What are Master Printers using for enlarging paper?

[bmikiten]

I've always believed that buying fine prints from known artists was an important part of being involved in photography. While many have passed away (Strand, Adams, Weston(s), etc) there are still those producing prints on a regular basis including Sexton, Ross, Loranc and Cole Weston to name a few. Did they all just buy boxes and boxes of paper and freeze it? I recently acquired a few prints from the above and they look very similar to print tonality from 20 years or more ago.

Inquiring minds....

[Michael R]

John Sexton’s main paper was Kodak Polymax Fine Art FB. When Kodak stopped making B&W paper in 2005 he acquired and froze a large stash. At the time he hoped to keep using it for as long as possible but there were no guarantees regarding how long it would keep. It’s been a while since I’ve corresponded with him so at present I can’t say for sure whether or not he’s still using it. I suspect yes but you’d have to ask him.

I asked George Tice about this a few years ago. At the time he was using mostly Ilford Multigrade but in the old days of course he used various papers. For example I have one made in 1974 on Brovira.

Mark Citret used a variety of papers including a lot of Kodak Polyfiber A (he is well known for these “vellum” prints) and like John, he has/had a stash but I am not quite sure if he is still using old papers or has moved on. Some papers could remain viable for a relatively long time with careful storage but eventually everything goes bad. You could always contact him if you’re interested.

[Alan9940]

Don't know if he's still using it, but I read several years ago that Bruce Barnbaum was using and recommending Foma Fomabrom Variant III.

[Corran]

I recently acquired a few prints from the above and they look very similar to print tonality from 20 years or more ago.

Inquiring minds....

Why wouldn't highly skilled practicioners be able to make similar-looking prints with any material they used? Surely one can fine-tune their negatives for newer paper, if desired.

[paulbarden]

Have you seen prints made on Fomatone Classic? Those could easily be mistaken for photographs made on Agfa Portriga Rapid.

[jnantz]

this might be another thread,but are any master printers making their own paper, or commissioning cottage-industry emulsion makers to make silver gelatin papers for them?
it seems as old standards become more scarce (and / or go bad because of age ) might be something to happen if it hasn't happened already .... not paid commission for a master roll
but 10-30 sheets of paper made at a time by a regular person ... I remember ages ago Ron Mowrey made his own silver chloride paper and gave it to people to print on, like that ...

[bmikiten]

Why wouldn't highly skilled practicioners be able to make similar-looking prints with any material they used? Surely one can fine-tune their negatives for newer paper, if desired.

I think that is my point. I have two prints of the same image - both from someone I would consider to be a master printer and one is printed on (I believe) Oriental Seagull and the other on ILMG. Both are very different in mid-tones and deep blacks. Now, you can certainly argue with great success that prints vary over the years but it is what sparked my question...

[bmikiten]

Have you seen prints made on Fomatone Classic? Those could easily be mistaken for photographs made on Agfa Portriga Rapid.

I've not seen the velvet but it looks interesting.

[sanking]

this might be another thread,but are any master printers making their own paper, or commissioning cottage-industry emulsion makers to make silver gelatin papers for them?
it seems as old standards become more scarce (and / or go bad because of age ) might be something to happen if it hasn't happened already .... not paid commission for a master roll
but 10-30 sheets of paper made at a time by a regular person ... I remember ages ago Ron Mowrey made his own silver chloride paper and gave it to people to print on, like that ...

I don't know anyone doing that today, but some 15-20 years ago Michael Smith had some Azo type ( silver chloride) paper made by a fairly well known emulsion maker, and sold it as Lodima (= emordnilap of amidol). I suspect that Michael consulted with Ron Mowrey re: silver chloride papers.

It is not terribly difficult to make your own silver gelatin emulsion. You can a lot of information on the subject at www.thelightfarm.com of Denise Ross. Denise also published a book on the subject in the Focal Press series of Routledge, The Handmade Silver Gelatin Emulsion Print.

Sandy

Sandy

[paulbarden]

I've not seen the velvet but it looks interesting.

Fomatone Classic is VERY different from Ilford Warmtone, which used to be my default paper. But I expect to print all my work on the Fomatone from now on. Its so similar to Portriga Rapid, which I miss terribly.