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PHOTOGRAPHIC PAPER entries in Index to How To Do It Information
Norman Lathrop Enterprises  
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
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The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.

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.
CAMERA & DARKROOM Mar 1991 (v.13#3) pg. 17

Flashing (pre-exposing) b&w photo print paper to control contrast and make the paper more closely suited to the negative being printed.
CAMERA & DARKROOM Jun 1991 (v.13#6) pg. 16

The case for RC, revisited. Updating the controversy surrounding B&W resin-coated printing papers.
CAMERA & DARKROOM Nov 1991 (v.13#11) pg. 36

How to make your own comparison tests of photo paper.
CAMERA & DARKROOM Feb 1992 (v.14#2) pg. 53

Printing with Liquid Light. A review of a liquid emulsion includes advice on preparation and use.
CAMERA & DARKROOM May 1993 (v.15#5) pg. 58
Added Info CAMERA & DARKROOM Aug 1993 (v.15#8) pg. 4

Tip on making your own photo postcard stock from 11x14 double-weight paper.
CAMERA & DARKROOM Aug 1993 (v.15#8) pg. 8

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.
CAMERA & DARKROOM Nov 1993 (v.15#11) pg. 62

User test of Sterling's Premium Fibre variable-contrast paper and Professional RC-D variable-contrast paper.
CAMERA & DARKROOM Mar 1994 (v.16#3) pg. 52

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.
CAMERA 35 Jun 1973 (v.17#5) pg. 50

User test of Unicolor black & white resin-coated paper.
CAMERA 35 May 1975 (v.19#3) pg. 28

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.
CAMERA 35 Mar 1980 (v.25#3) pg. 57

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.
CAMERA 35 Apr 1980 (v.25#4) pg. 14

Photography and papermaking. How to make handmade paper and then apply photographic emulsion to get unique photographic printing papers.
CAMERA 35 Apr 1980 (v.25#4) pg. 66

Getting more for your film dollar. Part 2.
CAMERA 35 May 1980 (v.25#5) pg. 14

The chloro-bromide myth and a short history of B&W printing papers.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1984 (v.5#1) pg. 29

Printing by the numbers. Figuring print exposure times by using the ISO paper-speed data provided by the paper manufacturer.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1984 (v.5#3) pg. 15

How variable-contrast papers produce multi-grade prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1984 (v.5#3) pg. 19

Investigations of black-and-white exhibition papers. Results of tests for maximum densitiy and relative exposure speed on nine different papers.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1985 (v.6#1) pg. 14

Ilford Multigrade FB (fiber base) black-and-white paper. Two views of this new paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1986 (v.7#2) pg. 24, 26
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1986 (v.7#3) pg. 2
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1986 (v.7#6) pg. 2

Ilford Multigrade FB (fiber base) paper is tested on six light sources.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1986 (v.7#4) pg. 42

A comparison of two very different lines of chlorobromide b&w enlarging papers shows how halide ratio affects a paper's characteristics.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1987 (v.8#5) pg. 26

Factors which control the "color" or image tone in a black-and-white print are explained.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1988 (v.9#1) pg. 12

Alternatives to the now discontinued printing-out-paper (P.O.P) are viewed.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1988 (v.9#4) pg. 15

Variable-contrast variability. Testing Ilford Multigrade III RC black-and-white paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1988 (v.9#6) pg. 52

Photographer's guide to most films, papers and display materials available in the USA.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1989 (v.10#1) pg. 34

Calibrating variable-contrast papers. Color sensitivity of variable contrast papers explained and a procedure for comparing various light source and filters effects in printing.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1989 (v.10#1) pg. 41

Ilford variable-contrast papers. Testing Multigrade papers for exposure, contrast and development times.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1989 (v.10#4) pg. 50

Arrhenius equation used in theoretical aging tests of photographic film and papers is explained.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1989 (v.10#5) pg. 8

Kodak Polycontrast III RC paper. Results of a test involving both Kodak and Ilford filters.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1990 (v.11#2) pg. 55

Photographer's guide to wet-process film and paper. Both color and B&W are included.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1990 (v.11#3) pg. 38
Correction DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1990 (v.11#4) pg. 3

Variable-contrast paper and exhibition-quality prints. Getting set up to use VC paper and some techniques for its use.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1990 (v.11#5) pg. 56

Understanding resolution. Test procedures help determine the maximum photographic resolution that can be obtained. Part 1. Lens, film, and paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1991 (v.12#2) pg. 26

Printing with variable-contrast paper. Part 1. History and current products.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1991 (v.12#6) pg. 62
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1992 (v.13#5) pg. 3

Printing with variable-contrast paper. Part 2. Useful techniques.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1992 (v.13#2) pg. 20

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1992 (v.13#6) pg. 54

Photographer's guide to wet-process films, papers, and display materials.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1994 (v.15#3) pg. 32

User test of Forte Polygrade Warmtone fiber-base paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1994 (v.15#4) pg. 40

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1994 (v.15#5) pg. 40

Variable contrast (VC) printing papers. Part 2. VC papers refined. Detailed analysis of the new Ilford Multigrade IV RC Deluxe paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1994 (v.15#6) pg. 54

Exploring Kodak Polymax Fine Art b&w paper. Advice on selecting a negative to print, making a test strip, exposure, processing, etc.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1995 (v.16#1) pg. 18

Agfa Multicontrast Classic b&w paper. A user report and technical analysis.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1995 (v.16#3) pg. 50, 55

Sensitometric tests of black-and-white papers. Basics and background concepts.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1995 (v.16#3) pg. 54

Darkroom worker's guide to color and black-and-white papers.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1995 (v.16#4) pg. 31

Technical analysis of Kodak Polymax Fine Art fiber base paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1995 (v.16#6) pg. 52

Tip: How to cut open the packaging around photo paper to provide easy access without removing the paper package.
DARKROOM PHOTOGRAPHY Mar-Apr 1979 (v.1#1) pg. 33

Tip: How to flash #6 enlarging paper to convert it to any grade from #1 to #5.
DARKROOM PHOTOGRAPHY May-Jun 1979 (v.1#2) pg. 11

Darkroom basics. How to select the correct paper grade for each negative.
DARKROOM PHOTOGRAPHY Jul-Aug 1979 (v.1#3) pg. 24

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.
DARKROOM PHOTOGRAPHY May-Jun 1980 (v.2#3) pg. 12

Graded vs. variable contrast paper. How the two printing paper options stack up, plus tips on getting better contrast in your prints.
DARKROOM PHOTOGRAPHY Jul-Aug 1980 (v.2#4) pg. 28

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.
DARKROOM PHOTOGRAPHY Jul-Aug 1980 (v.2#4) pg. 66

A candid guide to fiber-based b&w printing papers. A test of 14 types of paper under controlled conditions.
DARKROOM PHOTOGRAPHY Mar-Apr 1981 (v.3#2) pg. 23

How to select correct paper grade by determining which paper correctly emphasises the key features and textures in the photograph.
DARKROOM PHOTOGRAPHY May-Jun 1981 (v.3#3) pg. 79

How to use paint-on photo emulsion to capture an elusive feeling.
DARKROOM PHOTOGRAPHY Sep 1981 (v.3#5) pg. 76

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.
DARKROOM PHOTOGRAPHY Oct 1981 (v.3#6) pg. 74

Tones without a toner. By "misusing" a special graphic arts paper (Kodak Rapid Paper) you can produce earth-tone prints.
DARKROOM PHOTOGRAPHY Jan 1982 (v.4#1) pg. 54

Does your paper fit your negative? Part 2. How to make and interpret your own paper curve graphs.
DARKROOM PHOTOGRAPHY Mar-Apr 1982 (v.4#3) pg. 70

Variable contrast printing with dichronic heads: Facts and fallacies. Includes a chart of dichronic equivalents for variable contrast filters for 6 different enlargers.
DARKROOM PHOTOGRAPHY Nov 1982 (v.4#7) pg. 34

Using printing out paper (such as Kodak's Studio Proof Paper) to achieve a variety of tones and quick results.
DARKROOM PHOTOGRAPHY Nov 1982 (v.4#7) pg. 58

Test results on Ilford Multigrade II RC paper as compared with Kodak and Oriental.
DARKROOM PHOTOGRAPHY May-Jun 1983 (v.5#4) pg. 51

One paper: many grades. Darkroom basics on working with variable-contrast paper.
DARKROOM PHOTOGRAPHY Jul-Aug 1984 (v.6#4) pg. 66

Multigrade's new fiber. Test results on Ilford's new fiber-base variable-contrast B&W printing paper (Multigrade FB).
DARKROOM PHOTOGRAPHY Mar-Apr 1986 (v.8#2) pg. 64

Unicolor black-and-white papers. What is available and tips on their use.
DARKROOM PHOTOGRAPHY May-Jun 1986 (v.8#3) pg. 51

Papermaking for photographers. The rudiments of papermaking and printing photographs on handmade paper are described.
DARKROOM PHOTOGRAPHY Jul-Aug 1986 (v.8#4) pg. 20

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.
DARKROOM PHOTOGRAPHY Sep 1986 (v.8#5) pg. 23
Added Info DARKROOM PHOTOGRAPHY Nov 1986 (v.8#7) pg. 6
Added Info DARKROOM PHOTOGRAPHY Dec 1986 (v.8#8) pg. 12
Added Info DARKROOM PHOTOGRAPHY Jan-Feb 1987 (v.9#1) pg. 6

Tip on preventing an overall gray haze when using old B&W paper.
DARKROOM PHOTOGRAPHY Nov 1986 (v.8#7) pg. 12

Comparing Oriental Seagull's RP Panchromatic paper with Kodak's Panalure paper. Includes tips on post-exposure color filtering.
DARKROOM PHOTOGRAPHY Oct 1987 (v.9#6) pg. 62

Graphs and photographs. Beginning photography for advanced photographers. Understanding the importance of a tone reproduction diagram in comparing various combinations of film and paper.
DARKROOM PHOTOGRAPHY Mar-Apr 1988 (v.10#2) pg. 52

Fine tuning. A systematic approach to calibrating photographic materials. Part 1. Determining your minimum blacks.
DARKROOM PHOTOGRAPHY Jul 1988 (v.10#3) pg. 49

Nuances. Comparing Ilford's new Multigrade III RC Rapid Paper to Multigrade II.
DARKROOM PHOTOGRAPHY Jul 1988 (v.10#3) pg. 51

Fine tuning. Part 2. Fine-tune black-and-white printing paper using a 41-step wedge.
DARKROOM PHOTOGRAPHY Nov 1988 (v.10#4) pg. 20

Fine tuning. Part 3. Testing paper. How to map the curving path from maximum black to paper-base white.
DARKROOM PHOTOGRAPHY Dec 1988 (v.10#5) pg. 3

Tips on determining the emulsion side of photo printing paper in the darkroom
DARKROOM PHOTOGRAPHY Jan 1989 (v.11#1) pg. 7

VC high. Printing to high contrast on Kodak's new Polycontrast III RC(resin-coated) paper.
DARKROOM PHOTOGRAPHY Jan 1989 (v.11#1) pg. 54
Added Info DARKROOM PHOTOGRAPHY Apr 1989 (v.11#4) pg. 5

Exhibitionism. A comparison of premium-grade black-and-white printing papers.
DARKROOM PHOTOGRAPHY Feb 1989 (v.11#2) pg. 13

A question of character. Comparing Ilford Multigrade Fiber Base paper to Ilford Galerie.
DARKROOM PHOTOGRAPHY Feb 1989 (v.11#2) pg. 21
Added Info DARKROOM PHOTOGRAPHY Jun 1989 (v.11#6) pg. 6

Appraising Ilford's new Multigrade III Rapid and Deluxe variable-contrast, resin coated (RC) papers.
DARKROOM PHOTOGRAPHY Aug 1989 (v.11#8) pg. 8

The Zen system. How paper choice affects an artist's photographic vison.
DARKROOM PHOTOGRAPHY Oct 1989 (v.11#10) pg. 15

First impressions. A user test of Ilfords' new Multigrade III RC (resin coated) Deluxe paper.
DARKROOM PHOTOGRAPHY Oct 1989 (v.11#10) pg. 56
Added Info DARKROOM PHOTOGRAPHY Feb 1990 (v.12#2) pg. 4
Added Info DARKROOM PHOTOGRAPHY May 1990 (v.12#5) pg. 3

Testing three new resin-coated B&W papers. (1) Ilford Ilfospeed RC Deluxe. (2) Pal Speed RC. (3) Pal Flexigrade RC.
DARKROOM PHOTOGRAPHY Mar 1990 (v.12#3) pg. 16

Agfa Multi-contrast High Speed RC paper is tested and evaluated.
DARKROOM PHOTOGRAPHY Jun 1990 (v.12#6) pg. 50
Correction DARKROOM PHOTOGRAPHY Aug 1990 (v.12#8) pg. 6

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.
DARKROOM PHOTOGRAPHY Jul 1990 (v.12#7) pg. 22

Exhibition papers. A comparison of the various exhibition grade b&w papers available.
DARKROOM TECHNIQUES Dec 1982 (v.3#4) pg. 29

A breakthrough in variable contrast paper. Two experts evaluate Ilford Multigrade II paper.
DARKROOM TECHNIQUES Mar-Apr 1983 (v.4#2) pg. 18

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.
HAND PAPERMAKING Summer 1991 (v.6#1) pg. 12

Tips on doing controlled fogging (flashing) in order to reduce paper contrast.
INDUSTRIAL PHOTOGRAPHY Sep 1974 (v.23#9) pg. 11

The speciality paper chase. Are the "premium" papers really worth their extra cost? A comparision of prints made on Seagull paper and Brilliant paper.
INDUSTRIAL PHOTOGRAPHY Mar 1984 (v.33#3) pg. 36

Ilford Multigrade FB fiber-based print paper. Product profile includes tips on its use.
INDUSTRIAL PHOTOGRAPHY Feb 1986 (v.35#2) pg. 55

A simple technique for use in your own darkroom to make #6 paper do the work of all papers.
MODERN PHOTOGRAPHY Mar 1966 (v.30#3) pg. 70

How to determine the actual grade of enlarging paper, which vary in contrast from brand to brand and type to type.
MODERN PHOTOGRAPHY Nov 1966 (v.30#11) pg. 24

What printing paper to use to correct negatives improperly exposed and/or improperly developed.
MODERN PHOTOGRAPHY Jun 1967 (v.31#6) pg. 60

How to determine the best enlarging paper surface for your prints and the enlarger lens diaphragm opening which will produce the sharpest pictures.
MODERN PHOTOGRAPHY Feb 1968 (v.32#2) pg. 40

Chart of CP (color printing) and CC (color compensating) filter equivalents for Kodak Polycontrast filters. Tips on exposing Polycontrast paper.
MODERN PHOTOGRAPHY May 1970 (v.34#5) pg. 18

Proper storage will preserve photo paper far beyond its expiration date.
MODERN PHOTOGRAPHY Sep 1971 (v.35#9) pg. 88

Using a technique known as flash printing to simulate variable contrast paper.
MODERN PHOTOGRAPHY Nov 1971 (v.35#11) pg. 124

Tips on preflashing enlarging paper as an alternative to variable contrast filters.
MODERN PHOTOGRAPHY Jun 1972 (v.36#6) pg. 52

Comparing Spiratone #6 paper with Brovira #6.
MODERN PHOTOGRAPHY Jun 1972 (v.36#6) pg. 52

Proper storage of photo paper will keep it a good many years beyond the expiration date.
MODERN PHOTOGRAPHY Jul 1973 (v.37#7) pg. 52

Directory of avaiable black and white enlarging papers.
MODERN PHOTOGRAPHY Sep 1974 (v.38#9) pg. 116

Tip: Make your own enlarged version of the Kodak Polycontrast filter dial.
MODERN PHOTOGRAPHY Apr 1981 (v.45#4) pg. 113

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 PHOTOGRAPHY Oct 1981 (v.45#10) pg. 137

Modern's great paper test. Everything you ever wanted to know about black-and-white enlarging papers.
MODERN PHOTOGRAPHY Apr 1985 (v.49#4) pg. 68

Great paper chase. Updated comparison test of all 25 black-and-white papers on the market.
MODERN PHOTOGRAPHY Mar 1987 (v.51#3) pg. 48

Multi-contrast black-and-white papers. Tests reveal a simpler method to use mixed contrast emulsions in the most useful way. Part 1.
PHOTO ELECTRONIC IMAGING 1994 (v.37#11) pg. 37

Multi-contrast black-and-white papers. Tests reveal a simpler method to use mixed contrast emulsions in the most useful way. Part 2.
PHOTO ELECTRONIC IMAGING 1994 (v.37#12) pg. 30

An explanation of the terms long toe and short toe as they are applied to film and paper and the implications of each.
PHOTO TECHNIQUES Jan-Feb 1997 (v.18#1) pg. 24

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.
PHOTO TECHNIQUES Jan-Feb 1997 (v.18#1) pg. 47

Hand-coating artist paper with liquid silver emulsion to create a unique photographic printing paper.
PHOTO TECHNIQUES Sep-Oct 1997 (v.18#5) pg. 50
Correction PHOTO TECHNIQUES Nov-Dec 1997 (v.18#6) pg. 6
Added Info PHOTO TECHNIQUES Nov-Dec 1997 (v.18#6) pg. 13

Fine control of contrast with variable contrast papers. Description of a simple technique.
PHOTO TECHNIQUES Sep-Oct 1999 (v.20#5) pg. 43

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.
PHOTOGRAPHIC Feb 1979 (v.7#10) pg. 52

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.
PHOTOGRAPHIC Feb 1979 (v.7#10) pg. 73

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.
PHOTOGRAPHIC Dec 1981 (v.10#8) pg. 53

In search of the right black-and-white paper. Tips on choosing the best printing paper for your needs.
PHOTOGRAPHIC Sep 1983 (v.12#5) pg. 52

Everything your always wanted to know about Kodak Polycontrast Rapid II RC paper.
PHOTOGRAPHIC Sep 1983 (v.12#5) pg. 62

Ilford Multigrade II paper. How to use this b&w enlarging paper to get the best results.
PHOTOGRAPHIC Jan 1984 (v.12#9) pg. 30

Mitsubishi black-and-white enlarging paper. Includes information on printing, processing, and performance.
PHOTOGRAPHIC May 1985 (v.14#1) pg. 60

User test of Oriental New Seagull Select VC (variable contrast) RP-F fiber-based paper.
PHOTOGRAPHIC Mar 1990 (v.18#11) pg. 70

Matching negatives to paper grades. Some advice.
PHOTOGRAPHIC Aug 1993 (v.22#4) pg. 42

Tips on using the new 3M strippable photographic papers.
PHOTOMETHODS Nov 1983 (v.26#11) pg. 38

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.
PHOTOMETHODS Sep 1985 (v.28#9) pg. 35

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.
PHOTOMETHODS Aug 1989 (v.32#8) pg. 33

User test of Pal Speed graded B&W resin-coated paper.
PHOTOMETHODS Jan 1990 (v.33#1) pg. 36

Seven ways to cut down black and white printing paper expenses.
POPULAR PHOTOGRAPHY Jul 1966 (v.59#1) pg. 86

Tips on choosing the correct enlarging paper and proper development to prevent gray prints.
POPULAR PHOTOGRAPHY Sep 1966 (v.59#3) pg. 104

Using printing-out paper (POP) to make contact prints that require no darkroom and no chemicals. Includes tips on fixing the image.
POPULAR PHOTOGRAPHY Oct 1967 (v.61#4) pg. 15

How to salvage outdated print paper.
POPULAR PHOTOGRAPHY Feb 1970 (v.66#2) pg. 40

Using grade 6 paper to save underexposed negatives or to create a more graphic effect.
POPULAR PHOTOGRAPHY Apr 1971 (v.68#4) pg. 22

How to make perfect glossy prints using Luminos Bromide RC paper which eliminates the need for ferrotyping.
POPULAR PHOTOGRAPHY Sep 1971 (v.69#3) pg. 62

How to coat your own emulsion to make prints on paper, wood, glass, cloth, metal and ceramics.
POPULAR PHOTOGRAPHY Dec 1971 (v.69#6) pg. 104

Print quality is determined by viewer lighting and the print paper itself. Some suggestions.
POPULAR PHOTOGRAPHY Jan 1972 (v.70#1) pg. 28

Other black and white enlarging papers you should consider using are reviewed.
POPULAR PHOTOGRAPHY Dec 1972 (v.71#6) pg. 22

How do black and white enlarging papers compare? Darkroom tests you can perform to determine paper characteristics.
POPULAR PHOTOGRAPHY Aug 1974 (v.75#2) pg. 94

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.
POPULAR PHOTOGRAPHY Mar 1975 (v.76#3) pg. 92

A first look at the characteristics and use of Ilfospeed black & white enlarging paper.
POPULAR PHOTOGRAPHY Oct 1975 (v.77#4) pg. 64

How to choose and use warm-tone printing papers.
POPULAR PHOTOGRAPHY Jun 1976 (v.78#6) pg. 44

Choosing and using variable-contrast enlarging papers.
POPULAR PHOTOGRAPHY Sep 1976 (v.79#3) pg. 62

Choosing and using fiber-based photo papers and other tips.
POPULAR PHOTOGRAPHY Nov 1976 (v.79#5) pg. 42

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.
POPULAR PHOTOGRAPHY May 1978 (v.82#5) pg. 94

Tips on using the new plastic printing papers.
POPULAR PHOTOGRAPHY Nov 1978 (v.83#5) pg. 20

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.
POPULAR PHOTOGRAPHY Jan 1979 (v.84#1) pg. 78

Preview of the Ilford Galerie enlarging paper and tips on its use.
POPULAR PHOTOGRAPHY Jan 1979 (v.84#1) pg. 88

A review of Ilford's new Galerie fiber-base paper and the companion archival chemistry set.
POPULAR PHOTOGRAPHY Nov 1979 (v.85#5) pg. 15

Eleven ways to cut the cost of enlarging paper.
POPULAR PHOTOGRAPHY Jul 1980 (v.87#1) pg. 58

Comparison test of 4 premium-quality B&W enlarging papers. Agfa Portriga-Rapid, FSC, Ilford Galerie, and Unicolor Exhibition.
POPULAR PHOTOGRAPHY Aug 1980 (v.87#2) pg. 102

Using Kodak's new type 2309 Ektamatic RC stabilization paper.
POPULAR PHOTOGRAPHY Sep 1980 (v.87#3) pg. 70

Variable-contrast b&w papers offer convenience, economy, and suprisingly good quality. What is available and tips on their use.
POPULAR PHOTOGRAPHY Mar 1982 (v.89#3) pg. 75

How to use No.5 paper to save flat negatives, and turn normal ones into powerful, graphic images.
POPULAR PHOTOGRAPHY May 1982 (v.89#5) pg. 41

Ilford Multigrade II. Tips on using this variable-contrast black-and-white enlarging paper.
POPULAR PHOTOGRAPHY Apr 1983 (v.90#4) pg. 86

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.
POPULAR PHOTOGRAPHY Jul 1983 (v.90#7) pg. 77

Test of Kodak Polyfiber B&W enlarging paper.
POPULAR PHOTOGRAPHY Feb 1984 (v.91#2) pg. 70

Test of Kodak's new "Elite" premium-quality b&w printing paper.
POPULAR PHOTOGRAPHY Dec 1984 (v.91#12) pg. 74

Kodak "Elite" printing paper. An in-depth report.
POPULAR PHOTOGRAPHY Jul 1985 (v.92#7) pg. 56

Kodak Polyprint RC black-and-white enlarging paper. A test of Kodaks latest multi-contrast RC paper.
POPULAR PHOTOGRAPHY Aug 1985 (v.92#8) pg. 68

Tests of the Mitsubishi black-and-white enlarging papers.
POPULAR PHOTOGRAPHY Nov 1985 (v.92#11) pg. 72

Comparing the new and the old Kodak Polycontrast filters used with their variable-contrast black-and-white enlarging papers.
POPULAR PHOTOGRAPHY Aug 1986 (v.93#8) pg. 60

Exhibition black-and-white printing papers. A chart lists them in tonal order (from very warm to neutral).
POPULAR PHOTOGRAPHY Apr 1987 (v.94#4) pg. 22

Tips on storing photographic film, printing papers, and batteries in a refrigerator.
POPULAR PHOTOGRAPHY Oct 1994 (v.58#10) pg. 54

Coat your own. How to use liquid emulsion to produce unique photographic works of art.
POPULAR PHOTOGRAPHY Nov 1999 (v.63#11) pg. 74

Agfa Multicontrast High Speed RC paper. A user test of this improved variable contrast black-and-white enlarging paper.
PROFESSIONAL PHOTOGRAPHER #2134 Mar 1990 (v.117) pg. 36

User test of Ilford Multigrade IV RC Deluxe b&w paper.
PROFESSIONAL PHOTOGRAPHER #2188 Sep 1994 (v.121) pg. 62

User test of Agfa's new warm-tone, fiber-based multigrade paper, Multicontrast Classic.
PROFESSIONAL PHOTOGRAPHER #2190 Nov 1994 (v.121) pg. 58

User test of Ilford Multigrade IV RC Deluxe black-and-white paper.
SHUTTERBUG #290 Nov 1994 (v.24#1) pg. 28

User test of four variable contrast papers (Kodak Polymax RC, Ilford Multigrade III, Agfa Multicontrast Premium RC, and Sterling Professional RC-D VC paper.
SHUTTERBUG #290 Nov 1994 (v.24#1) pg. 52

Coating your own paper. How to sensitize material yourself with b&w liquid emulsion.
SHUTTERBUG #300 Sep 1995 (v.24#11) pg. 82

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.
SHUTTERBUG #305 Feb 1996 (v.25#4) pg. 130

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.
SHUTTERBUG #313 Oct 1996 (v.25#12) pg. 94

Silverprint emulsion. How to print on textured art paper, wood, stone, ... by applying your own coating of liquid emulsion.
SHUTTERBUG #329 Feb 1998 (v.27#4) pg. 20

The bright side of lith. New uses for high-contrast lithographic materials and developers.
SHUTTERBUG #330 Mar 1998 (v.27#5) pg. 96