Fiber vs RC

[spijker]

No carbon transfer experience here. I stick to the regular printing process with some toning. That's hard enough.

 

[Andrew O'Neill]

I've made some nice prints on fibre and I've made some nice prints on RC. I like them both. My preference is fibre-based papers, though. It has a certain feel/look to it that I cannot explain.

 

[brian steinberger]

I was thinking, shouldn't today's RC prints last longer than all these inkjet prints being produced now?

 

[kreeger]

... I wonder if anyone has compared the feel, weight etc with Ilford RC Portfolio Pearl paper which is close to FB's weight, surface sheen etc...

Yes, I have a box of MG Portfolio in Pearl. For testing, with the same full range negative, I printed on it and MG Classic FB Glossy last month in order to make a future buying decision on paper.

My observations
So I like the thickness of the RC Portfolio. I've not weighed the paper, but it feels heavier to me than it's FB DW counterpart. It is very easy to handle in the tray. I can't say that I like it better that MG Classic FB Glossy, it's different. For my buying decision I will go with MG Classic FB Glossy, it possesses the tonal palette that more closely matches my work and my negative development.

Further testing - I also have the MG FB Art 300 paper in 8x10. I think that this paper for my work would be a nice addition for a larger print, 11x14+ in size. In 8x10 I think the surface texture would distract from the subject. If they made it like Classic FB Glossy, it would be my favorite paper out right now.

 

[Luckless]

I was thinking, shouldn't today's RC prints last longer than all these inkjet prints being produced now?

That "Depends". Which inkjet technology? And who is making the prints?
- A print from a modern pigment based ink on a high quality paper is probably going to outlast a chunk of resin coated or even fibre based prints out there, simply due to the fact that it is a fairly closed production system. There is no fixing, or washing, and all the 'chemistry' is in pre-packaged contained cartridges that are ready to go as is. Artists have to go REALLY far out of their way to 'experiment'.

One friend's favourite saying it "It will be fine..." while he is messing about with his darkroom work. Dude is an insanely happy-go-lucky type, not a care in the world or any semblance of planning to pretty much anything, but the important thing is he is having fun and enjoying his life. However he has renamed a rather large print he sold to a coffee shop awhile back to "The Ethereal" after it pretty much completely bleached itself in a little more than a year.

As unimpressive and uninspiring as inkjet prints might be, I still have to give them credit for being kind of difficult to actually screw up the process of. Their downside is also kind of an upside too. Which is weird.

 

[esearing]

Developer may play a role. I use Ethol LPD @ 1:2 or 1:8 dilutions. I could never get that rich black look from Ilford MG RC that I get from Ilford MG FB. Mid greys also seem muddier on RC to me. Perhaps some developers are better for RC.
If you are just starting out, buy the RC and get used to the process, then when you have a print that won't quite give you the richness you want, try Fiber.


I have not tried toning yet with RC or Fiber - the toner may make a difference too in making RC more to my liking.

 

[LarsAC]

I could never get that rich black look from Ilford MG RC that I get from Ilford MG FB. Mid greys also seem muddier on RC to me.

Similar for me. Not sure why. I use RC for family albums, typically in 5x7. Anything I want to present framed on the wall I will use FB for, properly dry-mounted and matter. Clarity of the images and flexibility in toning makes the addition effort worth it to me.

Lars

 

[Katherine J Gillis]

I've made some nice prints on fibre and I've made some nice prints on RC. I like them both. My preference is fibre-based papers, though. It has a certain feel/look to it that I cannot explain.

I watched your carbon transfer video. Wow! First of all my name is Katherine Gillis and I've been a traditional retoucher for over 23 years. I have retouched the Yosemite Special Prints by Ansel Adams since 1993. My question is what is the process for retouching a carbon transfer print? I've spoken with Sandy King about retouching carbon transfer prints and he's sending me samples to study and work on. Can you given me any suggestions? Thanks.

 

[pschwart]

I watched your carbon transfer video. Wow! First of all my name is Katherine Gillis and I've been a traditional retoucher for over 23 years. I have retouched the Yosemite Special Prints by Ansel Adams since 1993. My question is what is the process for retouching a carbon transfer print? I've spoken with Sandy King about retouching carbon transfer prints and he's sending me samples to study and work on. Can you given me any suggestions? Thanks.

- start with a print that has been cleared, washed, and completely dried
- soak the print briefly in cool water until limp
- hang until the print is still very damp but there are no beads of water visible on the print surface
- spot using the same glop used to prepare the tissue. It is important to use glop and not just diluted pigment, else the retouching will
almost certainly show a gloss differential
- use a very fine brush. I use 000 and 0000
- hang retouched print to dry
- soak the print in cool water again, hang to dry. At this point, spotting should be invisible. I flatten prints in a mount press.

Steps above work but I almost never spot carbon prints. Dust is typically not a problem and there are no negative defects (digital negatives).
After all that effort to make a carbon transfer, I want a perfect print, so I typically just reprint.
You might find that sized supports like watercolor and fiber photo papers are easier to spot than supports like Yupo or RC paper.

 

[Katherine J Gillis]

Thank you for the information. I have some sample prints coming and I will certainly follow your instructions, however, I don't have a mount press. I'll probably speak with Sandy King about that since he's sending me samples to work with.

 

[Andrew O'Neill]

Hi Katherine. Thank you for watching my video on carbon transfer. I posted a link to John Lockhart's video on retouching following your comment on my video on youtube. Philip's advice on spotting is also the way I do it. Happy to hear that Sandy is sending you some sample prints! Good luck and let us know how it goes for you.

 

[pschwart]

Thank you for the information. I have some sample prints coming and I will certainly follow your instructions, however, I don't have a mount press. I'll probably speak with Sandy King about that since he's sending me samples to work with.

Mounting press not required -- I just mentioned that as it is the best way I have found to flatten carbon prints on fiber papers, and it won't damage carbon prints.