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d.s.
6-Jan-2004, 18:39
Let me start with.. So far I've spent over $150.00 and I still haven't found the paper I'm looking for.

It may not exist. So here is what I want..

I want an 11x14, fiber, double weight, smooth, non glossy, variable contrast,(I already have a new set of Kodak filters that I'de like to be able to use.), no texture, neutral tone paper, that can be air dried.

I would like to use Dektol developer since I already have a bunch on hand.

I live in an out of the way place and have to have every thing shipped in and usually deal with companies in NYC for the convience of one stop shopping.

Any suggestions?

dee

wfwhitaker
6-Jan-2004, 19:15
OK. So what have you already tried, so we know not to go there?

Steve Feldman
6-Jan-2004, 19:35
d.s.,

Opinions are like noses - everyone has one. So, here's mine.

I've tried many, many papers over the last 20 years. Some, unfortunately, have been discontinued. Of the available choices that fit your criteria (in no particular order): Ilford Fiber Base VC matte (IMHO - the glossy surface tends to make my prints "look sharper"); Forte Elegance fiber matte VC; Agfa Multigrade matte; Seagull (it that still made??; Arista FB VC matte (This is a "house" brand at Freestyle Photo in Hollywood, CA - re-labeled Ilford - a good deal too - I use it a lot). I also highly recommend Freestyle Photo for mail order. (No - I don't work there).

B & W papers are very subjective. Some printers like one paper for all their work - period. Others may prefer one type of paper for a particular subject matter. Again, it's just opinions. I like warm tone papers for people, cold tone for metal objects (cars, machinery, etc.) and neutral papers for landscapes. But I'm not married to any combination. I'm pragmatic.

I would suggest that, if you're just getting started in your paper search, pick one - and only one paper. Use it to print every subject you shoot. Hi contrast, low contrast, hi key, low key, portraits, landscapes, shinny cars. The gammut. If you like it's performance, don't change. Or try another. But don't jump around brands every print 'cuse you'll go nuts. You'll easily find one that works for you. It's out there. Keep looking.

Chad Jarvis
7-Jan-2004, 04:36
Agfa Multicontrast Classic Matte Finish. Unfotunately it has a wee bit of texture but otherwise fits the bill.

d.s.
7-Jan-2004, 05:18
First I bought a 25 sheet pack of Polymax Fine art DW glossy, (thinking that if I let it air dry that it would be sort of a mat finish.) then decided that wouldn't be enough to play with and bought a 50 sheet box. Then I tried it... curley,curley,curley, and still glossy. I also have a 25 sheet pack of Bergger NB that I haven't opened yet. Any idea what it looks like?

I want a smooth textureless finish without shine. I plan to tone with selenium.

dee

Henry Ambrose
7-Jan-2004, 06:43
The Bergger is nice and I think will have the finish you want. I've used just a small amount of this as I prefer the VCCB warm/neutral version of this paper. The glossy versions of these papers are called glossy but are really more semi-gloss. The matte surface Bergger is very flat, quite dull. I don't know about the color of the NB when it is toned, it is cool to blue before toning.

Fiber papers will curl as they dry, usually the faster they dry the more they curl. I use a dry mount press to flatten prints. Used ones are not too expensive.

James Phillips
7-Jan-2004, 06:56
Hi Dee,

My apologies for dovetailing onto your question ... but I do not have a recommendation for your needs in a fiber based paper. I would also would like an opinion on a paper.

I like the Kodak Polycontrast II paper in the "E" Lustre finish. Would anybody be able to recommend a fiber paper that would offer the same texture or finish as the Lustre "E". Warm or Cold tones ...or perhaps both... it does not matter to myself at this time.

Thanks,

Eric Rose
7-Jan-2004, 08:30
You might want to give Forte a try. Email Bruce Barnbaum as he uses it a lot and has very definite opinions on B&W papers. At least his opinions are based on experience. His email address is barnbaum@aol.com If you aren't familiar with him check out his website at www.barnbaum.com

Good luck with your quest.

Eric

Gem Singer
7-Jan-2004, 10:06
The paper which most closely matches your description is Ilford Multigrade IV MGF .5K. It is a double weight, fiber base matte surface paper. It is available at B&H, in New York, in 10 sheet packages. After you try it and decide that you like it, you can order it in 50 sheet boxes. It is useable with Dektol developer, but I suggest that you eventually begin using liquid Ilford Universal PQ Developer with that paper. It is not expensive, and it is more convenient to use than mixing Dektol from powder. Ilford Multigrade paper will work just fine with your Aristo V54 cold light and Kodak VC filters.

I live in the Dallas/Ft.Worth metroplex, and I order my film, paper, and chemicals, by phone, from B&H, in NYC. Within 3, or 4 days, the item is delivered to my front door. I haven't seen the inside of a photography store in the past five years.

Mark_3632
7-Jan-2004, 10:24
Give the Brilliant MC paper a try from Calumet. It split tints well is cold but it does have some texture. Not a lot. I think it is a great general purpose paper.

Pat Kearns
7-Jan-2004, 11:28
Here is another magic bullet for your arsenal. Luminos Flexicon VC comes in Fiber or RC, Glossy, Matte, & Semi-matte. There is a warm tone version as well. Develops in any paper developer can be obtained from B&H and other big name mail order firms. You can purchase it from Luminos directly if it is unavailable at retailers. Their web address Luminos.com. lists all products.

James Venis
9-Jan-2004, 15:05
(You may already know this, but just in case:) "Glossy" doesn't mean the same thing in fiber-based papers that it means in RC papers. In too many viewing situations, glossy RC prints look like they have an overly hard and overly reflective layer of plastic laid over the print. To me, glossy fiber prints--while still sharp--have a pleasingly soft glow to their surfaces. Some chemistry and drying decisions can have an effect as well. You can ferrotype the prints while while drying for a hard gloss, or you can let them air dry for a the softer look I mentioned. And don't forget that you can also apply waxes and different kinds of lacquers over the surface of dry prints to change the surface appearance.