Digital BW, The Print

I was over at Ruth Bernhard's home in San Francisco in the late 70's and she showed me how you could totally transform Portriga Rapid by just adding a touch of Benzatrizole restrainer. That moved it from being a brownish thing to another world ( after Selenium toning).  I just ran across one of those skull prints of hers the other day at someone's house and it all came back to me how perfect her print color was..... and how I stole it at that time for myself.

Sometimes it is just a matter of finding the right paper ink combination for that perfect print color. It doesn't happen often but when it does you like to stick with it if you can.

john




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "tboleyyh" <tyler@...> wrote:
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> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john" <deanwork2003@> wrote:
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> >...The one thing I really like about Photorag Baryta with the Vivera inks is that it is totally neutral....
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> I agree, and love the paper. THere's just a certain look with a very particular image hue, that with a slight warmer base, gives a look I've only ever seen on old Portriga... that now mysterious and legendary paper. Also, the two papers have slightly different surface qualities, so they remain viable options to each other.
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> > I've never tried the Golden Varnish, really you can paint it on smoothly?
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> Nope, at least I can't. Many here experimented with various coating methods years back, and a mayer rod approach as Paul mentioned seemed to be the most successful, but I think inconsistent.
> It's just maddeningly intriguing to see some little part of a print that looks just right, and dream of the possibilities. Or get drunk. Or beat your head against the wall. Whatever works for the individual, you know, it's a free country. Or not.
> T
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