Printable View
Definitely a photogenic understory in that part of the world--though I'm still waiting for an Eastern diamondback digesting a pocket gopher...he'd probably hold still enough for the LF treatment.:)Quote:
Originally Posted by Corran
A question: as my mama said, de gustibus non est disputandum, but I'm curious if you prefer matte to glossy for these sorts of "busy" shots (or perhaps you just got a deal on those big sheets?)
I generally prefer matte (or semi-matte) papers. I just think they have more depth, and sometimes glossy looks chintzy. But on the flip-side, they can be very difficult to print on. Glossy seems more forgiving, especially in the shadows, which on matte needs to look a little thin out of the frame, even dry, to look just right on the wall.
I haven't thought too much about glossy vs. matte for certain subjects, though I could see an argument for, say, water or ice being a bit strange on matte, but everything has a bit of sheen once it's behind glass.
Another thing - my friend/mentor used to wax his matte prints. This is an old-school technique, and it looks amazing, giving the paper more of a semi-matte look. But it takes a looooong time and is quite a lot of work.
Very interesting...thanks for elaborating.:) I guess it's probably a stretch to say a matte print is analogous to what the carbon print guys produce, but I could imagine a bit of texture couldn't hurt conveying this fractal, high-detail landscape.Quote:
Originally Posted by Corran
I also like the ART 300 textured paper for some scenes, usually rock/sand/brick. I should try it with leaves...especially dead/fallen leaves with that crinkly texture.
A bit of a stretch -- carbon prints can have a wider variety of surfaces and looks than the array of silver gelatin papers of old...even with throwing in toning. When printed for raised relief and transferred to a glossy or smooth surface, one gets a glossy surface and even the relief is glossy. Quite different than any silver gelatin paper.Quote:
Originally Posted by CreationBear
Wonderful image, Byran. I have always favored glossy papers (fiber only -- with Portriga Rapid 111 being primo!) However, getting into platinum printing, I have come to appreciate the matte look -- and learned how carefully one must treat the shadows.
Thanks Vaughn! I imagine I might like other glossy papers if they aren't as, well, glossy as Ilford's. I wish Ilford made the semi-matte paper in other emulsions outside of Warmtone. Kind of the best of both worlds.
Back into the trails in the woods. This one took a couple of tries to bring the highlights and deepest shadows into a printable range. It's in my theme of choices at the juncture of two trails. (Calumet field camera with Schneider 150mm, Rollei i.r. film, f22, 10s, N-1 development. Scanned from print.)
[IMG]https://live.staticflickr.com/65535/...3dcd3e0f_c.jpg10-9N18ALFF by John Olsen, on Flickr[/IMG]
https://live.staticflickr.com/1757/4...7839b287_c.jpgWide Open Road. by Paul Fitz, on Flickr
Darkroom print.
fotospeed 8x10 rcvc.
4x5 fp4 in pyrocat hd 1+1+100
(linhof technika) 150mm, orange filter
Nice one Paul!
Thanks Dave. I did a 11x14 print without the top burn in and it is a little better. Can only scan up to 8x10 prints.Quote:
Originally Posted by Dave Wooten