[pure-silver] Re: Oriental Seagull Papers
- From: Eric Nelson <emanmb@xxxxxxxxx>
- To: pure-silver@xxxxxxxxxxxxx
- Date: Mon, 17 Sep 2007 21:26:58 -0700 (PDT)
Absolutely. Yet at the same time, in my quest for a
warm toned paper I had minimum expectations and
limited funds for whatever I was trying out.
I had hoped Oriental would do the trick because of the
price but unfortunately it's not as warm as I'd like.
Whatever the replacement, it doesn't have to match
Forte, but being as warm as is kind of important for
my work. I'm hoping Foma will do the trick.
Just don't call me alt, (as I albumenize the next
sheet of paper here). I only do historical processes,
traditional B&W and digital.
Eric
--- Mark Blackwell <mblackwell1958@xxxxxxxxx> wrote:
> Bob
>
> Instead of looking at the losing of a paper as a
> door closing, I think we should be looking at it as
> a new opportunity to expand that creative vision.
> People tend to get stuck in ruts. I liked that
> paper, film ect combination. Instead of trying to
> recreate that look, why not try to expand the vision
> and see things that in the past were stuck in the
> same combo.
>
> Though many may not share the excitement of
> alternative processes, it may not be that long
> before black and white film and analog printing is
> an alternative process. We love it for lots of
> reasons.
>
> Yet I don't have the time nor desire to make my own
> paper or create my own film. Yes some of my
> favorite films are gone. Some were very old. Yet
> the craft of photography shouldn't get in the way of
> the art of photography.
>
>
>
> BOB KISS <bobkiss@xxxxxxxxxxxxx> wrote: v\:*
> {behavior:url(#default#VML);} o\:*
> {behavior:url(#default#VML);} w\:*
> {behavior:url(#default#VML);} .shape
> {behavior:url(#default#VML);}
> st1\:*{behavior:url(#default#ieooui) }
> DEAR MARK,
> Curious, but things either always
> bother me or bother me from time to time, not both.
> ;-))
> All seriousness aside, photography is
> both a visual art and a craft and we are both
> artists and craft persons. We have a vision and
> need materials with which to express that vision?and
> now we find the number of options for silver gelatin
> printing materials contracting. This is why I
> started using alternative processes
> (platinum/palladium, cyanotype, salt and albumen
> prints); I can sensitize the printing materials
> myself?and make the actual paper if I am
> sufficiently masochistic. And I may even try
> collodion negatives, just like Brady & Co. I find
> alt processes exciting because there are SO many
> options with which to express my vision. Now when I
> have a visual inspiration I expose and process the
> negative taking into account my previsualization of
> the final print including the printing medium I will
> use. Some things look fantastic in cyano which
> would look boring in PT/PD. Some glow with a rich
> warmth in PT/PD which look, literally, cold in
> cyano. And
> some of my visions are best expressed in toned
> silver gelatin.
> I don?t consider a discussion of
> options for printing paper obsessing about materials
> when so many are disappearing. Painters need to
> decide; acrylic or oils, cotton canvas or linen,
> etc. Have you ever tried to find genuine
> Blue-Marine these days? I mean the kind described
> in the book ?Michelangelo and the Pope?s Ceiling??
> It was made from (I think) abalone shells. Most
> modern oil paints are made from other kinds of
> pigments and look great but they just don?t have the
> color you will see on the Sistine Chapel ceiling.
> I agree that there are some who obsess but, in the
> present context, I don?t feel that is the case.
> CHEERS!
> BOB
>
>
> ---------------------------------
>
> From: pure-silver-bounce@xxxxxxxxxxxxx
> [mailto:pure-silver-bounce@xxxxxxxxxxxxx] On Behalf
> Of Mark Blackwell
> Sent: Monday, September 17, 2007 10:27 PM
> To: pure-silver@xxxxxxxxxxxxx
> Subject: [pure-silver] Re: Oriental Seagull Papers
>
>
> Something that always bothers me from time to
> time. Do we get caught up too often in what paper
> we use, what settings are on the camera and what
> developer happens to be available at any given time?
>
> Look at some of what Mathew Brady's people did
> during the US civil war (1860s now) when they were
> not only developing but making their own plates for
> immediate use in either tents or wagons.
>
> A more modern example how many of you looked and
> saw what Becky Lynn did in a goat shed?
>
> That's not to say that we shouldn't explore all
> areas of the art, but maybe sometimes we get too
> caught up in what we don't have instead of making
> the most of what we have available.
>
> Mark
>
>
> ---------------------------------
>
> Fussy? Opinionated? Impossible to please? Perfect.
> Join Yahoo!'s user panel and lay it on us.
>
>
>
>
> ---------------------------------
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