Ansco 130 paper choices?

[eli griggs]

Tonight I was able to mix up a gallon of Ansco 130, from the Darkroom Cookbook, (using PH+), so I could go ahead and use some of the 100 grams of Glycin I received 2 weeks ago, and freeze the rest. I have yet to buy FB paper and I'd like to receive some recommendations on papers for this developer.

I've used Ilford Gallery and Oriental (in the Blue box), but that was back in 1990 and before. I've read some good things about J&C's Nuance papers, but thats about it.

What's your opinion?

Cheers

 

[Donald Miller]

Nuance is a good paper. JandC Polywarmtone is a good paper. Kentmere Ketona is a good paper. I have used and continue to use each of these. Ketona is not as glossy as the other two...it has a surface reminiscent of what Azo had. I have not used them with 130. I usually use Amidol for my fine prints.

 

[Ole]

I've used Ansco 130 with just about every paper in existence, and can't think of a single one that isn't capable of giving great results.

I've also tried some papers I had "left over" from the 1990's (and some from the 1980's too), and even most of those were good. So pick a paper - any paper - and get printing.

Personally I like Fortezo Museum and Bergger "Prestige". But that's only a personal preference. I use Ilford MG IV FB (both warmtone and neutral) when I want a VC paper.

 

[joefreeman]

Donald is right, Kentona's surface isn't as glossy as other papers. It's labelled "glossy, not glazed".
I was really unhappy with it, so I emailed Kentmere as asked if they had any suggestions to make the surface glossier; they did:

"The standard way to get a high-gloss result is to use a glazing drum. This is a standard piece of kit available from many second-hand suppliers. It is a heated, chrome-plated drum, where the print takes on a glass-like gloss if dried face down on the drum, or Semi-Glossy if dried instead with the emulsion facing the blanket.

Without this kit the best way to achieve a higher gloss is to pass an air dried print, emulsion down, over boilng water (kettle, pot etc.). This flash-melts the very top surface and improves the gloss.

It is also a great technique to render minor retouching with dye (spotting etc.) almost totally invisivle."

I'm not crazy about the look of ferrotyped prints, since it hides the physical grain of the paper. I tried the steam meathod, It works great. The surface was just as glossy as Nuace.

 

[don sigl]

Forte papers respond well to Ansco 130. I'd use the Fortezo and the PWT

 

[eli griggs]

Thanks for the info everyone. It's a big help and any other info or tips are welcomed.

Joe, I have a print dryer, a shiny oval drum, heated, with canvas sections that 'snap down' over the print. It was part of a multi-item buy from eBay earlier this year and I still need to clean or replace the heavy canvas before using or even ordering papers. The metal is perfect at last inspection.

When using this type dryer with FB paper, will a back coating of glycerin solution be of benefit and will such a solution degrade the archival quality of a fine 'arts' print?

Will it affect how the print responds to dry mounting?

Cheers

 

[Ole]

I use my drier with the image side up - against the canvas. I don't have the glazing plates, so they won't get shiny no matter what.

The canvas is easy to remove for washing, but can be a little difficult to get back on. Putting it on when still wet is easier, I finally discovered...

Anyway it dries papers flat, unless they've been wet a little too long. You'll learn just how much is too much yourself - there ate too many different paper bases to give a general answer. No extra chemicals are necessary.

 

[joefreeman]

Eli, I really don't know. What you read in my other post about the print dryer wasn't from my own experiance; I had copied and paste an email from Kentmere.
Can't comment on the glycerin either. There are a score of conservator's phone numbers you can find online though. I'd suggest giving some a call, I've found most really enjoy sharing their knowledge.

 

[Gerald Koch]

Isn't this a bit backwards. One selects a paper because of the papers characteristics; surface, tone, etc. Then one selects a developer for that paper.

 

[eli griggs]

Isn't this a bit backwards. One selects a paper because of the papers characteristics; surface, tone, etc. Then one selects a developer for that paper.

I don't think so. Having taken a decision that I want to experiment with this developer, I am seeking out the best information/opinions of experienced photographers here at APUG to help me take a decision on just what papers I will try first.

Having used a number of developers/papers prior to late 1990, including amidol, I have some idea of areas I would like to explore, upon reentering the darkroom to produce 'fine' prints, for the first time in 16 years. Any final decisions taken on film/developer/paper/developer s.o.p.(s) will come later on.

Relying on the positive feedback/reports and requesting fresh opinions of others does not imply a lack of will to discover the best setup for my situation/style, by trial and error, only a desire to glean from the experiences of photographers the sweet fruits of success they have willing shared here on this forum. Sharing is after all, the primary purpose of forums such as these.

Whether they are to my taste, are good fits to my purposes, are questions I will quickly discover down the road a-bit.

By-the-way, what is your opinion about this developer and papers for it?

Cheers

 

[Gerald Koch]

Glycin developers, like Ansco 130, are capable of producing very nice gradation and I think that this should be the reason for using them. Some people select them solely because of their reputed long life and tend to overwork them.

The type of photography that I do does not require them and I use a more economical MQ developer which is discarded after use. I therefore cannot give you any advice other than to select materials that are consist with the type of photography that you do.

As far as cost. the most important concern is first one's time, followed by film and paper. The cost of chemicals is of the least importantence.

 

[MMfoto]

I use the Photographers Formulary's version with Bergger VCCB. I've seen shadow contrast with 130 that I couldn't get out of other developers, if not quite the print color I like.