From: Steve Shapiro (sgshiya@redshift.com)
Date: 09/23/01-05:41:02 PM Z
> Jeremiah
> Trickstrr@aol.com wrote:
> > ... What kinds of paper do you guys use when you do
> > alternative processes? Is thickness better? Could I just use some
> > cheapo drawing paper from Mead or something, ...
>
> Questions to ask yourself are:
> How important is this work (to myself or others)?
> Am I producing something to simply discard into the trash?
> Do I want to learn this process?
>
> Most of the alt-photo process can be influenced by the paper selected.
> It is a good idea to use the paper intended for your final results.
> Papers, even of the highest quality, can vary from batch to batch. It
> is a good idea that once you find a paper you like, get a lot from that
> same batch. Yes, Edward Weston had said that a good print could even be
> made on a bath mat, but there are only a limited number of images that
> might look good that way.
>
> As thickness goes: It is not a matter of "better". Some thin papers
> can deliver unmatched sharpness, detail, and translucency. Some thick
> papers can deliver great tooth, flatness, and texture. It is a mater of
> personal selection.
>
> Do not be surprised to find some papers costing more than commercial
> gelatin silver paper. Art stores are a good place to find several
> different papers. Once you find a paper you like, you may ask the store
> for a discount on purchasing a large quantity.
>
> --
> Jeffrey D. Mathias
> http://home.att.net/~jeffrey.d.mathias/
>
More than an assessment of the value of your own picture making is the
knowledge of all sorts of papers. There you choose to gratify your
expression with an understanding of the process as it is brought to
completion from paper choices.
If 'cheepo' Mead paper gives 'wings' to a cyanotype of grafitti, then don't
use Arches.
Knowing paper is part of understanding the art. Try them all.
S. Shapiro
This archive was generated by hypermail 2b30 : 10/01/01-01:41:32 PM Z CST