We just had the same idea, besides...I like having more than one place to go look for these, lot easier to look at one thread with 3 or 4 different places than doing a Google search
Originally Posted by scootermm
There's an interesting swing in the price of art supplies, a good example is that brush.
I'm surfing a bunch of sites and am starting to wonder if someone, maybe Sandy, has done a study on which brushes work well and which don't.
I was told early on that any brush with metal in it would contaminate the solution. I have not noticed any problems with the Kallitypes I did yesterday, in fact they are some of the best I've ever done.
Originally Posted by Michael Slade
I've tried just about every brush or device imaginable for coating pt/pd prints over the last 15 years. The Richeson wins hands down. There is a reason it's earned the nick-name The Magic Brush. I've never had an issue with the metal ferrule. If it concerns you, some people dip the handle and ferrule in a varnish, or rubberising compound to seal it. But, unless you're planning to dip the brush into a gallon bucket of sensitizer, the ferrule should never come into contact with the sensitizer. Just be sure to clean your brush well and dry the ferrule at the end of your session. This will help prevent the ferrule from rusting over time. I teach workshops and have about 10 Richeson brushes in various sizes with lots of miles on them and they're still going strong.
There is one other brush I've tried that is similar to the Richeson and it's made by Da Vinci. It's not quite as soft and the handle is very short, which I didn't like. And, although it's a little cheaper, not enough to justify choosing it over the Richeson.
That's all I needed to hear! Thanks!
Originally Posted by Kerik
Richeson Miniature Series brushes are also the best spotting brushes I've found. They make a great product.
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Perhaps this is better for a seperate thread, but I'll approach it here.
I surfed through your site, and it is very nice indeed.
I looked at the student's work, and was curious about the glass-plate negatives that I have seen printed.
I have a stack of 3x3'ish negatives I obtained in Portland, Oregon several years ago. I have very quickly looked at them and they are mostly city scenes and harbor landscapes.
I would like to contact print them, but am unsure as to the best way to construct a contact frame to hold them in for printing.
Any suggestions you can give would help a lot, as these negatives have never been printed as far as I know, and I would like to be able to share them with others.
All you need is a heavy enough piece of glass to lay on top of the glass neg such that everthing is nice and flat. An 8x10 piece of 1/4 plate glass should do it. We printed some of those that way and some in a standard contact printing frame. You just need to make sure that the glass in your frame is of sufficient strength/thickness so it won't break.
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