Uncoated Baryta paper, Special order being placed

[Photo Engineer]

Certainly, dicarboxylic acid anhydrides will crosslink polyols. Or at least should.

PE

[Bob Carnie]

That is exactly what I am thinking, not only taking advantage of the best of PT PD with highlight detail, but as well the best of carbon which is its incredible shadow detail.

Pt Pd will give warm highlights and the carbon can be tinged blue(cold) to give an incredible split print

Ron, do you think a PVOH/PVAC overcoat would work with Pt/Pd with such a paper?
Bob, I am also "toying" with the idea to combine Pt/Pd with carbon to get the best of both processes....never done it though. What I wonder most is how it would look like when you have different tones deriving from both emulsions..perhaps like a split-toned print?

[dwross]

Since this is the Silver Gelatin Emulsion subforum, and the OP topic is the Formulary's baryta, I'll take a chance and weigh in.

Why not make a silver gelatin paper and split-tone it?
http://www.thelightfarm.com/Map/Toning/ToningPart1.

And, the glossy baryta coats beautifully (although glossy isn't to my personal taste.) An example is at the bottom of this page.
http://www.thelightfarm.com/Map/Pape...atingPart3.htm

A lot of people have held that particular print and not believed it isn't commercial. (Actually, I don't consider that a 'plus' in its favor. I think alternative printers want there to be some sign that their art didn't come ready-made out of the box. But, that's another story.)

[dwross]

Hi All,

I have received a couple of really nice emails this morning -- one from a personal friend, and one from an e-penpal. They both very kindly pointed out the fallacy of my personal photo-bubble. Most people, even those here, no longer have darkrooms. Pt/Pd and carbon printing don't require one -- just water and a yellow bug light. Also (according to my friends and in all honesty, my observation, too) most people are going from digital image capture to inkject negative. Very few people are even developing film much less making silver gelatin emulsions, no matter how much they may want to. (The "how much they want to" part may be only kindness on the part of my friends. I have wonderful friends .) Anyway, my apologies for what looks like high-handedness (even to me, this morning.)

I hope folks buy PE's book. Maybe read The Light Farm (for me, the fun and satisfaction just get better and better -- which is my only excuse for getting annoying here.) Take a George Eastman House (GEH) class. Or two. A workshop there is about way more than the class material. Who knows how long the place can afford to keep going. If you have the means and opportunity, you should take advantage sooner, rather than chance later.

d
www.thelightfarm.com

[Bob Carnie]

Speaking for myself, I am awaiting 200 sheets of 8x10 250 sheets of 4x5 and 50 rolls of trix arriving this thrus night from England, we will be processing ,Contacting and then making silver prints for the next month.... Darkroom not dead in Toronto, and we plan to keep it that way.

Hi All,

I have received a couple of really nice emails this morning -- one from a personal friend, and one from an e-penpal. They both very kindly pointed out the fallacy of my personal photo-bubble. Most people, even those here, no longer have darkrooms. Pt/Pd and carbon printing don't require one -- just water and a yellow bug light. Also (according to my friends and in all honesty, my observation, too) most people are going from digital image capture to inkject negative. Very few people are even developing film much less making silver gelatin emulsions, no matter how much they may want to. (The "how much they want to" part may be only kindness on the part of my friends. I have wonderful friends .) Anyway, my apologies for what looks like high-handedness (even to me, this morning.)

I hope folks buy PE's book. Maybe read The Light Farm (for me, the fun and satisfaction just get better and better -- which is my only excuse for getting annoying here.) Take a George Eastman House (GEH) class. Or two. A workshop there is about way more than the class material. Who knows how long the place can afford to keep going. If you have the means and opportunity, you should take advantage sooner, rather than chance later.

d
www.thelightfarm.com

[mark]

Anyone knoe anything about prices?

[mdm]

I am interested in 200 sheets 11x14 if the price is ok. Please post an email address and price because I am not calling from New Zealand.

Thanks
David

[Photo Engineer]

Dave;

Contact the Formulary via the redirection icon on APUG when it pops up.

PE

[T-grain]

being not a Pt/Pd printer (yet), what is the main issue with Pt/Pd on gelatin? is it a too deep penetration of the solution into the sizing or is it due to the reducing ability of gelatin in relation to Pt/Pd salts?
thanks

I have been using Baryta paper (and advocating its use) for coating any gelatin based material and some non-gelatin based materials for several years now. I have coated cyanotypes and others, but Pt/Pd does not work as noted above. Unless - you put on a sizing layer to isolate the gelatin.

Baryta is made up of gelatin mixed with Barium Sulfate coated on DW photograde paper. I have samples of these products and am very very happy with them. I have posted prints in the Emulsion forum.

As for costs? Contact the Formulary. I have no idea what these may cost.

PE

[Photo Engineer]

Well, it has been several years now, but IIRC, the Pt or Pd Oxalate reacts with gelatin. It forms a nice "gum" that looks like sillly putty. If you try coating on it, same thing! Ask one of the posters here for more information.

PE