Uncoated Baryta paper, Special order being placed

[Formulary/Bud Wilson]

We are putting together a special order for Uncoated Baryta paper. 11x14 100 sheet box, and 20x24 50 sheet box.If interested in aquiring full box quantities please PM me for details or phone 406-754-2891 @ Formulary.
We are trying to finalize this order by mid next week Jan 25 or so. We are planning to get extra and repack into smaller package sizes if you don't need full box quantity.
Thanxs
Bud

 

[Bob Carnie]

Hopefully not a silly question , but what is the purpose of Uncoated Baryta Paper, what are the applications?

We are putting together a special order for Uncoated Baryta paper. 11x14 100 sheet box, and 20x24 50 sheet box.If interested in aquiring full box quantities please PM me for details or phone 406-754-2891 @ Formulary.
We are trying to finalize this order by mid next week Jan 25 or so. We are planning to get extra and repack into smaller package sizes if you don't need full box quantity.
Thanxs
Bud

 

[Photo Engineer]

Bob;

You can coat virtually any alternative process material on it for very high quality results in terms of sharpness and brilliance. Mark Osterman uses it as support for his collodion prints! I use it for my Enlarging and Contact papers.

PE

 

[Bob Carnie]

Ron - for example I am interested in making carbon transfer, I like the look of fixed out silver prints as the support as per Sandy Kings brilliant work, am I to assume that this paper is sans the silver emulsion, By the sounds of your uses it is a silver paper?
How do you prep this paper for use ?
I am funny enough walking down the carbon road and am looking for a different support than fixed silver paper but I still want its quality's in the final print.

thanks for your help.

Bob;

You can coat virtually any alternative process material on it for very high quality results in terms of sharpness and brilliance. Mark Osterman uses it as support for his collodion prints! I use it for my Enlarging and Contact papers.

PE

 

[Photo Engineer]

This is a non-Silver product that can be coated on directly! No sizing is needed unless you find a reason for one.

PE

 

[anikin]

Is is pre-sized with gelatin? I was thinking about using it for Pt/Pd which does not like gelatin AFAIK. And what's the approximate cost for 20x24?

 

[Grainy]

Is this paper suited if you want to use liquid emulsion?

 

[Photo Engineer]

I have been using Baryta paper (and advocating its use) for coating any gelatin based material and some non-gelatin based materials for several years now. I have coated cyanotypes and others, but Pt/Pd does not work as noted above. Unless - you put on a sizing layer to isolate the gelatin.

Baryta is made up of gelatin mixed with Barium Sulfate coated on DW photograde paper. I have samples of these products and am very very happy with them. I have posted prints in the Emulsion forum.

As for costs? Contact the Formulary. I have no idea what these may cost.

PE

 

[anikin]

Thank you Ron! That's good to know.

 

[gmikol]

I've PM'ed Bud with some questions about pricing and other stuff but haven't gotten a response, yet.

Does anyone else out there know any of the specifics about this paper?

Composition (i.e. 100% cotton, alpha cellulose, other?)
Thickness/weight
Fluorescent whitening additives?
Is it a one-time order or will there be, e.g. annual, special orders?

--Greg

 

[Bob Carnie]

I phoned as well and got little help, I was referred to APUG for information, I think I need to pass this round.


QUOTE=gmikol;1289481]I've PM'ed Bud with some questions about pricing and other stuff but haven't gotten a response, yet.

Does anyone else out there know any of the specifics about this paper?

Composition (i.e. 100% cotton, alpha cellulose, other?)
Thickness/weight
Fluorescent whitening additives?
Is it a one-time order or will there be, e.g. annual, special orders?

--Greg[/QUOTE]

 

[Photo Engineer]

It is DW standard paper from Schoeller in Germany IIRC. It is made from high grade wood pulp.

You might call the Formulary and talk to Sherry about the order frequency and other details.

PE

 

[Bob Carnie]

That is who I spoke to, she referred me back to APUG without any details.

It is DW standard paper from Schoeller in Germany IIRC. It is made from high grade wood pulp.

You might call the Formulary and talk to Sherry about the order frequency and other details.

PE

 

[Photo Engineer]

Well, perhaps you can talk directly to Bud about this. I'll send you a PM.

PE

 

[Bob Carnie]

Don't worry Ron,,, I have so much on my plate right now... I am trying many many alt processs and trying to find a support that I can lay down Pt Pd then do a second coat of Carbon.
seems a very difficult combo to use for example.
I really like the highlights of platinum palladium and the shadows of Carbon... I have lots of time to play with this .
There are so many variables and I am trying to find substrates / papers that work with various processes well and this thread peaked my interest.

my pm function is off on APUG,, I can be reached at bob@elevatordigital.ca

thanks Bob

Well, perhaps you can talk directly to Bud about this. I'll send you a PM.

PE

 

[Photo Engineer]

The e-mail with my phone number is already sent Bob.

Give me a call.

PE

 

[artonpaper]

I've used uncoated baryta for carbon transfer with good results using Bostick & Sullivans tissues. No additional sizing needed. It does resemble regular enlarging paper in look and feel. I have also tried it for Pt/Pd, but never got a perfect print.

 

[T-grain]

I have been using Baryta paper (and advocating its use) for coating any gelatin based material and some non-gelatin based materials for several years now. I have coated cyanotypes and others, but Pt/Pd does not work as noted above. Unless - you put on a sizing layer to isolate the gelatin.

Baryta is made up of gelatin mixed with Barium Sulfate coated on DW photograde paper. I have samples of these products and am very very happy with them. I have posted prints in the Emulsion forum.

As for costs? Contact the Formulary. I have no idea what these may cost.

PE

Ron, do you think a PVOH/PVAC overcoat would work with Pt/Pd with such a paper?
Bob, I am also "toying" with the idea to combine Pt/Pd with carbon to get the best of both processes....never done it though. What I wonder most is how it would look like when you have different tones deriving from both emulsions..perhaps like a split-toned print?

 

[Photo Engineer]

I have no idea what would mediate between the gelatin and the Pt/Pd coating. I do know that you should be able to harden any subbing layer to prevent it from washing off.

PE

 

[T-grain]

I have no idea what would mediate between the gelatin and the Pt/Pd coating. I do know that you should be able to harden any subbing layer to prevent it from washing off.

PE

some time ago, one my colleague working with polymers told me that a suitable hardener for PVOH would be succinic acid anhydride or something analogous (i.e. polycarboxylic acid anhydrides)-but there are also other variants/chemistries to work with

 

[Photo Engineer]

Certainly, dicarboxylic acid anhydrides will crosslink polyols. Or at least should.

PE

 

[Bob Carnie]

That is exactly what I am thinking, not only taking advantage of the best of PT PD with highlight detail, but as well the best of carbon which is its incredible shadow detail.

Pt Pd will give warm highlights and the carbon can be tinged blue(cold) to give an incredible split print

Ron, do you think a PVOH/PVAC overcoat would work with Pt/Pd with such a paper?
Bob, I am also "toying" with the idea to combine Pt/Pd with carbon to get the best of both processes....never done it though. What I wonder most is how it would look like when you have different tones deriving from both emulsions..perhaps like a split-toned print?

 

[dwross]

Since this is the Silver Gelatin Emulsion subforum, and the OP topic is the Formulary's baryta, I'll take a chance and weigh in.

Why not make a silver gelatin paper and split-tone it?
http://www.thelightfarm.com/Map/Toning/ToningPart1.

And, the glossy baryta coats beautifully (although glossy isn't to my personal taste.) An example is at the bottom of this page.
http://www.thelightfarm.com/Map/PaperAndCoating/PaperAndCoatingPart3.htm

A lot of people have held that particular print and not believed it isn't commercial. (Actually, I don't consider that a 'plus' in its favor. I think alternative printers want there to be some sign that their art didn't come ready-made out of the box. But, that's another story.)

 

[dwross]

Hi All,

I have received a couple of really nice emails this morning -- one from a personal friend, and one from an e-penpal. They both very kindly pointed out the fallacy of my personal photo-bubble. Most people, even those here, no longer have darkrooms. Pt/Pd and carbon printing don't require one -- just water and a yellow bug light. Also (according to my friends and in all honesty, my observation, too) most people are going from digital image capture to inkject negative. Very few people are even developing film much less making silver gelatin emulsions, no matter how much they may want to. (The "how much they want to" part may be only kindness on the part of my friends. I have wonderful friends .) Anyway, my apologies for what looks like high-handedness (even to me, this morning.)

I hope folks buy PE's book. Maybe read The Light Farm (for me, the fun and satisfaction just get better and better -- which is my only excuse for getting annoying here.) Take a George Eastman House (GEH) class. Or two. A workshop there is about way more than the class material. Who knows how long the place can afford to keep going. If you have the means and opportunity, you should take advantage sooner, rather than chance later.

d
www.thelightfarm.com

 

[Bob Carnie]

Speaking for myself, I am awaiting 200 sheets of 8x10 250 sheets of 4x5 and 50 rolls of trix arriving this thrus night from England, we will be processing ,Contacting and then making silver prints for the next month.... Darkroom not dead in Toronto, and we plan to keep it that way.

Hi All,

I have received a couple of really nice emails this morning -- one from a personal friend, and one from an e-penpal. They both very kindly pointed out the fallacy of my personal photo-bubble. Most people, even those here, no longer have darkrooms. Pt/Pd and carbon printing don't require one -- just water and a yellow bug light. Also (according to my friends and in all honesty, my observation, too) most people are going from digital image capture to inkject negative. Very few people are even developing film much less making silver gelatin emulsions, no matter how much they may want to. (The "how much they want to" part may be only kindness on the part of my friends. I have wonderful friends .) Anyway, my apologies for what looks like high-handedness (even to me, this morning.)

I hope folks buy PE's book. Maybe read The Light Farm (for me, the fun and satisfaction just get better and better -- which is my only excuse for getting annoying here.) Take a George Eastman House (GEH) class. Or two. A workshop there is about way more than the class material. Who knows how long the place can afford to keep going. If you have the means and opportunity, you should take advantage sooner, rather than chance later.

d
www.thelightfarm.com