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Christian Olivet
14-Oct-2003, 23:57
I have been making some Ziatypes from Pyrocat negatives with encouraging results. I was wondering if switching papers would improve image quality. So far I've used Cranes Platinotype. I like the image quality but would like a little more snap and also I would like to see the image floating on the surface of the paper instead of deep inside the fibers. I've read comments of some people saying that COT 320 is the same as Arches Platine and that they could make better prints on it. Have you had a similar experience?

Jorge Gasteazoro
15-Oct-2003, 00:21
Yep, I cannot make Ziatypes work for me but my DO prints improved inmensly by changing papers. Like you I found prints made on platinotype flat and uninspiring, as a matter of fact many people think that whatever Arentz is using or being given is not the same paper we mere mortals get...

Clay Harmon sent me a beautiful 5x7 print which I beleive was made on COT 320 and I have to say they paper is gorgeous. Nice thick paper with a smooth feel, I would say order a few sheets and give it a shot, I think you wont be disappointed, certainly far better than platinotype.

Roger Hein
15-Oct-2003, 04:57
I started with Zia and had some great success with the process. Since it is a POP process humidity plays a very important factor - more so than in the standard DOP process. When things go right with Zia the results are really excellent. Try to maintain a constant humidity in your workspace and do try other papers - that's part of the 'fun' in any alt process.

Have fun!

Cheers, Roger...

Don Bryant
15-Oct-2003, 09:04
Both Cot 320 and Arches Platine work very well with Ziatype prints. These papers will produce a snappier and brighter print than the Cranes will. Although it is odd that Sullivan & Weese don't recommend Platine for Ziatype in their book The New Platinum Print.

Essentially the Ziatype process is like a piece of plastic. it is very flexible. You need to print with it for a while to starting getting a feel for the variations of the process. After a while the drop mixtures will become more intuitive when decisions need to be made about print contrast and color.

Humidity is important, I use a mylar sheet placed behind the paper in the contact printing frame that hopefully stabalizes the RH of the paper while printing.

Good luck,

Don Bryant

Christian Nze
15-Oct-2003, 16:36
I use both paper with good result. I think the choice between this two paper is more a question of taste.

You should try working in a more humid lab, it wll help the solution to stay more in the first fiber instead of going through the paper.

Do you use Tween 20???

Peter C. McDonough
15-Oct-2003, 19:21
Hi Christian, I have been using Soccorro paper from Bostick&Sullivan with great results. I find that living at sea -level where the humidity is often 80-100%, I need a paper that is a little harder than Platinotype so the emulsion doesn't sink in too fast which causes flat tonality. I have printed everything from pure palladium to pure platinum on the Soccoro with consistently good results. The secret to the Ziatype process is in the humidity. Best of luck. Peter

Christian Olivet
15-Oct-2003, 21:27
Thanks for the responses, I will try COT 320. Regarding humidity... I coat and let the sheet of paper dry while I am making a print. When I come back into the darkroom that sheet of paper is dry on the surface and ready to be exposed. I live about a two blocks from the ocean and although I have never checked the humidity, it seems to me it is very high and very constant (Hawaii, you know...) I have been printing in the sun and sometimes ruined some negatives due to too much baking temperature. I will try open shade and will also try mylar in between the negative and the paper as well as in the back of the paper.