[Alt-photo] Alt-photo-process-list Digest, Vol 164, Issue 2

John Thacker jthacker at pacbell.net
Thu Jul 13 13:56:42 UTC 2017


Regarding ink limits on 3880. I would yes a good place to start is with the same ink limits w/o the adjustment curves. Cheers, John 

    On Wednesday, July 12, 2017 7:43 PM, "alt-photo-process-list-request at lists.altphotolist.org" <alt-photo-process-list-request at lists.altphotolist.org> wrote:
 

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Today's Topics:

  1.  salted paper symposium (Christina Z. Anderson)
  2. Re:  salted paper symposium (Anne Eder)
  3. Re:  Bergger paper (Christina Z. Anderson)
  4.  QTR question (Bob Cornelis)


----------------------------------------------------------------------

Message: 1
Date: Wed, 12 Jul 2017 11:36:23 -0500
From: "Christina Z. Anderson" <christinazanderson at gmail.com>
To: Alt List <alt-photo-process-list at lists.altphotolist.org>
Subject: [Alt-photo] salted paper symposium
Message-ID: <6C50E3B4-2205-4CDE-8162-E581843DDD9D at gmail.com>
Content-Type: text/plain;    charset=utf-8

Those of you near the Harvard area this fall might want to attend the salted paper symposium. Below is the lineup of speakers and the URL will lead you to the 
Chris

http://www.conservation-us.org/courses/professional-development-courses/current-courses/salted-paper-prints-symposium-and-workshop#.WWZPLsbMzmI <http://www.conservation-us.org/courses/professional-development-courses/current-courses/salted-paper-prints-symposium-and-workshop#.WWZPLsbMzmI>


Salted Paper Prints Symposium
September 14 ? 15, 2017 Harvard University, Cambridge, MA
 
Overview of Salt Print Collections at Harvard
Melissa Banta, Weissman Preservation Center, Harvard Library, Harvard University
 
The Harrison D. Horblit Collection of Early Photography
Hope Mayo, Houghton Library, Harvard University
 
Non-destructive Analysis of Coatings on Early Photographs
Elena Bulat, Weissman Preservation Center, Harvard Library, Harvard University
 
Using Specular Reflection FTIR for Chemical Analysis of Cultural Heritage Objects
Arthur McClelland, Center for Nanoscale Systems, Harvard University
 
Henry and the Kitchen
Larry Schaaf, Bodleian Libraries, University of Oxford
 
Fundamentals of Salt Print Chemistry and History
Mark Osterman, George Eastman Museum
 
The Evolution of Salted Paper Print Processes During the 1850s: Published Recipes
John McElhone, Canadian Photography Institute of the National Gallery of Canada

Commercial Salted Papers in the United States, 1860-1900
Katherine Mintie, University of California, Berkeley

Early Photographic Map Reproductions
Adrienne Lundgren, Library of Congress

Linnaeus Tripe and Lightly Albumenized Prints in the 1850s
Sarah Wagner, National Gallery of Art
 
?Divided ye may fall?united ye must stand?: Photography in the United States Patent Office
Mazie Harris, Sarah Freeman, J. Paul Getty Museum Department of Photographs

The Calotype Negative Process According to the Modus Operandi of Artist Luigi Sacchi (1805-1861): Technique and Aesthetic of an Eclectic Pioneer of Photography in Italy Sandra Petrillo, SMPhoto Conservation Studio

The History and Chemistry of Platinum-Toned Salted Paper Prints
Joan Walker, Ronel Namde, National Gallery of Art

The Exhibition of Salted Paper Prints from Italy: A Technical Case Study from the Metropolitan Museum of Art
Lisa Barro, Katie Sanderson, Silvia Centeno, Beth Saunders, Metropolitan Museum of Art

Inexact Replicas: Issues in Exhibiting William Henry Fox Talbot?s Salted Paper Prints
Dan Leers, Carnegie Museum of Art

Use of High-Resolution Multispectral Imaging and Analysis Systems for the Long-Term Monitoring of Salted Paper Prints and for Evaluation of the Intrinsic Permanence Characteristics of Contemporary Salted Paper Prints Made with a Variety of Process Variations

Henry Wilhelm, Wilhelm Imaging Research, Inc., Ken Boydston, MegaVision, Inc., Mike Robinson, Ryerson University, John McElhone, Canadian Photography Institute of the National Gallery of Canada, Greg Hill and Season Tse, Canadian Conservation Institute

Maximum Information with Minimum Exposure: Characterization of Salted Paper Prints with Digital Imaging
Jiuan Jiuan Chen, Theresa Smith, Courtney Helion, Art Conservation Department at SUNY Buffalo State

Development and Testing of a Methodology for the Identification of Salt Print and Calotype Coatings  Utilizing Py-GC/MS
Art Kaplan, Michael Schilling, Getty Conservation Institute

Minimally Invasive Sampling of Surface Coatings on Salted Prints for Protein Identification by Peptide Mass Fingerprinting
Dan Kirby, Richard Newman, Annette Manick, Museum of Fine Arts, Boston

A Closer Look: Coated Photographs in Eduard Isaac Asser?s Family Albums (1845-1856)
Rosina Herrera Garrido, Rijksmuseum

Contemporary Approaches to Salted Paper
Christina Anderson, Montana State University
 
Pencil of Technology: Salt Prints from Natural Salt Water with Varying Salinity
Courtney Johnson, University of North Carolina, Wilmington

Mechanisms of Controlling Staining and Aesthetic Appearance of the Salted Paper Print
Ellie Young, Gold Street Studios

Teaching with Photographs at the Harvard Art Museums
David Odo, Laura Muir, Harvard Art Museums

------------------------------

Message: 2
Date: Wed, 12 Jul 2017 12:41:33 -0400
From: Anne Eder <chansonette at gmail.com>
To: "Christina Z. Anderson" <christinazanderson at gmail.com>,
    alt-photo-process-list at lists.altphotolist.org
Subject: Re: [Alt-photo] salted paper symposium
Message-ID: <B1255F89-B19D-4DFA-8240-D18F299FBE23 at gmail.com>
Content-Type: text/plain;    charset=utf-8

AWESOME!!

Sent from my iPhone

> On Jul 12, 2017, at 12:36 PM, Christina Z. Anderson via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org> wrote:
> 
> Those of you near the Harvard area this fall might want to attend the salted paper symposium. Below is the lineup of speakers and the URL will lead you to the 
> Chris
> 
> http://www.conservation-us.org/courses/professional-development-courses/current-courses/salted-paper-prints-symposium-and-workshop#.WWZPLsbMzmI <http://www.conservation-us.org/courses/professional-development-courses/current-courses/salted-paper-prints-symposium-and-workshop#.WWZPLsbMzmI>
> 
> 
> Salted Paper Prints Symposium
> September 14 ? 15, 2017 Harvard University, Cambridge, MA
> 
> Overview of Salt Print Collections at Harvard
> Melissa Banta, Weissman Preservation Center, Harvard Library, Harvard University
> 
> The Harrison D. Horblit Collection of Early Photography
> Hope Mayo, Houghton Library, Harvard University
> 
> Non-destructive Analysis of Coatings on Early Photographs
> Elena Bulat, Weissman Preservation Center, Harvard Library, Harvard University
> 
> Using Specular Reflection FTIR for Chemical Analysis of Cultural Heritage Objects
> Arthur McClelland, Center for Nanoscale Systems, Harvard University
> 
> Henry and the Kitchen
> Larry Schaaf, Bodleian Libraries, University of Oxford
> 
> Fundamentals of Salt Print Chemistry and History
> Mark Osterman, George Eastman Museum
> 
> The Evolution of Salted Paper Print Processes During the 1850s: Published Recipes
> John McElhone, Canadian Photography Institute of the National Gallery of Canada
> 
> Commercial Salted Papers in the United States, 1860-1900
> Katherine Mintie, University of California, Berkeley
> 
> Early Photographic Map Reproductions
> Adrienne Lundgren, Library of Congress
> 
> Linnaeus Tripe and Lightly Albumenized Prints in the 1850s
> Sarah Wagner, National Gallery of Art
> 
> ?Divided ye may fall?united ye must stand?: Photography in the United States Patent Office
> Mazie Harris, Sarah Freeman, J. Paul Getty Museum Department of Photographs
> 
> The Calotype Negative Process According to the Modus Operandi of Artist Luigi Sacchi (1805-1861): Technique and Aesthetic of an Eclectic Pioneer of Photography in Italy Sandra Petrillo, SMPhoto Conservation Studio
> 
> The History and Chemistry of Platinum-Toned Salted Paper Prints
> Joan Walker, Ronel Namde, National Gallery of Art
> 
> The Exhibition of Salted Paper Prints from Italy: A Technical Case Study from the Metropolitan Museum of Art
> Lisa Barro, Katie Sanderson, Silvia Centeno, Beth Saunders, Metropolitan Museum of Art
> 
> Inexact Replicas: Issues in Exhibiting William Henry Fox Talbot?s Salted Paper Prints
> Dan Leers, Carnegie Museum of Art
> 
> Use of High-Resolution Multispectral Imaging and Analysis Systems for the Long-Term Monitoring of Salted Paper Prints and for Evaluation of the Intrinsic Permanence Characteristics of Contemporary Salted Paper Prints Made with a Variety of Process Variations
> 
> Henry Wilhelm, Wilhelm Imaging Research, Inc., Ken Boydston, MegaVision, Inc., Mike Robinson, Ryerson University, John McElhone, Canadian Photography Institute of the National Gallery of Canada, Greg Hill and Season Tse, Canadian Conservation Institute
> 
> Maximum Information with Minimum Exposure: Characterization of Salted Paper Prints with Digital Imaging
> Jiuan Jiuan Chen, Theresa Smith, Courtney Helion, Art Conservation Department at SUNY Buffalo State
> 
> Development and Testing of a Methodology for the Identification of Salt Print and Calotype Coatings  Utilizing Py-GC/MS
> Art Kaplan, Michael Schilling, Getty Conservation Institute
> 
> Minimally Invasive Sampling of Surface Coatings on Salted Prints for Protein Identification by Peptide Mass Fingerprinting
> Dan Kirby, Richard Newman, Annette Manick, Museum of Fine Arts, Boston
> 
> A Closer Look: Coated Photographs in Eduard Isaac Asser?s Family Albums (1845-1856)
> Rosina Herrera Garrido, Rijksmuseum
> 
> Contemporary Approaches to Salted Paper
> Christina Anderson, Montana State University
> 
> Pencil of Technology: Salt Prints from Natural Salt Water with Varying Salinity
> Courtney Johnson, University of North Carolina, Wilmington
> 
> Mechanisms of Controlling Staining and Aesthetic Appearance of the Salted Paper Print
> Ellie Young, Gold Street Studios
> 
> Teaching with Photographs at the Harvard Art Museums
> David Odo, Laura Muir, Harvard Art Museums
> _______________________________________________
> Alt-photo-process-list | altphotolist.org


------------------------------

Message: 3
Date: Wed, 12 Jul 2017 11:42:06 -0500
From: "Christina Z. Anderson" <christinazanderson at gmail.com>
To: Alt List <alt-photo-process-list at lists.altphotolist.org>
Subject: Re: [Alt-photo] Bergger paper
Message-ID: <667E744F-24A3-42EE-B99A-AC6653E3F5B3 at gmail.com>
Content-Type: text/plain;    charset=utf-8

Thanks, Keith; I thought I was going nuts because I had not seen it available anywhere til now either. 
And interesting that both companies, Arches and Bergger, came out with a lightweight paper about the same time. 
Well, I suppose it is not like there are thousands of individual paper mills out there so it can be likely they are made at the same mill with different sizing agents. 
With the Cot 320 package having a Platine watermark, is there any chance someone packaged Platine and called it Cot320 wrongly? In other words, the reseller error and not that it is the same paper? Platine is very characteristic with its smooth front and slightly toothy back, and I have also noticed that similar texture on Cot320. 
Chris

> On Jul 11, 2017, at 12:34 PM, Keith Schreiber <keith at jkschreiber.com> wrote:
> 
> I had heard rumors about a lightweight Bergger COT paper, but this is the first I've heard of it being actually available. As you may know, the COT-320 comes off of the same mould as Arches Platine, or at least it used to. (I once had a batch of COT-320 with a Platine watermark!) I wonder if this comes off the same mould as the 145gm Platine. If I remember right, the paper base is the same, but they are sized differently, and obviously the Bergger is trimmed and the Arches is not. I've got those details somewhere around here, but it may not be the case any longer.
> 
> I like the lightweight Platine, but find it to be very absorbent compared to the heavy version, so I have to eliminate the Tween 20.
> 
> Keith
> 
> Keith Schreiber
> jkschreiber.com <http://jkschreiber.com/>
> 
> 
> 
> 
>> On Jul 11, 2017, at 11:13 AM, Christina Z. Anderson via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org <mailto:alt-photo-process-list at lists.altphotolist.org>> wrote:
>> 
>> Yeah, Cot 320 has always been available, and B&H carries it. But Freestyle has lately committed in a big way to more film choices, paper, and they resurrected the Holga after the Chinese quit making it. So it for sure is the film that is new, but this is the first I?ve ever seen Cot160?
>> Every time I read announcements like this it makes me very happy that our university remains committed to its extensive BW darkrooms!
>> Chris
>> 
>>> On Jul 11, 2017, at 11:55 AM, Kurt Nagy <kakarott76 at hotmail.com <mailto:kakarott76 at hotmail.com>> wrote:
>>> 
>>> The Pancro film is brand new.  
>>> 
>>> http://www.japancamerahunter.com/2016/10/film-news-bergger-pancro-400/ <http://www.japancamerahunter.com/2016/10/film-news-bergger-pancro-400/> <http://www.japancamerahunter.com/2016/10/film-news-bergger-pancro-400/ <http://www.japancamerahunter.com/2016/10/film-news-bergger-pancro-400/>>
>>> 
>>> 
>>> Unsure about the COT 160, I've only ever used the 320 for Gum.  Couldn't you still get COT320 prior to this, you just had to go through Bergger themselves?  Its been several years since I ordered some (I need to restock) but last order I placed was by calling Bergger.
>>> From: Alt-photo-process-list <alt-photo-process-list-bounces at lists.altphotolist.org <mailto:alt-photo-process-list-bounces at lists.altphotolist.org> <mailto:alt-photo-process-list-bounces at lists.altphotolist.org <mailto:alt-photo-process-list-bounces at lists.altphotolist.org>>> on behalf of Christina Z. Anderson via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org <mailto:alt-photo-process-list at lists.altphotolist.org> <mailto:alt-photo-process-list at lists.altphotolist.org <mailto:alt-photo-process-list at lists.altphotolist.org>>>
>>> Sent: Tuesday, July 11, 2017 11:47:47 AM
>>> To: Alt List
>>> Subject: [Alt-photo] Bergger paper
>>> 
>>> Dear All,
>>> 
>>> I notice Bergger film and paper and uncoated paper (Cot) are all back and available at Freestyle, included the Pancro 400 films. I also noticed, for the first time?or have I just missed it??that Bergger offers two weights of paper, a Cot 160 and a Cot 320. Has this always been the case, the two weights?
>>> 
>>> I found the lighter weight Arches Platine too thin for my tastes but I imagine it would be great for platinum or albumen.
>>> 
>>> http://www.freestylephoto.biz/search?attr%5B%5D=62-353&mfg%5B%5D=175&q=bergger%20cot%20160 <http://www.freestylephoto.biz/search?attr%5B%5D=62-353&mfg%5B%5D=175&q=bergger%20cot%20160> <http://www.freestylephoto.biz/search?attr%5B%5D=62-353&mfg%5B%5D=175&q=bergger%20cot%20160 <http://www.freestylephoto.biz/search?attr%5B%5D=62-353&mfg%5B%5D=175&q=bergger%20cot%20160>> <http://www.freestylephoto.biz/search?attr[]=62-353&mfg[]=175&q=bergger%20cot%20160 <http://www.freestylephoto.biz/search?attr[]=62-353&mfg[]=175&q=bergger%20cot%20160> <http://www.freestylephoto.biz/search?attr[]=62-353&mfg[]=175&q=bergger%20cot%20160 <http://www.freestylephoto.biz/search?attr[]=62-353&mfg[]=175&q=bergger%20cot%20160>>>
>>> 
>>> 
>>> Chris
>>> 
>>> _______________________________________________
>>> Alt-photo-process-list | altphotolist.org <http://altphotolist.org/> <http://altphotolist.org/ <http://altphotolist.org/>>
>> _______________________________________________
>> Alt-photo-process-list | altphotolist.org <http://altphotolist.org/>
> 



------------------------------

Message: 4
Date: Wed, 12 Jul 2017 19:42:06 -0700
From: Bob Cornelis <bob at colorfolio.com>
To: alt-photo-process-list at lists.altphotolist.org
Subject: [Alt-photo] QTR question
Message-ID:
    <CALb1teKHMR=FQTbp45BZDk_4rnz7Smj0FuZdCo8ZavMiaBWSQw at mail.gmail.com>
Content-Type: text/plain; charset="UTF-8"

Hi all you QTR afficianados!

I've traditionally printed my negs on an Epson 11880. Now I am also
printing negs on a 3880. I'm wondering if I can use the same ink limits in
my qtr .txt files for both printers. I understand I'll need to make new
adjustment curves, but should the ink limits behave pretty much the same on
both printers for the purposes of making a new curve?

Regards
Bob


------------------------------

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