Pherdinand
the snow must go on
hi.
I have a problem.
I really like how some fiber paper looks, esp. agfa record-rapid.
But i like them a lot when they are wet!!!
Once they dry, they get...well, dry.
Is there any way/trick to have the "permanent wet look"?
Analogy to woodworking:
Many wood surfaces look better when they are wet vs dry, if untreated.
But there you got a choice.
If you go e.g. for waterbased lacquer or polyurethane, you keep the "dry look" once the surface dries. So e.g. a matte polyurethane treated wood surface is visually almost indistinguishable form untreated dry wood surface. For poplar, maple and other light/white woods this is usually desirable.
But if you go for oil based treatment, it gets that "permanent wet" look which is preferred for walnut, and other strongly patterned wood species.
Do we have something similar to photo paper?
PS RC paper is not the solution, as it looks totally different
I have a problem.
I really like how some fiber paper looks, esp. agfa record-rapid.
But i like them a lot when they are wet!!!
Once they dry, they get...well, dry.
Is there any way/trick to have the "permanent wet look"?
Analogy to woodworking:
Many wood surfaces look better when they are wet vs dry, if untreated.
But there you got a choice.
If you go e.g. for waterbased lacquer or polyurethane, you keep the "dry look" once the surface dries. So e.g. a matte polyurethane treated wood surface is visually almost indistinguishable form untreated dry wood surface. For poplar, maple and other light/white woods this is usually desirable.
But if you go for oil based treatment, it gets that "permanent wet" look which is preferred for walnut, and other strongly patterned wood species.
Do we have something similar to photo paper?
PS RC paper is not the solution, as it looks totally different
Vince Lupo
Nobody's Mentor
If you're looking for a high-gloss look, what we used to do 'back in the day' was to dry the prints using a ferrotype plate. It's a highly-polished chrome plate that's used in conjunction with a heat dryer. It did 'boost' the glossiness of the paper, but not sure if it will necessarily accomplish what you're seeking.
Erik van Straten
Mentor
The glossy Ilford Multigrade FB is the best "fiber baryta paper" (as it is called nowadays) that is available since the Adox MCC 110 is no longer there. The Adox paper had a very nice gloss without using the very difficult ferrotyping method. The Ilford FB "glossy" paper is less glossy, but the deepest black is truly deep black, easy to achieve with split-grade printing, drying on a large classic Büscher and flattening on a Seal press.
Erik.
Erik.
Corran
Well-known
An old trick I was taught but is a LOT of work - use beeswax and buff the print. Getting it smooth and even will take you a long, long time. At least it did for me, the one time I did it, and I said to heck with that.
Second option is to get semi-matte paper. Only available in Ilford's Warmtone papers. It has a bit of a wet but not glossy look. It depends on what you really are looking for.
Second option is to get semi-matte paper. Only available in Ilford's Warmtone papers. It has a bit of a wet but not glossy look. It depends on what you really are looking for.
Pherdinand
the snow must go on
thanks guys.
It's hard to describe what i am looking for. And maybe not possible.
Just consider this: When you handle a wet FB print, it looks different than when it is dry, no matter whether high or semi gloss or what it is officially.
So i am trying to figure out whether i can keep the "wet look" by some trick.
I might give the beeswax trick a try.
Adox 110 is nice, i have some sheets still. Not exactly what i am looking for though.
It's hard to describe what i am looking for. And maybe not possible.
Just consider this: When you handle a wet FB print, it looks different than when it is dry, no matter whether high or semi gloss or what it is officially.
So i am trying to figure out whether i can keep the "wet look" by some trick.
I might give the beeswax trick a try.
Adox 110 is nice, i have some sheets still. Not exactly what i am looking for though.
Particular
a.k.a. CNNY, disassembler
Some commercial printers like digital silver put a protective coating on their inkjet prints. I read somewhere that they use renaissance wax, which may or may not be the true. I have prints from them on semi-gloss/pearl type papers (not matte) and I can't tell much difference in the finish. I tried to rub renaissance wax into some of my own prints, and had the same difficulty getting an even finish, and didn't feel it was worth the trouble. I think with the application of heat and some practice and the right soft cloth it will not be that hard. In my case it did affect the look a bit. Especially with matte papers it makes them semi-gloss. Each paper reacted differently, so you would need to experiment until you find a combination that works for you.
retinax
Well-known
hi.
I have a problem.
I really like how some fiber paper looks, esp. agfa record-rapid.
But i like them a lot when they are wet!!!
Once they dry, they get...well, dry.
Is there any way/trick to have the "permanent wet look"?
Analogy to woodworking:
Many wood surfaces look better when they are wet vs dry, if untreated.
But there you got a choice.
If you go e.g. for waterbased lacquer or polyurethane, you keep the "dry look" once the surface dries. So e.g. a matte polyurethane treated wood surface is visually almost indistinguishable form untreated dry wood surface. For poplar, maple and other light/white woods this is usually desirable.
But if you go for oil based treatment, it gets that "permanent wet" look which is preferred for walnut, and other strongly patterned wood species.
Do we have something similar to photo paper?
PS RC paper is not the solution, as it looks totally different
Maybe some sort of lacquer would work on paper, too? I doubt water-based would work though, the gelatine would swell.
Also ask around where painters shop. Our typical fixation spray for ochre or coal drawings is matte, but maybe there's a glossy option?
brbo
Well-known
Me too!!!
I've bought the Tetenal Mirasol that should act as a glazing agent when used in 1:40 dilution and as wetting agent when used at standard 1:400 dilution. I haven't tried it yet though...
esearing
Established
Some of the problem is dry down darkening the image or mid to dark tone contrast reduction during drydown. Some of it can be fixed with a quick 30 second dip in reducing bleach, local bleaching and rinse, or a change in filter grade. If you go too far bleaching you can redevelop using your normal developer at about 1/4 strength for a bit more control. Once you learn to have the slightly under done look when wet you no longer have to do this. 10% less exposure is the general rule of thumb, or some people pull it from the developer early but that tends to lose highlight detail.
A print also looks different under glass vs open air as does the lighting you view the print in. Pre-flashing with a #4 or #5 filter can help separate mid tones as well as choice of developer. Ansco 130 has a sharper feel than Ethol LPD which has a softer gradient and flatter tone. Some papers benefit from a selenium toner bath too but the Ilford products I use have an unfavorable color shift. the New Ilford RC portfolio pearl finish paper is really glossy to my eye, but I don't care for the plastic feel. The Bergger VC glossy papers are heavier and richer in silver so have a bit more depth and sheen. Drying flat vs hanging has a very subtle difference too.
A print also looks different under glass vs open air as does the lighting you view the print in. Pre-flashing with a #4 or #5 filter can help separate mid tones as well as choice of developer. Ansco 130 has a sharper feel than Ethol LPD which has a softer gradient and flatter tone. Some papers benefit from a selenium toner bath too but the Ilford products I use have an unfavorable color shift. the New Ilford RC portfolio pearl finish paper is really glossy to my eye, but I don't care for the plastic feel. The Bergger VC glossy papers are heavier and richer in silver so have a bit more depth and sheen. Drying flat vs hanging has a very subtle difference too.
Erik van Straten
Mentor
I've noticed that with Ilford MGFB glossy that when the prints are wet, the deepest black seems to be only dark grey, but when the print is dry, the blacks are truly black. In the old days I noticed with most papers the reverse. So try Ilford MGFB glossy.
Erik.
Erik.