Poll: Color Paper Use

[826257]

Over the past 3 years, what was the total dollar amount of Color Paper you used.

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You will find an expert on this site who prints color yearly, for a few days; talks daily, for many paragraphs.
And you won't know, sadly, that he was just a 30year clerk at the door store.


Bernice, the very former lab owner who supervised those big Grand Central dye transfers once got into quite a nasty debate with me over the progress of C-printing, so I called his bluff. And seeing a sample portfolio in person, he couldn't even distinguish which were Cibas and which were Fujiflex Supergloss C-prints. In fact, he just plain shut up at the richness and quality of both. C-printing has come a long long ways, at least if someone takes the extra effort to fine-tune the hue and contrast variables like was routinely done for Cibas and especially DT's. It's not the medium at fault; it's the shortcuts.

this was the 15minute St. Regis meeting -- which has provided Mr W with a hundred hours of phantasy.

[Tin Can]

$zero$

[Drew Wiley]

I'm just about to jump down that rabbit hole again. All out.

[Wayne]

Over the past 3 years, what was the total dollar amount of Color Paper you used.



I will be also asking about color film.

why do you ask? I spend less than 1500, but if I could justify it and find the money I would gladly spend a lot more.

[bob carnie]

I have switched completely to inkjet papers for commercial colour work, I specialize in tri colour gum over palladium prints now and have no intentions of going back to RA4 . un less of course the manufacturers changed the composition from dye coupler to pigment coupler.

[Drew Wiley]

Bob, you'd be surprised just how many artist's pigments are actually dyed inert particles (lakes), kinda like flavoring eggplant with something else. But pigment couplers? They'll be megacities on Mars first. But that's where all the really permanent pigments are found anyway, and it's not much of a selection.

[bob carnie]

Bob, you'd be surprised just how many artist's pigments are actually dyed inert particles (lakes), kinda like flavoring eggplant with something else. But pigment couplers? They'll be megacities on Mars first. But that's where all the really permanent pigments are found anyway, and it's not much of a selection.

Hey Drew- I am kind of interested in grinding my own pigments to make my own watercolour pastes, not sure how far up the chain and how costly or actually practical to do, but something
I am keen on these days. What are your thoughts on this and if you were me where would you go to investigate options of doing this, equipment, sources of pigment, and while on the subject
what do you think of the Blue Wool rating system?

[bob carnie]

And apologies to the OP if I have taken off course and will reinvent in another thread if so.

[Drew Wiley]

Oh Gosh, Bob... I don't know if Bill Nordstrom is still alive, possibly. I don't think Richard Kauffman is anymore. Somewhere in a pile of whatever I have some of their process color dry pigment formulas. Proper dispersal can be tricky, though probably far less so with gum than color carbon. And fooling around with yellow cadmium powder is not a good idea, if you can even get it. That's why they went to a yellow mono-azo lake instead. I remember that much. A number of people did work with powders the old ceramic mortar and pestle mode. Andy Cross in Australia uses a powder process set, but bought it in bulk a long time ago, so might not even know the exact composition. And you no doubt already know some of the other usual suspects. But I don't want to derail the thread either, so will stop there.