Judy Seigel (jseigel@panix.com)
Mon, 04 Oct 1999 15:01:42 -0400 (EDT)
On Mon, 4 Oct 1999, Darryl Baird wrote:
> There are no papers available, per se, which render this coloration by
> itself. There are no pre-coated papers, except for Palladio--a platinum
> process. It's very expensive, by my standards.
> ------
> Also, on another note. Your message is heavily formatted in html (web
> formatting). Many email readers don't handle this type of message, it
> shows up as garbage on the computer screen. Turn of this formatting
> feature and submit plain (ascii) text. I know about this, as I was an
> offender in the past.
Darryl, I found the formatting OK, that is I could read the message, but
couldn't figure out the question: did the writer want a handcoated
process to print in sepia tones, or to sepia-tone gelatin silver? I
puzzled over that, then turned to easier questions.
To add to your comments -- Palladio is no longer on the market... until
and unless a new source of the paper needed to coat it on can be found.
Apparently takeovers of small paper companies by large corps plus
environmental regs finished off those that had been suitable in the past.
You've mentioned most of the hand-coating to be had easily in "sepia", tho
did you say POP? Issue #3 of Post-Factory has a big section on
silver-gelatin toning, and the easiest, most archival color to tone is
sepia. In fact recent research tells us that polysulfide toning is more
archival than either selenium or gold alone, although not necessarily as
pretty -- and can be used in combo.... A startling bit of information, I
thought, apparently not noticed in the usual sources.
Now because I have a heart as big as all outdoors, I will mail P-F #3 for
just $6 to any reader who requests it OFFLIST, postage on the house, tho
usually postage must be added for a single issue. I prefer the
subscription, in which case I pay the postage. I lose MORE money per issue
that way, but it's less trouble in the long run because nearly everyone
who's had a single issue decides to subscribe.
But, perhaps, unintentially, Jeffry seems to suggest that taking *money*
in return for a publication is somehow venal. I could rather point out:
you get what you pay for, willingness to pay for something shows you value
it, sticking with what's free is no bargain in the long run -- and all
sorts of generalisations, true or not, or true sometimes, usually, or
hardly ever. I'll add also that in my experience, there are likely to
be fewer *strings* on the money.
What is undeniable, however, is that living media do not all have the same
virtues or functions -- nor do people..
Judy
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
| Judy Seigel, Editor >
| World Journal of Post-Factory Photography > "HOW-TO and WHY"
| info@post-factory.org >
This archive was generated by hypermail 2.0b3 on Fri Nov 05 1999 - 21:26:27