Bergger Warm Tone glossy in fiber. This paper, untoned, is the most beautiful I've ever used.
AZO in the Michael Smith Amidol formula, the developer makes all the difference.
Finally, relative to my post on RC paper, Ilford warm tone RC in the lustre finish. based on the recommendations I got, I tried 5 of the suggestions and this was the nicest to me. (Thanks, Les, for the suggestion!
I also have two boxes of Ektalure tucked away in the freezer, waiting for a special occasion, i.e., a good portrait negative.
I use Ilford FB Warmtone VC and Bergger FB Warmtone VC for most prints but for 11x14 and below I might use Ilford FB VC. I only use RC for proofing.
I use Forte for lith.
I couldn't think of anything witty to say so I left this blank.
Oriental Seagull graded papers, occasionally Ilforbrom Gallerie graded. I stay away from VC papers. They tend to not have the same impression of depth and richness as graded papers. I do not miss the convenience of VC nor do I want to spend the money on a VC head. My last project, 90% of my negatives printed as I wanted on #2 Oriental Segull, which, by the way, tones very nicely.
The best paper I ever used was the old Ilfobrom back in the 1970's. Great paper that responded very well to different developers and additives and toned very richly.
I used to use Zone VI graded but that is now discontinued. Great paper that had great seperation in the zone 1 to 4 range, infact all the way around. But once Fred Picker sold out to Calumet, the quality died. Eventually, so did Fred.
RC papers are taboo for fine art. What did some one say about Clyde Butcher? That he nearly went broke having to reprint many of his RC prints because they were deteriorating? Apparently, RC papers are not archival. But RC does have commercial value when large quantities of prints are needed and permenence are not a factor.
Time & tides wait for no one, especially photographers.
</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (RAP @ Mar 3 2003, 10:02 AM)</td></tr><tr><td id='QUOTE'>
RC papers are taboo for fine art. .... That he nearly went broke having to reprint many of his RC prints because they were deteriorating? Apparently, RC papers are not archival. But RC does have commercial value when large quantities of prints are needed and permenence are not a factor.</td></tr></table><span class='postcolor'>
The late - and greatly lamented - Camera and Darkroom had an extensive article of an analysis of RC papers. The major differences lie in the polyethelene encapsulation of the paper base layer -- (there are exceptions - at least one RC does have a plastic base) and the necessity - and subsequent subsitution of titanium oxide (common white pigment) for the old baryta (white clay) layer. From the titanium oxide up, the emulsions are essentially the *same* for both RC and Fiber papers (the usual warm/cool etc., differences noted).
C&D suggested that deterioration could well be caused by many other factors - one of the most common they specifically noted was the exposure to phenols outgassing from oil-based paints .... likely affecting ALL papers. Another could well be the matting and mounting materials - at least one company is marketing acid - alkaline - phenol free - and balanced everything else - materials for - you guessed it - additional money.
I am using Agfa "Sistan". Should be useful in extending the permanence of RC - and all other papers.
Ed Sukach, FFP.
Rap, I agree that Picker's paper was excellent, you may be interested to know Brilliant was made by Guillbrom a French company (please excuse the spelling) who went out of business about 12 years ago. A few years later they emerged as Bergger but as far as I understand most of the original technical people were involved, no doubt that's why Bergger make such good papers.
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Les, What did you print the image of the slot canyon on? By that I mean the image that you have posted in the gallery. I would really like to see that print without the effects of digital degeneration.
I personally like Oriental VC Fiber cold tone. I just find that this paper works best for me. I like the look of it and it tones well. For RC however I like Ilford MG.
I'm with tom Duffy...Azo with the Smith Amidol recipe. And Tom's right...developer makes ALL the difference with that paper.
I also really like Agfa in Neutol WA, and I like Ilford VC for that Les Mclean split grade printing.
But my favorite of all time is Agfa Portriga in Neotal WA. Especially for portraits.
Forte Polywarmtone Museum Weight is the choice for me. Love the creamy tone. When using regular paper, I use Ilford MG glossy and Matt. All FB.
</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (dnmilikan @ Mar 3 2003, 09:37 PM)</td></tr><tr><td id='QUOTE'> Les, What did you print the image of the slot canyon on? By that I mean the image that you have posted in the gallery. I would really like to see that print without the effects of digital degeneration. </td></tr></table><span class='postcolor'>
Ilford Warmtone VC Fibre using split grade printing developed in Fotospeed Warm Tone developer.