Digital BW, The Print

Hello Ginny,

>Why do you print on both sides? 

I'm not doing any double sided printing, but when I'm working on the
last little tweaks for a first-time final print of a new image (or the
first time on some paper) I often make some test prints.  All of these
go back into the box and are reused for future test prints.  Also,
with the 2400's ABW system I often make a lot of tests with a new
image to determine the best color tone for it.  Over time this can all
add up to a lot of paper, so a double sided paper does save some
money.  Kayenta is also 2-sided.


>I'm not sure what the Paper Chase article is.

Article #5 at the link below is called "The Great Paper Chase", and
lists 26 matte papers and their attributes, such as weight, cotton
content, OBA content, paper color, cold/warm tone (how it renders
carbon inks), dmax, etc.  It's a good way to get a quick overview of
the popular papers.


>Yes. I remember the first time I tried TX. I used FG-7 as the
>developer. Ugh! So much grain. 

I remember FG-7 <g>.  It made a pretty good two-bath developer, but it
couldn't beat HC-110 for sheer beauty.

>>I then took a darkroom seminar with Fred Picker. He spoke about 
>HC-110 (1:31) and the testing needed to find my own personal ASA 
>valid for my shutter, and, also how to calculate the true develpment 
>time for TX with my equipment. He said that Kodak was over-
>developing the film to push the ASA up.  Well, the ASA I wound up 
>using was 280 or so. And, the development time was a minute or 2 
>less than what Kodak specified. (They were pushing the ASA by 
>overdeveloping, hence, more grain) Viola! TX became a fine grain 
>film! The difference was amazing, breathtaking!

Fred Picker's teachings had a huge effect on me (his practical
approach to testing and simplification has been a direct influence on
my path into digital printing).  I read his book and newsletters, and
did all as you describe (also used his modified Pentax spotmeter, a
great innovation).  I ended up using ASA 200 and HC-110 at 1:48 as I
did mostly landscape and wanted to pull even more most of the time.
Occasionally I would mark a roll for special treatment, but the dilute
HC-110 gave a very nice long scale negative.  No other film/developer
combination I tried came even close to what it would do (this
conversation is making me nostalgic <g>.



>Hmmm....I could afford the 5D. But, what would a couple of basic
>lenses cost me?

Well, mortgage your home, send your kids to work at Safeway...



>Is it just me or is it hard to find 11X14 paper nowadays? I really
>like that size and would use it a lot more if I could find it! 

I've only seen one paper in that size (something from Epson in
CompUSA), but I would use 13x19 anyway because I want some border
paper around the image.  I no longer trim off the borders and dry
mount.  These papers don't ripple like silver papers, and most don't
curl either.  They can be held flat and smooth by the window mat.  I
now hinge the top of the print to the back of the window mat, and
hinge the top of the window mat to the backing board.  This speeds up
the matting enormously.  The window is cut larger than the image just
like with a mounted print, but the mat is now pressing down on the
print's border paper, holding it flat.  It looks the same as a mounted
print and the signature is now on the print instead of the backing
board.  Dry mounting is one of the things I was happy to leave behind.  



>Can you recommend a good supplier?

Dourian and Aurora must be purchased from Red River, MerNat and MerSm
from Hawk Mtn.  I get PR from Shades of Paper.  VFA and Kayenta can be
found lots of places, just look for good prices, sales, etc.  Before
ordering any Kayenta, be sure to read the Paper Chase article about it
- there was a bad batch out there that may still be on vendors' shelves.


>what does K3 stand for? I know it refers to the inkset
> but not sure what it designates.

It refers to the three shades of black or gray (K, LK, LLK).  It
differs from the 2200 UC ink which has just K and LK.  The 3rd gray
ink is one reason for the nice smooth tones it produces.



>Thanks for the wealth of info Clayton and the nice sharing of 
>your early years in photography.

You're welcome.  It's nice to read your story as well and find kindred
souls with similar backgrounds.  There are quite a few forum members
who used Fred Picker's methods.  I've had a lot of nice email
correspondence over the past few years.

Regards,
Clayton


Info on black and white digital printing at    
http://www.cjcom.net/digiprnarts.htm