Digital BW, The Print

Dear Clayton,

  Just some quick feedback: I received my Merlin Natural from Hawk
Mtn. today and did a few test prints. Wow! What a lovely paper. I
found the prints VERY similar to those made on VFA. I think the Merlin
is warmer in tone. It has a pleasing tonality similar to the Agfa
Multigrade paper I was using in the darkroom. (I was  printing with a
Beseler 45A color head and controlling the contrast with 2 or the 3
colors.)
 Thanks for recommending this lovely paper. I'll share my impressions
 when the others I've ordered come.

  Best Regards
   Ginny


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Clayton Jones"
<cj@...> wrote:
>
> Hello Ginny,
> 
> >Why do you print on both sides? 
> 
> I'm not doing any double sided printing, but when I'm working on the
> last little tweaks for a first-time final print of a new image (or the
> first time on some paper) I often make some test prints.  All of these
> go back into the box and are reused for future test prints.  Also,
> with the 2400's ABW system I often make a lot of tests with a new
> image to determine the best color tone for it.  Over time this can all
> add up to a lot of paper, so a double sided paper does save some
> money.  Kayenta is also 2-sided.
> 
> 
> >I'm not sure what the Paper Chase article is.
> 
> Article #5 at the link below is called "The Great Paper Chase", and
> lists 26 matte papers and their attributes, such as weight, cotton
> content, OBA content, paper color, cold/warm tone (how it renders
> carbon inks), dmax, etc.  It's a good way to get a quick overview of
> the popular papers.
> 
> 
> >Yes. I remember the first time I tried TX. I used FG-7 as the
> >developer. Ugh! So much grain. 
> 
> I remember FG-7 <g>.  It made a pretty good two-bath developer, but it
> couldn't beat HC-110 for sheer beauty.
> 
> >>I then took a darkroom seminar with Fred Picker. He spoke about 
> >HC-110 (1:31) and the testing needed to find my own personal ASA 
> >valid for my shutter, and, also how to calculate the true develpment 
> >time for TX with my equipment. He said that Kodak was over-
> >developing the film to push the ASA up.  Well, the ASA I wound up 
> >using was 280 or so. And, the development time was a minute or 2 
> >less than what Kodak specified. (They were pushing the ASA by 
> >overdeveloping, hence, more grain) Viola! TX became a fine grain 
> >film! The difference was amazing, breathtaking!
> 
> Fred Picker's teachings had a huge effect on me (his practical
> approach to testing and simplification has been a direct influence on
> my path into digital printing).  I read his book and newsletters, and
> did all as you describe (also used his modified Pentax spotmeter, a
> great innovation).  I ended up using ASA 200 and HC-110 at 1:48 as I
> did mostly landscape and wanted to pull even more most of the time.
> Occasionally I would mark a roll for special treatment, but the dilute
> HC-110 gave a very nice long scale negative.  No other film/developer
> combination I tried came even close to what it would do (this
> conversation is making me nostalgic <g>.
> 
> 
> 
> >Hmmm....I could afford the 5D. But, what would a couple of basic
> >lenses cost me?
> 
> Well, mortgage your home, send your kids to work at Safeway...
> 
> 
> 
> >Is it just me or is it hard to find 11X14 paper nowadays? I really
> >like that size and would use it a lot more if I could find it! 
> 
> I've only seen one paper in that size (something from Epson in
> CompUSA), but I would use 13x19 anyway because I want some border
> paper around the image.  I no longer trim off the borders and dry
> mount.  These papers don't ripple like silver papers, and most don't
> curl either.  They can be held flat and smooth by the window mat.  I
> now hinge the top of the print to the back of the window mat, and
> hinge the top of the window mat to the backing board.  This speeds up
> the matting enormously.  The window is cut larger than the image just
> like with a mounted print, but the mat is now pressing down on the
> print's border paper, holding it flat.  It looks the same as a mounted
> print and the signature is now on the print instead of the backing
> board.  Dry mounting is one of the things I was happy to leave behind.  
> 
> 
> 
> >Can you recommend a good supplier?
> 
> Dourian and Aurora must be purchased from Red River, MerNat and MerSm
> from Hawk Mtn.  I get PR from Shades of Paper.  VFA and Kayenta can be
> found lots of places, just look for good prices, sales, etc.  Before
> ordering any Kayenta, be sure to read the Paper Chase article about it
> - there was a bad batch out there that may still be on vendors' shelves.
> 
> 
> >what does K3 stand for? I know it refers to the inkset
> > but not sure what it designates.
> 
> It refers to the three shades of black or gray (K, LK, LLK).  It
> differs from the 2200 UC ink which has just K and LK.  The 3rd gray
> ink is one reason for the nice smooth tones it produces.
> 
> 
> 
> >Thanks for the wealth of info Clayton and the nice sharing of 
> >your early years in photography.
> 
> You're welcome.  It's nice to read your story as well and find kindred
> souls with similar backgrounds.  There are quite a few forum members
> who used Fred Picker's methods.  I've had a lot of nice email
> correspondence over the past few years.
> 
> Regards,
> Clayton
> 
> 
> Info on black and white digital printing at    
> http://www.cjcom.net/digiprnarts.htm
>