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Re:Matte FiberGloss Like Tri-X Experience

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  • Paul
    Hello Clayton, I m a little puzzled, perhaps there s something I m not getting here. When I look at your Great Paper Chase, I see this Premier Art 325 paper
    Message 1 of 53 , Feb 1, 2010
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      Hello Clayton,

      I'm a little puzzled, perhaps there's something I'm not getting here. When I look at your Great Paper Chase, I see this Premier Art 325 paper already reviewed. Are you reviewing now for perhaps different reasons? Also, would it be possible to take a look at the same paper in the 205 weight? That's what I use, and I'm quite sure Paul Roark uses it also. I have trouble using the 325 in my Epson R1800 because of its thickness... even when loading through the rear slot. Thanks!

      Paul

      > 4) Also am testing Premier Art's Smooth Hot Press 325, non-OBA. Dmax unmeasured yet, but looks just a bit less than the Alise. This has been around awhile and is popular, I somehow overlooked it so I'm a latecomer to it. Looks real good so far.
      >
      > When I used Eboni-based inks, my favorites were
      > 1) HPR (Hannehmuhle Photo Rag) - warm tones
      > 2) Condor BW (Hawk Mtn) - cool tones
      > 3) Kayenta (Moab) - cold tones
      > 4) Aurora Art (Red River) - medium warm
      >
      > Article #5, "The Great Paper Chase", at the link below describes a bunch of different papers in more detail.
    • tboleyyh
      That s funny, because Michael and Marsha Burns taught me the Bromophen, Benzatrizole, Selenium combo for Portriga that with careful control seemed to hit that
      Message 53 of 53 , Feb 3, 2010
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        That's funny, because Michael and Marsha Burns taught me the Bromophen, Benzatrizole, Selenium combo for Portriga that with careful control seemed to hit that magic look. Later, when I had Ruth at a F.O.P workshop, she looked at a few of my prints and told me exactly what I was using... later I switched to an Ansco 130 variant, Benzatrizole, Selenium...
        Now we blend inks.
        Ruth was great.
        Tyler

        --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john" <deanwork2003@...> wrote:
        >
        > 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:
        > >
        > >
        > >
        > > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john" <deanwork2003@> wrote:
        > > >
        > > >
        > > >...The one thing I really like about Photorag Baryta with the Vivera inks is that it is totally neutral....
        > >
        > > 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.
        > >
        > > ...
        > > > I've never tried the Golden Varnish, really you can paint it on smoothly?
        > >
        > > 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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