[pure-silver] Re: Nostalgia For 5 Papers
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Fri, 28 Jan 2011 21:07:31 -0800
----- Original Message -----
From: "Mike Kirwan" <mkirwan@xxxxxxxxxxx>
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Friday, January 28, 2011 7:16 PM
Subject: [pure-silver] Re: Nostalgia For 5 Papers
> I have an old Kodak Guide that has samples of most of
> the old papers,
including:
Kodal AD
Athena
Opal C
Azo E
Illustrators Azo F
Ektalure G
Opal Papher H
Medalist J
Opal K
Portrait Proof R (this was used by the photographer at my
first wedding. The
prints are unfixed and used to order the real prints, wait
too long and poof
they have vanished :)
Aristo (the original)
Kodabromide
Mural
Illustrators Specvial E
I have several sample books. The Kodak and Agfa/Ansco
ones have survived well, the Defender ones are all silvered
over, evidently the samples were not washed well.
Illustrator's Special was Opal on a pure white stock
with a fine slightly matt surface something like
un-ferrotyped glossy but it would take retouching better.
Portrait Proof was a developing out paper on single
weight stock with a very rough surface to eliminate the need
for retouching. It was used for proofs to be approved but
was also a good paper for murals.
The stuff you are thinking of that faded was Studio
Proof, a POP paper. POP can be made permanent by treating in
a suitable toner and fixer. I think Studio Proof may have
had something in it to cause it to darken with time even in
the absense of light.
Kodak offered an enormous variety of surfaces, textures
(they are not the same) and stock tints. Agfa/Ansco did also
but I suspect some of the Agfa surfaces would not be
acceptable now because they interfere with the image too
much. For the most part Kodak's didn't.
Ektalure was probably the warmest paper made by anyone.
I had forgotten about it when I wrote of Indiatone.
Illustrator's Azo was not the same as Azo. Azo was a
neutral tone paper while Illustrator's Azo was warm tone. At
least at one point. I think Kodak may have sold more than
one emulsion under that name at different times.
Ad Type was coated directly on the support without the
usual Baryta subbing. That allowed the paper to be folded
without cracking. It was intended for making postcards and
catalogue brochures. Due to the lack of the substrate it
looked different than most other papers, almost like a
platinum print. The A surface was about like high quality
typing paper.
I think much of the demand for the special surfaces
disappeared when color photography became economical enough
to become common. I remember when anyone who could do color
work other than simple slides was considered something of a
genius. None of the older processes was at all simple. Once
Ektacolor and Type-C came along things became easier and
eventually with the progress in the processes it was B&W
that became unusual.
Perhaps the most unusual B&W surface of all was
Geveluxe Velours, this was a warm tone paper on dark cream
or old-ivory stock coated with an extremely matt surface
that I heard was made from felted rabbit fur. The prints
look like velvet paintings. Very effective for the right
sort of low-key subject.
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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