If any light is able to get under or come back through the Gampi, the blacks are weak, but the instant the photo is firmly attached to the white support paper, they drop. This is also when fine details appear.
Is it possible that you're using a fairly high UV blocking ink definition, causing issues with shadow separation while maintaining tone in the highlights? I was playing with some curves earlier today and settled on the following for Van Dyke Brown when making some negatives for @Cor:here's the curve used in Capture One on the forest scene.
You could use a scanner or a digital camera (or even the camera on your phone) as an alternative. It may not be quite as good as a proper densitometer, but it almost certainly beats a visual adjustment process.I don't have a densitometer
If you are interested in Japanese papers, try Ozu Washi in Tokyo...been there since 1653 and there's no North American middleman. Five days after ordering it arrives at my door. https://ozuwashi.com/Very interesting - plausible, too, but it must be magic to see it happen. Exploring these Japanese tissue papers is something I'd like to do one day (I sound like a stuck record saying that, hah!)
Is it possible that you're using a fairly high UV blocking ink definition, causing issues with shadow separation while maintaining tone in the highlights? I was playing with some curves earlier today and settled on the following for Van Dyke Brown when making some negatives for @Cor:
View attachment 412099
Note how there's a similar inverse-S shaped curve, but it's a bit steeper in the midtone region. In my experience, having a very flat midtone region can produce/exacerbate problems with posterization.
In a digital negative, all you need is enough density to produce paper white at the exposure that gives dmax for the process. You can make negatives with higher density, but it tends to result in the kind of relatively extreme curves you've shown above.
You could use a scanner or a digital camera (or even the camera on your phone) as an alternative. It may not be quite as good as a proper densitometer, but it almost certainly beats a visual adjustment process.
Yeah, similar here. Much of the time that's not really what you want. Anyway, if you're happy with it, no need to fix it eh!My Epson P600 has the potential to make near bulletproof negative densities
Thanks, that's interesting! I used to prowl in my local arts supplies store, but they didn't really have any paper like this. There's a few kinds in the GMW catalog, but kind of cost-prohibitive and the selection is narrow. The Ozu shop looks really nice!If you are interested in Japanese papers, try Ozu Washi in Tokyo...been there since 1653 and there's no North American middleman. Five days after ordering it arrives at my door. https://ozuwashi.com/
Pretty sure I used the Darker setting, no additional density via the slider, and added 20 yellow in Advanced B&W mode for some inexplicable reason.Yeah, similar here. Much of the time that's not really what you want. Anyway, if you're happy with it, no need to fix it eh!
Might be some helpful tips here: https://www.mikeware.co.uk/downloads/ArgyroWork.pdfWelp started making some step wedges this week. But I’ve been struggling with uneven coating. Worse than any of the other methods I’ve worked with, just can’t quite seem to get it smooth across the whole page
Might be some helpful tips here: https://www.mikeware.co.uk/downloads/ArgyroWork.pdf
Have you used this paper (Cot 160) for any process other than Argyrotype? I faced some problems initially when I made FerroBlend prints on this paper which I suspected to be due to some paper additive. Subsequently, I have been giving the paper a short wash in dilute Citric Acid solution, clearing the acid in normal water, drying and using it successfully to make FerroBlend and Kallitype prints. Has worked beautifully so far.
Have you used this paper (Cot 160) for any process other than Argyrotype? I faced some problems initially when I made FerroBlend prints on this paper which I suspected to be due to some paper additive. Subsequently, I have been giving the paper a short wash in dilute Citric Acid solution, clearing the acid in normal water, drying and using it successfully to make FerroBlend and Kallitype prints. Has worked beautifully so far.
I’m still getting some unevenness at the edges of the sensitizer where I suspect it crystallizes a touch
We might have a winner, coated and processed the paper today and it is WILDLY better. Will add pictures when dry.
I’m still getting some unevenness at the edges of the sensitizer where I suspect it crystallizes a touch but the overall print is super consistent now.
As for the edges… maybe a tiny bit more tween to help with absorption?
That's surprisingly slow for an argyrotype?a 19 minute exposure
Thanks a bunch & hope your 2026 goes great as wellThe step wedges and the print both look great! I hope you have great printing in 2026!
Thanks! Using Barrina UV LED light bars, so maybe that has something to do with it...That's surprisingly slow for an argyrotype?
Beautiful print!
...and using a heavy 3/8 inch thick 16x20 inch piece of glass to contact print with.Thanks! Using Barrina UV LED light bars, so maybe that has something to do with it...
Thanks.Real nice that.
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