Warm Paper Used By George Hurrell?

[Drew Wiley]

No. I just recall certain things black and white wise, like developing, retouching, and the nature of his long term employment with Hurrell, and lighting setups. A certain amount of 11x14 format was used in the studio for its ease of retouching. A lot of basic smudge pencil technique by someone else on the staff. I suspect several films carried a retouching tooth back then. He mainly wanted to show me a quantity of 5X7 Kodachromes of famous celebrities, as well as 5x7 Devin tricolor camera negs and discuss the possibility of how to best print them. Since these were on dimensionally unstable acetate and no longer matching in exact size, the only realistic answer was to scan them, digitally snap to size, and go from there. I would have loved to have a crack at printing some of the Kodachromes. But he was worried about that raising some kind of dispute over rights, since Hurrell simply gave them to him without any formal paperwork.

[neil poulsen]

I sure appreciate all the responses. The area that needs spotting is in a totally darkened area on the print. So, I'm thinking that it shouldn't be too difficult an area to spot.

[Ron McElroy]

I cannot add much to this conversation, I started printing in 1973 and at that time I used primarily Ilford Ilfomar, and Kodak Ectalure they were both warm papers and quite beautifu.. The first job I had my boss was a silver printer and he showed me all his work from the 50's and it was on Cyckora and I must say quite beautiful. Is it possible Hurrell was making Pt Pd prints with a warm bias?
I started using Portriga in the 90's .

I was lucky to purchase all the out of date Cyckora one of our photo stores had in the late 70s. I loved the tone!