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> Message-ID: <5277CFA6.3060707@gmail.com> I'm assuming this is it. I'm hoping it is, since I just put in an order. http://apps.webcreate.com/ecom/catalog/product_specific.cfm?ClientID=15&ProductID=68685 On 11/4/13 11:43 AM, Iversonimages wrote: > Does anyone know a source for the Revere Platinum (as opposed to the various > other Legion Revere papers) other than B&S? The Legion website also lists > Talas and New York Central Art Supply, but neither of their websites list > Revere Platinum or indeed any Revere paper. > > > > Bill Iverson > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From dlhbloomfield at gmail.com Mon Nov 4 16:50:32 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Mon, 4 Nov 2013 11:50:32 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> References: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> Message-ID: <68289BFB-5F55-4306-BDD0-9020C27C6C2D@gmail.com> Hi Bill, What I'm using is the 'Magnani Platinum' from Talas, which I think is the Revere Platinum. I'm pretty sure they're the same item. Diana On Nov 4, 2013, at 11:43 AM, Iversonimages wrote: > Does anyone know a source for the Revere Platinum (as opposed to the various > other Legion Revere papers) other than B&S? The Legion website also lists > Talas and New York Central Art Supply, but neither of their websites list > Revere Platinum or indeed any Revere paper. > > > > Bill Iverson From clay at clayharmon.com Mon Nov 4 17:10:14 2013 From: clay at clayharmon.com (clay harmon's personal website email account) Date: Mon, 4 Nov 2013 12:10:14 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> References: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> Message-ID: <9A249CCC-8F92-4B4E-9C50-53E869F21F6D@clayharmon.com> Bill, You can call New York Central and ask for the paper department and tell them you want some of the newest batch of Revere Platinum. That is what I had to do to get mine. There was that one early shipment of the paper that has problems, and you will want to avoid getting anything from that batch. Clay On Nov 4, 2013, at 11:43 AM, "Iversonimages" wrote: > Does anyone know a source for the Revere Platinum (as opposed to the various > other Legion Revere papers) other than B&S? The Legion website also lists > Talas and New York Central Art Supply, but neither of their websites list > Revere Platinum or indeed any Revere paper. > > > > Bill Iverson > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From kerik at kerik.com Mon Nov 4 17:29:39 2013 From: kerik at kerik.com (Kerik Kouklis) Date: Mon, 4 Nov 2013 09:29:39 -0800 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <5277CFA6.3060707@gmail.com> References: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> <5277CFA6.3060707@gmail.com> Message-ID: <8A3C524B-CF9B-4B09-ABC7-66935B0BB8B1@kerik.com> Just a heads up the last batch of the heavy version of this paper I received in June was much different than the batch I had before. Much more absorbent and it printed differently. It will require a recalibration of my digital negs which I haven't done yet. -Kerik www.kerik.com > On Nov 4, 2013, at 8:47 AM, Steven Scherbinski wrote: > > I'm assuming this is it. I'm hoping it is, since I just put in an order. > > > http://apps.webcreate.com/ecom/catalog/product_specific.cfm?ClientID=15&ProductID=68685 > > >> On 11/4/13 11:43 AM, Iversonimages wrote: >> Does anyone know a source for the Revere Platinum (as opposed to the various >> other Legion Revere papers) other than B&S? The Legion website also lists >> Talas and New York Central Art Supply, but neither of their websites list >> Revere Platinum or indeed any Revere paper. >> >> >> Bill Iverson >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From christinazanderson at gmail.com Mon Nov 4 17:30:32 2013 From: christinazanderson at gmail.com (Christina Anderson) Date: Mon, 4 Nov 2013 10:30:32 -0700 Subject: [Alt-photo] anyone attending SPENW? Message-ID: <5C3FBE0C-739A-49BA-86DD-24299683AF24@gmail.com> Anyone on the list attending Society of PHotographic Education's NW conference in Seattle this weekend (Thurs-Sun, see spenational.org). Chris Christina Z. Anderson http://christinaZanderson.com/ From dlhbloomfield at gmail.com Mon Nov 4 17:32:00 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Mon, 4 Nov 2013 12:32:00 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <8A3C524B-CF9B-4B09-ABC7-66935B0BB8B1@kerik.com> References: <002e01ced97c$f6b8c780$e42a5680$@iversonimages.com> <5277CFA6.3060707@gmail.com> <8A3C524B-CF9B-4B09-ABC7-66935B0BB8B1@kerik.com> Message-ID: <2921B43C-FDAC-47A6-8CF4-7B8F06A9420C@gmail.com> Interesting. I've been getting mine from Talas, and I've ordered several batches from them with no problems or differences among the batches-- so far. Diana On Nov 4, 2013, at 12:29 PM, Kerik Kouklis wrote: > Just a heads up the last batch of the heavy version of this paper I received in June was much different than the batch I had before. Much more absorbent and it printed differently. It will require a recalibration of my digital negs which I haven't done yet. > > -Kerik > www.kerik.com > >> On Nov 4, 2013, at 8:47 AM, Steven Scherbinski wrote: >> >> I'm assuming this is it. I'm hoping it is, since I just put in an order. >> >> >> http://apps.webcreate.com/ecom/catalog/product_specific.cfm?ClientID=15&ProductID=68685 >> >> >>> On 11/4/13 11:43 AM, Iversonimages wrote: >>> Does anyone know a source for the Revere Platinum (as opposed to the various >>> other Legion Revere papers) other than B&S? The Legion website also lists >>> Talas and New York Central Art Supply, but neither of their websites list >>> Revere Platinum or indeed any Revere paper. >>> >>> >>> Bill Iverson From mikes1mom at comcast.net Mon Nov 4 20:55:21 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Mon, 4 Nov 2013 15:55:21 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> Message-ID: <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Thanks to all of you for contributing to this thread! My results have been very inconsistent. I received a brand new UV printer last summer and it has a built-in vacuum frame. I have kept the humidity at around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, 24, 2. I am coating with a Richeson brush and my time is about 6 minutes. I have never gotten a dmax greater then 1.30??.maybe a few times it has been a bit higher. My developer is Potassium Oxalate and then I was washing in Citric acid with EDTA added. In August I worked with Jon Cone's PDZN system. I have not done any work since August but want to get started again. I have posted on my Flicker page two items. One has 5 -21 step grayscale linearizations that correspond to 5 of Jon's curves and the other item is the same photo printed with 4 different curves from Jon Cone. Maybe you can tell something from looking at them. I will appreciate any comments and suggestions. The link is:http://www.flickr.com/photos/lasignorina/ Thanks so much, Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a little on yourself. > > From mikes1mom at comcast.net Mon Nov 4 20:59:25 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Mon, 4 Nov 2013 15:59:25 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: <843465DC-C792-4B91-A82D-587CD1D8280B@comcast.net> Sorry the link did not show up in blue. Try again. http://www.flickr.com/photos/lasignorina/ Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 4, 2013, at 3:55 PM, Catherine Costolo wrote: > Thanks to all of you for contributing to this thread! > My results have been very inconsistent. I received a brand new UV printer last summer and it has a built-in vacuum frame. I have kept the humidity at around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, 24, 2. I am coating with a Richeson brush and my time is about 6 minutes. I have never gotten a dmax greater then 1.30??.maybe a few times it has been a bit higher. My developer is Potassium Oxalate and then I was washing in Citric acid with EDTA added. > In August I worked with Jon Cone's PDZN system. > I have not done any work since August but want to get started again. > I have posted on my Flicker page two items. One has 5 -21 step grayscale linearizations that correspond to 5 of Jon's curves and the other item is the same photo printed with 4 different curves from Jon Cone. Maybe you can tell something from looking at them. > I will appreciate any comments and suggestions. > The link is:http://www.flickr.com/photos/lasignorina/ > > Thanks so much, > Catherine > > > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a little on yourself. > > > On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > >> Hi! >> I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. >> Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? >> Thanks. >> Catherine >> >> >> Catherine Costolo >> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >> (404)291-2181 (cell) >> Visit my website 24/7 www.marykay.com/ccostolo >> Happiness is like jam.....you can't spread it around without getting a little on yourself. >> >> > From sanking at clemson.edu Mon Nov 4 21:13:15 2013 From: sanking at clemson.edu (Sandy King) Date: Mon, 4 Nov 2013 16:13:15 -0500 Subject: [Alt-photo] Re: density Pictorico film In-Reply-To: References: <52775C8F.2000708@tiscali.nl> Message-ID: Chris, These days I just determine exposure time via testing the digital negative, with no reference to an analog step wedge. However, if I were to do adjustments based on the UV transmission of Pictorico the correction would be closer to a full stop than 1/2 stop. A full stop would be log 0.30, about what you should measure with a UV densitometer with either the regular Pictorico or the Ultra Premium. As you can see, the measurement of about 0.25 for Pictorico (regular and same measure about the same here) is very close to one full stop. Sandy On Nov 4, 2013, at 10:58 AM, Christina Anderson wrote: > Sandy et al, > This is interesting. I don't use, nor feel the need to, buy the Ultra Premium (is that the black label one?) but I do use the regular Pictorico and add 1/2 stop (by dividing the final printing time by .707). WIth your logs if I read logs correctly you are adding less than I, correct? I don't have a UV densitometer and just do it all by math and the Stouffers. > Chris > > Christina Z. Anderson > https://urldefense.proofpoint.com/v1/url?u=http://christinazanderson.com/&k=dsHy%2FVymniCD0osh6tze%2Fw%3D%3D%0A&r=dYT0wJ7z%2BCcVHeTjyqxYIEEvMAqwHSv5bUSBDFKI6dA%3D%0A&m=hMfKJRMg0oOJiTNpGHwqZSzV%2BETQB1JidLk7kCNrJ%2Fg%3D%0A&s=2e5059d7f0b163ceaecd7a3a152bb8afcc8b6f6d9f68b0b45dcb540f96100a19 > > On Nov 4, 2013, at 6:29 AM, Sandy King wrote: > >> >> Early versions of Pictorico, back around 2000, measured about log 0.13 - 0.17 by UV transmitted light. Current versions, including Ultra Premiums, measure about log 0.25 - 0.26 by UV light. I have measured Pictorico with both an X-Rite 361T and a Gretage D200II so I am confident the density readings are reliable. >> >> Sandy >> >> >> On Nov 4, 2013, at 4:09 AM, Christian Nze wrote: >> >>> I have some revolution transfer HD and premium and also tecco at home if >>> you want some sample >>> just send me your address >>> >>> >>> >>> 2013/11/4 Erich Camerling >>> >>>> Dear Members, >>>> >>>> With my 365 nm UV-Densitometer I measured the optical densities of : >>>> >>>> -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece >>>> yesterday >>>> because they told me they have a new, better quality (CG Screenfilm) and I >>>> want to measure that ( 0.13 ??) >>>> >>>> -Permajet Digital transfer film 165 ?. D=0.39 >>>> >>>> -Agfa Copyjet D=0.28. >>>> >>>> But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP >>>> Ultra. >>>> Can anybody send me a small piece? (5 x 5 cm) is enough. >>>> I will put the data on the alt-photo site. >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From sanking at clemson.edu Mon Nov 4 16:56:07 2013 From: sanking at clemson.edu (Sandy King) Date: Mon, 4 Nov 2013 11:56:07 -0500 Subject: [Alt-photo] Re: density Pictorico film In-Reply-To: References: <52775C8F.2000708@tiscali.nl> Message-ID: <374A4D98-A6D8-4705-A6CE-AD78496554E8@clemson.edu> Chris, I believe all of the Pictorico OHPs available at this time have a transmission UV of about log 0.23 - 0.27 so there is very little difference in that respect between the regular Premium Pictorico and the kind called Ultra Premium. Both work fine for me, and are pretty much transparent in use. I test the exposure of digital negatives directly with process, without any math for a final printing time. However, if I were doing a calculation log 0.23- 0.27 would be more than a 2/3 stop correction, al most a full stop, since log .03 is one stop. Sandy On Nov 4, 2013, at 10:58 AM, Christina Anderson wrote: > Sandy et al, > This is interesting. I don't use, nor feel the need to, buy the Ultra Premium (is that the black label one?) but I do use the regular Pictorico and add 1/2 stop (by dividing the final printing time by .707). WIth your logs if I read logs correctly you are adding less than I, correct? I don't have a UV densitometer and just do it all by math and the Stouffers. > Chris > > Christina Z. Anderson > https://urldefense.proofpoint.com/v1/url?u=http://christinazanderson.com/&k=dsHy%2FVymniCD0osh6tze%2Fw%3D%3D%0A&r=dYT0wJ7z%2BCcVHeTjyqxYIEEvMAqwHSv5bUSBDFKI6dA%3D%0A&m=hMfKJRMg0oOJiTNpGHwqZSzV%2BETQB1JidLk7kCNrJ%2Fg%3D%0A&s=2e5059d7f0b163ceaecd7a3a152bb8afcc8b6f6d9f68b0b45dcb540f96100a19 > > On Nov 4, 2013, at 6:29 AM, Sandy King wrote: > >> >> Early versions of Pictorico, back around 2000, measured about log 0.13 - 0.17 by UV transmitted light. Current versions, including Ultra Premiums, measure about log 0.25 - 0.26 by UV light. I have measured Pictorico with both an X-Rite 361T and a Gretage D200II so I am confident the density readings are reliable. >> >> Sandy >> >> >> On Nov 4, 2013, at 4:09 AM, Christian Nze wrote: >> >>> I have some revolution transfer HD and premium and also tecco at home if >>> you want some sample >>> just send me your address >>> >>> >>> >>> 2013/11/4 Erich Camerling >>> >>>> Dear Members, >>>> >>>> With my 365 nm UV-Densitometer I measured the optical densities of : >>>> >>>> -Colorgate Screenfilm (from 2007 !) D=0.67. I ordered a new piece >>>> yesterday >>>> because they told me they have a new, better quality (CG Screenfilm) and I >>>> want to measure that ( 0.13 ??) >>>> >>>> -Permajet Digital transfer film 165 ?. D=0.39 >>>> >>>> -Agfa Copyjet D=0.28. >>>> >>>> But I don't have Mitsubishi Pictorico OHP,premium OHP nor Pictorica OHP >>>> Ultra. >>>> Can anybody send me a small piece? (5 x 5 cm) is enough. >>>> I will put the data on the alt-photo site. >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From bill at iversonimages.com Mon Nov 4 21:25:58 2013 From: bill at iversonimages.com (Iversonimages) Date: Mon, 4 Nov 2013 16:25:58 -0500 Subject: [Alt-photo] Re: Papers for Palladium Message-ID: <006601ced9a4$790b4a10$6b21de30$@iversonimages.com> Yup, both Talas and NYC Art Supply carry the Revere Platinum. Just doesn't pop up on the Search function for their websites. Thanks to all. For anyone curious about prices, here's what the catalogs say: NYC Art Supply Magnani Size Gr/M2 1 25 100 500 Platinum Revere 22 x 30 145 3.35 2.98 2.77 2.48 Platinum Revere 22 x 30 300 5.95 5.32 4.94 4.43 Platinum Revere 30 x 44 300 11.85 10.64 9.87 8.87 Talas Item Description Price Quantity TPB611001 22 x 30 145 gsm 1-24 : $ 3.30 25-99 : $ 2.81 100-199 : $ 2.56 200+ : $ 2.48 each TPB611002 22 X 30 300 gsm 1-24 : $ 5.61 25-99 : $ 4.72 100-199 : $ 4.42 200+ : $ 4.13 each TPB611003 30 x 44 300 gsm 1-24 : $ 11.2125-99 : $ 9.44 100-199 : $ 8.85 200+ : $ 8.26 each B&S 22 x 30 145 gsm 1-10 $3.65 11-24 $3.50 but 25 sheet pack $72 ($2.88 each) 22 x 30 300 gsm 25 sheet pack $125 ($5.00 each) 11 x 15 145 gsm 25 sheet pack $20 (=$80 for 22 x 30, so cheap cutting down 11 x 15 300 gsm 25 sheet pack $33 (=$132 for 22 x 30 ditto) If perceptions are right that B&S shipping is pricey, this probably makes the prices including shipping pretty competitive, close enough that price isn't really controlling. My WAG would be that B&S ships a lot higher volume of this paper, so maybe the likelihood of a fresh batch without special requests is higher. Bill Iverson P.S. Sorry if these tables are jumbled on your display; they look fine on mine, but that isn't always a guarantee they'll look anything like that for recipients. From dlhbloomfield at gmail.com Mon Nov 4 21:51:09 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Mon, 4 Nov 2013 16:51:09 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <006601ced9a4$790b4a10$6b21de30$@iversonimages.com> References: <006601ced9a4$790b4a10$6b21de30$@iversonimages.com> Message-ID: <97EBC44B-C187-4CD3-A858-8598C7865C71@gmail.com> Bill, I always get mine from Talas and have never had an issue with what I've received. They also ship it flat, which I like, and leave the package on my front porch-- which suits me just fine. ;) Just looking at my order history with Talas, the last time I ordered some, I got 25 sheets of 22x30 - 300 gsm- and the cost was $4.72 each. I paid $11.80 in shipping, so the grand total was $129.80. Looks like a bargain to me. :) Diana On Nov 4, 2013, at 4:25 PM, Iversonimages wrote: > Yup, both Talas and NYC Art Supply carry the Revere Platinum. Just doesn't > pop up on the Search function for their websites. Thanks to all. For > anyone curious about prices, here's what the catalogs say: > > > > NYC Art Supply > > Magnani Size Gr/M2 1 25 100 > 500 > > Platinum Revere 22 x 30 145 3.35 2.98 2.77 2.48 > > Platinum Revere 22 x 30 300 5.95 5.32 4.94 4.43 > > Platinum Revere 30 x 44 300 11.85 10.64 9.87 8.87 > > > > Talas > > Item Description Price Quantity > > TPB611001 22 x 30 145 gsm 1-24 : $ 3.30 25-99 : $ 2.81 > 100-199 : $ 2.56 200+ : $ 2.48 each > > TPB611002 22 X 30 300 gsm 1-24 : $ 5.61 25-99 : $ 4.72 > 100-199 : $ 4.42 200+ : $ 4.13 each > > TPB611003 30 x 44 300 gsm 1-24 : $ 11.2125-99 : $ 9.44 > 100-199 : $ 8.85 200+ : $ 8.26 each > > > > B&S > > 22 x 30 145 gsm 1-10 $3.65 11-24 $3.50 but 25 > sheet pack $72 ($2.88 each) > > 22 x 30 300 gsm > 25 sheet pack $125 ($5.00 each) > > > > 11 x 15 145 gsm 25 sheet pack $20 (=$80 for 22 x > 30, so cheap cutting down > > 11 x 15 300 gsm 25 sheet pack $33 (=$132 for 22 x > 30 ditto) > > > > If perceptions are right that B&S shipping is pricey, this probably makes > the prices including shipping pretty competitive, close enough that price > isn't really controlling. My WAG would be that B&S ships a lot higher > volume of this paper, so maybe the likelihood of a fresh batch without > special requests is higher. > > > > Bill Iverson > > P.S. Sorry if these tables are jumbled on your display; they look fine on > mine, but that isn't always a guarantee they'll look anything like that for > recipients. > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From e.camerling at tiscali.nl Tue Nov 5 12:19:04 2013 From: e.camerling at tiscali.nl (Erich Camerling) Date: Tue, 05 Nov 2013 13:19:04 +0100 Subject: [Alt-photo] Optical density Message-ID: <5278E238.4030204@tiscali.nl> Measuring optical density at 380 nm. ( X-Rite 361T ) will give a lower measured optical density value compared to 365 nm. Because alt-photo processes using ammonium ferri-oxalate have their maximum sensitivity from 313 - 365 nm.I measure at 365 nm. (340 nm. is the optimum) but 340 nm. UV-LED's are extreme expensive and many Epson inks have their optimum in the 365 nm.region. From bobkiss at caribsurf.com Tue Nov 5 13:08:46 2013 From: bobkiss at caribsurf.com (BOB KISS) Date: Tue, 5 Nov 2013 09:08:46 -0400 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: DEAR CATHERINE, Reading your e-mail below I didn't notice any mention of rehumidifying your paper after coating and drying it. Whenever I have had lower than normal Dmax it has invariable been because I did not rehumidify my paper right before exposure. CHEERS! BOB _____ From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Catherine Costolo Sent: Monday, November 04, 2013 4:55 PM To: The alternative photographic processes mailing list Subject: [Alt-photo] Re: Papers for Palladium Thanks to all of you for contributing to this thread! My results have been very inconsistent. I received a brand new UV printer last summer and it has a built-in vacuum frame. I have kept the humidity at around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, 24, 2. I am coating with a Richeson brush and my time is about 6 minutes. I have never gotten a dmax greater then 1.30...maybe a few times it has been a bit higher. My developer is Potassium Oxalate and then I was washing in Citric acid with EDTA added. In August I worked with Jon Cone's PDZN system. I have not done any work since August but want to get started again. I have posted on my Flicker page two items. One has 5 -21 step grayscale linearizations that correspond to 5 of Jon's curves and the other item is the same photo printed with 4 different curves from Jon Cone. Maybe you can tell something from looking at them. I will appreciate any comments and suggestions. The link is:http://www.flickr.com/photos/lasignorina/ Thanks so much, Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > Hi! > I have used both Cot 320 and Arches Platine but have not had much success with them. Also I was told that Cot 320 does not give good dmax. > Any suggestions for a paper I might try? Has anyone tried the Revere paper from Legion? > Thanks. > Catherine > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a little on yourself. > > _______________________________________________ Alt-photo-process-list | altphotolist.org __________ Information from ESET Smart Security, version of virus signature database 9007 (20131105) __________ The message was checked by ESET Smart Security. http://www.eset.com __________ Information from ESET Smart Security, version of virus signature database 9007 (20131105) __________ The message was checked by ESET Smart Security. http://www.eset.com From christinazanderson at gmail.com Tue Nov 5 15:07:24 2013 From: christinazanderson at gmail.com (Christina Anderson) Date: Tue, 5 Nov 2013 08:07:24 -0700 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <843465DC-C792-4B91-A82D-587CD1D8280B@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> <843465DC-C792-4B91-A82D-587CD1D8280B@comcast.net> Message-ID: <88D2E20A-19A4-48CF-A40E-8FCF12AA7B45@gmail.com> Hi Catharine, I have a question about your drop count, though I am not the pt/pd expert on the list. >> my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, 24, 2. I use 1 drop for every two square inches, so for an 8x10 for instance, I would use 40 drops or 18 18 3 (close enough). Your 25-drop count would make up to a 50 sq. in print; is that the size you are doing on 8.5x11? Like a 5x9 or so? Using this amount, it takes a while of brushing to move the puddle around evenly and then once it is dispersed and starts looking slightly dull I quit brushing. I use a synthetic brush as well. But the amount I use is a nice amount to not skimp on solution, and I have noticed when students have done a step wedge with that drop count and yet coated a larger area than they should have, the difference in a thinner coat dmax is pretty remarkable. Chris From dougtaylor13 at mac.com Tue Nov 5 16:00:38 2013 From: dougtaylor13 at mac.com (Doug Taylor) Date: Tue, 05 Nov 2013 11:00:38 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> Message-ID: Hi Diana, As I mentioned earlier, I've been using Fabriano Artistico EW Hot Press to print pt/pd, and I was acidifying with Oxalic acid prior to coating and printing. You mentioned using Arches, COT320, and Revere without acidifying these papers. I have the Revere which I am going to use shortly. Wonder what your clearing process is with these papers, after development? With the Fabriano, after development, I let the print sit in a tray of water for 5 minutes, and then 3 successive baths of 5 minutes each; 1) 2% citric acid 2) Kodak hypo clear with a TBS of EDTA Tetrasodium per liter, 3) another tray of Kodak hypo clear with EDTA, and finally a wash in running water for 20 minutes. Would this clearing process work with the Revere paper or do you prefer another process? Thanks, Doug On Nov 4, 2013, at 10:16 AM, Diana Bloomfield wrote: Hi Doug, I've never acidified paper for Arches, COT320, or Revere. Diana On Nov 4, 2013, at 8:46 AM, Doug Taylor wrote: > I've been using Fabriano Artistico EW HP for pt/pd with a 1% oxalic acid bath for 5 minutes prior to printing with the paper, and am getting good results. I'm curious if users of COT320, Arches Platine, and Revere paper find it necessary to acidify the paper before use, and if so, what is that process? > Thanks, > Doug > > > _______________________________________________ Alt-photo-process-list | altphotolist.org From fdfragomeni at gmail.com Tue Nov 5 17:40:49 2013 From: fdfragomeni at gmail.com (Francesco Fragomeni) Date: Tue, 5 Nov 2013 12:40:49 -0500 Subject: [Alt-photo] Mechanism for Platinum Enlargements Message-ID: Hi All, I may have asking something along these lines a long while back but I'm unsure. There also may have been a bit of conversations around this on-list in the past. Anyway, I've always been fascinated with the old methods for making Platinum enlargements and I'm curious if anyone knows any of the numbers (exposure times) or knows of anyone who's working (albeit slowly) with anything like this now. Despite common belief, making platinum prints through an enlarger is indeed possible and there is a long history of this. As a quick recap, the most common method was through the use of a solar enlarger attached to a heliostat. The solar enlarger was essentially the same as a modern enlarger, most commonly using condenser lenses but there is documentation discussing diffusion solar enlargers as well, and lenses that were good at passing UV light. The heliostat was a mechanism that allowed the enlarger to track the movement of the sun subsequently keeping the light source centered and focused throughout the printing. Much later Durst made a UV enlarger for Azo and supposedly had one in development for platinum printing but it never made it into production. Anyway, I've heard whisperings of people who's made platinum enlargements essentially in conventional enlargers after replacing the lens with an older lens that'll pass uv light (modern lenses tend to block uv) but I can't really find any documentation of this. What I've heard is that the super powered lamps as used in the Durst UV enlarger (5kw and requiring serious cooling) are not actually necessary if you're ok with loooong exposure times (into hours). The Durst was supposedly designed to make these exposures both possible and relatively quick. I personally wouldn't care if the exposure times were very long if this is something that could actually be achieved. Does anyone have any information/experience with this? Any idea of how long exposure times would actually be if using a uv bulb or mercury bulb in a diffusion or condenser enlarger? Lets try to keep this on topic. This isn't intended as an opening for recommendations to contact print or make enlarged negatives. This topic isn't concerned with any alternatives. We're all aware that platinum prints are conventionally made using contact printing. We also know about making enlarged negs. No need to touch on any of that here. This is about the feasibility, practicality, and possibility of making a platinum enlargement via an enlarger set up to utilize uv light. We're also not tied to attempting to attain short exposure times here. Long is fine. I'm interested in tapping into the creative thinking of those on-list so lets try to limit the "thats impossible" talk. We already know that platinum enlargements are possible. Thoughts? From dlhbloomfield at gmail.com Tue Nov 5 17:46:05 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Tue, 5 Nov 2013 12:46:05 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> Message-ID: Hi Doug, I use only water and citric acid/water for clearing baths. I do a running wash at the end as well. For Revere, that seems to work fine for me. I hate to keep harping on COT320, because Bob likes it and obviously has no problem-- and I'm sure other people do as well-- but that is the one paper that I had a heck of a time clearing. Maybe it's my water over here. But with both Arches and with the Revere, water baths and citric acid/water baths seem to be fine for clearing. But I'm sure what you're doing now would work as well-- seems a little overkill-- but if it works for you . . . :) Diana > Hi Diana, > > As I mentioned earlier, I've been using Fabriano Artistico EW Hot Press to print pt/pd, and I was acidifying with Oxalic acid prior to coating and printing. > > You mentioned using Arches, COT320, and Revere without acidifying these papers. I have the Revere which I am going to use shortly. > > Wonder what your clearing process is with these papers, after development? > > With the Fabriano, after development, I let the print sit in a tray of water for 5 minutes, and then 3 successive baths of 5 minutes each; 1) 2% citric acid 2) Kodak hypo clear with a TBS of EDTA Tetrasodium per liter, 3) another tray of Kodak hypo clear with EDTA, and finally a wash in running water for 20 minutes. > > Would this clearing process work with the Revere paper or do you prefer another process? > > Thanks, Doug > From dougtaylor13 at mac.com Tue Nov 5 18:02:16 2013 From: dougtaylor13 at mac.com (Doug Taylor) Date: Tue, 05 Nov 2013 13:02:16 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> Message-ID: <2870C656-6D63-460A-9173-E66C38065C2C@mac.com> Hi Diana, Appreciate you sharing your clearing technique. My current clearing technique may be overkill, not sure, as it was an approach I had read a while ago. But definitely going to give you approach a try, as it's simpler and cheaper! I'm all for simple and saving money if it works. Thanks again for sharing, Doug On Nov 5, 2013, at 12:46 PM, Diana Bloomfield wrote: Hi Doug, I use only water and citric acid/water for clearing baths. I do a running wash at the end as well. For Revere, that seems to work fine for me. I hate to keep harping on COT320, because Bob likes it and obviously has no problem-- and I'm sure other people do as well-- but that is the one paper that I had a heck of a time clearing. Maybe it's my water over here. But with both Arches and with the Revere, water baths and citric acid/water baths seem to be fine for clearing. But I'm sure what you're doing now would work as well-- seems a little overkill-- but if it works for you . . . :) Diana > Hi Diana, > > As I mentioned earlier, I've been using Fabriano Artistico EW Hot Press to print pt/pd, and I was acidifying with Oxalic acid prior to coating and printing. > > You mentioned using Arches, COT320, and Revere without acidifying these papers. I have the Revere which I am going to use shortly. > > Wonder what your clearing process is with these papers, after development? > > With the Fabriano, after development, I let the print sit in a tray of water for 5 minutes, and then 3 successive baths of 5 minutes each; 1) 2% citric acid 2) Kodak hypo clear with a TBS of EDTA Tetrasodium per liter, 3) another tray of Kodak hypo clear with EDTA, and finally a wash in running water for 20 minutes. > > Would this clearing process work with the Revere paper or do you prefer another process? > > Thanks, Doug > _______________________________________________ Alt-photo-process-list | altphotolist.org From alt.photosbyjeremy at gmail.com Tue Nov 5 18:12:51 2013 From: alt.photosbyjeremy at gmail.com (Jeremy Moore) Date: Tue, 5 Nov 2013 12:12:51 -0600 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <2870C656-6D63-460A-9173-E66C38065C2C@mac.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <2870C656-6D63-460A-9173-E66C38065C2C@mac.com> Message-ID: <07AC8848-3161-407F-ADF3-2066FD23B793@gmail.com> I do citric acid followed by 2 baths of hypo mixed with EDTA. Watch out that your water bath is acidic - if it's basic it can lock in the ferric. That's why I go straight from the pot ox to citric acid. Jeremy Sent from a mobile device. > On Nov 5, 2013, at 12:02 PM, Doug Taylor wrote: > > Hi Diana, > > Appreciate you sharing your clearing technique. > My current clearing technique may be overkill, not sure, as it was an approach I had read a while ago. But definitely going to give you approach a try, as it's simpler and cheaper! I'm all for simple and saving money if it works. > > Thanks again for sharing, Doug > > > On Nov 5, 2013, at 12:46 PM, Diana Bloomfield wrote: > > Hi Doug, > > I use only water and citric acid/water for clearing baths. I do a running wash at the end as well. For Revere, that seems to work fine for me. I hate to keep harping on COT320, because Bob likes it and obviously has no problem-- and I'm sure other people do as well-- but that is the one paper that I had a heck of a time clearing. Maybe it's my water over here. But with both Arches and with the Revere, water baths and citric acid/water baths seem to be fine for clearing. But I'm sure what you're doing now would work as well-- seems a little overkill-- but if it works for you . . . :) > > Diana > >> Hi Diana, >> >> As I mentioned earlier, I've been using Fabriano Artistico EW Hot Press to print pt/pd, and I was acidifying with Oxalic acid prior to coating and printing. >> >> You mentioned using Arches, COT320, and Revere without acidifying these papers. I have the Revere which I am going to use shortly. >> >> Wonder what your clearing process is with these papers, after development? >> >> With the Fabriano, after development, I let the print sit in a tray of water for 5 minutes, and then 3 successive baths of 5 minutes each; 1) 2% citric acid 2) Kodak hypo clear with a TBS of EDTA Tetrasodium per liter, 3) another tray of Kodak hypo clear with EDTA, and finally a wash in running water for 20 minutes. >> >> Would this clearing process work with the Revere paper or do you prefer another process? >> >> Thanks, Doug > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From don at sweetlegal.co.nz Tue Nov 5 20:04:23 2013 From: don at sweetlegal.co.nz (Don Sweet) Date: Wed, 6 Nov 2013 09:04:23 +1300 Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements References: Message-ID: <002701ceda62$d6c5cae0$0502a8c0@east> Somebody raised this question years ago, and as I recollect the accepted wisdom was that a solar powered enlarger (as contrasted with a "Solar" enlarger) was impractical because the lens would block too much uv light, or overheat, or both. If that is true, then another way of making the sun's rays diverge might be to use a slightly convex mirror as the light source, with the remainder of the enlarger inverted over that. Don Sweet ----- Original Message ----- From: "Francesco Fragomeni" To: "The alternative photographic processes mailing list" Sent: Wednesday, November 06, 2013 6:40 AM Subject: [Alt-photo] Mechanism for Platinum Enlargements > Hi All, > > I may have asking something along these lines a long while back but I'm > unsure. There also may have been a bit of conversations around this on-list > in the past. Anyway, I've always been fascinated with the old methods for > making Platinum enlargements and I'm curious if anyone knows any of the > numbers (exposure times) or knows of anyone who's working (albeit slowly) > with anything like this now. > > Despite common belief, making platinum prints through an enlarger is indeed > possible and there is a long history of this. As a quick recap, the most > common method was through the use of a solar enlarger attached to a > heliostat. The solar enlarger was essentially the same as a modern > enlarger, most commonly using condenser lenses but there is documentation > discussing diffusion solar enlargers as well, and lenses that were good at > passing UV light. The heliostat was a mechanism that allowed the enlarger > to track the movement of the sun subsequently keeping the light source > centered and focused throughout the printing. > > Much later Durst made a UV enlarger for Azo and supposedly had one in > development for platinum printing but it never made it into production. > > Anyway, I've heard whisperings of people who's made platinum enlargements > essentially in conventional enlargers after replacing the lens with an > older lens that'll pass uv light (modern lenses tend to block uv) but I > can't really find any documentation of this. What I've heard is that the > super powered lamps as used in the Durst UV enlarger (5kw and requiring > serious cooling) are not actually necessary if you're ok with loooong > exposure times (into hours). The Durst was supposedly designed to make > these exposures both possible and relatively quick. I personally wouldn't > care if the exposure times were very long if this is something that could > actually be achieved. > > Does anyone have any information/experience with this? Any idea of how long > exposure times would actually be if using a uv bulb or mercury bulb in a > diffusion or condenser enlarger? > > Lets try to keep this on topic. This isn't intended as an opening for > recommendations to contact print or make enlarged negatives. This topic > isn't concerned with any alternatives. We're all aware that platinum prints > are conventionally made using contact printing. We also know about making > enlarged negs. No need to touch on any of that here. This is about the > feasibility, practicality, and possibility of making a platinum enlargement > via an enlarger set up to utilize uv light. We're also not tied to > attempting to attain short exposure times here. Long is fine. I'm > interested in tapping into the creative thinking of those on-list so lets > try to limit the "thats impossible" talk. We already know that platinum > enlargements are possible. Thoughts? > _______________________________________________ > Alt-photo-process-list | altphotolist.org From mikes1mom at comcast.net Tue Nov 5 22:01:05 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Tue, 5 Nov 2013 17:01:05 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <88D2E20A-19A4-48CF-A40E-8FCF12AA7B45@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> <843465DC-C792-4B91-A82D-587CD1D8280B@comcast.net> <88D2E20A-19A4-48CF-A40E-8FCF12AA7B45@gmail.com> Message-ID: <04018BC9-44D0-4E22-B5BB-C7BBEAE45120@comcast.net> Thank you, Christina. I will use more drops on an 8 X 10 and see what happens. Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 5, 2013, at 10:07 AM, Christina Anderson wrote: > Hi Catharine, > I have a question about your drop count, though I am not the pt/pd expert on the list. > >>> my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, 24, 2. > > I use 1 drop for every two square inches, so for an 8x10 for instance, I would use 40 drops or 18 18 3 (close enough). Your 25-drop count would make up to a 50 sq. in print; is that the size you are doing on 8.5x11? Like a 5x9 or so? > > Using this amount, it takes a while of brushing to move the puddle around evenly and then once it is dispersed and starts looking slightly dull I quit brushing. I use a synthetic brush as well. But the amount I use is a nice amount to not skimp on solution, and I have noticed when students have done a step wedge with that drop count and yet coated a larger area than they should have, the difference in a thinner coat dmax is pretty remarkable. > Chris > _______________________________________________ > Alt-photo-process-list | altphotolist.org From mikes1mom at comcast.net Tue Nov 5 22:03:07 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Tue, 5 Nov 2013 17:03:07 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: Bob, I have not been rehumidifying my paper after coating and drying though the paper is in the room where the humidifier is on. I will try your suggestion. Thanks, Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 5, 2013, at 8:08 AM, BOB KISS wrote: > DEAR CATHERINE, > > Reading your e-mail below I didn't notice any mention of > rehumidifying your paper after coating and drying it. Whenever I have had > lower than normal Dmax it has invariable been because I did not rehumidify > my paper right before exposure. > > CHEERS! > > BOB > > > > _____ > > From: alt-photo-process-list-bounces at lists.altphotolist.org > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of > Catherine Costolo > Sent: Monday, November 04, 2013 4:55 PM > To: The alternative photographic processes mailing list > Subject: [Alt-photo] Re: Papers for Palladium > > > > Thanks to all of you for contributing to this thread! > My results have been very inconsistent. I received a brand new UV printer > last summer and it has a built-in vacuum frame. I have kept the humidity at > around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( > palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, > 24, 2. I am coating with a Richeson brush and my time is about 6 minutes. I > have never gotten a dmax greater then 1.30...maybe a few times it has been a > bit higher. My developer is Potassium Oxalate and then I was washing in > Citric acid with EDTA added. > In August I worked with Jon Cone's PDZN system. > I have not done any work since August but want to get started again. > I have posted on my Flicker page two items. One has 5 -21 step grayscale > linearizations that correspond to 5 of Jon's curves and the other item is > the same photo printed with 4 different curves from Jon Cone. Maybe you can > tell something from looking at them. > I will appreciate any comments and suggestions. > The link is:http://www.flickr.com/photos/lasignorina/ > > Thanks so much, > Catherine > > > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a > little on yourself. > > > On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > >> Hi! >> I have used both Cot 320 and Arches Platine but have not had much success > with them. Also I was told that Cot 320 does not give good dmax. >> Any suggestions for a paper I might try? Has anyone tried the Revere paper > from Legion? >> Thanks. >> Catherine >> >> >> Catherine Costolo >> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >> (404)291-2181 (cell) >> Visit my website 24/7 www.marykay.com/ccostolo >> Happiness is like jam.....you can't spread it around without getting a > little on yourself. >> >> > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > > > __________ Information from ESET Smart Security, version of virus signature > database 9007 (20131105) __________ > > The message was checked by ESET Smart Security. > > http://www.eset.com > > > > __________ Information from ESET Smart Security, version of virus signature > database 9007 (20131105) __________ > > The message was checked by ESET Smart Security. > > http://www.eset.com > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From dougtaylor13 at mac.com Tue Nov 5 22:39:14 2013 From: dougtaylor13 at mac.com (Doug Taylor) Date: Tue, 05 Nov 2013 17:39:14 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <07AC8848-3161-407F-ADF3-2066FD23B793@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <2870C656-6D63-460A-9173-E66C38065C2C@mac.com> <07AC8848-3161-407F-ADF3-2066FD23B793@gmail.com> Message-ID: <13227C12-C65C-4BEA-8861-7DF4FDDEB948@mac.com> Good to know Jeremy, thanks, Doug On Nov 5, 2013, at 1:12 PM, Jeremy Moore wrote: I do citric acid followed by 2 baths of hypo mixed with EDTA. Watch out that your water bath is acidic - if it's basic it can lock in the ferric. That's why I go straight from the pot ox to citric acid. Jeremy Sent from a mobile device. > On Nov 5, 2013, at 12:02 PM, Doug Taylor wrote: > > Hi Diana, > > Appreciate you sharing your clearing technique. > My current clearing technique may be overkill, not sure, as it was an approach I had read a while ago. But definitely going to give you approach a try, as it's simpler and cheaper! I'm all for simple and saving money if it works. > > Thanks again for sharing, Doug > > > On Nov 5, 2013, at 12:46 PM, Diana Bloomfield wrote: > > Hi Doug, > > I use only water and citric acid/water for clearing baths. I do a running wash at the end as well. For Revere, that seems to work fine for me. I hate to keep harping on COT320, because Bob likes it and obviously has no problem-- and I'm sure other people do as well-- but that is the one paper that I had a heck of a time clearing. Maybe it's my water over here. But with both Arches and with the Revere, water baths and citric acid/water baths seem to be fine for clearing. But I'm sure what you're doing now would work as well-- seems a little overkill-- but if it works for you . . . :) > > Diana > >> Hi Diana, >> >> As I mentioned earlier, I've been using Fabriano Artistico EW Hot Press to print pt/pd, and I was acidifying with Oxalic acid prior to coating and printing. >> >> You mentioned using Arches, COT320, and Revere without acidifying these papers. I have the Revere which I am going to use shortly. >> >> Wonder what your clearing process is with these papers, after development? >> >> With the Fabriano, after development, I let the print sit in a tray of water for 5 minutes, and then 3 successive baths of 5 minutes each; 1) 2% citric acid 2) Kodak hypo clear with a TBS of EDTA Tetrasodium per liter, 3) another tray of Kodak hypo clear with EDTA, and finally a wash in running water for 20 minutes. >> >> Would this clearing process work with the Revere paper or do you prefer another process? >> >> Thanks, Doug > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org _______________________________________________ Alt-photo-process-list | altphotolist.org From pfriedrichsen at sympatico.ca Wed Nov 6 04:02:21 2013 From: pfriedrichsen at sympatico.ca (Peter Friedrichsen) Date: Tue, 5 Nov 2013 23:02:21 -0500 Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements In-Reply-To: References: Message-ID: The ferric oxalate light sensitivity is still very good up to about 520nm (throughout the blue light range) so maybe the Durst Azo unit, which I see uses quartz halogen, could do the job. Perhaps you could find one to test. Peter Friedrichsen At 12:40 PM 05/11/2013, you wrote: >Hi All, > >I may have asking something along these lines a long while back but I'm >unsure. There also may have been a bit of conversations around this on-list >in the past. Anyway, I've always been fascinated with the old methods for >making Platinum enlargements and I'm curious if anyone knows any of the >numbers (exposure times) or knows of anyone who's working (albeit slowly) >with anything like this now. > >Despite common belief, making platinum prints through an enlarger is indeed >possible and there is a long history of this. As a quick recap, the most >common method was through the use of a solar enlarger attached to a >heliostat. The solar enlarger was essentially the same as a modern >enlarger, most commonly using condenser lenses but there is documentation >discussing diffusion solar enlargers as well, and lenses that were good at >passing UV light. The heliostat was a mechanism that allowed the enlarger >to track the movement of the sun subsequently keeping the light source >centered and focused throughout the printing. > >Much later Durst made a UV enlarger for Azo and supposedly had one in >development for platinum printing but it never made it into production. > >Anyway, I've heard whisperings of people who's made platinum enlargements >essentially in conventional enlargers after replacing the lens with an >older lens that'll pass uv light (modern lenses tend to block uv) but I >can't really find any documentation of this. What I've heard is that the >super powered lamps as used in the Durst UV enlarger (5kw and requiring >serious cooling) are not actually necessary if you're ok with loooong >exposure times (into hours). The Durst was supposedly designed to make >these exposures both possible and relatively quick. I personally wouldn't >care if the exposure times were very long if this is something that could >actually be achieved. > >Does anyone have any information/experience with this? Any idea of how long >exposure times would actually be if using a uv bulb or mercury bulb in a >diffusion or condenser enlarger? > >Lets try to keep this on topic. This isn't intended as an opening for >recommendations to contact print or make enlarged negatives. This topic >isn't concerned with any alternatives. We're all aware that platinum prints >are conventionally made using contact printing. We also know about making >enlarged negs. No need to touch on any of that here. This is about the >feasibility, practicality, and possibility of making a platinum enlargement >via an enlarger set up to utilize uv light. We're also not tied to >attempting to attain short exposure times here. Long is fine. I'm >interested in tapping into the creative thinking of those on-list so lets >try to limit the "thats impossible" talk. We already know that platinum >enlargements are possible. Thoughts? >_______________________________________________ >Alt-photo-process-list | altphotolist.org From gfrancophoto at gmail.com Wed Nov 6 07:41:43 2013 From: gfrancophoto at gmail.com (Greg Franco) Date: Tue, 5 Nov 2013 23:41:43 -0800 Subject: [Alt-photo] Re: Papers for Palladium References: Message-ID: I went back and forth with Arches Platine and Cot 320 for a while and was giving the edge to Platine until I tried the Cot 320 with tween 20 added to the coating solution... it made the difference for me, better dmax, better contrast and smoother tones on the Cot 320, didn't seem to make much of a difference on the Platine though. I guess I will have to give Revere a try after hearing all the great reviews about it. Greg Franco >> On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: >> >>> Hi! >>> I have used both Cot 320 and Arches Platine but have not had much >>> success >> with them. Also I was told that Cot 320 does not give good dmax. >>> Any suggestions for a paper I might try? Has anyone tried the Revere >>> paper >> from Legion? >>> Thanks. >>> Catherine >>> >>> >>> Catherine Costolo >>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>> (404)291-2181 (cell) >>> Visit my website 24/7 www.marykay.com/ccostolo >>> Happiness is like jam.....you can't spread it around without getting a >> little on yourself. >>> >>> From laura at lavatop.com Wed Nov 6 08:36:55 2013 From: laura at lavatop.com (Laura V) Date: Wed, 06 Nov 2013 08:36:55 +0000 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> Message-ID: <5279FFA7.1010704@lavatop.com> On 11/4/13 3:44 PM, Diana Bloomfield wrote: > > As an aside, I had been using Fabriano soft-press for gum printing (no pre-shrinking and no sizing needed), and when Chia mentioned using the heavyweight BFK Rives, I ordered some of that, and really like it, too. I don't have to do any pre-shrinking or sizing on that paper, either. Hi Diana, what size prints are you talking about? And what weight paper? I'm waiting for an order of both Fabriano and BFK and wondering if I should save a couple of steps too. :) Thanks! Laura From mail at loris.medici.name Wed Nov 6 09:13:51 2013 From: mail at loris.medici.name (Loris Medici) Date: Wed, 6 Nov 2013 11:13:51 +0200 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: Hi Catherine, If possible, measure the amnt. of solution by milliliters using thin syringes with 0.1ml resolution (using separated / dedicated syringes for each solution)... The properties of each solutions differ, consequently their drop sizes also differ (sometimes considerably!), therefore the drop count may not be 100% reliable. (You need equal amounts of iron and noble metal solution for optimum results...) As for coating volume; my standard is 0.025ml per sq. in., some papers need a little less than that, some a little more. For 8 1/2 x 11" coating area, my standard would translate to ~2.3 - 2.4ml total volume. (Which is around 55-60 drops (of water!) with my cheap plastic pipettes - very close to Christina's count, but only for water and solutions close to water; it's not the same for 25% AFC for instance...) ?Regards, Loris.? 2013/11/6 Catherine Costolo > Bob, I have not been rehumidifying my paper after coating and drying > though the paper is in the room where the humidifier is on. I will try your > suggestion. > Thanks, > Catherine > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a > little on yourself. > > > On Nov 5, 2013, at 8:08 AM, BOB KISS wrote: > > > DEAR CATHERINE, > > > > Reading your e-mail below I didn't notice any mention of > > rehumidifying your paper after coating and drying it. Whenever I have > had > > lower than normal Dmax it has invariable been because I did not > rehumidify > > my paper right before exposure. > > > > CHEERS! > > > > BOB > > > > > > > > _____ > > > > From: alt-photo-process-list-bounces at lists.altphotolist.org > > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On > Behalf Of > > Catherine Costolo > > Sent: Monday, November 04, 2013 4:55 PM > > To: The alternative photographic processes mailing list > > Subject: [Alt-photo] Re: Papers for Palladium > > > > > > > > Thanks to all of you for contributing to this thread! > > My results have been very inconsistent. I received a brand new UV printer > > last summer and it has a built-in vacuum frame. I have kept the > humidity at > > around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( > > palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, > > 24, 2. I am coating with a Richeson brush and my time is about 6 > minutes. I > > have never gotten a dmax greater then 1.30...maybe a few times it has > been a > > bit higher. My developer is Potassium Oxalate and then I was washing in > > Citric acid with EDTA added. > > In August I worked with Jon Cone's PDZN system. > > I have not done any work since August but want to get started again. > > I have posted on my Flicker page two items. One has 5 -21 step grayscale > > linearizations that correspond to 5 of Jon's curves and the other item is > > the same photo printed with 4 different curves from Jon Cone. Maybe you > can > > tell something from looking at them. > > I will appreciate any comments and suggestions. > > The link is:http://www.flickr.com/photos/lasignorina/ > > > > Thanks so much, > > Catherine > > > > > > > > > > Catherine Costolo > > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > > (404)291-2181 (cell) > > Visit my website 24/7 www.marykay.com/ccostolo > > Happiness is like jam.....you can't spread it around without getting a > > little on yourself. > > > > > > On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > > > >> Hi! > >> I have used both Cot 320 and Arches Platine but have not had much > success > > with them. Also I was told that Cot 320 does not give good dmax. > >> Any suggestions for a paper I might try? Has anyone tried the Revere > paper > > from Legion? > >> Thanks. > >> Catherine > >> > >> > >> Catherine Costolo > >> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > >> (404)291-2181 (cell) > >> Visit my website 24/7 www.marykay.com/ccostolo > >> Happiness is like jam.....you can't spread it around without getting a > > little on yourself. > >> > >> > > > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > > > > > > > __________ Information from ESET Smart Security, version of virus > signature > > database 9007 (20131105) __________ > > > > The message was checked by ESET Smart Security. > > > > http://www.eset.com > > > > > > > > __________ Information from ESET Smart Security, version of virus > signature > > database 9007 (20131105) __________ > > > > The message was checked by ESET Smart Security. > > > > http://www.eset.com > > > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From mail at loris.medici.name Wed Nov 6 09:18:11 2013 From: mail at loris.medici.name (Loris Medici) Date: Wed, 6 Nov 2013 11:18:11 +0200 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <04018BC9-44D0-4E22-B5BB-C7BBEAE45120@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> <843465DC-C792-4B91-A82D-587CD1D8280B@comcast.net> <88D2E20A-19A4-48CF-A40E-8FCF12AA7B45@gmail.com> <04018BC9-44D0-4E22-B5BB-C7BBEAE45120@comcast.net> Message-ID: Oops; my previous reply was to this conversation below, I replied to the wrong message. Sorry for the inconvenience / confusion. Regards, Loris. 2013/11/6 Catherine Costolo > Thank you, Christina. I will use more drops on an 8 X 10 and see what > happens. > Catherine > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a > little on yourself. > > > On Nov 5, 2013, at 10:07 AM, Christina Anderson wrote: > > > Hi Catharine, > > I have a question about your drop count, though I am not the pt/pd > expert on the list. > > > >>> my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( palladium, > ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, 24, 2. > > > > I use 1 drop for every two square inches, so for an 8x10 for instance, I > would use 40 drops or 18 18 3 (close enough). Your 25-drop count would make > up to a 50 sq. in print; is that the size you are doing on 8.5x11? Like a > 5x9 or so? > > > > Using this amount, it takes a while of brushing to move the puddle > around evenly and then once it is dispersed and starts looking slightly > dull I quit brushing. I use a synthetic brush as well. But the amount I use > is a nice amount to not skimp on solution, and I have noticed when students > have done a step wedge with that drop count and yet coated a larger area > than they should have, the difference in a thinner coat dmax is pretty > remarkable. > > Chris > From e.camerling at tiscali.nl Wed Nov 6 09:26:03 2013 From: e.camerling at tiscali.nl (Erich Camerling) Date: Wed, 06 Nov 2013 10:26:03 +0100 Subject: [Alt-photo] 365 nm. UV-Densitometer. Part 1b of 7 Message-ID: <527A0B2B.2010500@tiscali.nl> The power supply (part 2) The wiring diagram must be clear : from the -5 V , the +5 V and the +10 V power supply the "earth " is executed as "sense " connection. In that manner the issued voltage is independent from the alternating voltage drop (by <= 500 mA pulses through the UV-LED) over the supply wires. Connections: I am using Combicon industrial screw terminals for printmontage from Phoenix Contact , type MKDSN , PCB terminal block. That was the cheapest solution for me. You need 4 (green) screw terminal blocks with each 3 connectors (terminals) X1-1 : alternating voltage from the trafo X1-2 : alternating voltage from the trafo X1-3 : middle branch of trafo ( 0 Volt) X2-1 : - 5 V (stabilized) X2-2 : - 14 V X2-3 : sense - 5 V (connect to 0 V) X3-1 : 0 Volt X3-2 : + 14 V X3-3 : sense 10 V (connect to 0 V) X4-1:; + 10 V (stabilized) X4-2 : sense + 5 V (connected to 0 V) X4-3 : + 5 V (stabilized) The trafo you need has sec.2 x 12 V (and middle branch.) with a power of 5 VA. (Dealers : newark,farnell,mouser,digikey (conrad, dickbest for the dutch)) I bought a WEISS trafo type EI 42/14,8 5 VA , 2 x 12 V (for me the cheapest) but every other mark is okay. to be continued next week From bobkiss at caribsurf.com Wed Nov 6 13:54:29 2013 From: bobkiss at caribsurf.com (BOB KISS) Date: Wed, 6 Nov 2013 09:54:29 -0400 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: DEAR CATHERINE, I live in Barbados in the tropics and my darkroom is usually around 60% rel hum with the A/C on and up to 80% rel hum (or more during the rainy season) with the A/C off and I STILL must rehumidify my coated paper before printing or I get exactly those symptoms that you get; low Dmax, gritty/grainy images, slower speed. When I have rehumidified my paper, the coated side feels cooler and slightly damp to the touch. When I feel this I get excellent prints. If I print without feeling this, I get the problems you described. So I sincerely feel that the problems are not with COT 320 or Platine but because you do not rehumidify the paper before exposing. Try it with both the COT and Platine and see what happens. CHEERS! BOB _____ From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Catherine Costolo Sent: Tuesday, November 05, 2013 6:03 PM To: alt-photo-process-list at lists.altphotolist.org Subject: [Alt-photo] Re: Papers for Palladium Bob, I have not been rehumidifying my paper after coating and drying though the paper is in the room where the humidifier is on. I will try your suggestion. Thanks, Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 5, 2013, at 8:08 AM, BOB KISS wrote: > DEAR CATHERINE, > > Reading your e-mail below I didn't notice any mention of > rehumidifying your paper after coating and drying it. Whenever I have had > lower than normal Dmax it has invariable been because I did not rehumidify > my paper right before exposure. > > CHEERS! > > BOB > > > > _____ > > From: alt-photo-process-list-bounces at lists.altphotolist.org > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of > Catherine Costolo > Sent: Monday, November 04, 2013 4:55 PM > To: The alternative photographic processes mailing list > Subject: [Alt-photo] Re: Papers for Palladium > > > > Thanks to all of you for contributing to this thread! > My results have been very inconsistent. I received a brand new UV printer > last summer and it has a built-in vacuum frame. I have kept the humidity at > around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( > palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, > 24, 2. I am coating with a Richeson brush and my time is about 6 minutes. I > have never gotten a dmax greater then 1.30...maybe a few times it has been a > bit higher. My developer is Potassium Oxalate and then I was washing in > Citric acid with EDTA added. > In August I worked with Jon Cone's PDZN system. > I have not done any work since August but want to get started again. > I have posted on my Flicker page two items. One has 5 -21 step grayscale > linearizations that correspond to 5 of Jon's curves and the other item is > the same photo printed with 4 different curves from Jon Cone. Maybe you can > tell something from looking at them. > I will appreciate any comments and suggestions. > The link is:http://www.flickr.com/photos/lasignorina/ > > Thanks so much, > Catherine > > > > > Catherine Costolo > Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 > (404)291-2181 (cell) > Visit my website 24/7 www.marykay.com/ccostolo > Happiness is like jam.....you can't spread it around without getting a > little on yourself. > > > On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: > >> Hi! >> I have used both Cot 320 and Arches Platine but have not had much success > with them. Also I was told that Cot 320 does not give good dmax. >> Any suggestions for a paper I might try? Has anyone tried the Revere paper > from Legion? >> Thanks. >> Catherine >> >> >> Catherine Costolo >> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >> (404)291-2181 (cell) >> Visit my website 24/7 www.marykay.com/ccostolo >> Happiness is like jam.....you can't spread it around without getting a > little on yourself. >> >> > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > > > __________ Information from ESET Smart Security, version of virus signature > database 9007 (20131105) __________ > > The message was checked by ESET Smart Security. > > http://www.eset.com > > > > __________ Information from ESET Smart Security, version of virus signature > database 9007 (20131105) __________ > > The message was checked by ESET Smart Security. > > http://www.eset.com > > _______________________________________________ > Alt-photo-process-list | altphotolist.org _______________________________________________ Alt-photo-process-list | altphotolist.org __________ Information from ESET Smart Security, version of virus signature database 9012 (20131106) __________ The message was checked by ESET Smart Security. http://www.eset.com __________ Information from ESET Smart Security, version of virus signature database 9012 (20131106) __________ The message was checked by ESET Smart Security. http://www.eset.com From dlhbloomfield at gmail.com Wed Nov 6 14:34:15 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Wed, 6 Nov 2013 09:34:15 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: Hi Bob, You are correct about humidifying paper. But that really was not my problem with the COT320. The old stock I had worked just fine-- paper that had really sat around for a while. I used it without even humidifying, and it was great. The new paper I purchased, at different sizes, simply was not the same paper. I'm not the only person who seemed to have problems with it. I got tired of buying it from various places to see if I could get a decent stock-- and I couldn't. Also, I had no trouble coating with Arches Platine (stored in the same environment). Once I got on to Revere-- like I said-- I never looked back. It is, bar none, the best paper for pt/pd printing I've ever used. No struggles at all; in fact, it seems almost *too* easy. ;) My feeling is-- if, indeed, the paper is the problem-- (and in Catherine's case, I'm not at all convinced that it is)-- why keep struggling and testing and spending money on "bad" paper when there's a great paper out there-- and so much easier to purchase, too? I don't know-- I don't have time for dealing with distributors and makers of paper who can't seem to get their act together to (1) keep the paper in stock so it's readily available for purchase; and (2) maintain the paper's consistency/integrity. Maybe the makers/distributors of COT320 have it together at this point, but until Revere screws up and starts doing something different with their paper, or they can't manage to keep it on the shelves, I'll keep using that. It's (relatively) affordable, easily available, and gorgeous paper for pt/pd. And I've yet to have to humidify the paper. (Oh-- and I also never liked those sharp finished edges on COT320.) :) Diana On Nov 6, 2013, at 8:54 AM, BOB KISS wrote: > DEAR CATHERINE, > > I live in Barbados in the tropics and my darkroom is usually > around 60% rel hum with the A/C on and up to 80% rel hum (or more during the > rainy season) with the A/C off and I STILL must rehumidify my coated paper > before printing or I get exactly those symptoms that you get; low Dmax, > gritty/grainy images, slower speed. When I have rehumidified my paper, the > coated side feels cooler and slightly damp to the touch. When I feel this I > get excellent prints. If I print without feeling this, I get the problems > you described. > > So I sincerely feel that the problems are not with COT 320 or > Platine but because you do not rehumidify the paper before exposing. Try it > with both the COT and Platine and see what happens. > > CHEERS! > > BOB > > > > _____ > From dlhbloomfield at gmail.com Wed Nov 6 14:54:52 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Wed, 6 Nov 2013 09:54:52 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <5279FFA7.1010704@lavatop.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> Message-ID: <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> Hi Laura, I've printed up to 16x16, or 16x20, multiple layers-- with no registration problems. I bought the BFK Rives heavyweight (300 gsm) 19x26, from Talas in NYC (25 sheets @ $3.22/sheet). You can also get it at a 26x40 size ($6.30/sheet for 25 to 49 sheets-- goes down in price for more than that). I like the Fabriano soft-press very much, for the same reasons (no sizing; no pre-shrinking)-- but I actually like the paper texture of the Rives better. I was getting my Fabriano soft-press from Jerry's. It is sized slightly differently (22x30), and a 10-pack of that size is just under $49. I couldn't seem to find it, online, in 25 sheet packs. We do have a Jerry's locally, but they don't stock the soft-press. Anyway-- I think I probably save money on the Rives, too, and I like it better. Diana On Nov 6, 2013, at 3:36 AM, Laura V wrote: > On 11/4/13 3:44 PM, Diana Bloomfield wrote: >> >> As an aside, I had been using Fabriano soft-press for gum printing (no pre-shrinking and no sizing needed), and when Chia mentioned using the heavyweight BFK Rives, I ordered some of that, and really like it, too. I don't have to do any pre-shrinking or sizing on that paper, either. > > Hi Diana, what size prints are you talking about? And what weight paper? I'm waiting for an order of both Fabriano and BFK and wondering if I should save a couple of steps too. :) Thanks! > > Laura > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From christinazanderson at gmail.com Wed Nov 6 15:05:26 2013 From: christinazanderson at gmail.com (Christina Anderson) Date: Wed, 6 Nov 2013 08:05:26 -0700 Subject: [Alt-photo] drop count in pt/pd In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: Loris, You are absolutely right; I had not decided to "go there" in this discussion. But when I was having all that bleeding a couple years back I was looking at my drop count and realized how much bigger the pd drops were in comparison to the ferric drops. Plus my pd solution (which I made from scratch with pd from Engelhard, now Basf I think) was really rich dark brown compared to other solutions I have looked at since that seem a bit less chocolate and more yellow. I realized that I was maybe wasting metal. I filed this in the back of my brain until Mark Nelson and I were talking one day and he brought this up that he uses a 961 mix because of the smaller drop size. It goes against the old books that always talked about putting a couple extra drops of metal in the mix for good measure, so that is also why I didn't mention it, but it really is a waste of metal, I would think. I'm not a chemist so I don't know what is happening at the chemical level with too little ferric but the same is true (or maybe it is COMPLETELY unrelated but a similar concept) when I was doing 2 20% FAC to 1 8% potassium ferricyanide in cyanotype and getting grainy results and white specks and bleeding. Since I have gone back to 1:1 those problems are solved. That was courtesy of Alberto Novo. You even use about 8 drops more solution than I do for that same coating area, if, in fact, the area was 8.5x11 (not 8x10). I would use 47 but of course that is silly because if I do a 661 it'd be 52, a 961 48. Haven't used the pipettes yet, though I have a couple, but I imagine they would be much more accurate than drop counts. I must love counting out those drops :) Chris Christina Z. Anderson http://christinaZanderson.com/ On Nov 6, 2013, at 2:13 AM, Loris Medici wrote: > Hi Catherine, > > If possible, measure the amnt. of solution by milliliters using thin > syringes with 0.1ml resolution (using separated / dedicated syringes for > each solution)... The properties of each solutions differ, consequently > their drop sizes also differ (sometimes considerably!), therefore the drop > count may not be 100% reliable. (You need equal amounts of iron and noble > metal solution for optimum results...) > > As for coating volume; my standard is 0.025ml per sq. in., some papers need > a little less than that, some a little more. For 8 1/2 x 11" coating area, > my standard would translate to ~2.3 - 2.4ml total volume. (Which is around > 55-60 drops (of water!) with my cheap plastic pipettes - very close to > Christina's count, but only for water and solutions close to water; it's > not the same for 25% AFC for instance...) > > ?Regards, > Loris.? > > > 2013/11/6 Catherine Costolo > >> Bob, I have not been rehumidifying my paper after coating and drying >> though the paper is in the room where the humidifier is on. I will try your >> suggestion. >> Thanks, >> Catherine >> >> >> Catherine Costolo >> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >> (404)291-2181 (cell) >> Visit my website 24/7 www.marykay.com/ccostolo >> Happiness is like jam.....you can't spread it around without getting a >> little on yourself. >> >> >> On Nov 5, 2013, at 8:08 AM, BOB KISS wrote: >> >>> DEAR CATHERINE, >>> >>> Reading your e-mail below I didn't notice any mention of >>> rehumidifying your paper after coating and drying it. Whenever I have >> had >>> lower than normal Dmax it has invariable been because I did not >> rehumidify >>> my paper right before exposure. >>> >>> CHEERS! >>> >>> BOB >>> >>> >>> >>> _____ >>> >>> From: alt-photo-process-list-bounces at lists.altphotolist.org >>> [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On >> Behalf Of >>> Catherine Costolo >>> Sent: Monday, November 04, 2013 4:55 PM >>> To: The alternative photographic processes mailing list >>> Subject: [Alt-photo] Re: Papers for Palladium >>> >>> >>> >>> Thanks to all of you for contributing to this thread! >>> My results have been very inconsistent. I received a brand new UV printer >>> last summer and it has a built-in vacuum frame. I have kept the >> humidity at >>> around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( >>> palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, >>> 24, 2. I am coating with a Richeson brush and my time is about 6 >> minutes. I >>> have never gotten a dmax greater then 1.30...maybe a few times it has >> been a >>> bit higher. My developer is Potassium Oxalate and then I was washing in >>> Citric acid with EDTA added. >>> In August I worked with Jon Cone's PDZN system. >>> I have not done any work since August but want to get started again. >>> I have posted on my Flicker page two items. One has 5 -21 step grayscale >>> linearizations that correspond to 5 of Jon's curves and the other item is >>> the same photo printed with 4 different curves from Jon Cone. Maybe you >> can >>> tell something from looking at them. >>> I will appreciate any comments and suggestions. >>> The link is:http://www.flickr.com/photos/lasignorina/ >>> >>> Thanks so much, >>> Catherine >>> >>> >>> >>> >>> Catherine Costolo >>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>> (404)291-2181 (cell) >>> Visit my website 24/7 www.marykay.com/ccostolo >>> Happiness is like jam.....you can't spread it around without getting a >>> little on yourself. >>> >>> >>> On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: >>> >>>> Hi! >>>> I have used both Cot 320 and Arches Platine but have not had much >> success >>> with them. Also I was told that Cot 320 does not give good dmax. >>>> Any suggestions for a paper I might try? Has anyone tried the Revere >> paper >>> from Legion? >>>> Thanks. >>>> Catherine >>>> >>>> >>>> Catherine Costolo >>>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>>> (404)291-2181 (cell) >>>> Visit my website 24/7 www.marykay.com/ccostolo >>>> Happiness is like jam.....you can't spread it around without getting a >>> little on yourself. >>>> >>>> >>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >>> >>> >>> __________ Information from ESET Smart Security, version of virus >> signature >>> database 9007 (20131105) __________ >>> >>> The message was checked by ESET Smart Security. >>> >>> http://www.eset.com >>> >>> >>> >>> __________ Information from ESET Smart Security, version of virus >> signature >>> database 9007 (20131105) __________ >>> >>> The message was checked by ESET Smart Security. >>> >>> http://www.eset.com >>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > _______________________________________________ > Alt-photo-process-list | altphotolist.org From mikes1mom at comcast.net Wed Nov 6 18:07:58 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Wed, 6 Nov 2013 13:07:58 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: Message-ID: I appreciate the suggestion, Greg. Catherine Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 6, 2013, at 2:41 AM, Greg Franco wrote: > I went back and forth with Arches Platine and Cot 320 for a while and was giving the edge to Platine until I tried the Cot 320 with tween 20 added to the coating solution... it made the difference for me, better dmax, better contrast and smoother tones on the Cot 320, didn't seem to make much of a difference on the Platine though. I guess I will have to give Revere a try after hearing all the great reviews about it. > > Greg Franco > >>> On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: >>> >>>> Hi! >>>> I have used both Cot 320 and Arches Platine but have not had much success >>> with them. Also I was told that Cot 320 does not give good dmax. >>>> Any suggestions for a paper I might try? Has anyone tried the Revere paper >>> from Legion? >>>> Thanks. >>>> Catherine >>>> >>>> >>>> Catherine Costolo >>>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>>> (404)291-2181 (cell) >>>> Visit my website 24/7 www.marykay.com/ccostolo >>>> Happiness is like jam.....you can't spread it around without getting a >>> little on yourself. >>>> > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From laura at lavatop.com Wed Nov 6 18:41:00 2013 From: laura at lavatop.com (Laura V) Date: Wed, 06 Nov 2013 18:41:00 +0000 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> Message-ID: <527A8D3C.8030705@lavatop.com> Oh that's great to know! I had already ordered the paper (from Daniel Smith)...the Rives is 280 gsm (called heavyweight), because I didn't realize it was available in 400 weight until I saw Chia's post after I had ordered. I used to draw on it, and remember it as nice paper. I got the Fabriano hot press - 640 gsm! - which I've used before and loved. I didn't like the cold press, but the soft press sounds interesting, perhaps I'll give it a try sometime. Laura On 11/6/13 2:54 PM, Diana Bloomfield wrote: > Hi Laura, > > I've printed up to 16x16, or 16x20, multiple layers-- with no registration problems. I bought the BFK Rives heavyweight (300 gsm) 19x26, from Talas in NYC (25 sheets @ $3.22/sheet). You can also get it at a 26x40 size ($6.30/sheet for 25 to 49 sheets-- goes down in price for more than that). > > I like the Fabriano soft-press very much, for the same reasons (no sizing; no pre-shrinking)-- but I actually like the paper texture of the Rives better. I was getting my Fabriano soft-press from Jerry's. It is sized slightly differently (22x30), and a 10-pack of that size is just under $49. I couldn't seem to find it, online, in 25 sheet packs. We do have a Jerry's locally, but they don't stock the soft-press. Anyway-- I think I probably save money on the Rives, too, and I like it better. > > Diana > > > On Nov 6, 2013, at 3:36 AM, Laura V wrote: > >> On 11/4/13 3:44 PM, Diana Bloomfield wrote: >>> As an aside, I had been using Fabriano soft-press for gum printing (no pre-shrinking and no sizing needed), and when Chia mentioned using the heavyweight BFK Rives, I ordered some of that, and really like it, too. I don't have to do any pre-shrinking or sizing on that paper, either. >> Hi Diana, what size prints are you talking about? And what weight paper? I'm waiting for an order of both Fabriano and BFK and wondering if I should save a couple of steps too. :) Thanks! >> >> Laura >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > From dlhbloomfield at gmail.com Wed Nov 6 18:52:31 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Wed, 6 Nov 2013 13:52:31 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <527A8D3C.8030705@lavatop.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> Message-ID: Hey Laura, The Fabriano soft-press does have texture to it (not smooth like the hot-press), but not nearly as textured as the cold-press. But the soft-press is the only Fabriano that I was able to use with no additional sizing or pre-shrinking. The others (in my experience) required that. Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen it at 400. Maybe there's not much difference between 300 and 400 (well, you know, except or 100). :) Diana On Nov 6, 2013, at 1:41 PM, Laura V wrote: > Oh that's great to know! I had already ordered the paper (from Daniel Smith)...the Rives is 280 gsm (called heavyweight), because I didn't realize it was available in 400 weight until I saw Chia's post after I had ordered. I used to draw on it, and remember it as nice paper. I got the Fabriano hot press - 640 gsm! - which I've used before and loved. I didn't like the cold press, but the soft press sounds interesting, perhaps I'll give it a try sometime. > > Laura > > From mikes1mom at comcast.net Wed Nov 6 19:24:33 2013 From: mikes1mom at comcast.net (Catherine Costolo) Date: Wed, 6 Nov 2013 14:24:33 -0500 Subject: [Alt-photo] Re: drop count in pt/pd In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: Loris and Christina, thanks for all the information. I am sure it will help me move forward. Catherine Costolo Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 (404)291-2181 (cell) Visit my website 24/7 www.marykay.com/ccostolo Happiness is like jam.....you can't spread it around without getting a little on yourself. On Nov 6, 2013, at 10:05 AM, Christina Anderson wrote: > Loris, > You are absolutely right; I had not decided to "go there" in this discussion. But when I was having all that bleeding a couple years back I was looking at my drop count and realized how much bigger the pd drops were in comparison to the ferric drops. Plus my pd solution (which I made from scratch with pd from Engelhard, now Basf I think) was really rich dark brown compared to other solutions I have looked at since that seem a bit less chocolate and more yellow. I realized that I was maybe wasting metal. > > I filed this in the back of my brain until Mark Nelson and I were talking one day and he brought this up that he uses a 961 mix because of the smaller drop size. > > It goes against the old books that always talked about putting a couple extra drops of metal in the mix for good measure, so that is also why I didn't mention it, but it really is a waste of metal, I would think. > > I'm not a chemist so I don't know what is happening at the chemical level with too little ferric but the same is true (or maybe it is COMPLETELY unrelated but a similar concept) when I was doing 2 20% FAC to 1 8% potassium ferricyanide in cyanotype and getting grainy results and white specks and bleeding. Since I have gone back to 1:1 those problems are solved. That was courtesy of Alberto Novo. > > You even use about 8 drops more solution than I do for that same coating area, if, in fact, the area was 8.5x11 (not 8x10). I would use 47 but of course that is silly because if I do a 661 it'd be 52, a 961 48. > > Haven't used the pipettes yet, though I have a couple, but I imagine they would be much more accurate than drop counts. I must love counting out those drops :) > Chris > > > Christina Z. Anderson > http://christinaZanderson.com/ > > On Nov 6, 2013, at 2:13 AM, Loris Medici wrote: > >> Hi Catherine, >> >> If possible, measure the amnt. of solution by milliliters using thin >> syringes with 0.1ml resolution (using separated / dedicated syringes for >> each solution)... The properties of each solutions differ, consequently >> their drop sizes also differ (sometimes considerably!), therefore the drop >> count may not be 100% reliable. (You need equal amounts of iron and noble >> metal solution for optimum results...) >> >> As for coating volume; my standard is 0.025ml per sq. in., some papers need >> a little less than that, some a little more. For 8 1/2 x 11" coating area, >> my standard would translate to ~2.3 - 2.4ml total volume. (Which is around >> 55-60 drops (of water!) with my cheap plastic pipettes - very close to >> Christina's count, but only for water and solutions close to water; it's >> not the same for 25% AFC for instance...) >> >> ?Regards, >> Loris.? >> >> >> 2013/11/6 Catherine Costolo >> >>> Bob, I have not been rehumidifying my paper after coating and drying >>> though the paper is in the room where the humidifier is on. I will try your >>> suggestion. >>> Thanks, >>> Catherine >>> >>> >>> Catherine Costolo >>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>> (404)291-2181 (cell) >>> Visit my website 24/7 www.marykay.com/ccostolo >>> Happiness is like jam.....you can't spread it around without getting a >>> little on yourself. >>> >>> >>> On Nov 5, 2013, at 8:08 AM, BOB KISS wrote: >>> >>>> DEAR CATHERINE, >>>> >>>> Reading your e-mail below I didn't notice any mention of >>>> rehumidifying your paper after coating and drying it. Whenever I have >>> had >>>> lower than normal Dmax it has invariable been because I did not >>> rehumidify >>>> my paper right before exposure. >>>> >>>> CHEERS! >>>> >>>> BOB >>>> >>>> >>>> >>>> _____ >>>> >>>> From: alt-photo-process-list-bounces at lists.altphotolist.org >>>> [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On >>> Behalf Of >>>> Catherine Costolo >>>> Sent: Monday, November 04, 2013 4:55 PM >>>> To: The alternative photographic processes mailing list >>>> Subject: [Alt-photo] Re: Papers for Palladium >>>> >>>> >>>> >>>> Thanks to all of you for contributing to this thread! >>>> My results have been very inconsistent. I received a brand new UV printer >>>> last summer and it has a built-in vacuum frame. I have kept the >>> humidity at >>>> around 60% and my drop count on a sheet of 81/2 X 11 has been 12, 12, 1 ( >>>> palladium, ferric oxalate, and NA2) On a sheet of 11 X 14 I have used 24, >>>> 24, 2. I am coating with a Richeson brush and my time is about 6 >>> minutes. I >>>> have never gotten a dmax greater then 1.30...maybe a few times it has >>> been a >>>> bit higher. My developer is Potassium Oxalate and then I was washing in >>>> Citric acid with EDTA added. >>>> In August I worked with Jon Cone's PDZN system. >>>> I have not done any work since August but want to get started again. >>>> I have posted on my Flicker page two items. One has 5 -21 step grayscale >>>> linearizations that correspond to 5 of Jon's curves and the other item is >>>> the same photo printed with 4 different curves from Jon Cone. Maybe you >>> can >>>> tell something from looking at them. >>>> I will appreciate any comments and suggestions. >>>> The link is:http://www.flickr.com/photos/lasignorina/ >>>> >>>> Thanks so much, >>>> Catherine >>>> >>>> >>>> >>>> >>>> Catherine Costolo >>>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>>> (404)291-2181 (cell) >>>> Visit my website 24/7 www.marykay.com/ccostolo >>>> Happiness is like jam.....you can't spread it around without getting a >>>> little on yourself. >>>> >>>> >>>> On Nov 3, 2013, at 8:48 PM, Catherine Costolo wrote: >>>> >>>>> Hi! >>>>> I have used both Cot 320 and Arches Platine but have not had much >>> success >>>> with them. Also I was told that Cot 320 does not give good dmax. >>>>> Any suggestions for a paper I might try? Has anyone tried the Revere >>> paper >>>> from Legion? >>>>> Thanks. >>>>> Catherine >>>>> >>>>> >>>>> Catherine Costolo >>>>> Independent Beauty Consultant with Mary Kay Cosmetics(404) 252 -2181 >>>>> (404)291-2181 (cell) >>>>> Visit my website 24/7 www.marykay.com/ccostolo >>>>> Happiness is like jam.....you can't spread it around without getting a >>>> little on yourself. >>>>> >>>>> >>>> >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>>> >>>> >>>> __________ Information from ESET Smart Security, version of virus >>> signature >>>> database 9007 (20131105) __________ >>>> >>>> The message was checked by ESET Smart Security. >>>> >>>> http://www.eset.com >>>> >>>> >>>> >>>> __________ Information from ESET Smart Security, version of virus >>> signature >>>> database 9007 (20131105) __________ >>>> >>>> The message was checked by ESET Smart Security. >>>> >>>> http://www.eset.com >>>> >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From frangst at gmail.com Wed Nov 6 19:57:40 2013 From: frangst at gmail.com (francis schanberger) Date: Wed, 6 Nov 2013 14:57:40 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> Message-ID: Just to put this out there. The wonderful papermakers in Ino Town, Japan with the help of platinum printer Masayuki Nishimaru and photographer Satoru Yoshioka (as well as his wife Ayako) have created a new paper specifically for printing platinum and palladium which they are calling Tosahakkinshi aka Tosa Washi. It is extremely light weight (30 gsm) which requires a different approach to coating (brush, no coating rod). There is a video of Nishimaru-san coating and processing the paper of which I can send a link. I am organizing a June workshop near Roswell, New Mexico in which I will demonstrate how to handle this amazing yet challenging paper. An exhibition of work made on this paper just concluded at the Japanese Paper Museum in Ino, Japan but should be traveling to Kyotographie (the international Kyoto Photography Festival). -francis On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield wrote: > Hey Laura, > > The Fabriano soft-press does have texture to it (not smooth like the > hot-press), but not nearly as textured as the cold-press. But the > soft-press is the only Fabriano that I was able to use with no additional > sizing or pre-shrinking. The others (in my experience) required that. > > Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen it at > 400. Maybe there's not much difference between 300 and 400 (well, you > know, except or 100). :) > > Diana > > On Nov 6, 2013, at 1:41 PM, Laura V wrote: > > > Oh that's great to know! I had already ordered the paper (from Daniel > Smith)...the Rives is 280 gsm (called heavyweight), because I didn't > realize it was available in 400 weight until I saw Chia's post after I had > ordered. I used to draw on it, and remember it as nice paper. I got the > Fabriano hot press - 640 gsm! - which I've used before and loved. I didn't > like the cold press, but the soft press sounds interesting, perhaps I'll > give it a try sometime. > > > > Laura > > > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com From dlhbloomfield at gmail.com Wed Nov 6 20:02:57 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Wed, 6 Nov 2013 15:02:57 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> Message-ID: That's really interesting. Thanks for the information, Francis. Can you get samples of this paper in the U.S.? That's pretty light. Do send the link, and also more information about your June workshop as it gets closer. Thanks! Diana On Nov 6, 2013, at 2:57 PM, francis schanberger wrote: > Just to put this out there. The wonderful papermakers in Ino Town, Japan > with the help of platinum printer Masayuki Nishimaru and photographer > Satoru Yoshioka (as well as his wife Ayako) have created a new paper > specifically for printing platinum and palladium which they are calling > Tosahakkinshi aka Tosa Washi. > > It is extremely light weight (30 gsm) which requires a different approach > to coating (brush, no coating rod). There is a video of Nishimaru-san > coating and processing the paper of which I can send a link. > > I am organizing a June workshop near Roswell, New Mexico in which I will > demonstrate how to handle this amazing yet challenging paper. > > An exhibition of work made on this paper just concluded at the Japanese > Paper Museum in Ino, Japan but should be traveling to Kyotographie (the > international Kyoto Photography Festival). > > -francis > > From mail at loris.medici.name Wed Nov 6 20:14:10 2013 From: mail at loris.medici.name (Loris Medici) Date: Wed, 6 Nov 2013 22:14:10 +0200 Subject: [Alt-photo] Re: drop count in pt/pd In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <3F65980E-93BA-4866-BF53-7DA42A0A5351@comcast.net> Message-ID: Hi Christina, Same here, I was counting drops, then I noticed how big the LiPd drops are compared to AFO drops and then realized I may be wasting precious Pd. (Then it was much much precious to me than it is now, because at that time I had to import Pd solutions from the States and Turkish customs is notoriously strict and problematic about chemistry. Picking chemistry from the customs / post office was always an adrenaline rush.Then a couple of years ago, I found someone that could make me PdCl2 here in Istanbul. Phew, what a relief!) As you figured out, it doesn't matter if you're using the drop counting method or syringes, as long as the solution *strengths AND volumes* are well balanced. I continued to the drop count method (by testing how much drops is 2ml of each solution) until I purchased a NuArc 26-1KS and started to print images that were 16" wide. Eventually, the required solution amounts made me go nuts while trying to count so many drops and switched to syringes permanently. Like to count them too, but not so many! :) Regards, Loris. 2013/11/6 Christina Anderson > Loris, > You are absolutely right; I had not decided to "go there" in this > discussion. But when I was having all that bleeding a couple years back I > was looking at my drop count and realized how much bigger the pd drops were > in comparison to the ferric drops. Plus my pd solution (which I made from > scratch with pd from Engelhard, now Basf I think) was really rich dark > brown compared to other solutions I have looked at since that seem a bit > less chocolate and more yellow. I realized that I was maybe wasting metal. > > I filed this in the back of my brain until Mark Nelson and I were talking > one day and he brought this up that he uses a 961 mix because of the > smaller drop size. > > It goes against the old books that always talked about putting a couple > extra drops of metal in the mix for good measure, so that is also why I > didn't mention it, but it really is a waste of metal, I would think. > > I'm not a chemist so I don't know what is happening at the chemical level > with too little ferric but the same is true (or maybe it is COMPLETELY > unrelated but a similar concept) when I was doing 2 20% FAC to 1 8% > potassium ferricyanide in cyanotype and getting grainy results and white > specks and bleeding. Since I have gone back to 1:1 those problems are > solved. That was courtesy of Alberto Novo. > > You even use about 8 drops more solution than I do for that same coating > area, if, in fact, the area was 8.5x11 (not 8x10). I would use 47 but of > course that is silly because if I do a 661 it'd be 52, a 961 48. > > Haven't used the pipettes yet, though I have a couple, but I imagine they > would be much more accurate than drop counts. I must love counting out > those drops :) > Chris > > > Christina Z. Anderson > http://christinaZanderson.com/ > > On Nov 6, 2013, at 2:13 AM, Loris Medici wrote: > > > Hi Catherine, > > > > If possible, measure the amnt. of solution by milliliters using thin > > syringes with 0.1ml resolution (using separated / dedicated syringes for > > each solution)... The properties of each solutions differ, consequently > > their drop sizes also differ (sometimes considerably!), therefore the > drop > > count may not be 100% reliable. (You need equal amounts of iron and noble > > metal solution for optimum results...) > > > > As for coating volume; my standard is 0.025ml per sq. in., some papers > need > > a little less than that, some a little more. For 8 1/2 x 11" coating > area, > > my standard would translate to ~2.3 - 2.4ml total volume. (Which is > around > > 55-60 drops (of water!) with my cheap plastic pipettes - very close to > > Christina's count, but only for water and solutions close to water; it's > > not the same for 25% AFC for instance...) > > > > ?Regards, > > Loris.? > From aschmitt at aandy.org Wed Nov 6 20:33:42 2013 From: aschmitt at aandy.org (andy schmitt) Date: Wed, 6 Nov 2013 15:33:42 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> Message-ID: <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> I hope I didn't miss it but I'd love the link to see Nashimaru-san coat & process..... thank you Ps.. is the paper available for purchase? Regards Andy Schmitt Head of The New & Improved Photography Dept, Peters Valley School of Craft http://www.petersvalley.org/html/Photography.cfm -----Original Message----- From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of francis schanberger Sent: Wednesday, November 06, 2013 2:58 PM To: The alternative photographic processes mailing list Subject: [Alt-photo] Re: Papers for Palladium Just to put this out there. The wonderful papermakers in Ino Town, Japan with the help of platinum printer Masayuki Nishimaru and photographer Satoru Yoshioka (as well as his wife Ayako) have created a new paper specifically for printing platinum and palladium which they are calling Tosahakkinshi aka Tosa Washi. It is extremely light weight (30 gsm) which requires a different approach to coating (brush, no coating rod). There is a video of Nishimaru-san coating and processing the paper of which I can send a link. I am organizing a June workshop near Roswell, New Mexico in which I will demonstrate how to handle this amazing yet challenging paper. An exhibition of work made on this paper just concluded at the Japanese Paper Museum in Ino, Japan but should be traveling to Kyotographie (the international Kyoto Photography Festival). -francis On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield wrote: > Hey Laura, > > The Fabriano soft-press does have texture to it (not smooth like the > hot-press), but not nearly as textured as the cold-press. But the > soft-press is the only Fabriano that I was able to use with no > additional sizing or pre-shrinking. The others (in my experience) required that. > > Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen > it at 400. Maybe there's not much difference between 300 and 400 > (well, you know, except or 100). :) > > Diana > > On Nov 6, 2013, at 1:41 PM, Laura V wrote: > > > Oh that's great to know! I had already ordered the paper (from > > Daniel > Smith)...the Rives is 280 gsm (called heavyweight), because I didn't > realize it was available in 400 weight until I saw Chia's post after I > had ordered. I used to draw on it, and remember it as nice paper. I > got the Fabriano hot press - 640 gsm! - which I've used before and > loved. I didn't like the cold press, but the soft press sounds > interesting, perhaps I'll give it a try sometime. > > > > Laura > > > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com _______________________________________________ Alt-photo-process-list | altphotolist.org From frangst at gmail.com Wed Nov 6 20:54:27 2013 From: frangst at gmail.com (francis schanberger) Date: Wed, 6 Nov 2013 15:54:27 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> Message-ID: The link goes to Photography Gallery International. The pages are in Japanese but can be translated through Google or Bing. The page also has videos of Nishimaru-san working with the paper as well as video on the making of the paper. https://www.pgi.ac/cart/product/p-1435.html -francis On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt wrote: > I hope I didn't miss it but I'd love the link to see Nashimaru-san coat & > process..... thank you > Ps.. is the paper available for purchase? > > > Regards > > Andy Schmitt > > Head of The New & Improved Photography Dept, > Peters Valley School of Craft > http://www.petersvalley.org/html/Photography.cfm > > > > -----Original Message----- > From: alt-photo-process-list-bounces at lists.altphotolist.org > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf > Of > francis schanberger > Sent: Wednesday, November 06, 2013 2:58 PM > To: The alternative photographic processes mailing list > Subject: [Alt-photo] Re: Papers for Palladium > > Just to put this out there. The wonderful papermakers in Ino Town, Japan > with the help of platinum printer Masayuki Nishimaru and photographer > Satoru > Yoshioka (as well as his wife Ayako) have created a new paper specifically > for printing platinum and palladium which they are calling Tosahakkinshi > aka > Tosa Washi. > > It is extremely light weight (30 gsm) which requires a different approach > to > coating (brush, no coating rod). There is a video of Nishimaru-san coating > and processing the paper of which I can send a link. > > I am organizing a June workshop near Roswell, New Mexico in which I will > demonstrate how to handle this amazing yet challenging paper. > > An exhibition of work made on this paper just concluded at the Japanese > Paper Museum in Ino, Japan but should be traveling to Kyotographie (the > international Kyoto Photography Festival). > > -francis > > > On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield > wrote: > > > Hey Laura, > > > > The Fabriano soft-press does have texture to it (not smooth like the > > hot-press), but not nearly as textured as the cold-press. But the > > soft-press is the only Fabriano that I was able to use with no > > additional sizing or pre-shrinking. The others (in my experience) > required that. > > > > Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen > > it at 400. Maybe there's not much difference between 300 and 400 > > (well, you know, except or 100). :) > > > > Diana > > > > On Nov 6, 2013, at 1:41 PM, Laura V wrote: > > > > > Oh that's great to know! I had already ordered the paper (from > > > Daniel > > Smith)...the Rives is 280 gsm (called heavyweight), because I didn't > > realize it was available in 400 weight until I saw Chia's post after I > > had ordered. I used to draw on it, and remember it as nice paper. I > > got the Fabriano hot press - 640 gsm! - which I've used before and > > loved. I didn't like the cold press, but the soft press sounds > > interesting, perhaps I'll give it a try sometime. > > > > > > Laura > > > > > > > > > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > > > > > -- > francis schanberger > > www.francisschanberger.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com From mail at loris.medici.name Wed Nov 6 21:03:58 2013 From: mail at loris.medici.name (Loris Medici) Date: Wed, 6 Nov 2013 23:03:58 +0200 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> Message-ID: I think this video shows how they make this particular paper: http://www.youtube.com/watch?v=Vjw1qMQrE4I This master papermaker makes it look almost too easy, and that's exactly how masters make look things. I'm sure doing it is hard as hell... Regards, Loris. 2013/11/6 francis schanberger > The link goes to Photography Gallery International. The pages are in > Japanese but can be translated through Google or Bing. The page also has > videos of Nishimaru-san working with the paper as well as video on the > making of the paper. > > https://www.pgi.ac/cart/product/p-1435.html > > -francis > > > On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt wrote: > > > I hope I didn't miss it but I'd love the link to see Nashimaru-san coat & > > process..... thank you > > Ps.. is the paper available for purchase? > > > > > > Regards > > > > Andy Schmitt > > > > Head of The New & Improved Photography Dept, > > Peters Valley School of Craft > > http://www.petersvalley.org/html/Photography.cfm > > > > > > > > -----Original Message----- > > From: alt-photo-process-list-bounces at lists.altphotolist.org > > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf > > Of > > francis schanberger > > Sent: Wednesday, November 06, 2013 2:58 PM > > To: The alternative photographic processes mailing list > > Subject: [Alt-photo] Re: Papers for Palladium > > > > Just to put this out there. The wonderful papermakers in Ino Town, Japan > > with the help of platinum printer Masayuki Nishimaru and photographer > > Satoru > > Yoshioka (as well as his wife Ayako) have created a new paper > specifically > > for printing platinum and palladium which they are calling Tosahakkinshi > > aka > > Tosa Washi. > > > > It is extremely light weight (30 gsm) which requires a different approach > > to > > coating (brush, no coating rod). There is a video of Nishimaru-san > coating > > and processing the paper of which I can send a link. > > > > I am organizing a June workshop near Roswell, New Mexico in which I will > > demonstrate how to handle this amazing yet challenging paper. > > > > An exhibition of work made on this paper just concluded at the Japanese > > Paper Museum in Ino, Japan but should be traveling to Kyotographie (the > > international Kyoto Photography Festival). > > > > -francis > > > > > > On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield > > wrote: > > > > > Hey Laura, > > > > > > The Fabriano soft-press does have texture to it (not smooth like the > > > hot-press), but not nearly as textured as the cold-press. But the > > > soft-press is the only Fabriano that I was able to use with no > > > additional sizing or pre-shrinking. The others (in my experience) > > required that. > > > > > > Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen > > > it at 400. Maybe there's not much difference between 300 and 400 > > > (well, you know, except or 100). :) > > > > > > Diana > > > > > > On Nov 6, 2013, at 1:41 PM, Laura V wrote: > > > > > > > Oh that's great to know! I had already ordered the paper (from > > > > Daniel > > > Smith)...the Rives is 280 gsm (called heavyweight), because I didn't > > > realize it was available in 400 weight until I saw Chia's post after I > > > had ordered. I used to draw on it, and remember it as nice paper. I > > > got the Fabriano hot press - 640 gsm! - which I've used before and > > > loved. I didn't like the cold press, but the soft press sounds > > > interesting, perhaps I'll give it a try sometime. > > > > > > > > Laura > > > > > > > > > > > > > > _______________________________________________ > > > Alt-photo-process-list | altphotolist.org > > > > > > > > > > > -- > > francis schanberger > > > > www.francisschanberger.com > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > > > > > -- > francis schanberger > > www.francisschanberger.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From frangst at gmail.com Wed Nov 6 21:12:07 2013 From: frangst at gmail.com (francis schanberger) Date: Wed, 6 Nov 2013 16:12:07 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> Message-ID: Here is Nishimaru-san working with the Tosa Washi. https://www.youtube.com/watch?v=CLIt_qD0JlU On Wed, Nov 6, 2013 at 4:03 PM, Loris Medici wrote: > I think this video shows how they make this particular paper: > > http://www.youtube.com/watch?v=Vjw1qMQrE4I > > This master papermaker makes it look almost too easy, and that's exactly > how masters make look things. I'm sure doing it is hard as hell... > > Regards, > Loris. > > > > 2013/11/6 francis schanberger > > > The link goes to Photography Gallery International. The pages are in > > Japanese but can be translated through Google or Bing. The page also has > > videos of Nishimaru-san working with the paper as well as video on the > > making of the paper. > > > > https://www.pgi.ac/cart/product/p-1435.html > > > > -francis > > > > > > On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt wrote: > > > > > I hope I didn't miss it but I'd love the link to see Nashimaru-san > coat & > > > process..... thank you > > > Ps.. is the paper available for purchase? > > > > > > > > > Regards > > > > > > Andy Schmitt > > > > > > Head of The New & Improved Photography Dept, > > > Peters Valley School of Craft > > > http://www.petersvalley.org/html/Photography.cfm > > > > > > > > > > > > -----Original Message----- > > > From: alt-photo-process-list-bounces at lists.altphotolist.org > > > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On > Behalf > > > Of > > > francis schanberger > > > Sent: Wednesday, November 06, 2013 2:58 PM > > > To: The alternative photographic processes mailing list > > > Subject: [Alt-photo] Re: Papers for Palladium > > > > > > Just to put this out there. The wonderful papermakers in Ino Town, > Japan > > > with the help of platinum printer Masayuki Nishimaru and photographer > > > Satoru > > > Yoshioka (as well as his wife Ayako) have created a new paper > > specifically > > > for printing platinum and palladium which they are calling > Tosahakkinshi > > > aka > > > Tosa Washi. > > > > > > It is extremely light weight (30 gsm) which requires a different > approach > > > to > > > coating (brush, no coating rod). There is a video of Nishimaru-san > > coating > > > and processing the paper of which I can send a link. > > > > > > I am organizing a June workshop near Roswell, New Mexico in which I > will > > > demonstrate how to handle this amazing yet challenging paper. > > > > > > An exhibition of work made on this paper just concluded at the Japanese > > > Paper Museum in Ino, Japan but should be traveling to Kyotographie (the > > > international Kyoto Photography Festival). > > > > > > -francis > > > > > > > > > On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield > > > wrote: > > > > > > > Hey Laura, > > > > > > > > The Fabriano soft-press does have texture to it (not smooth like the > > > > hot-press), but not nearly as textured as the cold-press. But the > > > > soft-press is the only Fabriano that I was able to use with no > > > > additional sizing or pre-shrinking. The others (in my experience) > > > required that. > > > > > > > > Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen > > > > it at 400. Maybe there's not much difference between 300 and 400 > > > > (well, you know, except or 100). :) > > > > > > > > Diana > > > > > > > > On Nov 6, 2013, at 1:41 PM, Laura V wrote: > > > > > > > > > Oh that's great to know! I had already ordered the paper (from > > > > > Daniel > > > > Smith)...the Rives is 280 gsm (called heavyweight), because I didn't > > > > realize it was available in 400 weight until I saw Chia's post after > I > > > > had ordered. I used to draw on it, and remember it as nice paper. I > > > > got the Fabriano hot press - 640 gsm! - which I've used before and > > > > loved. I didn't like the cold press, but the soft press sounds > > > > interesting, perhaps I'll give it a try sometime. > > > > > > > > > > Laura > > > > > > > > > > > > > > > > > > _______________________________________________ > > > > Alt-photo-process-list | altphotolist.org > > > > > > > > > > > > > > > > -- > > > francis schanberger > > > > > > www.francisschanberger.com > > > _______________________________________________ > > > Alt-photo-process-list | altphotolist.org > > > > > > _______________________________________________ > > > Alt-photo-process-list | altphotolist.org > > > > > > > > > > > -- > > francis schanberger > > > > www.francisschanberger.com > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com From kakarott76 at hotmail.com Wed Nov 6 21:50:24 2013 From: kakarott76 at hotmail.com (Kurt Nagy) Date: Wed, 6 Nov 2013 15:50:24 -0600 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> Message-ID: Very awesome! I'd like to try that. I've used Kozo paper in cyanotype and loved it On Nov 6, 2013, at 3:12 PM, francis schanberger wrote: > Here is Nishimaru-san working with the Tosa Washi. > > https://www.youtube.com/watch?v=CLIt_qD0JlU > > > On Wed, Nov 6, 2013 at 4:03 PM, Loris Medici wrote: > >> I think this video shows how they make this particular paper: >> >> http://www.youtube.com/watch?v=Vjw1qMQrE4I >> >> This master papermaker makes it look almost too easy, and that's exactly >> how masters make look things. I'm sure doing it is hard as hell... >> >> Regards, >> Loris. >> >> >> >> 2013/11/6 francis schanberger >> >>> The link goes to Photography Gallery International. The pages are in >>> Japanese but can be translated through Google or Bing. The page also has >>> videos of Nishimaru-san working with the paper as well as video on the >>> making of the paper. >>> >>> https://www.pgi.ac/cart/product/p-1435.html >>> >>> -francis >>> >>> >>> On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt wrote: >>> >>>> I hope I didn't miss it but I'd love the link to see Nashimaru-san >> coat & >>>> process..... thank you >>>> Ps.. is the paper available for purchase? >>>> >>>> >>>> Regards >>>> >>>> Andy Schmitt >>>> >>>> Head of The New & Improved Photography Dept, >>>> Peters Valley School of Craft >>>> http://www.petersvalley.org/html/Photography.cfm >>>> >>>> >>>> >>>> -----Original Message----- >>>> From: alt-photo-process-list-bounces at lists.altphotolist.org >>>> [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On >> Behalf >>>> Of >>>> francis schanberger >>>> Sent: Wednesday, November 06, 2013 2:58 PM >>>> To: The alternative photographic processes mailing list >>>> Subject: [Alt-photo] Re: Papers for Palladium >>>> >>>> Just to put this out there. The wonderful papermakers in Ino Town, >> Japan >>>> with the help of platinum printer Masayuki Nishimaru and photographer >>>> Satoru >>>> Yoshioka (as well as his wife Ayako) have created a new paper >>> specifically >>>> for printing platinum and palladium which they are calling >> Tosahakkinshi >>>> aka >>>> Tosa Washi. >>>> >>>> It is extremely light weight (30 gsm) which requires a different >> approach >>>> to >>>> coating (brush, no coating rod). There is a video of Nishimaru-san >>> coating >>>> and processing the paper of which I can send a link. >>>> >>>> I am organizing a June workshop near Roswell, New Mexico in which I >> will >>>> demonstrate how to handle this amazing yet challenging paper. >>>> >>>> An exhibition of work made on this paper just concluded at the Japanese >>>> Paper Museum in Ino, Japan but should be traveling to Kyotographie (the >>>> international Kyoto Photography Festival). >>>> >>>> -francis >>>> >>>> >>>> On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield >>>> wrote: >>>> >>>>> Hey Laura, >>>>> >>>>> The Fabriano soft-press does have texture to it (not smooth like the >>>>> hot-press), but not nearly as textured as the cold-press. But the >>>>> soft-press is the only Fabriano that I was able to use with no >>>>> additional sizing or pre-shrinking. The others (in my experience) >>>> required that. >>>>> >>>>> Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen >>>>> it at 400. Maybe there's not much difference between 300 and 400 >>>>> (well, you know, except or 100). :) >>>>> >>>>> Diana >>>>> >>>>> On Nov 6, 2013, at 1:41 PM, Laura V wrote: >>>>> >>>>>> Oh that's great to know! I had already ordered the paper (from >>>>>> Daniel >>>>> Smith)...the Rives is 280 gsm (called heavyweight), because I didn't >>>>> realize it was available in 400 weight until I saw Chia's post after >> I >>>>> had ordered. I used to draw on it, and remember it as nice paper. I >>>>> got the Fabriano hot press - 640 gsm! - which I've used before and >>>>> loved. I didn't like the cold press, but the soft press sounds >>>>> interesting, perhaps I'll give it a try sometime. >>>>>> >>>>>> Laura >>>>>> >>>>>> >>>>> >>>>> _______________________________________________ >>>>> Alt-photo-process-list | altphotolist.org >>>>> >>>> >>>> >>>> >>>> -- >>>> francis schanberger >>>> >>>> www.francisschanberger.com >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>> >>> >>> >>> -- >>> francis schanberger >>> >>> www.francisschanberger.com >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > > > > -- > francis schanberger > > www.francisschanberger.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From dhowk at comcast.net Wed Nov 6 22:28:03 2013 From: dhowk at comcast.net (dhowk) Date: Wed, 6 Nov 2013 17:28:03 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> Message-ID: <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> Unsized Kozo or similar paper does seem to require a different coating method. His brushing on of the sensitizer looks good, but I wonder about potential streaking. I've adopted a puddle method for Goyu Kozo wherein I add extra water to the sensitizer mix. Pour on sheet of glass making a puddle, then lay the paper on top. When dry, treat it as normal. Doug Howk Jacksonville, FL dhowk at comcast.net www.vanHuyckPhoto.com On Nov 6, 2013, at 4:50 PM, Kurt Nagy wrote: > Very awesome! > I'd like to try that. I've used Kozo paper in cyanotype and loved it > > > > On Nov 6, 2013, at 3:12 PM, francis schanberger > wrote: > >> Here is Nishimaru-san working with the Tosa Washi. >> >> https://www.youtube.com/watch?v=CLIt_qD0JlU >> >> >> On Wed, Nov 6, 2013 at 4:03 PM, Loris Medici >> wrote: >> >>> I think this video shows how they make this particular paper: >>> >>> http://www.youtube.com/watch?v=Vjw1qMQrE4I >>> >>> This master papermaker makes it look almost too easy, and that's >>> exactly >>> how masters make look things. I'm sure doing it is hard as hell... >>> >>> Regards, >>> Loris. >>> >>> >>> >>> 2013/11/6 francis schanberger >>> >>>> The link goes to Photography Gallery International. The pages >>>> are in >>>> Japanese but can be translated through Google or Bing. The page >>>> also has >>>> videos of Nishimaru-san working with the paper as well as video >>>> on the >>>> making of the paper. >>>> >>>> https://www.pgi.ac/cart/product/p-1435.html >>>> >>>> -francis >>>> >>>> >>>> On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt >>>> wrote: >>>> >>>>> I hope I didn't miss it but I'd love the link to see Nashimaru-san >>> coat & >>>>> process..... thank you >>>>> Ps.. is the paper available for purchase? >>>>> >>>>> >>>>> Regards >>>>> >>>>> Andy Schmitt >>>>> >>>>> Head of The New & Improved Photography Dept, >>>>> Peters Valley School of Craft >>>>> http://www.petersvalley.org/html/Photography.cfm >>>>> >>>>> >>>>> >>>>> -----Original Message----- >>>>> From: alt-photo-process-list-bounces at lists.altphotolist.org >>>>> [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On >>> Behalf >>>>> Of >>>>> francis schanberger >>>>> Sent: Wednesday, November 06, 2013 2:58 PM >>>>> To: The alternative photographic processes mailing list >>>>> Subject: [Alt-photo] Re: Papers for Palladium >>>>> >>>>> Just to put this out there. The wonderful papermakers in Ino Town, >>> Japan >>>>> with the help of platinum printer Masayuki Nishimaru and >>>>> photographer >>>>> Satoru >>>>> Yoshioka (as well as his wife Ayako) have created a new paper >>>> specifically >>>>> for printing platinum and palladium which they are calling >>> Tosahakkinshi >>>>> aka >>>>> Tosa Washi. >>>>> >>>>> It is extremely light weight (30 gsm) which requires a different >>> approach >>>>> to >>>>> coating (brush, no coating rod). There is a video of Nishimaru-san >>>> coating >>>>> and processing the paper of which I can send a link. >>>>> >>>>> I am organizing a June workshop near Roswell, New Mexico in >>>>> which I >>> will >>>>> demonstrate how to handle this amazing yet challenging paper. >>>>> >>>>> An exhibition of work made on this paper just concluded at the >>>>> Japanese >>>>> Paper Museum in Ino, Japan but should be traveling to >>>>> Kyotographie (the >>>>> international Kyoto Photography Festival). >>>>> >>>>> -francis >>>>> >>>>> >>>>> On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield >>>>> wrote: >>>>> >>>>>> Hey Laura, >>>>>> >>>>>> The Fabriano soft-press does have texture to it (not smooth >>>>>> like the >>>>>> hot-press), but not nearly as textured as the cold-press. But >>>>>> the >>>>>> soft-press is the only Fabriano that I was able to use with no >>>>>> additional sizing or pre-shrinking. The others (in my >>>>>> experience) >>>>> required that. >>>>>> >>>>>> Also, Talas has that Rives heavyweight in 300 gsm, but I've >>>>>> not seen >>>>>> it at 400. Maybe there's not much difference between 300 and 400 >>>>>> (well, you know, except or 100). :) >>>>>> >>>>>> Diana >>>>>> >>>>>> On Nov 6, 2013, at 1:41 PM, Laura V wrote: >>>>>> >>>>>>> Oh that's great to know! I had already ordered the paper (from >>>>>>> Daniel >>>>>> Smith)...the Rives is 280 gsm (called heavyweight), because I >>>>>> didn't >>>>>> realize it was available in 400 weight until I saw Chia's post >>>>>> after >>> I >>>>>> had ordered. I used to draw on it, and remember it as nice >>>>>> paper. I >>>>>> got the Fabriano hot press - 640 gsm! - which I've used before >>>>>> and >>>>>> loved. I didn't like the cold press, but the soft press sounds >>>>>> interesting, perhaps I'll give it a try sometime. >>>>>>> >>>>>>> Laura >>>>>>> >>>>>>> >>>>>> >>>>>> _______________________________________________ >>>>>> Alt-photo-process-list | altphotolist.org >>>>>> >>>>> >>>>> >>>>> >>>>> -- >>>>> francis schanberger >>>>> >>>>> www.francisschanberger.com >>>>> _______________________________________________ >>>>> Alt-photo-process-list | altphotolist.org >>>>> >>>>> _______________________________________________ >>>>> Alt-photo-process-list | altphotolist.org >>>>> >>>> >>>> >>>> >>>> -- >>>> francis schanberger >>>> >>>> www.francisschanberger.com >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >> >> >> >> -- >> francis schanberger >> >> www.francisschanberger.com >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > _______________________________________________ > Alt-photo-process-list | altphotolist.org From jon at sharperstill.com Wed Nov 6 23:21:38 2013 From: jon at sharperstill.com (Jon Reid) Date: Thu, 7 Nov 2013 10:21:38 +1100 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> Message-ID: Ingenious method and great technique of handling thin wet paper. I tried (successfully) a Japanese tissue once and spent ages unravelling it from a little ball in the corner of the tray! Jon On 7 Nov 2013, at 9:28 am, dhowk wrote: > Unsized Kozo or similar paper does seem to require a different coating method. His brushing on of the sensitizer looks good, but I wonder about potential streaking. I've adopted a puddle method for Goyu Kozo wherein I add extra water to the sensitizer mix. Pour on sheet of glass making a puddle, then lay the paper on top. When dry, treat it as normal. > Doug Howk > Jacksonville, FL > dhowk at comcast.net > www.vanHuyckPhoto.com > > > > On Nov 6, 2013, at 4:50 PM, Kurt Nagy wrote: > >> Very awesome! >> I'd like to try that. I've used Kozo paper in cyanotype and loved it >> >> >> >> On Nov 6, 2013, at 3:12 PM, francis schanberger wrote: >> >>> Here is Nishimaru-san working with the Tosa Washi. >>> >>> https://www.youtube.com/watch?v=CLIt_qD0JlU >>> >>> >>> On Wed, Nov 6, 2013 at 4:03 PM, Loris Medici wrote: >>> >>>> I think this video shows how they make this particular paper: >>>> >>>> http://www.youtube.com/watch?v=Vjw1qMQrE4I >>>> >>>> This master papermaker makes it look almost too easy, and that's exactly >>>> how masters make look things. I'm sure doing it is hard as hell... >>>> >>>> Regards, >>>> Loris. >>>> >>>> >>>> >>>> 2013/11/6 francis schanberger >>>> >>>>> The link goes to Photography Gallery International. The pages are in >>>>> Japanese but can be translated through Google or Bing. The page also has >>>>> videos of Nishimaru-san working with the paper as well as video on the >>>>> making of the paper. >>>>> >>>>> https://www.pgi.ac/cart/product/p-1435.html >>>>> >>>>> -francis >>>>> >>>>> >>>>> On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt wrote: >>>>> >>>>>> I hope I didn't miss it but I'd love the link to see Nashimaru-san >>>> coat & >>>>>> process..... thank you >>>>>> Ps.. is the paper available for purchase? >>>>>> >>>>>> >>>>>> Regards >>>>>> >>>>>> Andy Schmitt >>>>>> >>>>>> Head of The New & Improved Photography Dept, >>>>>> Peters Valley School of Craft >>>>>> http://www.petersvalley.org/html/Photography.cfm >>>>>> >>>>>> >>>>>> >>>>>> -----Original Message----- >>>>>> From: alt-photo-process-list-bounces at lists.altphotolist.org >>>>>> [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On >>>> Behalf >>>>>> Of >>>>>> francis schanberger >>>>>> Sent: Wednesday, November 06, 2013 2:58 PM >>>>>> To: The alternative photographic processes mailing list >>>>>> Subject: [Alt-photo] Re: Papers for Palladium >>>>>> >>>>>> Just to put this out there. The wonderful papermakers in Ino Town, >>>> Japan >>>>>> with the help of platinum printer Masayuki Nishimaru and photographer >>>>>> Satoru >>>>>> Yoshioka (as well as his wife Ayako) have created a new paper >>>>> specifically >>>>>> for printing platinum and palladium which they are calling >>>> Tosahakkinshi >>>>>> aka >>>>>> Tosa Washi. >>>>>> >>>>>> It is extremely light weight (30 gsm) which requires a different >>>> approach >>>>>> to >>>>>> coating (brush, no coating rod). There is a video of Nishimaru-san >>>>> coating >>>>>> and processing the paper of which I can send a link. >>>>>> >>>>>> I am organizing a June workshop near Roswell, New Mexico in which I >>>> will >>>>>> demonstrate how to handle this amazing yet challenging paper. >>>>>> >>>>>> An exhibition of work made on this paper just concluded at the Japanese >>>>>> Paper Museum in Ino, Japan but should be traveling to Kyotographie (the >>>>>> international Kyoto Photography Festival). >>>>>> >>>>>> -francis >>>>>> >>>>>> >>>>>> On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield >>>>>> wrote: >>>>>> >>>>>>> Hey Laura, >>>>>>> >>>>>>> The Fabriano soft-press does have texture to it (not smooth like the >>>>>>> hot-press), but not nearly as textured as the cold-press. But the >>>>>>> soft-press is the only Fabriano that I was able to use with no >>>>>>> additional sizing or pre-shrinking. The others (in my experience) >>>>>> required that. >>>>>>> >>>>>>> Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen >>>>>>> it at 400. Maybe there's not much difference between 300 and 400 >>>>>>> (well, you know, except or 100). :) >>>>>>> >>>>>>> Diana >>>>>>> >>>>>>> On Nov 6, 2013, at 1:41 PM, Laura V wrote: >>>>>>> >>>>>>>> Oh that's great to know! I had already ordered the paper (from >>>>>>>> Daniel >>>>>>> Smith)...the Rives is 280 gsm (called heavyweight), because I didn't >>>>>>> realize it was available in 400 weight until I saw Chia's post after >>>> I >>>>>>> had ordered. I used to draw on it, and remember it as nice paper. I >>>>>>> got the Fabriano hot press - 640 gsm! - which I've used before and >>>>>>> loved. I didn't like the cold press, but the soft press sounds >>>>>>> interesting, perhaps I'll give it a try sometime. >>>>>>>> >>>>>>>> Laura >>>>>>>> >>>>>>>> >>>>>>> >>>>>>> _______________________________________________ >>>>>>> Alt-photo-process-list | altphotolist.org >>>>>>> >>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> francis schanberger >>>>>> >>>>>> www.francisschanberger.com >>>>>> _______________________________________________ >>>>>> Alt-photo-process-list | altphotolist.org >>>>>> >>>>>> _______________________________________________ >>>>>> Alt-photo-process-list | altphotolist.org >>>>>> >>>>> >>>>> >>>>> >>>>> -- >>>>> francis schanberger >>>>> >>>>> www.francisschanberger.com >>>>> _______________________________________________ >>>>> Alt-photo-process-list | altphotolist.org >>>>> >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>> >>> >>> >>> -- >>> francis schanberger >>> >>> www.francisschanberger.com >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From frangst at gmail.com Wed Nov 6 23:46:08 2013 From: frangst at gmail.com (francis schanberger) Date: Wed, 6 Nov 2013 18:46:08 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> Message-ID: When I coat a 9" x 12" piece of Tosa washi, I usually have three overlapping "rows" moving from right to left. When I finish the third row, I begin brushing from the far side bottom to top or from closest to me to furthest from me. Usually there are four of these "columns". The unsized paper will allow the chemistry to spread to the neighboring column or row. It works well enough for a camera based image. For one of my scanner based botanicals, the sheer surface area needed to be the densest is when this brushing technique fails. For these images, I double coat with the paper rotated 180 degrees. Coating must be done with the paper on top of felt just like Japanese and Chinese calligraphy. Nishimaru and the paper makers opted for the thin weight to make the paper as archival as possible (easy to wash out the iron salts). They are calling platinum prints on this paper, 500 year photographs. On Wed, Nov 6, 2013 at 5:28 PM, dhowk wrote: > Unsized Kozo or similar paper does seem to require a different coating > method. His brushing on of the sensitizer looks good, but I wonder about > potential streaking. I've adopted a puddle method for Goyu Kozo wherein I > add extra water to the sensitizer mix. Pour on sheet of glass making a > puddle, then lay the paper on top. When dry, treat it as normal. > Doug Howk > Jacksonville, FL > dhowk at comcast.net > www.vanHuyckPhoto.com > > > > > On Nov 6, 2013, at 4:50 PM, Kurt Nagy wrote: > > Very awesome! >> I'd like to try that. I've used Kozo paper in cyanotype and loved it >> >> >> >> On Nov 6, 2013, at 3:12 PM, francis schanberger >> wrote: >> >> Here is Nishimaru-san working with the Tosa Washi. >>> >>> https://www.youtube.com/watch?v=CLIt_qD0JlU >>> >>> >>> On Wed, Nov 6, 2013 at 4:03 PM, Loris Medici >>> wrote: >>> >>> I think this video shows how they make this particular paper: >>>> >>>> http://www.youtube.com/watch?v=Vjw1qMQrE4I >>>> >>>> This master papermaker makes it look almost too easy, and that's exactly >>>> how masters make look things. I'm sure doing it is hard as hell... >>>> >>>> Regards, >>>> Loris. >>>> >>>> >>>> >>>> 2013/11/6 francis schanberger >>>> >>>> The link goes to Photography Gallery International. The pages are in >>>>> Japanese but can be translated through Google or Bing. The page also >>>>> has >>>>> videos of Nishimaru-san working with the paper as well as video on the >>>>> making of the paper. >>>>> >>>>> https://www.pgi.ac/cart/product/p-1435.html >>>>> >>>>> -francis >>>>> >>>>> >>>>> On Wed, Nov 6, 2013 at 3:33 PM, andy schmitt >>>>> wrote: >>>>> >>>>> I hope I didn't miss it but I'd love the link to see Nashimaru-san >>>>>> >>>>> coat & >>>> >>>>> process..... thank you >>>>>> Ps.. is the paper available for purchase? >>>>>> >>>>>> >>>>>> Regards >>>>>> >>>>>> Andy Schmitt >>>>>> >>>>>> Head of The New & Improved Photography Dept, >>>>>> Peters Valley School of Craft >>>>>> http://www.petersvalley.org/html/Photography.cfm >>>>>> >>>>>> >>>>>> >>>>>> -----Original Message----- >>>>>> From: alt-photo-process-list-bounces at lists.altphotolist.org >>>>>> [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On >>>>>> >>>>> Behalf >>>> >>>>> Of >>>>>> francis schanberger >>>>>> Sent: Wednesday, November 06, 2013 2:58 PM >>>>>> To: The alternative photographic processes mailing list >>>>>> Subject: [Alt-photo] Re: Papers for Palladium >>>>>> >>>>>> Just to put this out there. The wonderful papermakers in Ino Town, >>>>>> >>>>> Japan >>>> >>>>> with the help of platinum printer Masayuki Nishimaru and photographer >>>>>> Satoru >>>>>> Yoshioka (as well as his wife Ayako) have created a new paper >>>>>> >>>>> specifically >>>>> >>>>>> for printing platinum and palladium which they are calling >>>>>> >>>>> Tosahakkinshi >>>> >>>>> aka >>>>>> Tosa Washi. >>>>>> >>>>>> It is extremely light weight (30 gsm) which requires a different >>>>>> >>>>> approach >>>> >>>>> to >>>>>> coating (brush, no coating rod). There is a video of Nishimaru-san >>>>>> >>>>> coating >>>>> >>>>>> and processing the paper of which I can send a link. >>>>>> >>>>>> I am organizing a June workshop near Roswell, New Mexico in which I >>>>>> >>>>> will >>>> >>>>> demonstrate how to handle this amazing yet challenging paper. >>>>>> >>>>>> An exhibition of work made on this paper just concluded at the >>>>>> Japanese >>>>>> Paper Museum in Ino, Japan but should be traveling to Kyotographie >>>>>> (the >>>>>> international Kyoto Photography Festival). >>>>>> >>>>>> -francis >>>>>> >>>>>> >>>>>> On Wed, Nov 6, 2013 at 1:52 PM, Diana Bloomfield >>>>>> wrote: >>>>>> >>>>>> Hey Laura, >>>>>>> >>>>>>> The Fabriano soft-press does have texture to it (not smooth like the >>>>>>> hot-press), but not nearly as textured as the cold-press. But the >>>>>>> soft-press is the only Fabriano that I was able to use with no >>>>>>> additional sizing or pre-shrinking. The others (in my experience) >>>>>>> >>>>>> required that. >>>>>> >>>>>>> >>>>>>> Also, Talas has that Rives heavyweight in 300 gsm, but I've not seen >>>>>>> it at 400. Maybe there's not much difference between 300 and 400 >>>>>>> (well, you know, except or 100). :) >>>>>>> >>>>>>> Diana >>>>>>> >>>>>>> On Nov 6, 2013, at 1:41 PM, Laura V wrote: >>>>>>> >>>>>>> Oh that's great to know! I had already ordered the paper (from >>>>>>>> Daniel >>>>>>>> >>>>>>> Smith)...the Rives is 280 gsm (called heavyweight), because I didn't >>>>>>> realize it was available in 400 weight until I saw Chia's post after >>>>>>> >>>>>> I >>>> >>>>> had ordered. I used to draw on it, and remember it as nice paper. I >>>>>>> got the Fabriano hot press - 640 gsm! - which I've used before and >>>>>>> loved. I didn't like the cold press, but the soft press sounds >>>>>>> interesting, perhaps I'll give it a try sometime. >>>>>>> >>>>>>>> >>>>>>>> Laura >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>> _______________________________________________ >>>>>>> Alt-photo-process-list | altphotolist.org >>>>>>> >>>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> francis schanberger >>>>>> >>>>>> www.francisschanberger.com >>>>>> _______________________________________________ >>>>>> Alt-photo-process-list | altphotolist.org >>>>>> >>>>>> _______________________________________________ >>>>>> Alt-photo-process-list | altphotolist.org >>>>>> >>>>>> >>>>> >>>>> >>>>> -- >>>>> francis schanberger >>>>> >>>>> www.francisschanberger.com >>>>> _______________________________________________ >>>>> Alt-photo-process-list | altphotolist.org >>>>> >>>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>>> >>> >>> >>> -- >>> francis schanberger >>> >>> www.francisschanberger.com >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >>> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com From dlhbloomfield at gmail.com Thu Nov 7 00:19:05 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Wed, 6 Nov 2013 19:19:05 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> Message-ID: Well, speaking of platinum prints lasting 500 years-- I was at this little junk-- uh-- antique store late this afternoon, looking for something very specific, and I almost tripped over a framed photograph on the floor, propped up against the wall. I take a closer look, and it turns out to be a platinum/palladium print-- really nice-- great light, composition, good tonal range-- the whole thing. It was in a crappy metal frame with a dirty mat-- but the print (about 12x12) was pristine and gorgeous. I could not make out the handwriting on who did it-- but the price tag was an astounding $14. Seriously. So I look a little longer, and way up high on the wall-- is another platinum/palladium print made by the same person-- same location -- just different scene-- also really nicely done, brush-marks and all-- in a nice wood frame-- but still a dirty mat-- but because of the wood frame, I guess, it was a shocking $22. So I got them both. I got home, thinking maybe they weren't pt/pd prints at all, but some computer-generated something or other-- but I took them out of their frames, and sure enough-- they're the real thing. I can't make out the signature, though. They're contemporary prints, probably done in the last 20 years or so-- but I couldn't find a date, either. But talk about your worst nightmare. The good news is, they weren't mine. I was thrilled by that. But 500 years? I'm just hoping when I kick, my family doesn't dump everything in boxes and send them off to the nearest junk-- uh-- antique store. :( Diana On Nov 6, 2013, at 6:46 PM, francis schanberger wrote: > When I coat a 9" x 12" piece of Tosa washi, I usually have three > overlapping "rows" moving from right to left. When I finish the third row, > I begin brushing from the far side bottom to top or from closest to me to > furthest from me. Usually there are four of these "columns". The unsized > paper will allow the chemistry to spread to the neighboring column or row. > It works well enough for a camera based image. For one of my scanner based > botanicals, the sheer surface area needed to be the densest is when this > brushing technique fails. For these images, I double coat with the paper > rotated 180 degrees. > > Coating must be done with the paper on top of felt just like Japanese and > Chinese calligraphy. > > Nishimaru and the paper makers opted for the thin weight to make the paper > as archival as possible (easy to wash out the iron salts). They are calling > platinum prints on this paper, 500 year photographs. > > From frangst at gmail.com Thu Nov 7 00:43:49 2013 From: frangst at gmail.com (francis schanberger) Date: Wed, 6 Nov 2013 19:43:49 -0500 Subject: [Alt-photo] Re: Papers for Palladium In-Reply-To: References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <4818D44B-3C74-4E75-BA47-1CA547D38B63@mac.com> <4DA0BB53-DF2C-4F80-9F91-A621DF20901F@mac.com> <4B75CB81-B7EC-425B-9506-78CC57C0CA9B@gmail.com> <5279FFA7.1010704@lavatop.com> <970163D4-BCFD-467A-91E8-D4580323B08D@gmail.com> <527A8D3C.8030705@lavatop.com> <02d901cedb2f$7d1e59d0$775b0d70$@aandy.org> <1983B7EE-DFC6-4044-83B3-DB74A5017FF1@comcast.net> Message-ID: and I meant to but really shouldn't have opened that 500 year can of worms. Usually a moot point talking up longevity of work when one is making mostly anthotypes. -Francis On Wednesday, November 6, 2013, Diana Bloomfield wrote: > Well, speaking of platinum prints lasting 500 years-- I was at this > little junk-- uh-- antique store late this afternoon, looking for something > very specific, and I almost tripped over a framed photograph on the floor, > propped up against the wall. I take a closer look, and it turns out to be > a platinum/palladium print-- really nice-- great light, composition, good > tonal range-- the whole thing. It was in a crappy metal frame with a dirty > mat-- but the print (about 12x12) was pristine and gorgeous. I could not > make out the handwriting on who did it-- but the price tag was an > astounding $14. Seriously. So I look a little longer, and way up high on > the wall-- is another platinum/palladium print made by the same person-- > same location -- just different scene-- also really nicely done, > brush-marks and all-- in a nice wood frame-- but still a dirty mat-- but > because of the wood frame, I guess, it was a shocking $22. So I got them > both. I got home, thinking maybe they weren' > t pt/pd prints at all, but some computer-generated something or other-- > but I took them out of their frames, and sure enough-- they're the real > thing. I can't make out the signature, though. They're contemporary > prints, probably done in the last 20 years or so-- but I couldn't find a > date, either. > > But talk about your worst nightmare. The good news is, they weren't mine. > I was thrilled by that. But 500 years? I'm just hoping when I kick, my > family doesn't dump everything in boxes and send them off to the nearest > junk-- uh-- antique store. :( > > Diana > > > On Nov 6, 2013, at 6:46 PM, francis schanberger wrote: > > > When I coat a 9" x 12" piece of Tosa washi, I usually have three > > overlapping "rows" moving from right to left. When I finish the third > row, > > I begin brushing from the far side bottom to top or from closest to me to > > furthest from me. Usually there are four of these "columns". The unsized > > paper will allow the chemistry to spread to the neighboring column or > row. > > It works well enough for a camera based image. For one of my scanner > based > > botanicals, the sheer surface area needed to be the densest is when this > > brushing technique fails. For these images, I double coat with the paper > > rotated 180 degrees. > > > > Coating must be done with the paper on top of felt just like Japanese and > > Chinese calligraphy. > > > > Nishimaru and the paper makers opted for the thin weight to make the > paper > > as archival as possible (easy to wash out the iron salts). They are > calling > > platinum prints on this paper, 500 year photographs. > > > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com From fotocmb at gmail.com Thu Nov 7 03:55:06 2013 From: fotocmb at gmail.com (Charles Berger) Date: Wed, 6 Nov 2013 19:55:06 -0800 Subject: [Alt-photo] Re: anyone attending SPENW? In-Reply-To: <5C3FBE0C-739A-49BA-86DD-24299683AF24@gmail.com> References: <5C3FBE0C-739A-49BA-86DD-24299683AF24@gmail.com> Message-ID: The opening reception for Tod Gangler's latest exhibit of color carbon prints ("Western Landscapes") is this Saturday, from 6-9pm at Art & Soul, 2860 NW Market Street, Seattle. This will be a rare opportunity to meet Tod and view his large (30x40") prints. Charles Berger On Mon, Nov 4, 2013 at 9:30 AM, Christina Anderson < christinazanderson at gmail.com> wrote: > Anyone on the list attending Society of PHotographic Education's NW > conference in Seattle this weekend (Thurs-Sun, see spenational.org). > Chris > > Christina Z. Anderson > http://christinaZanderson.com/ > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From e.camerling at tiscali.nl Thu Nov 7 09:12:10 2013 From: e.camerling at tiscali.nl (Erich Camerling) Date: Thu, 07 Nov 2013 10:12:10 +0100 Subject: [Alt-photo] Densitometer attachments Message-ID: <527B596A.5070105@tiscali.nl> Dear readers, Yesterday I tried to send attachments to six members who asked therefore. But this failed for @aandy.org and for two members who use @btinternet.com. Don't no the reason.May be they can use an other provider address. From damiano.bianca at gmail.com Thu Nov 7 12:40:04 2013 From: damiano.bianca at gmail.com (Damiano Bianca) Date: Thu, 7 Nov 2013 13:40:04 +0100 Subject: [Alt-photo] Re: Densitometer attachments In-Reply-To: <527B596A.5070105@tiscali.nl> References: <527B596A.5070105@tiscali.nl> Message-ID: What am I missing on requests for attachments around the densitometer UV? I am very interested in this topic. damiano 2013/11/7 Erich Camerling > Dear readers, > > Yesterday I tried to send attachments to six members who asked therefore. > But this failed for @aandy.org and for two members who use @btinternet.com > . > Don't no the reason.May be they can use an other provider address. > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From bobkiss at caribsurf.com Thu Nov 7 13:03:28 2013 From: bobkiss at caribsurf.com (BOB KISS) Date: Thu, 7 Nov 2013 09:03:28 -0400 Subject: [Alt-photo] Re: Densitometer attachments In-Reply-To: <527B596A.5070105@tiscali.nl> References: <527B596A.5070105@tiscali.nl> Message-ID: DEAR ERICH, Please also send me the attachments to bobkiss at caribsurf.com THANKS! CHEERS! BOB _____ From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Erich Camerling Sent: Thursday, November 07, 2013 5:12 AM To: alt-photo process-list Subject: [Alt-photo] Densitometer attachments Dear readers, Yesterday I tried to send attachments to six members who asked therefore. But this failed for @aandy.org and for two members who use @btinternet.com. Don't no the reason.May be they can use an other provider address. _______________________________________________ Alt-photo-process-list | altphotolist.org __________ Information from ESET Smart Security, version of virus signature database 9017 (20131107) __________ The message was checked by ESET Smart Security. http://www.eset.com __________ Information from ESET Smart Security, version of virus signature database 9017 (20131107) __________ The message was checked by ESET Smart Security. http://www.eset.com From fdfragomeni at gmail.com Fri Nov 8 00:41:37 2013 From: fdfragomeni at gmail.com (Francesco Fragomeni) Date: Thu, 7 Nov 2013 19:41:37 -0500 Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements In-Reply-To: References: Message-ID: Don and Peter, Thanks for chiming in! Sorry for the delay in response. The work week has been insane. Anyway, the mirror idea sounds interesting. As does the idea about trying to find one of the Durst units. From what I understand the Azo enlarger was really just a Durst enlarger with the high powered 5kw head. I wonder how difficult it would be to get a hold of one of those heads. I'm also curious what the power requirement would be. I live in NYC so running a dedicated power source isn't really not a possibility. I've also seen mentioned a number of times that people have had success enlarging on Azo (and feasibly pt/pl) using a regular color head. I'm assuming that their making use of a blue setting. It's strange, I've seen this mentioned but no one really seems to describe it in detail at all. I also have an actinic cold light back in phoenix which could yield a similar result. I'm unsure when Id be back there an able to test this. Another question that comes up is the difference in negatives that would be required. I'm used to working with a denser and contrastier neg for contact printing pt/pl. I wonder how this would change when projection becomes a part of the equation. Ideas here? My darkroom in NYC is small and set up for contact printing so I have no enlarger. Maybe I'll have that cold light shipped out and rig an enlarger out of a spare view camera to see what I can get to work. Any more thoughts or ideas on this topic? On Tue, Nov 5, 2013 at 11:02 PM, Peter Friedrichsen < pfriedrichsen at sympatico.ca> wrote: > The ferric oxalate light sensitivity is still very good up to about 520nm > (throughout the blue light range) so maybe the Durst Azo unit, which I see > uses quartz halogen, could do the job. Perhaps you could find one to test. > > Peter Friedrichsen > > > > At 12:40 PM 05/11/2013, you wrote: > >> Hi All, >> >> I may have asking something along these lines a long while back but I'm >> unsure. There also may have been a bit of conversations around this >> on-list >> in the past. Anyway, I've always been fascinated with the old methods for >> making Platinum enlargements and I'm curious if anyone knows any of the >> numbers (exposure times) or knows of anyone who's working (albeit slowly) >> with anything like this now. >> >> Despite common belief, making platinum prints through an enlarger is >> indeed >> possible and there is a long history of this. As a quick recap, the most >> common method was through the use of a solar enlarger attached to a >> heliostat. The solar enlarger was essentially the same as a modern >> enlarger, most commonly using condenser lenses but there is documentation >> discussing diffusion solar enlargers as well, and lenses that were good at >> passing UV light. The heliostat was a mechanism that allowed the enlarger >> to track the movement of the sun subsequently keeping the light source >> centered and focused throughout the printing. >> >> Much later Durst made a UV enlarger for Azo and supposedly had one in >> development for platinum printing but it never made it into production. >> >> Anyway, I've heard whisperings of people who's made platinum enlargements >> essentially in conventional enlargers after replacing the lens with an >> older lens that'll pass uv light (modern lenses tend to block uv) but I >> can't really find any documentation of this. What I've heard is that the >> super powered lamps as used in the Durst UV enlarger (5kw and requiring >> serious cooling) are not actually necessary if you're ok with loooong >> exposure times (into hours). The Durst was supposedly designed to make >> these exposures both possible and relatively quick. I personally wouldn't >> care if the exposure times were very long if this is something that could >> actually be achieved. >> >> Does anyone have any information/experience with this? Any idea of how >> long >> exposure times would actually be if using a uv bulb or mercury bulb in a >> diffusion or condenser enlarger? >> >> Lets try to keep this on topic. This isn't intended as an opening for >> recommendations to contact print or make enlarged negatives. This topic >> isn't concerned with any alternatives. We're all aware that platinum >> prints >> are conventionally made using contact printing. We also know about making >> enlarged negs. No need to touch on any of that here. This is about the >> feasibility, practicality, and possibility of making a platinum >> enlargement >> via an enlarger set up to utilize uv light. We're also not tied to >> attempting to attain short exposure times here. Long is fine. I'm >> interested in tapping into the creative thinking of those on-list so lets >> try to limit the "thats impossible" talk. We already know that platinum >> enlargements are possible. Thoughts? >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From marekmatusz at hotmail.com Fri Nov 8 03:30:12 2013 From: marekmatusz at hotmail.com (Marek Matusz) Date: Thu, 7 Nov 2013 21:30:12 -0600 Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements In-Reply-To: References: Message-ID: Maybe I could try a bank of uv led's as a diffused light source. I tried a house led light to print cyanotype once. It was a long exposure but I got an image Marek Sent from my iPhone > On Nov 7, 2013, at 6:41 PM, "Francesco Fragomeni" wrote: > > Don and Peter, > > Thanks for chiming in! Sorry for the delay in response. The work week has > been insane. Anyway, the mirror idea sounds interesting. As does the idea > about trying to find one of the Durst units. From what I understand the Azo > enlarger was really just a Durst enlarger with the high powered 5kw head. I > wonder how difficult it would be to get a hold of one of those heads. I'm > also curious what the power requirement would be. I live in NYC so running > a dedicated power source isn't really not a possibility. > > I've also seen mentioned a number of times that people have had success > enlarging on Azo (and feasibly pt/pl) using a regular color head. I'm > assuming that their making use of a blue setting. It's strange, I've seen > this mentioned but no one really seems to describe it in detail at all. I > also have an actinic cold light back in phoenix which could yield a similar > result. I'm unsure when Id be back there an able to test this. > > Another question that comes up is the difference in negatives that would be > required. I'm used to working with a denser and contrastier neg for contact > printing pt/pl. I wonder how this would change when projection becomes a > part of the equation. Ideas here? > > My darkroom in NYC is small and set up for contact printing so I have no > enlarger. Maybe I'll have that cold light shipped out and rig an enlarger > out of a spare view camera to see what I can get to work. > > Any more thoughts or ideas on this topic? > > > On Tue, Nov 5, 2013 at 11:02 PM, Peter Friedrichsen < > pfriedrichsen at sympatico.ca> wrote: > >> The ferric oxalate light sensitivity is still very good up to about 520nm >> (throughout the blue light range) so maybe the Durst Azo unit, which I see >> uses quartz halogen, could do the job. Perhaps you could find one to test. >> >> Peter Friedrichsen >> >> >> >> At 12:40 PM 05/11/2013, you wrote: >> >>> Hi All, >>> >>> I may have asking something along these lines a long while back but I'm >>> unsure. There also may have been a bit of conversations around this >>> on-list >>> in the past. Anyway, I've always been fascinated with the old methods for >>> making Platinum enlargements and I'm curious if anyone knows any of the >>> numbers (exposure times) or knows of anyone who's working (albeit slowly) >>> with anything like this now. >>> >>> Despite common belief, making platinum prints through an enlarger is >>> indeed >>> possible and there is a long history of this. As a quick recap, the most >>> common method was through the use of a solar enlarger attached to a >>> heliostat. The solar enlarger was essentially the same as a modern >>> enlarger, most commonly using condenser lenses but there is documentation >>> discussing diffusion solar enlargers as well, and lenses that were good at >>> passing UV light. The heliostat was a mechanism that allowed the enlarger >>> to track the movement of the sun subsequently keeping the light source >>> centered and focused throughout the printing. >>> >>> Much later Durst made a UV enlarger for Azo and supposedly had one in >>> development for platinum printing but it never made it into production. >>> >>> Anyway, I've heard whisperings of people who's made platinum enlargements >>> essentially in conventional enlargers after replacing the lens with an >>> older lens that'll pass uv light (modern lenses tend to block uv) but I >>> can't really find any documentation of this. What I've heard is that the >>> super powered lamps as used in the Durst UV enlarger (5kw and requiring >>> serious cooling) are not actually necessary if you're ok with loooong >>> exposure times (into hours). The Durst was supposedly designed to make >>> these exposures both possible and relatively quick. I personally wouldn't >>> care if the exposure times were very long if this is something that could >>> actually be achieved. >>> >>> Does anyone have any information/experience with this? Any idea of how >>> long >>> exposure times would actually be if using a uv bulb or mercury bulb in a >>> diffusion or condenser enlarger? >>> >>> Lets try to keep this on topic. This isn't intended as an opening for >>> recommendations to contact print or make enlarged negatives. This topic >>> isn't concerned with any alternatives. We're all aware that platinum >>> prints >>> are conventionally made using contact printing. We also know about making >>> enlarged negs. No need to touch on any of that here. This is about the >>> feasibility, practicality, and possibility of making a platinum >>> enlargement >>> via an enlarger set up to utilize uv light. We're also not tied to >>> attempting to attain short exposure times here. Long is fine. I'm >>> interested in tapping into the creative thinking of those on-list so lets >>> try to limit the "thats impossible" talk. We already know that platinum >>> enlargements are possible. Thoughts? >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > _______________________________________________ > Alt-photo-process-list | altphotolist.org From payral at gmail.com Fri Nov 8 09:02:41 2013 From: payral at gmail.com (Philippe Ayral) Date: Fri, 8 Nov 2013 10:02:41 +0100 Subject: [Alt-photo] Re: COT 320 AT B&S was Papers for Palladium In-Reply-To: <9BDC40CD-BB8C-4A3D-B154-0F9F348809E5@gmail.com> References: <5724E96E-4722-491E-B938-2777048DFCF2@comcast.net> <44074E84-A885-4456-8F79-E39113FF4C74@gmail.com> <9BDC40CD-BB8C-4A3D-B154-0F9F348809E5@gmail.com> Message-ID: Hi all, I like to give a try to Revere Platinum and I can get some from France (300 gsm). It's about two years old. Do you think is from new production or the old one with some problems ? [image: Avatar] *Philippe Ayral** Photographie* 52, rue de Vallard - 74240 Gaillard T?l: 04 50 39 79 81 www.payral.fr Designed with WiseStamp - Get yours 2013/11/4 Diana Bloomfield > Hi Bob, > > I do remember all that, and between the time they must have got their act > together (Bergger, not B&S), I had switched to Revere and never looked > back. I do have this friend here who had just started printing in pt/pd, > and he had a very old supply of COT320 someone had given him, which he used > and loved. When he needed more, I told him about my problems, but he loved > that paper so much, and I guess he thought I was just fabricating issues, > because he ordered more, and it was from B&S. He came over to show me the > results-- it was the same grainy splotchy issues I had experienced. And > this was probably less than a year ago. So I gave him some samples of > Revere I had, and now that's all he uses. Really-- it's the most beautiful > paper I've ever used for that process. It's a dream to work with, too. > > I do not get the Revere from B&S. I initially got it from Talas in NYC. > I don't actually order anything from B&S anymore-- their shipping costs > are too high for me, and I can get most of what I need here on the East > Coast. I also have a Jerry's Artarama about 3 miles from me, and an > excellent art supply store that has all kinds of papers. I asked them to > start ordering the Revere for me, too, which they did. I get my chemicals > mostly from Artcraft, in NY, so it's a lot faster and cheaper for me to not > shop at B&S-- although they're very very nice people. :) Oh-- I've used > both the lightweight and 300 gsm, and I do prefer the 300 gsm-- just less > worry in the water. > > Diana > > > > > DEAR DIANA, > > > > > > > > Please recall that you and I had problems with COT 320 at > about > > the same time a few years ago. Before that B&S had problems with Bergger > > meeting their demands for supply of it. And you and I had a problem > getting > > John Horowy to communicate with us in a way that would solve the > problems. > > That was a while ago and both of these issues have been resolved. > > > > > > > > 1) Melody must have had a "moment of prayer" with John because B&S > had an > > extensive supply of COT 320 in all sizes up until recently. I just > checked > > their website and all the COT 320 seems to be out of stock.again a supply > > issue!!! I have e-mailed Melody to ask why this problem again but it is > > only 6:30 am in Santa Fe. Though she gets up and starts work early, I > don't > > expect a reply until later and will forward the info. > > > > > > > > 2) The problems I had back then with COT 320 were resolved and the > last 4 > > batches of 20X24/25 sheets have been perfect so I would not shy away from > > it. And Melody is a lot nicer to deal with regarding any issues with > the > > paper! > > > > > > > > 3) Which Revere do you use? The one sold by B&S? Do you use the > lighter > > or heavier paper? As I like 320 gsm I am assuming I should try the > Revere > > 300 gsm, yes? > > > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From fdfragomeni at gmail.com Fri Nov 8 15:52:28 2013 From: fdfragomeni at gmail.com (Francesco Fragomeni) Date: Fri, 8 Nov 2013 10:52:28 -0500 Subject: [Alt-photo] In Need Of Collodion In NYC Today Message-ID: Hi all, I've got a rare day off and an experiment that I've been aching to work on. I need a small amount of collodion for this and I just checked my stock and sadly I'm completely out. I don't know when the next time I'll be able to work on this will be so I'm desperately trying to find a small amount of collodion here in NYC. If anyone on-list knows anyone here in the city who I might be able to reach out to to pick up a small bottle's worth today (say 50-100ml is all I should need) please let me know! It would be hugely appreciated! Best, Francesco From jmjusdado at gmail.com Fri Nov 8 19:32:38 2013 From: jmjusdado at gmail.com (jusdado) Date: Fri, 08 Nov 2013 20:32:38 +0100 Subject: [Alt-photo] bellows Message-ID: <527D3C56.9070805@gmail.com> Hello everyone I am restoring a 1880 camera about and need to know how I can soften the bellows (almond oil, baby oil, paraffin). Today I start building my holder film wood and then start my tests collodion. Tomorrow I will put links to pictures of the restoration process. Greetings. From newcombr at uga.edu Fri Nov 8 19:53:22 2013 From: newcombr at uga.edu (Robert K Newcomb) Date: Fri, 8 Nov 2013 19:53:22 +0000 Subject: [Alt-photo] Re: bellows In-Reply-To: <527D3C56.9070805@gmail.com> References: <527D3C56.9070805@gmail.com> Message-ID: <0560C046-470C-4B5C-915C-038B73C4353F@uga.edu> The leather conditioner called Lexol should work. Lexol is a brand name and neatsfoot oil is the type of oil in it. It is a conditioner not something that makes leather just look shiny. Let it soak in for a day and then wipe/buff. Repeat as desired. It will darken the material for a while but eventually lighten back up. If the bellows need to be replaced, Turner Bellows in Rochester New York will do a good job for less money then some other places. Robert On Nov 8, 2013, at 2:32 PM, jusdado wrote: Hello everyone I am restoring a 1880 camera about and need to know how I can soften the bellows (almond oil, baby oil, paraffin). Today I start building my holder film wood and then start my tests collodion. Tomorrow I will put links to pictures of the restoration process. Greetings. _______________________________________________ Alt-photo-process-list | altphotolist.org Robert Newcomb From 1oldlens1 at ix.netcom.com Fri Nov 8 20:04:52 2013 From: 1oldlens1 at ix.netcom.com (Richard Knoppow) Date: Fri, 8 Nov 2013 12:04:52 -0800 (GMT-08:00) Subject: [Alt-photo] Re: bellows Message-ID: <32071958.1383941092557.JavaMail.root@mswamui-valley.atl.sa.earthlink.net> -----Original Message----- >From: Robert K Newcomb >Sent: Nov 8, 2013 11:53 AM >To: "" >Subject: [Alt-photo] Re: bellows > >The leather conditioner called Lexol should work. Lexol is a brand name and neatsfoot oil is the type of oil in it. It is a conditioner not something that makes leather just look shiny. Let it soak in for a day and then wipe/buff. Repeat as desired. It will darken the material for a while but eventually lighten back up. >If the bellows need to be replaced, Turner Bellows in Rochester New York will do a good job for less money then some other places. >Robert > > >On Nov 8, 2013, at 2:32 PM, jusdado wrote: > >Hello everyone >I am restoring a 1880 camera about and need to know how I can soften the bellows (almond oil, baby oil, paraffin). Today I start building my holder film wood and then start my tests collodion. Tomorrow I will put links to pictures of the restoration process. >Greetings. Lexol is a good brand of conditioner but be careful of how much is applied. Its better to put on a little at a time and let it soak in for quite some time, a couple of days perhaps. One problem is that the oil can soak through to the paper stiffeners and cause them to disintegrate. Also beware that if the leather has begun to rot nothing will restore it. The tendency is for old bellows to develop pin-holes as it is stressed. I can almost guarantee that if the camera is to be useable it will need new bellows. BTW, I am glad to hear that Turner is still in business. Not so long ago I had a list of at least half a dozen bellows makers, most of them are gone now. There was an outfit in England called I think English Bellows, which was the only company who would make bellows of genuine leather. For practical purposes synthetics are better and will last forever, but they don't look the same. From newcombr at uga.edu Fri Nov 8 20:09:06 2013 From: newcombr at uga.edu (Robert K Newcomb) Date: Fri, 8 Nov 2013 20:09:06 +0000 Subject: [Alt-photo] Re: bellows In-Reply-To: <32071958.1383941092557.JavaMail.root@mswamui-valley.atl.sa.earthlink.net> References: <32071958.1383941092557.JavaMail.root@mswamui-valley.atl.sa.earthlink.net> Message-ID: <59E8348B-D737-44B2-84F4-13CE985A756D@uga.edu> The bellows company in England is now called Custom Bellows. They make really nice bellows. One can find them by searching on the web. I have used both them and Turner several times. Turner is good for slightly larger cameras since the bellows cloth is not as thin. Robert On Nov 8, 2013, at 3:04 PM, Richard Knoppow wrote: -----Original Message----- From: Robert K Newcomb > Sent: Nov 8, 2013 11:53 AM To: ">" > Subject: [Alt-photo] Re: bellows The leather conditioner called Lexol should work. Lexol is a brand name and neatsfoot oil is the type of oil in it. It is a conditioner not something that makes leather just look shiny. Let it soak in for a day and then wipe/buff. Repeat as desired. It will darken the material for a while but eventually lighten back up. If the bellows need to be replaced, Turner Bellows in Rochester New York will do a good job for less money then some other places. Robert On Nov 8, 2013, at 2:32 PM, jusdado wrote: Hello everyone I am restoring a 1880 camera about and need to know how I can soften the bellows (almond oil, baby oil, paraffin). Today I start building my holder film wood and then start my tests collodion. Tomorrow I will put links to pictures of the restoration process. Greetings. Lexol is a good brand of conditioner but be careful of how much is applied. Its better to put on a little at a time and let it soak in for quite some time, a couple of days perhaps. One problem is that the oil can soak through to the paper stiffeners and cause them to disintegrate. Also beware that if the leather has begun to rot nothing will restore it. The tendency is for old bellows to develop pin-holes as it is stressed. I can almost guarantee that if the camera is to be useable it will need new bellows. BTW, I am glad to hear that Turner is still in business. Not so long ago I had a list of at least half a dozen bellows makers, most of them are gone now. There was an outfit in England called I think English Bellows, which was the only company who would make bellows of genuine leather. For practical purposes synthetics are better and will last forever, but they don't look the same. _______________________________________________ Alt-photo-process-list | altphotolist.org Robert Newcomb UGA Public Affairs Broadcast, Video & Photographic Services 188 Georgia Center Campus Cell: (706) 247-6500 newcombr at uga.edu From johnbrewerphotography at gmail.com Fri Nov 8 21:15:30 2013 From: johnbrewerphotography at gmail.com (John Brewer) Date: Fri, 8 Nov 2013 21:15:30 +0000 Subject: [Alt-photo] Re: bellows In-Reply-To: <59E8348B-D737-44B2-84F4-13CE985A756D@uga.edu> References: <32071958.1383941092557.JavaMail.root@mswamui-valley.atl.sa.earthlink.net> <59E8348B-D737-44B2-84F4-13CE985A756D@uga.edu> Message-ID: <0DF295CF-C7E5-49FA-BEDF-2E8EBEA5C1EA@gmail.com> Mark Voce in the UK makes great bellows, he's made two sets for me. http://markvoce.com/contact/ Sent from my iPhone > On 8 Nov 2013, at 08:09 pm, Robert K Newcomb wrote: > > The bellows company in England is now called Custom Bellows. They make really nice bellows. One can find them by searching on the web. I have used both them and Turner several times. Turner is good for slightly larger cameras since the bellows cloth is not as thin. > Robert > > > On Nov 8, 2013, at 3:04 PM, Richard Knoppow wrote: > > > > > -----Original Message----- > From: Robert K Newcomb > > Sent: Nov 8, 2013 11:53 AM > To: ">" > > Subject: [Alt-photo] Re: bellows > > The leather conditioner called Lexol should work. Lexol is a brand name and neatsfoot oil is the type of oil in it. It is a conditioner not something that makes leather just look shiny. Let it soak in for a day and then wipe/buff. Repeat as desired. It will darken the material for a while but eventually lighten back up. > If the bellows need to be replaced, Turner Bellows in Rochester New York will do a good job for less money then some other places. > Robert > > > On Nov 8, 2013, at 2:32 PM, jusdado wrote: > > Hello everyone > I am restoring a 1880 camera about and need to know how I can soften the bellows (almond oil, baby oil, paraffin). Today I start building my holder film wood and then start my tests collodion. Tomorrow I will put links to pictures of the restoration process. > Greetings. > > Lexol is a good brand of conditioner but be careful of how much is applied. Its better to put on a little at a time and let it soak in for quite some time, a couple of days perhaps. One problem is that the oil can soak through to the paper stiffeners and cause them to disintegrate. Also beware that if the leather has begun to rot nothing will restore it. The tendency is for old bellows to develop pin-holes as it is stressed. I can almost guarantee that if the camera is to be useable it will need new bellows. BTW, I am glad to hear that Turner is still in business. Not so long ago I had a list of at least half a dozen bellows makers, most of them are gone now. There was an outfit in England called I think English Bellows, which was the only company who would make bellows of genuine leather. For practical purposes synthetics are better and will last forever, but they don't look the same. > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > Robert Newcomb > UGA > Public Affairs > Broadcast, Video & Photographic Services > 188 Georgia Center > Campus Cell: (706) 247-6500 > newcombr at uga.edu > > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From aschmitt at aandy.org Sat Nov 9 13:50:15 2013 From: aschmitt at aandy.org (andy schmitt) Date: Sat, 9 Nov 2013 08:50:15 -0500 Subject: [Alt-photo] Re: In Need Of Collodion In NYC Today In-Reply-To: References: Message-ID: <099101cedd52$a7b16280$f7142780$@aandy.org> Francesco Wish I had a day's notice...I'm 1 1/2 hours away but the Collodion is at my school... good luck... There's a school of Alternative Photography in NYC (who's exact name escapes me)...They are real nice people & I bet they have some... Good luck Regards Andy Schmitt -----Original Message----- From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Francesco Fragomeni Sent: Friday, November 08, 2013 10:52 AM To: The alternative photographic processes mailing list Subject: [Alt-photo] In Need Of Collodion In NYC Today Hi all, I've got a rare day off and an experiment that I've been aching to work on. I need a small amount of collodion for this and I just checked my stock and sadly I'm completely out. I don't know when the next time I'll be able to work on this will be so I'm desperately trying to find a small amount of collodion here in NYC. If anyone on-list knows anyone here in the city who I might be able to reach out to to pick up a small bottle's worth today (say 50-100ml is all I should need) please let me know! It would be hugely appreciated! Best, Francesco _______________________________________________ Alt-photo-process-list | altphotolist.org From aschmitt at aandy.org Sat Nov 9 14:16:51 2013 From: aschmitt at aandy.org (andy schmitt) Date: Sat, 9 Nov 2013 09:16:51 -0500 Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements In-Reply-To: References: Message-ID: <09ab01cedd56$5f49ef90$1dddceb0$@aandy.org> Marek, As someone else mentioned (sorry, lost reference), the "normal" UV LED's on the market today are a little long in the wavelength produced for good Pt printing. Back when I was putting together a portable printer, that was mentioned to me contact the manufacturer of the LEDS & was told it would be a special run to dope for that wavelength & would be expensive... Might be able to get a bunch of us together & split up the cost of doing that, especially if we could use the larger ones... Regards Andy Schmitt -----Original Message----- From: alt-photo-process-list-bounces at lists.altphotolist.org [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of Marek Matusz Sent: Thursday, November 07, 2013 10:30 PM To: alt-photo-process-list at lists.altphotolist.org Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements Maybe I could try a bank of uv led's as a diffused light source. I tried a house led light to print cyanotype once. It was a long exposure but I got an image Marek Sent from my iPhone > On Nov 7, 2013, at 6:41 PM, "Francesco Fragomeni" wrote: > > Don and Peter, > > Thanks for chiming in! Sorry for the delay in response. The work week > has been insane. Anyway, the mirror idea sounds interesting. As does > the idea about trying to find one of the Durst units. From what I > understand the Azo enlarger was really just a Durst enlarger with the > high powered 5kw head. I wonder how difficult it would be to get a > hold of one of those heads. I'm also curious what the power > requirement would be. I live in NYC so running a dedicated power source isn't really not a possibility. > > I've also seen mentioned a number of times that people have had > success enlarging on Azo (and feasibly pt/pl) using a regular color > head. I'm assuming that their making use of a blue setting. It's > strange, I've seen this mentioned but no one really seems to describe > it in detail at all. I also have an actinic cold light back in phoenix > which could yield a similar result. I'm unsure when Id be back there an able to test this. > > Another question that comes up is the difference in negatives that > would be required. I'm used to working with a denser and contrastier > neg for contact printing pt/pl. I wonder how this would change when > projection becomes a part of the equation. Ideas here? > > My darkroom in NYC is small and set up for contact printing so I have > no enlarger. Maybe I'll have that cold light shipped out and rig an > enlarger out of a spare view camera to see what I can get to work. > > Any more thoughts or ideas on this topic? > > > On Tue, Nov 5, 2013 at 11:02 PM, Peter Friedrichsen < > pfriedrichsen at sympatico.ca> wrote: > >> The ferric oxalate light sensitivity is still very good up to about >> 520nm (throughout the blue light range) so maybe the Durst Azo unit, >> which I see uses quartz halogen, could do the job. Perhaps you could find one to test. >> >> Peter Friedrichsen >> >> >> >> At 12:40 PM 05/11/2013, you wrote: >> >>> Hi All, >>> >>> I may have asking something along these lines a long while back but >>> I'm unsure. There also may have been a bit of conversations around >>> this on-list in the past. Anyway, I've always been fascinated with >>> the old methods for making Platinum enlargements and I'm curious if >>> anyone knows any of the numbers (exposure times) or knows of anyone >>> who's working (albeit slowly) with anything like this now. >>> >>> Despite common belief, making platinum prints through an enlarger is >>> indeed possible and there is a long history of this. As a quick >>> recap, the most common method was through the use of a solar >>> enlarger attached to a heliostat. The solar enlarger was essentially >>> the same as a modern enlarger, most commonly using condenser lenses >>> but there is documentation discussing diffusion solar enlargers as >>> well, and lenses that were good at passing UV light. The heliostat >>> was a mechanism that allowed the enlarger to track the movement of >>> the sun subsequently keeping the light source centered and focused >>> throughout the printing. >>> >>> Much later Durst made a UV enlarger for Azo and supposedly had one >>> in development for platinum printing but it never made it into production. >>> >>> Anyway, I've heard whisperings of people who's made platinum >>> enlargements essentially in conventional enlargers after replacing >>> the lens with an older lens that'll pass uv light (modern lenses >>> tend to block uv) but I can't really find any documentation of this. >>> What I've heard is that the super powered lamps as used in the Durst >>> UV enlarger (5kw and requiring serious cooling) are not actually >>> necessary if you're ok with loooong exposure times (into hours). The >>> Durst was supposedly designed to make these exposures both possible >>> and relatively quick. I personally wouldn't care if the exposure >>> times were very long if this is something that could actually be achieved. >>> >>> Does anyone have any information/experience with this? Any idea of >>> how long exposure times would actually be if using a uv bulb or >>> mercury bulb in a diffusion or condenser enlarger? >>> >>> Lets try to keep this on topic. This isn't intended as an opening >>> for recommendations to contact print or make enlarged negatives. >>> This topic isn't concerned with any alternatives. We're all aware >>> that platinum prints are conventionally made using contact printing. >>> We also know about making enlarged negs. No need to touch on any of >>> that here. This is about the feasibility, practicality, and >>> possibility of making a platinum enlargement via an enlarger set up >>> to utilize uv light. We're also not tied to attempting to attain >>> short exposure times here. Long is fine. I'm interested in tapping >>> into the creative thinking of those on-list so lets try to limit the >>> "thats impossible" talk. We already know that platinum enlargements >>> are possible. Thoughts? >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > _______________________________________________ > Alt-photo-process-list | altphotolist.org _______________________________________________ Alt-photo-process-list | altphotolist.org From petebergstrom at gmail.com Sun Nov 10 14:42:28 2013 From: petebergstrom at gmail.com (Pete Bergstrom) Date: Sun, 10 Nov 2013 08:42:28 -0600 Subject: [Alt-photo] Fwd: Keith Taylor Photogravure exhibit now showing in Minneapolis In-Reply-To: References: Message-ID: [It looks like I was still registered using a very old email address. I've re-registered using my permanent email address and am resending this note. Sorry if it shows up twice. Pete] Keith Taylor has a set of 20 photogravures on display at the Minneapolis Photo Center. It opened last night, but I had a chance to stop in and see it this afternoon. The prints are superbly made, and many of the images resonated with me. I'll probably be back to see it again. If you have a chance to see it before it comes down December 20, I recommend it highly. More information at: http://www.mplsphotocenter.com/exhibits/current-exhibits.php Regards, Pete Bergstrom (standard disclaimer: no affiliation, etc.) From tim at timothymccoyphoto.com Mon Nov 11 21:36:23 2013 From: tim at timothymccoyphoto.com (Tim McCoy) Date: Mon, 11 Nov 2013 16:36:23 -0500 Subject: [Alt-photo] Palladium Exhibit in Dayton, OH Message-ID: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> Hello all, For those of you in the Dayton, OH, area, I have an exhibition of 12 images from my palladium-on-translucent-vellum portfolio ?Sanctuary,? at the Works on Paper Gallery, Sinclair Community College, Bldg. 13, 5th & Perry St., Dayton, OH; Nov. 13 - Dec. 14, 2013; M-Th 8 a.m.-8 p.m., Fri. 8 a.m. - 5 p.m., Sat. 8 a.m.-3 p.m. Hope some of you can see it. Thanks, Tim McCoy www.TimothyMcCoyPhoto.com From marekmatusz at hotmail.com Mon Nov 11 21:41:30 2013 From: marekmatusz at hotmail.com (Marek Matusz) Date: Mon, 11 Nov 2013 15:41:30 -0600 Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements In-Reply-To: <09ab01cedd56$5f49ef90$1dddceb0$@aandy.org> References: <09ab01cedd56$5f49ef90$1dddceb0$@aandy.org> Message-ID: Andy I was not interested in building a light source like that. Just mentioned the possibility. Exposures longer then 5-10 min are unbearable for me Marek Sent from my iPhone > On Nov 9, 2013, at 8:17 AM, "andy schmitt" wrote: > > Marek, > As someone else mentioned (sorry, lost reference), the "normal" UV LED's on > the market today are a little long in the wavelength produced for good Pt > printing. > Back when I was putting together a portable printer, that was mentioned to > me contact the manufacturer of the LEDS & was told it would be a special run > to dope for that wavelength & would be expensive... > Might be able to get a bunch of us together & split up the cost of doing > that, especially if we could use the larger ones... > Regards > Andy Schmitt > > -----Original Message----- > From: alt-photo-process-list-bounces at lists.altphotolist.org > [mailto:alt-photo-process-list-bounces at lists.altphotolist.org] On Behalf Of > Marek Matusz > Sent: Thursday, November 07, 2013 10:30 PM > To: alt-photo-process-list at lists.altphotolist.org > Subject: [Alt-photo] Re: Mechanism for Platinum Enlargements > > Maybe I could try a bank of uv led's as a diffused light source. I tried a > house led light to print cyanotype once. It was a long exposure but I got an > image Marek > > Sent from my iPhone > >>> On Nov 7, 2013, at 6:41 PM, "Francesco Fragomeni" >> wrote: >> >> Don and Peter, >> >> Thanks for chiming in! Sorry for the delay in response. The work week >> has been insane. Anyway, the mirror idea sounds interesting. As does >> the idea about trying to find one of the Durst units. From what I >> understand the Azo enlarger was really just a Durst enlarger with the >> high powered 5kw head. I wonder how difficult it would be to get a >> hold of one of those heads. I'm also curious what the power >> requirement would be. I live in NYC so running a dedicated power source > isn't really not a possibility. >> >> I've also seen mentioned a number of times that people have had >> success enlarging on Azo (and feasibly pt/pl) using a regular color >> head. I'm assuming that their making use of a blue setting. It's >> strange, I've seen this mentioned but no one really seems to describe >> it in detail at all. I also have an actinic cold light back in phoenix >> which could yield a similar result. I'm unsure when Id be back there an > able to test this. >> >> Another question that comes up is the difference in negatives that >> would be required. I'm used to working with a denser and contrastier >> neg for contact printing pt/pl. I wonder how this would change when >> projection becomes a part of the equation. Ideas here? >> >> My darkroom in NYC is small and set up for contact printing so I have >> no enlarger. Maybe I'll have that cold light shipped out and rig an >> enlarger out of a spare view camera to see what I can get to work. >> >> Any more thoughts or ideas on this topic? >> >> >> On Tue, Nov 5, 2013 at 11:02 PM, Peter Friedrichsen < >> pfriedrichsen at sympatico.ca> wrote: >> >>> The ferric oxalate light sensitivity is still very good up to about >>> 520nm (throughout the blue light range) so maybe the Durst Azo unit, >>> which I see uses quartz halogen, could do the job. Perhaps you could find > one to test. >>> >>> Peter Friedrichsen >>> >>> >>> >>> At 12:40 PM 05/11/2013, you wrote: >>> >>>> Hi All, >>>> >>>> I may have asking something along these lines a long while back but >>>> I'm unsure. There also may have been a bit of conversations around >>>> this on-list in the past. Anyway, I've always been fascinated with >>>> the old methods for making Platinum enlargements and I'm curious if >>>> anyone knows any of the numbers (exposure times) or knows of anyone >>>> who's working (albeit slowly) with anything like this now. >>>> >>>> Despite common belief, making platinum prints through an enlarger is >>>> indeed possible and there is a long history of this. As a quick >>>> recap, the most common method was through the use of a solar >>>> enlarger attached to a heliostat. The solar enlarger was essentially >>>> the same as a modern enlarger, most commonly using condenser lenses >>>> but there is documentation discussing diffusion solar enlargers as >>>> well, and lenses that were good at passing UV light. The heliostat >>>> was a mechanism that allowed the enlarger to track the movement of >>>> the sun subsequently keeping the light source centered and focused >>>> throughout the printing. >>>> >>>> Much later Durst made a UV enlarger for Azo and supposedly had one >>>> in development for platinum printing but it never made it into > production. >>>> >>>> Anyway, I've heard whisperings of people who's made platinum >>>> enlargements essentially in conventional enlargers after replacing >>>> the lens with an older lens that'll pass uv light (modern lenses >>>> tend to block uv) but I can't really find any documentation of this. >>>> What I've heard is that the super powered lamps as used in the Durst >>>> UV enlarger (5kw and requiring serious cooling) are not actually >>>> necessary if you're ok with loooong exposure times (into hours). The >>>> Durst was supposedly designed to make these exposures both possible >>>> and relatively quick. I personally wouldn't care if the exposure >>>> times were very long if this is something that could actually be > achieved. >>>> >>>> Does anyone have any information/experience with this? Any idea of >>>> how long exposure times would actually be if using a uv bulb or >>>> mercury bulb in a diffusion or condenser enlarger? >>>> >>>> Lets try to keep this on topic. This isn't intended as an opening >>>> for recommendations to contact print or make enlarged negatives. >>>> This topic isn't concerned with any alternatives. We're all aware >>>> that platinum prints are conventionally made using contact printing. >>>> We also know about making enlarged negs. No need to touch on any of >>>> that here. This is about the feasibility, practicality, and >>>> possibility of making a platinum enlargement via an enlarger set up >>>> to utilize uv light. We're also not tied to attempting to attain >>>> short exposure times here. Long is fine. I'm interested in tapping >>>> into the creative thinking of those on-list so lets try to limit the >>>> "thats impossible" talk. We already know that platinum enlargements >>>> are possible. Thoughts? >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > _______________________________________________ > Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From bobkiss at caribsurf.com Mon Nov 11 21:44:36 2013 From: bobkiss at caribsurf.com (bobkiss @caribsurf.com) Date: Mon, 11 Nov 2013 17:44:36 -0400 Subject: [Alt-photo] Re: Palladium Exhibit in Dayton, OH In-Reply-To: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> References: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> Message-ID: DEAR TIMOTHY, Great work! Best of luck on your opening. CHEERS! BOB On Mon, Nov 11, 2013 at 5:36 PM, Tim McCoy wrote: > Hello all, > > For those of you in the Dayton, OH, area, I have an exhibition of 12 > images from my palladium-on-translucent-vellum portfolio ?Sanctuary,? at > the Works on Paper Gallery, Sinclair Community College, Bldg. 13, 5th & > Perry St., Dayton, OH; Nov. 13 - Dec. 14, 2013; M-Th 8 a.m.-8 p.m., Fri. 8 > a.m. - 5 p.m., Sat. 8 a.m.-3 p.m. Hope some of you can see it. > > Thanks, > > Tim McCoy > www.TimothyMcCoyPhoto.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From frangst at gmail.com Tue Nov 12 00:17:37 2013 From: frangst at gmail.com (francis schanberger) Date: Mon, 11 Nov 2013 19:17:37 -0500 Subject: [Alt-photo] Re: Palladium Exhibit in Dayton, OH In-Reply-To: References: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> Message-ID: I'll be able to attend in person since I live a twenty five minute walk away. -francis On Mon, Nov 11, 2013 at 4:44 PM, bobkiss @caribsurf.com < bobkiss at caribsurf.com> wrote: > DEAR TIMOTHY, > Great work! Best of luck on your opening. > CHEERS! > BOB > > > On Mon, Nov 11, 2013 at 5:36 PM, Tim McCoy >wrote: > > > Hello all, > > > > For those of you in the Dayton, OH, area, I have an exhibition of 12 > > images from my palladium-on-translucent-vellum portfolio ?Sanctuary,? at > > the Works on Paper Gallery, Sinclair Community College, Bldg. 13, 5th & > > Perry St., Dayton, OH; Nov. 13 - Dec. 14, 2013; M-Th 8 a.m.-8 p.m., Fri. > 8 > > a.m. - 5 p.m., Sat. 8 a.m.-3 p.m. Hope some of you can see it. > > > > Thanks, > > > > Tim McCoy > > www.TimothyMcCoyPhoto.com > > _______________________________________________ > > Alt-photo-process-list | altphotolist.org > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > -- francis schanberger www.francisschanberger.com From mail at loris.medici.name Tue Nov 12 13:40:23 2013 From: mail at loris.medici.name (Loris Medici) Date: Tue, 12 Nov 2013 15:40:23 +0200 Subject: [Alt-photo] Re: Palladium Exhibit in Dayton, OH In-Reply-To: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> References: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> Message-ID: Contratulations for the show! 2013/11/11 Tim McCoy > Hello all, > > For those of you in the Dayton, OH, area, I have an exhibition of 12 > images from my palladium-on-translucent-vellum portfolio ?Sanctuary,? at > the Works on Paper Gallery, Sinclair Community College, Bldg. 13, 5th & > Perry St., Dayton, OH; Nov. 13 - Dec. 14, 2013; M-Th 8 a.m.-8 p.m., Fri. 8 > a.m. - 5 p.m., Sat. 8 a.m.-3 p.m. Hope some of you can see it. > > Thanks, > > Tim McCoy > www.TimothyMcCoyPhoto.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From dlhbloomfield at gmail.com Tue Nov 12 14:08:47 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Tue, 12 Nov 2013 09:08:47 -0500 Subject: [Alt-photo] Re: Palladium Exhibit in Dayton, OH In-Reply-To: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> References: <403F52A7-057C-48DF-8421-17E12CDB8212@timothymccoyphoto.com> Message-ID: Congratulations, Tim! I wish I could see the work. I bet they're beautiful. How do you keep the vellum from wrinkling so much-- or is that part of the charm? :) How big are they? Anyway-- take some photos at the opening, and post them if you can. Diana On Nov 11, 2013, at 4:36 PM, Tim McCoy wrote: > Hello all, > > For those of you in the Dayton, OH, area, I have an exhibition of 12 images from my palladium-on-translucent-vellum portfolio ?Sanctuary,? at the Works on Paper Gallery, Sinclair Community College, Bldg. 13, 5th & Perry St., Dayton, OH; Nov. 13 - Dec. 14, 2013; M-Th 8 a.m.-8 p.m., Fri. 8 a.m. - 5 p.m., Sat. 8 a.m.-3 p.m. Hope some of you can see it. > > Thanks, > > Tim McCoy > www.TimothyMcCoyPhoto.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org From e.camerling at tiscali.nl Wed Nov 13 10:48:29 2013 From: e.camerling at tiscali.nl (Erich Camerling) Date: Wed, 13 Nov 2013 11:48:29 +0100 Subject: [Alt-photo] 365 nm. UV-Densitometer. Part 2a of 7. Message-ID: <528358FD.6050609@tiscali.nl> The clock-factory. (Part 1) Definition : two different pulses for the UV-Densitometer - clockpulse 1 for the UV-LED ~ 10 msec. - clockpulse 2 for the Sample & Hold amplifier. This pulse must start ~1 msec. later and stop ~1 msec before clockpulse 1. - refresher time must be ~128 msec. - power supply : = 5 V. The PCB uses a 470 ?F capacitor as an buffer and a 6 V zenerdiode for protection. - every IC has a 0,1 ?F capacitor between "+" and "0" The wiring diagram starts with a "local oscillator" : 74HC4060 (IC1) and a 4.194304 MHz crystal. The resulting pulse is connected to the second 74HC4060 (IC3) as divider. The outgoing pulse starts the 74HC4538 (IC 4 A/B). One of the outgoing signals from IC 4 B (10) is connected to the next 4538 (IC 2A). That IC starts simultaneously with the rising side from this signal and gives a pulse of ~1 msec. That is the delay needed for the measuring signal to the S & H circuit and starts in IC2 B (11) an outgoing pulse (10) with ~8,2 msec. for the S & H measuring time. Connections : You need 2 screw terminal blocks with each 3 connectors. X1-1 : pulse 21 msec (not used) X1-2 : pulse 10 msec for the UV-LED X1-3 : pulse 1 msec starting simultaneously with X1-2 (will not be used but is the delay between X2 -3 and X1-2) X2-1 : + 5 V X2-2 : 0 V X2-3 : pulse (8,2 msec) for the S & H. When you give a + 5 V on R 10 via a switch you stop the pulse train for the UV-LED. To be continued next week. From jason at lucidperceptions.com Thu Nov 14 09:30:07 2013 From: jason at lucidperceptions.com (J. Jason Lazarus) Date: Thu, 14 Nov 2013 00:30:07 -0900 Subject: [Alt-photo] Alt-pro chems through Airport Checked bags Message-ID: All - I'm having a heck of a time getting decent VDB solution to mix from the chemicals that I recently brought back in checked bag from Bostick and Sullivan in Santa Fe and, because I'm searching for any explanation... ... could the x-rays that a checked bag goes through alter or expose either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? Perhaps a long shot, I don't know. I had asked staff at B&S prior to leaving if they had any reservations with me taking it back in that manner, and seeing none, I didn't give it a second thought... but after several unsuccessful attempts, I'm trying to figure out what it may be. I'm having a devil of a time mixing my own solution without having significant precipitate form and settle to the bottom of the brown bottle. I've mixed three times, using the measurements out of Christina Z. Anderson's book, and have become even more scrutinizing each time. This last time, I added all the mixtures exactly (with a very pricey contraption for reloading bullets), mixed with very hot water and even going so far to add the silver nitrate drop by drop via an eyedropper to insure I didn't add it too fast. Within a day, I always end up with a eighth to a quarter inch of silvery sludge at the bottom of the bottle. Prints, if created with freshly concocted solution, seem normal - but within a week, the exposure dramatically alters and the print quality falls off a cliff and looks poor and overwhelmingly grainy. I've tried shaking the solution up, letting it rest and taking only the top of the solution (which is unnaturally clear compared to B&S's premix solution) and my prints are of a very poor quality and grainy - very much unlike anything I've experienced with B&S's premix. Any clues? Anything I'm missing? Thanks. Any help would be greatly appreciated. I apologize in advance if there's something utterly sophomoric I'm missing. J. Jason Lazarus From mail at loris.medici.name Thu Nov 14 10:46:49 2013 From: mail at loris.medici.name (Loris Medici) Date: Thu, 14 Nov 2013 12:46:49 +0200 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: References: Message-ID: I guess you have some kind of contamination / impurity in your raw materials. I had a similar problem with my last batch of Argyrotype. The first thing to check is your distilled / deionized water, then the vessels / tools you handle your raw materials. Regards, Loris. 2013/11/14 J. Jason Lazarus > All - > > I'm having a heck of a time getting decent VDB solution to mix from the > chemicals that I recently brought back in checked bag from Bostick and > Sullivan in Santa Fe and, because I'm searching for any explanation... > > ... could the x-rays that a checked bag goes through alter or expose > either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? > > Perhaps a long shot, I don't know. I had asked staff at B&S prior to > leaving if they had any reservations with me taking it back in that manner, > and seeing none, I didn't give it a second thought... but after several > unsuccessful attempts, I'm trying to figure out what it may be. > > I'm having a devil of a time mixing my own solution without having > significant precipitate form and settle to the bottom of the brown bottle. > I've mixed three times, using the measurements out of Christina Z. > Anderson's book, and have become even more scrutinizing each time. This > last time, I added all the mixtures exactly (with a very pricey contraption > for reloading bullets), mixed with very hot water and even going so far to > add the silver nitrate drop by drop via an eyedropper to insure I didn't > add it too fast. > > Within a day, I always end up with a eighth to a quarter inch of silvery > sludge at the bottom of the bottle. Prints, if created with freshly > concocted solution, seem normal - but within a week, the exposure > dramatically alters and the print quality falls off a cliff and looks poor > and overwhelmingly grainy. I've tried shaking the solution up, letting it > rest and taking only the top of the solution (which is unnaturally clear > compared to B&S's premix solution) and my prints are of a very poor quality > and grainy - very much unlike anything I've experienced with B&S's premix. > > Any clues? Anything I'm missing? > > Thanks. Any help would be greatly appreciated. I apologize in advance if > there's something utterly sophomoric I'm missing. > > J. Jason Lazarus > _______________________________________________ > Alt-photo-process-list | altphotolist.org > From christinazanderson at gmail.com Thu Nov 14 15:38:24 2013 From: christinazanderson at gmail.com (Christina Anderson) Date: Thu, 14 Nov 2013 08:38:24 -0700 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: References: Message-ID: Dear Jason and list, How completely frustrating Jason... I remember this being a major problem a while back on this list, and I want to say it was with someone who does VDB all the time, like maybe Francis Schanberger. Hopefully that person (who solved the problem if I remember correctly) will chime in with their solution. So you are in good company. Sandy King is also VDB practitioner extraordinaire (see unblinkingeye.com). There was some discussion of the variability of FAC at that time, that it was not a strictly controlled substance as some others. But the interesting thing is this has cropped up off and on here as a VDB problem child. I still remember years ago Judy S. saying that distilled water from the hardware store was different than that from the grocery store :) Last year I was in a rush and mixed up a liter of VDB for the class lab with hot (distilled) water and used it right away while still warm. I was shocked at how great the VDBs looked when the adage is to age the solution. The VDB is still good aged (and I have also used old argyrotype solution). But I have seen sludgy stuff happen as well in the past. I can't help thinking it is not your procedure which seems you have had, and have, under control but as Loris says, some sort of contaminate or alkalinity. Stupid question: is the bullet measurer thing glass? Then of course you have to make sure the paper is not a factor, but if all of a sudden on the same paper things go south, then that eliminates that. I've seen your exquisite VDB prints which makes this problem all the more intriguing. Better get B&S to send you more premixed until the culprit is determined :) And check out unblinkingeye.com and mikeware.co.uk for more insight. Chris Christina Z. Anderson http://christinaZanderson.com/ On Nov 14, 2013, at 3:46 AM, Loris Medici wrote: > I guess you have some kind of contamination / impurity in your raw > materials. I had a similar problem with my last batch of Argyrotype. The > first thing to check is your distilled / deionized water, then the vessels > / tools you handle your raw materials. > > Regards, > Loris. > From jason at lucidperceptions.com Thu Nov 14 17:54:05 2013 From: jason at lucidperceptions.com (J. Jason Lazarus) Date: Thu, 14 Nov 2013 08:54:05 -0900 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: References: Message-ID: All - I've tried two different brands of Distilled Water - both purchased from a grocery store and not a hardware store. I've changed brushes as well, just to insure there's no contamination there. My FAC, Tartaric Acid and Silver Nitrate is all from B&S. I'm using Bright Green FAC. The bullet grain scale has a brass measurement pan; I hadn't thought that there'd be any reaction with the chemicals if the chemicals were dry - I'm only adding the water after the chemicals are in plastic graduated cylinders. Both the bullet grain scale and the graduated cylinders are things I've added on the third attempt to mix this correctly. During the first and second attempt, I was using plastic measuring spoons, plastic measuring cups and tsp measurements (rather than gram measurements). The results are fairly similar between all three times. I checked my latest solution this morning, about 12 hours since it was mixed and it has over an inch of loosely defined whitish "stuff" at the bottom of the bottle - kinda looks like dark dark white meringue in consistency. As soon as the bottle is shaken, it seems to go into solution but, eventually, settles out again. Jason > Dear Jason and list, > > How completely frustrating Jason... > > I remember this being a major problem a while back on this list, and I > want to say it was with someone who does VDB all the time, like maybe > Francis Schanberger. Hopefully that person (who solved the problem if I > remember correctly) will chime in with their solution. So you are in good > company. > > Sandy King is also VDB practitioner extraordinaire (see > unblinkingeye.com). > > There was some discussion of the variability of FAC at that time, that it > was not a strictly controlled substance as some others. But the > interesting thing is this has cropped up off and on here as a VDB problem > child. > > I still remember years ago Judy S. saying that distilled water from the > hardware store was different than that from the grocery store :) > > Last year I was in a rush and mixed up a liter of VDB for the class lab > with hot (distilled) water and used it right away while still warm. I was > shocked at how great the VDBs looked when the adage is to age the > solution. The VDB is still good aged (and I have also used old argyrotype > solution). But I have seen sludgy stuff happen as well in the past. I > can't help thinking it is not your procedure which seems you have had, and > have, under control but as Loris says, some sort of contaminate or > alkalinity. > > Stupid question: is the bullet measurer thing glass? > > Then of course you have to make sure the paper is not a factor, but if all > of a sudden on the same paper things go south, then that eliminates that. > > I've seen your exquisite VDB prints which makes this problem all the more > intriguing. Better get B&S to send you more premixed until the culprit is > determined :) And check out unblinkingeye.com and mikeware.co.uk for more > insight. > > Chris > > Christina Z. Anderson > http://christinaZanderson.com/ > > On Nov 14, 2013, at 3:46 AM, Loris Medici wrote: > >> I guess you have some kind of contamination / impurity in your raw >> materials. I had a similar problem with my last batch of Argyrotype. The >> first thing to check is your distilled / deionized water, then the >> vessels >> / tools you handle your raw materials. >> >> Regards, >> Loris. >> > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > J. Jason Lazarus Alaskan Photographer Adjunct Instructor of Photography - UAF http://lucidperceptions.com From coldbay1 at gmail.com Thu Nov 14 19:48:07 2013 From: coldbay1 at gmail.com (G Schmitz) Date: Thu, 14 Nov 2013 10:48:07 -0900 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: References: Message-ID: <528528F7.70607@gmail.com> FWIW last year I transported some sourdough starter in my checked baggage when I flew from Alaska to Wisconsin. To make the transport mix I mix a tablespoon of sourdough starter with a cup of flour. When I get to my destination I mix in some water and in less than 24 hours have a robust start going again. When I did this last year my starter was DOA - this had never happened before. I'm speculating that HSA/TSA used some sort of radiation but it's nothing more than speculation on my part. I assume that it would take a pretty healthy dose of energy to modify the composition of a chemical, but then again it would take a significant burst of energy to kill the yeast and bacteria mixed into a cup of flour too. Food for thought ;) --greg On 11/14/13 12:30 AM, J. Jason Lazarus wrote: > All - > > I'm having a heck of a time getting decent VDB solution to mix from the chemicals that I recently brought back in checked bag from Bostick and Sullivan in Santa Fe and, because I'm searching for any explanation... > > ... could the x-rays that a checked bag goes through alter or expose either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? > > Perhaps a long shot, I don't know. I had asked staff at B&S prior to leaving if they had any reservations with me taking it back in that manner, and seeing none, I didn't give it a second thought... but after several unsuccessful attempts, I'm trying to figure out what it may be. > > I'm having a devil of a time mixing my own solution without having significant precipitate form and settle to the bottom of the brown bottle. I've mixed three times, using the measurements out of Christina Z. Anderson's book, and have become even more scrutinizing each time. This last time, I added all the mixtures exactly (with a very pricey contraption for reloading bullets), mixed with very hot water and even going so far to add the silver nitrate drop by drop via an eyedropper to insure I didn't add it too fast. > > Within a day, I always end up with a eighth to a quarter inch of silvery sludge at the bottom of the bottle. Prints, if created with freshly concocted solution, seem normal - but within a week, the exposure dramatically alters and the print quality falls off a cliff and looks poor and overwhelmingly grainy. I've tried shaking the solution up, letting it rest and taking only the top of the solution (which is unnaturally clear compared to B&S's premix solution) and my prints are of a very poor quality and grainy - very much unlike anything I've experienced with B&S's premix. > > Any clues? Anything I'm missing? > > Thanks. Any help would be greatly appreciated. I apologize in advance if there's something utterly sophomoric I'm missing. > > J. Jason Lazarus > _______________________________________________ > Alt-photo-process-list | altphotolist.org From dlhbloomfield at gmail.com Thu Nov 14 20:07:43 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Thu, 14 Nov 2013 15:07:43 -0500 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: <528528F7.70607@gmail.com> References: <528528F7.70607@gmail.com> Message-ID: That's really interesting. Certainly, checked baggage receives a much higher dose of radiation than unchecked luggage does (though who knows how much more). I can't imagine it would have an impact on those chemicals, but maybe. Yet another reason to never check your luggage. If I can't carry whatever I need in a small enough bag to carry myself-- and also be able to store under the seat-- then it doesn't get packed/carried. Otherwise, who knows what they do to your luggage and its contents-- or if you'll even get it returned. On Nov 14, 2013, at 2:48 PM, G Schmitz wrote: > > FWIW last year I transported some sourdough starter in my checked baggage when I flew from Alaska to Wisconsin. To make the transport mix I mix a tablespoon of sourdough starter with a cup of flour. When I get to my destination I mix in some water and in less than 24 hours have a robust start going again. When I did this last year my starter was DOA - this had never happened before. I'm speculating that HSA/TSA used some sort of radiation but it's nothing more than speculation on my part. I assume that it would take a pretty healthy dose of energy to modify the composition of a chemical, but then again it would take a significant burst of energy to kill the yeast and bacteria mixed into a cup of flour too. > > Food for thought ;) > > --greg > > > On 11/14/13 12:30 AM, J. Jason Lazarus wrote: >> All - >> >> I'm having a heck of a time getting decent VDB solution to mix from the chemicals that I recently brought back in checked bag from Bostick and Sullivan in Santa Fe and, because I'm searching for any explanation... >> >> ... could the x-rays that a checked bag goes through alter or expose either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? >> >> Perhaps a long shot, I don't know. I had asked staff at B&S prior to leaving if they had any reservations with me taking it back in that manner, and seeing none, I didn't give it a second thought... but after several unsuccessful attempts, I'm trying to figure out what it may be. >> >> I'm having a devil of a time mixing my own solution without having significant precipitate form and settle to the bottom of the brown bottle. I've mixed three times, using the measurements out of Christina Z. Anderson's book, and have become even more scrutinizing each time. This last time, I added all the mixtures exactly (with a very pricey contraption for reloading bullets), mixed with very hot water and even going so far to add the silver nitrate drop by drop via an eyedropper to insure I didn't add it too fast. >> >> Within a day, I always end up with a eighth to a quarter inch of silvery sludge at the bottom of the bottle. Prints, if created with freshly concocted solution, seem normal - but within a week, the exposure dramatically alters and the print quality falls off a cliff and looks poor and overwhelmingly grainy. I've tried shaking the solution up, letting it rest and taking only the top of the solution (which is unnaturally clear compared to B&S's premix solution) and my prints are of a very poor quality and grainy - very much unlike anything I've experienced with B&S's premix. >> >> Any clues? Anything I'm missing? >> >> Thanks. Any help would be greatly appreciated. I apologize in advance if there's something utterly sophomoric I'm missing. >> From jason at lucidperceptions.com Thu Nov 14 20:18:30 2013 From: jason at lucidperceptions.com (J. Jason Lazarus) Date: Thu, 14 Nov 2013 11:18:30 -0900 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: <528528F7.70607@gmail.com> References: <528528F7.70607@gmail.com> Message-ID: <417fd925590f51fe6edb6d65b7252e29.squirrel@gator3254.hostgator.com> That might have more to do with it sitting on the tarmac and freezing; especially if it's winter. I live in Fairbanks, so I know what frigid temps can do to things. This is part of the reason I had it in my checked bag - one, shipping is exorbitant (as Alaska isn't "part of the US") and two, I know it won't be affected by the weather. A package full of several packs of polaroid film was ruined before I could get home (which was fairly quick!) because temps dipped unexpectedly to -30F. Once I get home tonight, I'll take a picture comparing the color of my FAC from Bostick versus some old FAC I have still in a Photographer's Formulary mix kit from a couple years back. That comparison may answer some questions - or at least provide more questions from me for the group here. Jason > > FWIW last year I transported some sourdough starter in my checked > baggage when I flew from Alaska to Wisconsin. To make the transport mix > I mix a tablespoon of sourdough starter with a cup of flour. When I get > to my destination I mix in some water and in less than 24 hours have a > robust start going again. When I did this last year my starter was DOA > - this had never happened before. I'm speculating that HSA/TSA used > some sort of radiation but it's nothing more than speculation on my > part. I assume that it would take a pretty healthy dose of energy to > modify the composition of a chemical, but then again it would take a > significant burst of energy to kill the yeast and bacteria mixed into a > cup of flour too. > > Food for thought ;) > > --greg > > > On 11/14/13 12:30 AM, J. Jason Lazarus wrote: >> All - >> >> I'm having a heck of a time getting decent VDB solution to mix from the >> chemicals that I recently brought back in checked bag from Bostick and >> Sullivan in Santa Fe and, because I'm searching for any explanation... >> >> ... could the x-rays that a checked bag goes through alter or expose >> either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? >> >> Perhaps a long shot, I don't know. I had asked staff at B&S prior to >> leaving if they had any reservations with me taking it back in that >> manner, and seeing none, I didn't give it a second thought... but after >> several unsuccessful attempts, I'm trying to figure out what it may be. >> >> I'm having a devil of a time mixing my own solution without having >> significant precipitate form and settle to the bottom of the brown >> bottle. I've mixed three times, using the measurements out of >> Christina Z. Anderson's book, and have become even more scrutinizing >> each time. This last time, I added all the mixtures exactly (with a >> very pricey contraption for reloading bullets), mixed with very hot >> water and even going so far to add the silver nitrate drop by drop via >> an eyedropper to insure I didn't add it too fast. >> >> Within a day, I always end up with a eighth to a quarter inch of silvery >> sludge at the bottom of the bottle. Prints, if created with freshly >> concocted solution, seem normal - but within a week, the exposure >> dramatically alters and the print quality falls off a cliff and looks >> poor and overwhelmingly grainy. I've tried shaking the solution up, >> letting it rest and taking only the top of the solution (which is >> unnaturally clear compared to B&S's premix solution) and my prints are >> of a very poor quality and grainy - very much unlike anything I've >> experienced with B&S's premix. >> >> Any clues? Anything I'm missing? >> >> Thanks. Any help would be greatly appreciated. I apologize in advance >> if there's something utterly sophomoric I'm missing. >> >> J. Jason Lazarus >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org > J. Jason Lazarus Alaskan Photographer Adjunct Instructor of Photography - UAF http://lucidperceptions.com From jason at lucidperceptions.com Sat Nov 16 04:19:14 2013 From: jason at lucidperceptions.com (J. Jason Lazarus) Date: Fri, 15 Nov 2013 19:19:14 -0900 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: <417fd925590f51fe6edb6d65b7252e29.squirrel@gator3254.hostgator.com> References: <528528F7.70607@gmail.com> <417fd925590f51fe6edb6d65b7252e29.squirrel@gator3254.hostgator.com> Message-ID: <17B6727B-4DAC-4C20-9346-A6B599AA8C17@lucidperceptions.com> All - Talking with Chris off-list, she suggested that I post an image of what I'm dealing with. The following URL link is an image of two homemade mixes of VDB solution: http://lucidperceptions.com/VDB/9-7-lazarus.jpg Each solution used distilled water, but the left one used a different brand than the one on the right - so that eliminates the water as a culprit (somewhat). Both solutions had hot water added to them prior to being mixed together. The solution on the left had more scrutinizing measurements and I watched how slowly I added the silver nitrate more in that mixture. A third mixture (unpictured) was scrutinized even moreso - grams rather than tsp measurements and the silver nitrate was added via eyedropper at approximately 2 drops per second. Out of all three, this one actually has the most precipitate but it's... well, different. It's much more loosely defined and would be more accurately defined as "settling" but not completely dropped out - it resides throughout the bottom third of the bottom and has an almost frothy look to it. I've attempted both adding a slight bit of Tartaric Acid to get the silver into solution and a slight bit of Citric Acid (0.2 g) and neither fix has helped. These are both suggestions included in Christina's book. Let me know if this helps - at all - in determining the culprit. I can post more pictures. Jason On Nov 14, 2013, at 11:18 AM, J. Jason Lazarus wrote: > That might have more to do with it sitting on the tarmac and freezing; > especially if it's winter. I live in Fairbanks, so I know what frigid > temps can do to things. This is part of the reason I had it in my checked > bag - one, shipping is exorbitant (as Alaska isn't "part of the US") and > two, I know it won't be affected by the weather. A package full of > several packs of polaroid film was ruined before I could get home (which > was fairly quick!) because temps dipped unexpectedly to -30F. > > Once I get home tonight, I'll take a picture comparing the color of my FAC > from Bostick versus some old FAC I have still in a Photographer's > Formulary mix kit from a couple years back. That comparison may answer > some questions - or at least provide more questions from me for the group > here. > > Jason > >> >> FWIW last year I transported some sourdough starter in my checked >> baggage when I flew from Alaska to Wisconsin. To make the transport mix >> I mix a tablespoon of sourdough starter with a cup of flour. When I get >> to my destination I mix in some water and in less than 24 hours have a >> robust start going again. When I did this last year my starter was DOA >> - this had never happened before. I'm speculating that HSA/TSA used >> some sort of radiation but it's nothing more than speculation on my >> part. I assume that it would take a pretty healthy dose of energy to >> modify the composition of a chemical, but then again it would take a >> significant burst of energy to kill the yeast and bacteria mixed into a >> cup of flour too. >> >> Food for thought ;) >> >> --greg >> >> >> On 11/14/13 12:30 AM, J. Jason Lazarus wrote: >>> All - >>> >>> I'm having a heck of a time getting decent VDB solution to mix from the >>> chemicals that I recently brought back in checked bag from Bostick and >>> Sullivan in Santa Fe and, because I'm searching for any explanation... >>> >>> ... could the x-rays that a checked bag goes through alter or expose >>> either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? >>> >>> Perhaps a long shot, I don't know. I had asked staff at B&S prior to >>> leaving if they had any reservations with me taking it back in that >>> manner, and seeing none, I didn't give it a second thought... but after >>> several unsuccessful attempts, I'm trying to figure out what it may be. >>> >>> I'm having a devil of a time mixing my own solution without having >>> significant precipitate form and settle to the bottom of the brown >>> bottle. I've mixed three times, using the measurements out of >>> Christina Z. Anderson's book, and have become even more scrutinizing >>> each time. This last time, I added all the mixtures exactly (with a >>> very pricey contraption for reloading bullets), mixed with very hot >>> water and even going so far to add the silver nitrate drop by drop via >>> an eyedropper to insure I didn't add it too fast. >>> >>> Within a day, I always end up with a eighth to a quarter inch of silvery >>> sludge at the bottom of the bottle. Prints, if created with freshly >>> concocted solution, seem normal - but within a week, the exposure >>> dramatically alters and the print quality falls off a cliff and looks >>> poor and overwhelmingly grainy. I've tried shaking the solution up, >>> letting it rest and taking only the top of the solution (which is >>> unnaturally clear compared to B&S's premix solution) and my prints are >>> of a very poor quality and grainy - very much unlike anything I've >>> experienced with B&S's premix. >>> >>> Any clues? Anything I'm missing? >>> >>> Thanks. Any help would be greatly appreciated. I apologize in advance >>> if there's something utterly sophomoric I'm missing. >>> >>> J. Jason Lazarus >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org >> > > > J. Jason Lazarus > Alaskan Photographer > Adjunct Instructor of Photography - UAF > http://lucidperceptions.com > _______________________________________________ > Alt-photo-process-list | altphotolist.org From photo1 at telusplanet.net Sat Nov 16 04:33:14 2013 From: photo1 at telusplanet.net (Ken Sinclair) Date: Fri, 15 Nov 2013 21:33:14 -0700 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: References: Message-ID: <7DE95CC3-48E0-4179-8CC7-B646E4DC1627@telusplanet.net> Jason, I had a similar problem about a year ago. To 'solve' the problem, I made everything up again? 'fresh"? but when adding the silver nitrate solution I really slowed down the addition of the silver nitrate to about one drop every 10 to 12 seconds while stirring continuously with a glass rod. It would be much simpler with a magnetic stirring device and a burette? Maybe one of these days?.. Got pretty boring but it worked well enough. Ken On 2013-11-14, at 10:54 AM, J. Jason Lazarus wrote: > All - > > I've tried two different brands Both the bullet grain scale and the graduated cylinders are > things I've added on the third attempt to mix this correctly. > From smieglitz at gmail.com Sat Nov 16 05:56:16 2013 From: smieglitz at gmail.com (Joseph Smigiel) Date: Sat, 16 Nov 2013 00:56:16 -0500 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: <17B6727B-4DAC-4C20-9346-A6B599AA8C17@lucidperceptions.com> References: <528528F7.70607@gmail.com> <417fd925590f51fe6edb6d65b7252e29.squirrel@gator3254.hostgator.com> <17B6727B-4DAC-4C20-9346-A6B599AA8C17@lucidperceptions.com> Message-ID: <2288D739-382E-4102-BFD7-2060D3C4E89D@gmail.com> I would have thought the addition of slightly more tartaric acid would have solved the problem. The only other thing can think up are variations in the chemicals. Is the FAC powder the green variety or the brown? I also think there is a left vs right isomeric form of tartaric acid, but whether that could make a difference, I dunno. Joe On Nov 15, 2013, at 11:19 PM, J. Jason Lazarus wrote: > All - > > Talking with Chris off-list, she suggested that I post an image of what I'm dealing with. The following URL link is an image of two homemade mixes of VDB solution: > > http://lucidperceptions.com/VDB/9-7-lazarus.jpg > > Each solution used distilled water, but the left one used a different brand than the one on the right - so that eliminates the water as a culprit (somewhat). > > Both solutions had hot water added to them prior to being mixed together. > > The solution on the left had more scrutinizing measurements and I watched how slowly I added the silver nitrate more in that mixture. > > A third mixture (unpictured) was scrutinized even moreso - grams rather than tsp measurements and the silver nitrate was added via eyedropper at approximately 2 drops per second. Out of all three, this one actually has the most precipitate but it's... well, different. It's much more loosely defined and would be more accurately defined as "settling" but not completely dropped out - it resides throughout the bottom third of the bottom and has an almost frothy look to it. > > I've attempted both adding a slight bit of Tartaric Acid to get the silver into solution and a slight bit of Citric Acid (0.2 g) and neither fix has helped. These are both suggestions included in Christina's book. > > Let me know if this helps - at all - in determining the culprit. I can post more pictures. > > Jason > > On Nov 14, 2013, at 11:18 AM, J. Jason Lazarus wrote: > >> That might have more to do with it sitting on the tarmac and freezing; >> especially if it's winter. I live in Fairbanks, so I know what frigid >> temps can do to things. This is part of the reason I had it in my checked >> bag - one, shipping is exorbitant (as Alaska isn't "part of the US") and >> two, I know it won't be affected by the weather. A package full of >> several packs of polaroid film was ruined before I could get home (which >> was fairly quick!) because temps dipped unexpectedly to -30F. >> >> Once I get home tonight, I'll take a picture comparing the color of my FAC >> from Bostick versus some old FAC I have still in a Photographer's >> Formulary mix kit from a couple years back. That comparison may answer >> some questions - or at least provide more questions from me for the group >> here. >> >> Jason >> >>> >>> FWIW last year I transported some sourdough starter in my checked >>> baggage when I flew from Alaska to Wisconsin. To make the transport mix >>> I mix a tablespoon of sourdough starter with a cup of flour. When I get >>> to my destination I mix in some water and in less than 24 hours have a >>> robust start going again. When I did this last year my starter was DOA >>> - this had never happened before. I'm speculating that HSA/TSA used >>> some sort of radiation but it's nothing more than speculation on my >>> part. I assume that it would take a pretty healthy dose of energy to >>> modify the composition of a chemical, but then again it would take a >>> significant burst of energy to kill the yeast and bacteria mixed into a >>> cup of flour too. >>> >>> Food for thought ;) >>> >>> --greg >>> >>> >>> On 11/14/13 12:30 AM, J. Jason Lazarus wrote: >>>> All - >>>> >>>> I'm having a heck of a time getting decent VDB solution to mix from the >>>> chemicals that I recently brought back in checked bag from Bostick and >>>> Sullivan in Santa Fe and, because I'm searching for any explanation... >>>> >>>> ... could the x-rays that a checked bag goes through alter or expose >>>> either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? >>>> >>>> Perhaps a long shot, I don't know. I had asked staff at B&S prior to >>>> leaving if they had any reservations with me taking it back in that >>>> manner, and seeing none, I didn't give it a second thought... but after >>>> several unsuccessful attempts, I'm trying to figure out what it may be. >>>> >>>> I'm having a devil of a time mixing my own solution without having >>>> significant precipitate form and settle to the bottom of the brown >>>> bottle. I've mixed three times, using the measurements out of >>>> Christina Z. Anderson's book, and have become even more scrutinizing >>>> each time. This last time, I added all the mixtures exactly (with a >>>> very pricey contraption for reloading bullets), mixed with very hot >>>> water and even going so far to add the silver nitrate drop by drop via >>>> an eyedropper to insure I didn't add it too fast. >>>> >>>> Within a day, I always end up with a eighth to a quarter inch of silvery >>>> sludge at the bottom of the bottle. Prints, if created with freshly >>>> concocted solution, seem normal - but within a week, the exposure >>>> dramatically alters and the print quality falls off a cliff and looks >>>> poor and overwhelmingly grainy. I've tried shaking the solution up, >>>> letting it rest and taking only the top of the solution (which is >>>> unnaturally clear compared to B&S's premix solution) and my prints are >>>> of a very poor quality and grainy - very much unlike anything I've >>>> experienced with B&S's premix. >>>> >>>> Any clues? Anything I'm missing? >>>> >>>> Thanks. Any help would be greatly appreciated. I apologize in advance >>>> if there's something utterly sophomoric I'm missing. >>>> >>>> J. Jason Lazarus >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>> >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >>> >> >> >> J. Jason Lazarus >> Alaskan Photographer >> Adjunct Instructor of Photography - UAF >> http://lucidperceptions.com >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From jason at lucidperceptions.com Sat Nov 16 07:17:21 2013 From: jason at lucidperceptions.com (J. Jason Lazarus) Date: Fri, 15 Nov 2013 22:17:21 -0900 Subject: [Alt-photo] Re: Alt-pro chems through Airport Checked bags In-Reply-To: <2288D739-382E-4102-BFD7-2060D3C4E89D@gmail.com> References: <528528F7.70607@gmail.com> <417fd925590f51fe6edb6d65b7252e29.squirrel@gator3254.hostgator.com> <17B6727B-4DAC-4C20-9346-A6B599AA8C17@lucidperceptions.com> <2288D739-382E-4102-BFD7-2060D3C4E89D@gmail.com> Message-ID: The FAC is the bright green variety. I'm unaware of what type of tartaric acid it is - it's the stuff straight from B&S. As well, last night I mixed an old Photographer's Formulary Van Dyke Kit I had around the darkroom and took care to mix it right, just as I did with my supplies from B&S - and although it had some residue at the bottom this morning, I sloshed it around and it's been taking a very long time for anything to settle out (3-6 hours at least) - but, I decided to put 0.2 grams of Citric in it, mixed it and tried printing with it tonight - it has yet to settle anything out of the solution and the prints are gorgeous. So... that pretty much solves it and it's got to be one of the three chems I got from B&S - so which one? The only visible difference between the two sets of chemical supplies is that B&S's Silver Nitrate is powder while PF's is flakes.... it seems that, from the group, the consensus is that it's probably faulty FAC... anyone think it may be a problem with the silver or tartaric acid? Jason On Nov 15, 2013, at 8:56 PM, Joseph Smigiel wrote: > I would have thought the addition of slightly more tartaric acid would have solved the problem. The only other thing can think up are variations in the chemicals. Is the FAC powder the green variety or the brown? I also think there is a left vs right isomeric form of tartaric acid, but whether that could make a difference, I dunno. > > Joe > > > On Nov 15, 2013, at 11:19 PM, J. Jason Lazarus wrote: > >> All - >> >> Talking with Chris off-list, she suggested that I post an image of what I'm dealing with. The following URL link is an image of two homemade mixes of VDB solution: >> >> http://lucidperceptions.com/VDB/9-7-lazarus.jpg >> >> Each solution used distilled water, but the left one used a different brand than the one on the right - so that eliminates the water as a culprit (somewhat). >> >> Both solutions had hot water added to them prior to being mixed together. >> >> The solution on the left had more scrutinizing measurements and I watched how slowly I added the silver nitrate more in that mixture. >> >> A third mixture (unpictured) was scrutinized even moreso - grams rather than tsp measurements and the silver nitrate was added via eyedropper at approximately 2 drops per second. Out of all three, this one actually has the most precipitate but it's... well, different. It's much more loosely defined and would be more accurately defined as "settling" but not completely dropped out - it resides throughout the bottom third of the bottom and has an almost frothy look to it. >> >> I've attempted both adding a slight bit of Tartaric Acid to get the silver into solution and a slight bit of Citric Acid (0.2 g) and neither fix has helped. These are both suggestions included in Christina's book. >> >> Let me know if this helps - at all - in determining the culprit. I can post more pictures. >> >> Jason >> >> On Nov 14, 2013, at 11:18 AM, J. Jason Lazarus wrote: >> >>> That might have more to do with it sitting on the tarmac and freezing; >>> especially if it's winter. I live in Fairbanks, so I know what frigid >>> temps can do to things. This is part of the reason I had it in my checked >>> bag - one, shipping is exorbitant (as Alaska isn't "part of the US") and >>> two, I know it won't be affected by the weather. A package full of >>> several packs of polaroid film was ruined before I could get home (which >>> was fairly quick!) because temps dipped unexpectedly to -30F. >>> >>> Once I get home tonight, I'll take a picture comparing the color of my FAC >>> from Bostick versus some old FAC I have still in a Photographer's >>> Formulary mix kit from a couple years back. That comparison may answer >>> some questions - or at least provide more questions from me for the group >>> here. >>> >>> Jason >>> >>>> >>>> FWIW last year I transported some sourdough starter in my checked >>>> baggage when I flew from Alaska to Wisconsin. To make the transport mix >>>> I mix a tablespoon of sourdough starter with a cup of flour. When I get >>>> to my destination I mix in some water and in less than 24 hours have a >>>> robust start going again. When I did this last year my starter was DOA >>>> - this had never happened before. I'm speculating that HSA/TSA used >>>> some sort of radiation but it's nothing more than speculation on my >>>> part. I assume that it would take a pretty healthy dose of energy to >>>> modify the composition of a chemical, but then again it would take a >>>> significant burst of energy to kill the yeast and bacteria mixed into a >>>> cup of flour too. >>>> >>>> Food for thought ;) >>>> >>>> --greg >>>> >>>> >>>> On 11/14/13 12:30 AM, J. Jason Lazarus wrote: >>>>> All - >>>>> >>>>> I'm having a heck of a time getting decent VDB solution to mix from the >>>>> chemicals that I recently brought back in checked bag from Bostick and >>>>> Sullivan in Santa Fe and, because I'm searching for any explanation... >>>>> >>>>> ... could the x-rays that a checked bag goes through alter or expose >>>>> either Silver Nitrate, Tartaric Acid or Ferric Ammonium Citrate? >>>>> >>>>> Perhaps a long shot, I don't know. I had asked staff at B&S prior to >>>>> leaving if they had any reservations with me taking it back in that >>>>> manner, and seeing none, I didn't give it a second thought... but after >>>>> several unsuccessful attempts, I'm trying to figure out what it may be. >>>>> >>>>> I'm having a devil of a time mixing my own solution without having >>>>> significant precipitate form and settle to the bottom of the brown >>>>> bottle. I've mixed three times, using the measurements out of >>>>> Christina Z. Anderson's book, and have become even more scrutinizing >>>>> each time. This last time, I added all the mixtures exactly (with a >>>>> very pricey contraption for reloading bullets), mixed with very hot >>>>> water and even going so far to add the silver nitrate drop by drop via >>>>> an eyedropper to insure I didn't add it too fast. >>>>> >>>>> Within a day, I always end up with a eighth to a quarter inch of silvery >>>>> sludge at the bottom of the bottle. Prints, if created with freshly >>>>> concocted solution, seem normal - but within a week, the exposure >>>>> dramatically alters and the print quality falls off a cliff and looks >>>>> poor and overwhelmingly grainy. I've tried shaking the solution up, >>>>> letting it rest and taking only the top of the solution (which is >>>>> unnaturally clear compared to B&S's premix solution) and my prints are >>>>> of a very poor quality and grainy - very much unlike anything I've >>>>> experienced with B&S's premix. >>>>> >>>>> Any clues? Anything I'm missing? >>>>> >>>>> Thanks. Any help would be greatly appreciated. I apologize in advance >>>>> if there's something utterly sophomoric I'm missing. >>>>> >>>>> J. Jason Lazarus >>>>> _______________________________________________ >>>>> Alt-photo-process-list | altphotolist.org >>>> >>>> _______________________________________________ >>>> Alt-photo-process-list | altphotolist.org >>>> >>> >>> >>> J. Jason Lazarus >>> Alaskan Photographer >>> Adjunct Instructor of Photography - UAF >>> http://lucidperceptions.com >>> _______________________________________________ >>> Alt-photo-process-list | altphotolist.org >> >> _______________________________________________ >> Alt-photo-process-list | altphotolist.org > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From tim at timothymccoyphoto.com Sat Nov 16 15:08:08 2013 From: tim at timothymccoyphoto.com (Tim McCoy) Date: Sat, 16 Nov 2013 10:08:08 -0500 Subject: [Alt-photo] Re: Palladium Exhibit in Dayton, OH Message-ID: <63CE652E-0FF6-4973-B22C-E7022B99881B@timothymccoyphoto.com> Alt-Process Group, Thanks for your encouragement. To answer a few questions: The images are all 16 x 20 on Canson Translucent Vidalon. 1 Coating: This is obviously crucial. I coat to the edges but not over. Any coating on the back is disastrous. The coating amount is also crucial. Too much will result in very bad wrinkling. You must work fast. Any puddling will result in very bad wrinkling. 2. After coating the paper is held by my assistant (wife) and rotated slowly while I dry the paper with pair of hair dryers. 3. When COMPLETELY dry, the paper is put in my vacuum frame to flatten and then placed under weight until used. 4. Handling the paper during development: I transfer the fragile Vidalon paper from tray to tray on a heavy Duralar sheet. I never touch the paper!! 5. After development, the Duralar sheet with the paper adhered is put on a slanted board and partially dried with the pair of hair dryers until the paper can be peeled off. 6. The very wet and extremely fragile paper is held by my helper (wife) and rotated periodically while I continue to use the hairdryers until dampish. Speed and even drying is important. 7. Final drying is between blotting paper. 8. Flattening is completed another round in the vacuum frame followed by a heating iron. While the paper is still hot and between the same flattening boards used in the iron, another round flattening in the vacuum frame followed by weight flattening for a couple of days completes the job. They are mostly flat, some are completely flat, others retain "charming" wrinkles. I want them flat, although my first encounter with the translucent medium was a show of body parts (mostly hands) with prominent wrinkling. It worked for that purpose. Hope you find this useful. You can see this palladium portfolio, as well as my albumen portfolio, on my website: www.TimothyMcCoyPhoto.com. Feel free to contact me if you have further questions about my workflow. Tim From dlhbloomfield at gmail.com Sat Nov 16 15:57:50 2013 From: dlhbloomfield at gmail.com (Diana Bloomfield) Date: Sat, 16 Nov 2013 10:57:50 -0500 Subject: [Alt-photo] Re: Palladium Exhibit in Dayton, OH In-Reply-To: <63CE652E-0FF6-4973-B22C-E7022B99881B@timothymccoyphoto.com> References: <63CE652E-0FF6-4973-B22C-E7022B99881B@timothymccoyphoto.com> Message-ID: <3E69F757-5133-4496-A025-9D04D74ED6D0@gmail.com> Thanks so much for all the detailed information, Tim. Really stunning work. Diana On Nov 16, 2013, at 10:08 AM, Tim McCoy wrote: > Alt-Process Group, > > Thanks for your encouragement. > > To answer a few questions: > > The images are all 16 x 20 on Canson Translucent Vidalon. > > 1 Coating: This is obviously crucial. I coat to the edges but not over. Any coating on the back is disastrous. The coating amount is also crucial. Too much will result in very bad wrinkling. You must work fast. Any puddling will result in very bad wrinkling. > 2. After coating the paper is held by my assistant (wife) and rotated slowly while I dry the paper with pair of hair dryers. > 3. When COMPLETELY dry, the paper is put in my vacuum frame to flatten and then placed under weight until used. > 4. Handling the paper during development: I transfer the fragile Vidalon paper from tray to tray on a heavy Duralar sheet. I never touch the paper!! > 5. After development, the Duralar sheet with the paper adhered is put on a slanted board and partially dried with the pair of hair dryers until the paper can be peeled off. > 6. The very wet and extremely fragile paper is held by my helper (wife) and rotated periodically while I continue to use the hairdryers until dampish. Speed and even drying is important. > 7. Final drying is between blotting paper. > 8. Flattening is completed another round in the vacuum frame followed by a heating iron. While the paper is still hot and between the same flattening boards used in the iron, another round flattening in the vacuum frame followed by weight flattening for a couple of days completes the job. > > They are mostly flat, some are completely flat, others retain "charming" wrinkles. I want them flat, although my first encounter with the translucent medium was a show of body parts (mostly hands) with prominent wrinkling. It worked for that purpose. > > Hope you find this useful. You can see this palladium portfolio, as well as my albumen portfolio, on my website: www.TimothyMcCoyPhoto.com. > > Feel free to contact me if you have further questions about my workflow. > > Tim > > > > _______________________________________________ > Alt-photo-process-list | altphotolist.org From christinazanderson at gmail.com Sat Nov 16 21:40:17 2013 From: christinazanderson at gmail.com (Christina Anderson) Date: Sat, 16 Nov 2013 14:40:17 -0700 Subject: [Alt-photo] Re: lith printing anomaly In-Reply-To: <525CA17C.5040309@silvergrain.org> References: <231C02BD-55CC-45D7-AC7D-FFA622E2E8BE@gmail.com> <525B92FF.9070902@silvergrain.org> <525CA17C.5040309@silvergrain.org> Message-ID: Dear Ryuji, Thanks for the thoughtful reply. I think the idea of going to a regular developer would certainly cast more light on the problem. Sorry I am replying to this a whole month later!! It has been one heck of a semester. I have not yet figured out the issue, but have found that another person on Facebook started reporting the same issue with the same developer (Fotospeed LD20) so the plot thickens. Whatever the case the students got some VERY intriguing prints out of this spotty effect so made lemonade out of lemons, but I will probably chalk it up to the developer and switch it to a different one next year. I have also wondered about temperature of developer and strength. I use 1+12 when doing lith but others go up to 1+20. Chris On Oct 14, 2013, at 7:59 PM, Ryuji Suzuki wrote: >> The second day the student said the first two prints were fine, the third spotted. > > Might it be related to exhaustion of sulfite and/or hydroquinone in the developer? What if a fresh bath of developer is used for each print? What if the developer is replenished with a fractional amount of fresh stock added each time? > > I don't recall every bit of strange results, but I did find frustration with unpredictably variable outcome from two successive prints. That's why I formulated a lith print developer that is fully active and well seasoned when freshly mixed, so that it can be used one-shot. > > I don't really have a explanation for this phenomenon. But one thing I am curious about is whether these flakes are a result of inhibited development or bleached latent image. It'd be curious to take a sample of partially lith developed print with the artifacts and bring it to a fresh bath of regular print developer to continue development. If the latent image is busted you'd expect the flakes to remain undeveloped. > > Ryuji Suzuki > > Christina Anderson wrote: >> Hi Ryuji! >> The negative prints normally. >> The agitation technique was to pick up a corner of the tray and set it down and do it frequently and in an irregular way to avoid the wave effect that sometimes happens with lith. Lith development times were 10-20 minutes. >> The top print was 16x20 the bottom print was 8x10. >> Spots are in lights and darks. >> Second image is a woman standing with blonde hair. >> >> This phenomenon happened with a number of students during the lab but not all. On a number of papers. And the second day it also occurred. The second day the student said the first two prints were fine, the third spotted. >> >> It is the weirdest thing I have ever seen. The only consistency is the Fotospeed Lith developer and perhaps the papers are all Arista and Ilford....there was one print from expired paper like Bergger that worked fine but so did all the papers at some point! >> Chris >> >> On Oct 14, 2013, at 12:45 AM, Ryuji Suzuki wrote: >> >>> I might be asking the obvious, but >>> >>> 1. does the neg print normally on the same paper stock when developed in a regular print developer? >>> >>> 2. what was the agitation technique? >>> >>> 3. what's the dimension of the print (or better yet the approximate diameter range of the white spots?) >>> >>> 4. do you see any sign of the spots in the dark area? >>> >>> Although irrelevant to your problem, I'm curious. What is the second image (below)? >>> >>> -- >>> Ryuji Suzuki >>> "Don't play what's there, play what's not there." (Miles Davis) >>> >>> Christina Anderson wrote: >>>> Dear All, >>>> I posted a couple images on my website of a lith phenomenon I have never seen before. Anyone else experience this and figure it out? >>>> >>>> Fotospeed Lith Developer >>>> Papers are Arista, Ilford MGIV, Ilford Warmtone, the middle one not suitable at all for lith but the students used it. >>>> >>>> Tim Rudman thinks it could be erratic local development in the first stage with cause unknown. He has not seen it much and suggests a controlled test of it. >>>> >>>> This is the benefit of teaching. I never get bored seeing student work because after thousands and thousands of images to grade no two are alike. And I never get bored of teaching because there is always something to learn and something to stump you. But the poor students were pretty disappointed.. >>>> >>>> I hope lith is not another process to go by the wayside like Polaroid, Infrared, etc :( The former great papers are just not there anymore. >>>> Chris >>>> >>>> >>>> http://christinaanderson.visualserver.com/Text_page.cfm?pID=1953 >>>> From e.camerling at tiscali.nl Tue Nov 19 08:34:06 2013 From: e.camerling at tiscali.nl (Erich Camerling) Date: Tue, 19 Nov 2013 09:34:06 +0100 Subject: [Alt-photo] 365 nm. UV-Densitometer. Part 2b of 7. Message-ID: <528B227E.1030502@tiscali.nl> The clock-factory (Part 2) Part list : 2x 74HC4060 2x 74HC4538 zenerdiode 6 V crystal 4.194304 MHz C1 = 33 pF C2 = 120 pF C3 , C14 = 0,47 ?F C4 , C5 , C7 , C9 = 0,1 ?F C8 = 33 nF C10 , C12 , C13 = 68 nF All these capacitors are ~ 40 V except C6 = 470 ?F / 16 V R1 = 2k2 R2 , R3 , R9 =100k R4 , R8 = 220 k R5 = 43 k R6 = 180 k R7 = 470 k R10 = 5k1 R 8 + C 13 determines the LED pulse time (now roughly 10 msec.) R 5 + C 8 determines the pulse delay for the S & H (~ 1 msec.) R 6 + C 10 determines the S & H pulse time (~ 8 msec.) To be continued next week. From alt.list at albertonovo.it Wed Nov 20 09:15:11 2013 From: alt.list at albertonovo.it (Alberto Novo) Date: Wed, 20 Nov 2013 10:15:11 +0100 Subject: [Alt-photo] Nadeau Message-ID: <20131120091511.15565.qmail@webmaildh4.aruba.it> Anyone has "Encyclopedia of Printing, Photographic, and Photomechanical Processes" by Nadeau? I wish to know the meaning of some acronyms he used for his quotes, in particular GCPP, CTP, NPPP4, WPFF, CPTP 415. Alberto www.facebook.com/alberto.novo.1 www.grupponamias.com www.alternativephotography.com/wp/photographers/rodolfo-namias-group From workshops at polychrome.nl Wed Nov 20 10:05:36 2013 From: workshops at polychrome.nl (Kees Brandenburg) Date: Wed, 20 Nov 2013 11:05:36 +0100 Subject: [Alt-photo] Re: Nadeau In-Reply-To: <20131120091511.15565.qmail@webmaildh4.aruba.it> References: <20131120091511.15565.qmail@webmaildh4.aruba.it> Message-ID: <865CAB81-1C1F-472B-B030-9C8B7BC265E4@polychrome.nl> Hi Alberto, Here you go: GCPP: Glafkid?s, P. Chimie et Physique Photographiques, Paris, Paul Montel, 1976 CTP: Clerc L. P.: La technique Photographique, Paris, Paul Montel, 1957 NPPP4: Neblette, C. B. Photography it's Principles and Practice New York, 4th ed. 1942 WPFF: Wall & Jordan, Photographic Facts and Formula's, Boston, American Photographic Publis. 1940 CPTP (without 415): Clerc L. P., Photography, Theory and Practice New York, Isaac Pitman 1930, an english translation of the 1926 editon of La technique Photographique. There is no entry for CPTP 415 but numbers often stand for the publication year and or edition, or both. This could be the 1941, 5th edition but that's only a guess. Kees On 20 nov. 2013, at 10:15, Alberto Novo wrote: > Anyone has "Encyclopedia of Printing, Photographic, and Photomechanical Processes" by Nadeau? I wish to know the meaning of some acronyms he used for his quotes, in particular GCPP, CTP, NPPP4, WPFF, CPTP 415. > Alberto From alt.list at albertonovo.it Wed Nov 20 10:29:03 2013 From: alt.list at albertonovo.it (Alberto Novo) Date: Wed, 20 Nov 2013 11:29:03 +0100 Subject: [Alt-photo] Re: Nadeau In-Reply-To: <865CAB81-1C1F-472B-B030-9C8B7BC265E4@polychrome.nl> References: <20131120091511.15565.qmail@webmaildh4.aruba.it> <865CAB81-1C1F-472B-B030-9C8B7BC265E4@polychrome.nl> Message-ID: <20131120102903.23738.qmail@webmaildh4.aruba.it> Thank you so much, Kees! > Hi Alberto, > > Here you go: > > GCPP: Glafkid?s, P. Chimie et Physique Photographiques, Paris, Paul Montel, 1976 > CTP: Clerc L. P.: La technique Photographique, Paris, Paul Montel, 1957 > NPPP4: Neblette, C. B. Photography it's Principles and Practice New York, 4th ed. 1942 > WPFF: Wall & Jordan, Photographic Facts and Formula's, Boston, American Photographic Publis. 1940 > CPTP (without 415): Clerc L. P., Photography, Theory and Practice New York, Isaac Pitman 1930, an english translation of the 1926 editon of La technique Photographique. > There is no entry for CPTP 415 but numbers often stand for the publication year and or edition, or both. This could be the 1941, 5th edition but that's only a guess. > > Kees > > > > On 20 nov. 2013, at 10:15, Alberto Novo wrote: > >> Anyone has "Encyclopedia of Printing, Photographic, and Photomechanical Processes" by Nadeau? I wish to know the meaning of some acronyms he used for his quotes, in particular GCPP, CTP, NPPP4, WPFF, CPTP 415. >> Alberto > _______________________________________________ > Alt-photo-process-list | altphotolist.org Alberto www.facebook.com/alberto.novo.1 www.grupponamias.com www.alternativephotography.com/wp/photographers/rodolfo-namias-group