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From: johnm@python.UUCP (J. Montgomery)
Newsgroups: net.rec.photo
Subject: Re: Re: darkroom paper
Message-ID: <130@python.UUCP>
Date: Thu, 25-Apr-85 10:07:29 EST
Article-I.D.: python.130
Posted: Thu Apr 25 10:07:29 1985
Date-Received: Sat, 27-Apr-85 03:37:10 EST
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Organization: Bell Communications Research
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> >      how do you rate your normal darkroom paper?

While RC papers are certainly convenient to use, I think they leave much
to be desired esthetically.  The range of tones (especially blacks) is
not as wide as a premium fiber paper, and the surface usually has an
unplesant metallic sheen to it.

My favorite papers currently are Oriental Seagull and Zone VI Brilliant
(the latter is only available by mail from Zone VI Studios in VT).  Both
display a beautiful range of tones from brilliant whites down to really
solid, rich blacks.  Both tone nicely in dilute selenium toner, and have
a nice glossy surface when air dried.  Seagull has the advantages of being
easier to find, and cheaper (~$40/100 sheet box vs. $59 for Brilliant).

I have not used either Gallerie or Elite, so I can't compare directly.
One or the other of these 4 papers seem to be the choice of most large
format fine-art photographers.  According to his book, "The Print",
Ansel Adams used a lot of Seagull in his last years, Brett Weston is
also using it.  Oliver Gagliani and Alan Ross are using Brilliant, I
think.  Adams also mentions uusing Gallerie occasionally.  This is just
a random sampling from memory.
-- 
	John Montgomery
	Bell Communications Research
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