So is this a one for one swap, or a 'postcard prints on steriods' kind of thing, in terms of an 8x10's for all on the list ex.
Same image to all if multiple prints?
Also, is it to be mounted or matted, or just the print after it came off the drying rack/blotter roll/or flat out from underneath the good old light read.. the CRC handbook?
I likely have a set of suitable images already.
I was given a bunch of paper from an older photographer (friend of a friend) who can no longer see well enough to work his darkroom. All in his fridge freezer since about early 90's to early 2000's.
2 boxes of 8x10 Supra 3 RA-4 that test as fine, a box of 100 8x10 Radiance reversal colour paper that works fine as well, and about 50 8x10's in a Supra 2 box that was a mystery becuse it was not RC, and had no green or mauve overcoat.
(See, this is a theme with me, I really do have people give me free supplies).
(These also came with an Ansco Speexex Special R (Isolette III clone) that I now also have working, and the case's leather oiled and supple and even restiched! A nice old camera to use.)
Well the Supra 2 Box was not RA-4. Turns out it is DW FB glossy, on a white base. VC too though by now only grade 00(0) at 170Y to 2.5 at 170M. Ansco 130 did not change the image tone compared to what Dektol gave, so it is a cold tone paper.
I had not calibrated it any finer before I started printing a nice image of a ship at anchor in Hamilton Harbour. It was a lightly overcast day, so the clouds did not need too much burning in. The image looked like it might print well on grade 2.5, so I started there, and thought I might as well try out the unknown paper, since I knew it did not go any harder.
Then I decided no, less contrast, then , well a bit less contrast, and a bit more burn... By the time I was done I was down from 170M to 55M and back to 70M and had made 1-5x7 and 6- 8x10. Some too light in the clouds, some too dark in the shadows, or overall a bit dark. Overall most were quite nice prints, but you know how it is when you have a vision...
Well when I have 'dud' FB prints I go off and refine my toning skills.
So the bit too little contrast one saw selenium, and is quite fine now.
The bit too dark in the shadows one saw some local playing with 'liquid sunshine' as I recall hearing John Sexton call K Ferri bleaching and is looking more as I wanted to present the image.
The too dark overall one got rehalogenating bleached entirely and redevelped in Kodak Sepia and is now a lightly toned sepia variant.
Enough of this tale...