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Last Updated
03/31/2019
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION. |
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PHOTOGRAPHIC PAPER sa PHOTOGRAPHIC PAPER (COLOR) sa PHOTOGRAPHIC PAPER SAFE xx PAPER xx PHOTOGRAPHIC PRINT MAKING xx TRANSPARENCY PRINT MAKING Tip on premarking the edge of a whole pack of unexposed b&w paper so you can identify the grade when the pack is out of its box. Flashing (pre-exposing) b&w photo print paper to control contrast and make the paper more closely suited to the negative being printed. The case for RC, revisited. Updating the controversy surrounding B&W resin-coated printing papers. How to make your own comparison tests of photo paper. Printing with Liquid Light. A review of a liquid emulsion includes advice on preparation and use. Tip on making your own photo postcard stock from 11x14 double-weight paper. A grab bag of darkroom tips and formulas. (1) Preshrinking paper for P.O.P. (printing-out paper). (2) Sizing photo papers. (3) Warm-tone P.O.P. (4) Hypo clearing agent. (5) Using "Liquid Light" emulsion. (6) Kodak acid hardener F-1a. (7) D-25 and D-25R film developer. (8) D-25 replenisher for D-25 and D-23. User test of Sterling's Premium Fibre variable-contrast paper and Professional RC-D variable-contrast paper. David Vestal's Book of Craft. Chapter 12. Print control. Develop your paper sense. A discussion of paper texture, thickness, speed, contrast and grade. How to select the best paper for your needs. User test of Unicolor black & white resin-coated paper. The paper race. Comparison tests of the current contenders among black & white enlarging papers. Looks at both graded and variable contrast papers from Agfa-Gevaert, Ilford, Kodak, Luminos, Spiratone, and Unicolor. Getting more for your film dollar. Part 1. Plan and execute your photos more carefully to avoid wasting film and paper, thus reducing your consumption of more costly silver. Photography and papermaking. How to make handmade paper and then apply photographic emulsion to get unique photographic printing papers. Getting more for your film dollar. Part 2. The chloro-bromide myth and a short history of B&W printing papers. Printing by the numbers. Figuring print exposure times by using the ISO paper-speed data provided by the paper manufacturer. How variable-contrast papers produce multi-grade prints. Investigations of black-and-white exhibition papers. Results of tests for maximum densitiy and relative exposure speed on nine different papers. Ilford Multigrade FB (fiber base) black-and-white paper. Two views of this new paper. Ilford Multigrade FB (fiber base) paper is tested on six light sources. A comparison of two very different lines of chlorobromide b&w enlarging papers shows how halide ratio affects a paper's characteristics. Factors which control the "color" or image tone in a black-and-white print are explained. Alternatives to the now discontinued printing-out-paper (P.O.P) are viewed. Variable-contrast variability. Testing Ilford Multigrade III RC black-and-white paper. Photographer's guide to most films, papers and display materials available in the USA. Calibrating variable-contrast papers. Color sensitivity of variable contrast papers explained and a procedure for comparing various light source and filters effects in printing. Ilford variable-contrast papers. Testing Multigrade papers for exposure, contrast and development times. Arrhenius equation used in theoretical aging tests of photographic film and papers is explained. Kodak Polycontrast III RC paper. Results of a test involving both Kodak and Ilford filters. Photographer's guide to wet-process film and paper. Both color and B&W are included. Variable-contrast paper and exhibition-quality prints. Getting set up to use VC paper and some techniques for its use. Understanding resolution. Test procedures help determine the maximum photographic resolution that can be obtained. Part 1. Lens, film, and paper. Printing with variable-contrast paper. Part 1. History and current products. Printing with variable-contrast paper. Part 2. Useful techniques. Finding paper contrast and exposure changes. A method for determining the exposure scale of black-and-white photo print paper. Exposure scale corresponds to the density range of a negative that fits the paper and is usually thought of as a paper's contrast or grade. Photographer's guide to wet-process films, papers, and display materials. User test of Forte Polygrade Warmtone fiber-base paper. Variable contrast (VC) printing papers. Part 1. VC papers revealed. An explanation of the "mechanism" that makes variable-contrast b&w papers work the way they do. Looks at some misconceptions, characteristic curve diagrams, split filtration, etc. Variable contrast (VC) printing papers. Part 2. VC papers refined. Detailed analysis of the new Ilford Multigrade IV RC Deluxe paper. Exploring Kodak Polymax Fine Art b&w paper. Advice on selecting a negative to print, making a test strip, exposure, processing, etc. Agfa Multicontrast Classic b&w paper. A user report and technical analysis. Sensitometric tests of black-and-white papers. Basics and background concepts. Darkroom worker's guide to color and black-and-white papers. Technical analysis of Kodak Polymax Fine Art fiber base paper. Tip: How to cut open the packaging around photo paper to provide easy access without removing the paper package. Tip: How to flash #6 enlarging paper to convert it to any grade from #1 to #5. Darkroom basics. How to select the correct paper grade for each negative. Pointers on papers. Basic differences between the various black-and-white printing papers available and tips on which ones may be best for your application. Graded vs. variable contrast paper. How the two printing paper options stack up, plus tips on getting better contrast in your prints. How to get deep black images on today's printing papers which may contain less silver than before. Either changing papers to a higher grade or using the two-bath developer method may solve the problem. A candid guide to fiber-based b&w printing papers. A test of 14 types of paper under controlled conditions. How to select correct paper grade by determining which paper correctly emphasises the key features and textures in the photograph. How to use paint-on photo emulsion to capture an elusive feeling. Does your paper fit your negative? Part 1. How to evaluate the tonal response of printing papers using a step wedge, gray scale and a chart to record the results. Tones without a toner. By "misusing" a special graphic arts paper (Kodak Rapid Paper) you can produce earth-tone prints. Does your paper fit your negative? Part 2. How to make and interpret your own paper curve graphs. Variable contrast printing with dichronic heads: Facts and fallacies. Includes a chart of dichronic equivalents for variable contrast filters for 6 different enlargers. Using printing out paper (such as Kodak's Studio Proof Paper) to achieve a variety of tones and quick results. Test results on Ilford Multigrade II RC paper as compared with Kodak and Oriental. One paper: many grades. Darkroom basics on working with variable-contrast paper. Multigrade's new fiber. Test results on Ilford's new fiber-base variable-contrast B&W printing paper (Multigrade FB). Unicolor black-and-white papers. What is available and tips on their use. Papermaking for photographers. The rudiments of papermaking and printing photographs on handmade paper are described. The case for RC (resin-coated) B&W paper. An in-depth look at resin-coated paper in an attempt to compare its characteristics with those of fiber-base paper. Tip on preventing an overall gray haze when using old B&W paper. Comparing Oriental Seagull's RP Panchromatic paper with Kodak's Panalure paper. Includes tips on post-exposure color filtering. Graphs and photographs. Beginning photography for advanced photographers. Understanding the importance of a tone reproduction diagram in comparing various combinations of film and paper. Fine tuning. A systematic approach to calibrating photographic materials. Part 1. Determining your minimum blacks. Nuances. Comparing Ilford's new Multigrade III RC Rapid Paper to Multigrade II. Fine tuning. Part 2. Fine-tune black-and-white printing paper using a 41-step wedge. Fine tuning. Part 3. Testing paper. How to map the curving path from maximum black to paper-base white. Tips on determining the emulsion side of photo printing paper in the darkroom VC high. Printing to high contrast on Kodak's new Polycontrast III RC(resin-coated) paper. Exhibitionism. A comparison of premium-grade black-and-white printing papers. A question of character. Comparing Ilford Multigrade Fiber Base paper to Ilford Galerie. Appraising Ilford's new Multigrade III Rapid and Deluxe variable-contrast, resin coated (RC) papers. The Zen system. How paper choice affects an artist's photographic vison. First impressions. A user test of Ilfords' new Multigrade III RC (resin coated) Deluxe paper. Testing three new resin-coated B&W papers. (1) Ilford Ilfospeed RC Deluxe. (2) Pal Speed RC. (3) Pal Flexigrade RC. Agfa Multi-contrast High Speed RC paper is tested and evaluated. Comparing two new resin-coated variable-contrast papers (Oriental New Seagull Select RP-F VC and Agfa Multicontrast High Speed MC 310 RC) to the older Seagull Select VC. Exhibition papers. A comparison of the various exhibition grade b&w papers available. A breakthrough in variable contrast paper. Two experts evaluate Ilford Multigrade II paper. Recipes and formulas for five photographic processes that can be used to transfer images onto handmade paper. (1) Heat transfer. (2) Cyanotype. (3) Van Dyke. (4) Gum printing. (5) Liquid Light silver nitrate emulsion. Article assumes familiarity with hand papermaking and darkroom photography. Only general guidelines are offered on fibers and additives when making the paper. Tips on doing controlled fogging (flashing) in order to reduce paper contrast. The speciality paper chase. Are the "premium" papers really worth their extra cost? A comparision of prints made on Seagull paper and Brilliant paper. Ilford Multigrade FB fiber-based print paper. Product profile includes tips on its use. A simple technique for use in your own darkroom to make #6 paper do the work of all papers. How to determine the actual grade of enlarging paper, which vary in contrast from brand to brand and type to type. What printing paper to use to correct negatives improperly exposed and/or improperly developed. How to determine the best enlarging paper surface for your prints and the enlarger lens diaphragm opening which will produce the sharpest pictures. Chart of CP (color printing) and CC (color compensating) filter equivalents for Kodak Polycontrast filters. Tips on exposing Polycontrast paper. Proper storage will preserve photo paper far beyond its expiration date. Using a technique known as flash printing to simulate variable contrast paper. Tips on preflashing enlarging paper as an alternative to variable contrast filters. Comparing Spiratone #6 paper with Brovira #6. Proper storage of photo paper will keep it a good many years beyond the expiration date. Directory of avaiable black and white enlarging papers. Tip: Make your own enlarged version of the Kodak Polycontrast filter dial. Tip: Use Kodak RC paper which has been exposed to room light as P.O.P. (printing out paper). You make contact prints using sunlight and get a usable "silver purple" image without developing. Modern's great paper test. Everything you ever wanted to know about black-and-white enlarging papers. Great paper chase. Updated comparison test of all 25 black-and-white papers on the market. Multi-contrast black-and-white papers. Tests reveal a simpler method to use mixed contrast emulsions in the most useful way. Part 1. Multi-contrast black-and-white papers. Tests reveal a simpler method to use mixed contrast emulsions in the most useful way. Part 2. An explanation of the terms long toe and short toe as they are applied to film and paper and the implications of each. Saving time and paper by charting paper contrast and corresponding exposure for variable contrast paper. How to create such charts based on your own equipment and materials. Hand-coating artist paper with liquid silver emulsion to create a unique photographic printing paper. Fine control of contrast with variable contrast papers. Description of a simple technique. Black and white enlarging paper primer. How photographic papers work, what are the characteristics, how to handle and store paper, and how to choose the appropriate paper for your needs. The great paper chase. How to perform the step-by-step procedures of making comparative tests of black and white printing papers. Learn how to select papers which meet your needs. Kodak's secret weapon. A look at Ektamatic SC, Type 2309 stabilization paper which may also be tray processed. This fiber-based enlarging paper will produce results distinctly different from Polycontrast. In search of the right black-and-white paper. Tips on choosing the best printing paper for your needs. Everything your always wanted to know about Kodak Polycontrast Rapid II RC paper. Ilford Multigrade II paper. How to use this b&w enlarging paper to get the best results. Mitsubishi black-and-white enlarging paper. Includes information on printing, processing, and performance. User test of Oriental New Seagull Select VC (variable contrast) RP-F fiber-based paper. Matching negatives to paper grades. Some advice. Tips on using the new 3M strippable photographic papers. Black-and-white printing papers. Understanding the interelationship between printing paper and the final image to produce the best results. Looks at Agfa-Gevaert, Ilford, Oriental, Pal Chemical, Unicolor, and Kodak papers. Ilford Multigrade III Deluxe RC Paper. Includes a conversion chart showing the Durst color head, Omega color head, and Kodak CC filter equivalents of the Ilford Multigrade Filters. User test of Pal Speed graded B&W resin-coated paper. Seven ways to cut down black and white printing paper expenses. Tips on choosing the correct enlarging paper and proper development to prevent gray prints. Using printing-out paper (POP) to make contact prints that require no darkroom and no chemicals. Includes tips on fixing the image. How to salvage outdated print paper. Using grade 6 paper to save underexposed negatives or to create a more graphic effect. How to make perfect glossy prints using Luminos Bromide RC paper which eliminates the need for ferrotyping. How to coat your own emulsion to make prints on paper, wood, glass, cloth, metal and ceramics. Print quality is determined by viewer lighting and the print paper itself. Some suggestions. Other black and white enlarging papers you should consider using are reviewed. How do black and white enlarging papers compare? Darkroom tests you can perform to determine paper characteristics. Kodak Kodabrome RC enlarging paper: How good is it? The same negative is printed on all five contrast grades. Results of comparison and tips on its use. A first look at the characteristics and use of Ilfospeed black & white enlarging paper. How to choose and use warm-tone printing papers. Choosing and using variable-contrast enlarging papers. Choosing and using fiber-based photo papers and other tips. Minimum exposure for maximum black. How to test your own enlarging paper to determine the minimum exposure required to make a maximum black. This simple paper saving technique is used to find the correct printing time and contrast grade of black & white enlarging paper. Tips on using the new plastic printing papers. A discussion of the differences in contrast between modern paper and film and earlier paper and film. Includes tips on modifying exposure and/or development in order to stay in the middle of the contrast grades for newer papers. Preview of the Ilford Galerie enlarging paper and tips on its use. A review of Ilford's new Galerie fiber-base paper and the companion archival chemistry set. Eleven ways to cut the cost of enlarging paper. Comparison test of 4 premium-quality B&W enlarging papers. Agfa Portriga-Rapid, FSC, Ilford Galerie, and Unicolor Exhibition. Using Kodak's new type 2309 Ektamatic RC stabilization paper. Variable-contrast b&w papers offer convenience, economy, and suprisingly good quality. What is available and tips on their use. How to use No.5 paper to save flat negatives, and turn normal ones into powerful, graphic images. Ilford Multigrade II. Tips on using this variable-contrast black-and-white enlarging paper. Variable-contrast black-and-white enlarging papers. How four different papers compare in contrast and quality, and how to use them to get top-notch results. Test of Kodak Polyfiber B&W enlarging paper. Test of Kodak's new "Elite" premium-quality b&w printing paper. Kodak "Elite" printing paper. An in-depth report. Kodak Polyprint RC black-and-white enlarging paper. A test of Kodaks latest multi-contrast RC paper. Tests of the Mitsubishi black-and-white enlarging papers. Comparing the new and the old Kodak Polycontrast filters used with their variable-contrast black-and-white enlarging papers. Exhibition black-and-white printing papers. A chart lists them in tonal order (from very warm to neutral). Tips on storing photographic film, printing papers, and batteries in a refrigerator. Coat your own. How to use liquid emulsion to produce unique photographic works of art. Agfa Multicontrast High Speed RC paper. A user test of this improved variable contrast black-and-white enlarging paper. User test of Ilford Multigrade IV RC Deluxe b&w paper. User test of Agfa's new warm-tone, fiber-based multigrade paper, Multicontrast Classic. User test of Ilford Multigrade IV RC Deluxe black-and-white paper. User test of four variable contrast papers (Kodak Polymax RC, Ilford Multigrade III, Agfa Multicontrast Premium RC, and Sterling Professional RC-D VC paper. Coating your own paper. How to sensitize material yourself with b&w liquid emulsion. Working with many photo papers. Advice from a darkroom professional on changes in both the availability and brands of b&w papers and how to get the most from each of them. Scratching the surface. Modify the "look" of your b&w prints by using different printing papers than normal. Some tips on effects you can create. Silverprint emulsion. How to print on textured art paper, wood, stone, ... by applying your own coating of liquid emulsion. The bright side of lith. New uses for high-contrast lithographic materials and developers. | |||||||||
Copyright © by Norman Lathrop Enterprises. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means (electronic, mechanical, print photocopying, recording or otherwise) without the prior expressed permission of Norman Lathrop Enterprises, except as permitted by law. |
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