Wonderful Mural Paper ART 300

[Bob Carnie]

Ok so its a bit of a plug and some obvious Harmon ass kissing


BUT

I have just finished a portfolio of small 11x14 and now a round of printing of some murals for an upcoming show of mine.

This paper is nothing short of amazing ... what can I say a beautiful richness of tones, lovely texture... tones amazingly ... shit I am hooked.

HARMON- This is a total winner in my books.. A lovely addition to Ilford Warmtone Gloss, and by the same company ... who da thunk....

 

[wildbill]

Bob, If you do order a couple rolls, you can drop one off at my house
I'm picking up my 10x10 Fotar from storage later this month.

 

[Bob Carnie]

Yes no problem, I will have Simon hand deliver as my fee for plugging his product.

It really is a nice weight for this kind of work... I am impressed.

over $500 per roll but a good paper for sure.

Bob, If you do order a couple rolls, you can drop one off at my house
I'm picking up my 10x10 Fotar from storage later this month.

 

[NB23]

When I'm finished with my Forte elegance 16x20 and ilford WT 20x24 I'm jumping on this Art300 paper.

 

[rorye]

Yep, it's gorgeous and so nice to handle. I'm addicted.

 

[NB23]

How is the drydown? I've experienced some papers
With severe drydowns that made me rip all my work.

 

[rorye]

Not much at all in my experience. I knock 5% off my wet print and it's good to go.

 

[Bob Carnie]

Dry down is much like Ilford Warmtone,, if anything a bit less..

 

[Bob Carnie]

One problem area that I noticed , that I have not seen before is when I batch tone, I would bleach wash sepia then put prints in a water holding tray before going to next toner.. this does not work well with this paper as by all learning experiences I did this with a number of prints and to my surprise the first prints I put in the holding tank kept on toning... I have never seen this before.

Also like Ilford Warmtone , I notice a massive explosion of contrast in the fix , which I cannot explain.

 

[Simon R Galley]

Dear Bob,

My (our) ass (es) appreciates it.

Chuffed you like it.

Simon. ILFORD Photo / HARMAN Technology Limted.

 

[sandermarijn]

Also like Ilford Warmtone , I notice a massive explosion of contrast in the fix , which I cannot explain.

Sorry for asking the obvious, but do you mean to say that the prints gain contrast in the fixing bath? That shouldn't be possible should it?

 

[Bob Carnie]

Simon

your welcome

It really is a first rate addition to your product line ... Did I mention in another thread how I have switched completely to 8x10 FP4...

Bob

Dear Bob,

My (our) ass (es) appreciates it.

Chuffed you like it.

Simon. ILFORD Photo / HARMAN Technology Limted.

 

[Bob Carnie]

That is exactly what I am saying. I cannot explain it... My safelights are Thomson's and pretty bright but I do not notice this explosion with any other paper other than Ilford Warmone Gloss and the Art 300.

Its funny , the highlight density does not increase, only the shadows and mid greys which has the effect of extra print density and contrast.

Sorry for asking the obvious, but do you mean to say that the prints gain contrast in the fixing bath? That shouldn't be possible should it?

 

[MattKing]

Bob:

I think what you are observing is the emulsion on the paper clearing in the fix.

Just as in film, the undeveloped portions of the emulsion veil the appearance of the developed portions.

As the fix does its work, the veil clears, revealing the dark, developed silver underneath.

 

[Bob Carnie]

So why is it so obvious with two papers and not others, I have been making silver prints for a very long time and I just started noticing this change..

Maybe I am getting more observant with age.
Is it possible that the Thomson's which are relatively new to my darkroom, kicking out more light than I was use to with the red safelights and I am just seeing this effect now??
I must add that Ilford Warmtone is my paper of choice and rarely will another paper get into the room.

I must test this with other papers.

Bob:

I think what you are observing is the emulsion on the paper clearing in the fix.

Just as in film, the undeveloped portions of the emulsion veil the appearance of the developed portions.

As the fix does its work, the veil clears, revealing the dark, developed silver underneath.

 

[MattKing]

Bob:

Your observations are probably due to the light levels you are working with - a combination of the Thompson safelights and reflections off your working apparel ?

The papers themselves might also have emulsions that tend to veil the shadows more until they clear - just like some films that appear more opaque than others when developed but not yet fixed.

 

[NB23]

I've had this happen with Oriental-II FB glossy papers. It was cool to watch.
It didn't bother me at all since one is supposed to review test strips and prints once completely fixed.
The reason for this, I thought, was the emulsion clearing in the fixer. I'm sure I'm not wrong in thinking this.

 

[Bob Carnie]

Thanks Matt

I think its the Thompson light as I switched jumpsuits to blue from orange.