Paper to Use

[finny99]

Just recently joined a camera club, and will be able to start printing from my negatives for the competitions at the club, I have to just supply my own paper. I was wondering whats a good finish to go with pearl, glossy, or what other finishes are there, and is Ilford paper my best bet? I want them to look really eye grabbing for the competitions I enter. Also I mostly shoot 100 speed film, will blowing these up to 11x14 look ok detail wise, or should I stick to 8x10?

 

[David A. Goldfarb]

These questions are all matters of taste. Most of the current materials out there are able to produce excellent results--it's just a matter of what you like.

If you're just starting out, try something fairly standard, like Ilford MGIV, and use a couple of boxes until you have control of the process, and then experiment with different papers. RC paper is easy to work with and the development and wash times are short, but many people prefer fiber based paper for fine prints, and there is no reason you can't start with fiber. Ilford MGIV comes in an RC version and an FB version.

 

[tim rudman]

SNIP:: I was wondering whats a good finish to go with pearl, glossy, or what other finishes are there, and is Ilford paper my best bet? I want them to look really eye grabbing for the competitions I enter. Also I mostly shoot 100 speed film, will blowing these up to 11x14 look ok detail wise, or should I stick to 8x10?

Surface is largely a matter of personal taste, but also related to the subject matter. Glossy finish shows up more detail and usually deeper blacks. Glossy RC is very glossy, which some people like and others don't. Glossy FB dried but unglazed is less shiney and often a favourite for those who want max detail and deep blacks but fewer reflections.

Matt and semi matt are non reflective and have a lower Dmax (less deep blacks) abd are often favoured by art photographers when biting sharp detatil is of secondary importance.

Textured art papers are a step further in than direction with less emphasis still on sharp detail - often favoured for flower work, some still life, some softer portrait and figure work, hand colouring etc etc.

There are many exceptions to all of these of course but don't under estimate the importance of surface in how and what your image communicates to the viewer. Be prepared to experiment widely until you find what you like for your work (it may change with subject and 'message' of course)

Tim

 

[juan]

You'd better check the rules of your club closely. In mine, they have enacted an 80-square inch rule, which they interpret as meaning the image itself has to be 80-square inches. A standard 8x10 print with the white borders imposed by most enlarging easels does not have an 80-square inch image area. It all came frist from folks having their color prints made borderless by labs, and now digital will print images that large. The poor B&W printer with a standard easel is left out.

As for paper, I would agree that you should start with something common. If you can get Ilford easily, their MGIV is fine. Use it for awhile and you will decide to either stick with it - or you will know what you want to look for in a different paper.
juan

 

[srs5694]

You'd better check the rules of your club closely. In mine, they have enacted an 80-square inch rule, which they interpret as meaning the image itself has to be 80-square inches. A standard 8x10 print with the white borders imposed by most enlarging easels does not have an 80-square inch image area. It all came frist from folks having their color prints made borderless by labs, and now digital will print images that large. The poor B&W printer with a standard easel is left out.

Borderless easels are fairly common. Even if you don't have one, you should be able to print borderless directly on the baseboard. Positioning the print will require precision, though. Perhaps using tape to mark out two edges would help. Keeping the paper flat could be a challenge, too. Rolling the paper in the direction opposite the curl usually cancels paper curl, at least well enough to get a sharp print with the lens stopped down a bit from wide open.

 

[Phillip P. Dimor]

I use a piece of melamine board with thick tape 'marks' and some spray adhesive for a borderless easel. A good tip though, spray the board and let it sit for a while first. You want it to be tacky. You don't want to glue your paper onto it

You can use just about any flat, hard material too..

I like Ilford's pearl finish.. MGIV is a good paper to start with.

 

[Bob F.]

I would second checking the rules of the club. It would be a real pain to take all the time to produce the best print possible and then have it disqualified without even being looked at because it is too small, or too large, or on RC paper when the rules state it must be on fibre etc.

I would stick with Ilford MGIV in either RC glossy or pearl finish for now if the rules allow RC paper. It's pretty much the "industry standard" in that it may not be the most exciting paper in the hands of an expert, but it is probably the most consistent and is of the highest technical quality. Consistency is very important when starting out.

You can print MGIV-RC borderless by using an inch or so of double-sided tape: the paper curls slightly up in the middle and the tape will hold the centre down to the easel.

Have fun, Bob.

 

[finny99]

Thanks guys cant wait to get going in this darkroom, just gotta decide which ones to enter, The clubs max size is 16 x 20, just have to check if that is total size with matting or on a board of that size