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Just a shameless plug for an upcoming show and a bit of Harmon ass kissing
BUT
The new Harmon Art 300 is a wonderful paper for murals, just finished four for the show... easy to use , wonderful range of tones, accepts chemical toning easily...
a beautiful compliment to Ilford Warmtone Glossy - my other go to paper.
And both from the same company... I am going to try to expose this in my Lambda and if it works what great possibilitys.
What color do you tone meat?
Bob,
I made several 11x14 prints on the Art 300 paper, and got weird staining/ split toning that ruined almost all the prints I toned. I was using Agfa Viradon toner. My test print looked great, so I ran a bunch through, storing them in a water bath until they were all finished toning (1 minute each). When I put them in the archival washer, I saw the weird blue stains and split toning. Any idea what might have gone wrong?
Jay - this is strange,,, when I first printed this series I too toned a bunch of prints on this paper to bleach sepia,, my usual method was to put the toned prints in a holding bath like you describe. After the sepia stage I selenium tone.
Horrors on Horrors my prints kept on toning and some split wierd like you say.
next round I was very careful in the toning stage and did not put them in a holding tank but put them in a wash right after tone, continuous flow and had no problem.
I will end up with about 12 murals and I am going to be very careful the day I tone them.
I have never seen this happen with other papers I use.
I have no idea , other than emulsion sensitivety issues which address another matter..... I believe (not proven) that some of the silver paper makers are increasing the speed or sensitivity so to speak , of their best papers... This is to make them viable in Chromira and Lambda exposing units , which would open many doors of usage in the main markets of the world.
Have you noticed the contrast explosion in the fix that happens with this paper and Ilford Warmtone.. I do not think this happens with most other silver papers.
As I state I have no proof but I do think this may explain some of the wierdness, this paper just reacts a bit different.
Quote:
Originally Posted by Jay DeFehr
Slight bleach then sepia for highlights , gold for upper midtones which puts a peach colour , then selenium strong for the lows.
At least thats the plan.
Quote:
Originally Posted by Kirk Gittings
Thanks, Bob. I suspected it had something to do with the water holding tray, and the floating paper sticking together there, but it's very hard to explain. I will certainly take great care in toning from now on.
Jay , I think you must wash more after the tone is applied than with other papers,, it was a strange screwup for me
Quote:
Originally Posted by Jay DeFehr
Agreed. Rinse well between toning steps and realize that certain toners react fast and might require shorter times and/or more dilution than you are accustomed to. Helps to practice on a trial version of the print first. It's a very cooperative paper once you get the
hang of it.