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From: eric@rtech.ARPA (Eric Lundblad)
Newsgroups: net.rec.photo
Subject: Re: Re: darkroom paper
Message-ID: <332@rtech.ARPA>
Date: Tue, 30-Apr-85 01:50:39 EDT
Article-I.D.: rtech.332
Posted: Tue Apr 30 01:50:39 1985
Date-Received: Fri, 3-May-85 05:02:55 EDT
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Organization: Relational Technology, Berkeley CA
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> 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.

	You have this backwards, Adams used Gallerie more than he did Seagull.
To quote "The Print": "ILFORD GALLERIE. This is a paper of very high quality 
which I use extensively." I don't think it's important, however. Seagull, 
Gallerie, Portriga, and Elite are all great papers that react differently to 
negatives (there are others, but I haven't used them). For example, I have found
that Seagull holds a better contrast in dark shadow values than Gallerie does. 
With some of my negatives, if I print with Gallerie for good blacks I seem to 
lose detail in the shadows. If I look carefully, the detail is there but it's 
all so dark that it doesn't show up. Ray Metzker, who is at the SF M of Modern 
Art, has been able to pack an amazing amount of information in his shadows. I
believe that he uses Seagull, and his images are really fantastic. My bottom
line recommendation (assuming someone out there cares) is to try out as many
papers that interest you and that you can afford. You may find a paper(s) that
reflects your view of the world.
-- 

			Eric Lundblad