Hi Sanders, I'm a Classical printer too with over 40 years of Darkroom behind me. I agree with you about tha great difference between the image been IN the Print rather than ON the print. As a professional printer I've spent some time testing many Ink-Paper combinations for that purpose. If you want to achieve that classical look of AGFA MCC, Record Classic, etc, you'll never get similar results with cotton papers (that's for aquarelists) My advice is go easy and do not complicate things. Sometimes things are easier than we think. Try this: Epson Stylus Pro (say 3880 for instance) with native Ultrachrome K3 inks, in ABW mode / Neutral / Darker / +2Y +4M / +3 luminosity over Ilford Galerie Gold fiber silk and launch the print from Lightroom with +2 Bright + 4 contrast at the bottom dialog of the settings panel. It works too with Canson Baryta Photographique. Providing that you've your file correctly adjusted, you'll get a marvelous print with deep and silky Blacks and Vivid Lights. And it will look as an ilford Multigrade fiber copy with no ugly differences between printed area and margins. Starting from here, you can achieve a warmer tone as for an Agfa Paper developed with Neutol WA, just varying Y and M sliders. hope this Helps. Best regards, Juanjo El 01/04/2015, a las 23:35, "Sanders McNew sanders@mcnew.net [DigitalBlackandWhiteThePrint]" <DigitalBlackandWhiteThePrint@yahoogroups.com> escribió: > You tell me. > > > I’m thinking of (1) an Epson 1430-ish kind of printer with a Roark-approved B+W pigment inkset, or (2) a Canon Pixma Pro-100 with dye inks. I keep waffling around and have come to the conclusion I should just buy something and print instead of succumbing to the paralysis of indecision. > > The thing I worry about losing with inkjets, based on my experiences from 10 years ago, is the surface texture of my darkroom prints — I like seeing the image in the paper instead of on it, if that makes any sense. I’m thinking maybe a dye-based inkset with the right paper might get me to some close approximation of a darkroom print. I gather that permanence is an issue. But I am 57 and I’m printing for my own pleasure so who cares if the image is faded in 100 years? > > >> On Apr 1, 2015, at 4:51 PM, 'Elliot Puritz' drpuritz@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote: >> >> >> Hi Sanders: >> >> >> >> What inks? >> >> >> >> Elliot >> >> >> >> From: DigitalBlackandWhiteThePrint@yahoogroups.com[mailto:DigitalBlackandWhiteThePrint@yahoogroups.com] >> Sent: Wednesday, April 01, 2015 4:06 PM >> To: DigitalBlackandWhiteThePrint@yahoogroups.com >> Subject: [Digital BW] Digital equivalents for Agfa MCC 111 (Adox MCC 110) baryta paper? >> >> >> >> >> >> So, on a related note: >> >> >> >> I’ve been printing for years in the darkroom with Adox MCC 110 and its predecessor, Agfa MCC 111. For those of you onlist who are ambidextrous, can any of you recommend an inkjet paper that might come close to the tones and surface appearance of these Agfa.Adox silver gelatin baryta papers? I’m probably going to buy an inkjet printer this week — still not sure what it will be — for printing 5x7s and occasional 8x10s, and the look of the Agfa/Adox darkroom prints is what I’m hoping to approach. Any/all suggestions are very much appreciated. >> >> >> >> Regards, >> >> >> >> Sanders McNew >> >> www.flickr.com/sandersnyc >> >> >> >> >> >>> On Mar 26, 2015, at 11:06 AM, haroldeastman1984@...[DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote: >>> >>> >>> >>> >>> >>> Thanks for the tip. Going to the 1430 is an option I'm considering if I can't get results from the MIS/C88 combo. >>> >>> >>> >>> H. >>> >>> >>> >> >> >> >> >> > > >
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Re: [Digital BW] Digital equivalents for Agfa MCC 111 (Adox MCC 110) baryta paper?
2015-04-01 by LOPERA Juanjo