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Neanderman
09-05-2006, 09:52 PM
I haven't tried this yet, but it is top on my list of things I want to do. I have both editions of Baker and have Wall's book, too, and have been collecting equipment. I thought I was close to having everything I needed, but then found out my plate holder won't fit the camera. So it's back to the wood shop to make a new back.

Keep the stuff coming.

Ed

donbga
09-05-2006, 10:07 PM
You might find some of the stuff at SILVERPRINT (http://www.silverprint.co.uk) interesting as they have been playing around with some Gevaluxe (http://www.silverprint.co.uk/News05_5.htm) paper - reportedly the most expensive paper of its day!

Hope this helps,

Lachlan
Wow that is a fascinating and inspiring article. Some of the characteristics of the paper sound like the Dasonville paper.

Could one expect to be able to make emulsions and printing papers such as those?

Would it be possible to make a paper with a long scale such as grade 2 Azo or a genuine grade 4 with repeatable results?

donbga
09-05-2006, 10:15 PM
Ron:

I read all your posts and am very excited about learning from you. Unlike a few of the posters here, I think it is quite worthwhile to have the knowledge and expertise to make your own paper and film emulsions. I would not even remotely consider having a lab process my film or print my negatives either.

I think people need to be aware that the market for paper and film is shrinking. They are fooling themselves if they think this trend is not going to continue. And given that the market is driven by demand, we can all expect the cost for out\r materials to continually rise. The local photo store in my neighborhood now sells 11x14 forte PWT for $93 a box. I'd rather make my own than pay that. I have tried to negotiate bulk pricing from Ilford. They couldn'y care less. All of this points me in the "make your own" direction. Besides, the more control I can leverage on my personal work, the better.

Many of the films and papers I used 20 years ago are gone now. I don't necessarily agree that what we have now is better. Its different, maybe even easier.... but better? I haven't seen anything out there now that is the same as Portiga, or Brovira, or Ektalure, or Panalure, or Ektapan.

I hope analogue processes are here to stay. But there is no way that they are going to be more commercially practical than the digital processes that have taken over. (And believe me, I hate to admit that). And that fact alone will continue to limit our choices and increase our out of pocket costs.

Hats off Ron, the knowledge and experience you offer the group is invaluable.

Regards,

I'm in total agreement with you Don. Papers like Ektalure are irreplaceable.
I 'm more selective about the images I spent time to print so I use less paper. When my stash of paper in the freezer is gone I don't know that I want to pay the prices for the papers available. And since I've hand coated papers for alt. processes for quite a few years, coating my own silver gelatin might not be that big of a deal. At least the physical act of coating. Designing emulsions for silver gelatin are certainly more complex than most of us have the training and experience for.

Thanks to Ron for trying to keep this alive.

Photo Engineer
09-05-2006, 10:21 PM
Wow that is a fascinating and inspiring article. Some of the characteristics of the paper sound like the Dasonville paper.

Could one expect to be able to make emulsions and printing papers such as those?

Would it be possible to make a paper with a long scale such as grade 2 Azo or a genuine grade 4 with repeatable results?

Yes, I have done that!

I have made a combination paper that mimics Brovira / Kodabromide as well.

Also, if you use the varioius art papers out there, surfaces are as broad as the paper choices.

PE