The answer and bad news from
Helena Zatloukalova
Sales Manager
Export Dpt.
FOMA Bohemia Ltd.
""Paper "532" is at the end of production...
Paper "131" is being produced...""
I'm going to ask what will happen with 132.
131 is very nice, but at this time I prefer the missing glance of "2" .
If there is " no reflection coming back" as Mihac said before, some extra coating the final pic may help me.
As a test, you can try a synthetic furniture polish. Undoubtedly thus is frowned upon by the "experts", but in my experience it works very well to seal a print from the environment and to build up a gloss exactly to your preference through repeated coating and buffing.
Some experiments have to begin next :-)
I'm a bit confused now and have slowly to decide either buying my last roll of 532 or directly continueing with 131 or 132 instead.
I believe that Renaissance Wax may be ok for use on silver gelatin prints, but as ever, test first! Paul Strand was quite notorious for using a litho varnish or similar to adjust the sheen of his prints - which apparently is a bit of a conservation headache!
I'll ask my wife about Paul Strand's varnish. The recipe is in the back of the older editions of Adams' "The Print".
Despite my love for Strand's work, it never seemed like a good idea to me. Think of all the varnished Old Master paintings that have turned brown over the years. And keeping the dust off while it dries...
I know about Tetenal Photo sprays which could be another possibilty to bring some shine to the surface.
I will order some 132 sheets to get an idea of the surface.
Maybe there is not much to do.
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