Imitating classic BW photos

I want to imitate the warm (?) look found in Charles Sheller's and
Edward Weston's work with industrial sites - Armco and Ford. I am
working in 35mm format. Anyone have suggestions for paper and
developer?

Peregrine Rigging wrote:
I want to imitate the warm (?) look found in Charles Sheller's and
Edward Weston's work with industrial sites - Armco and Ford. I am
working in 35mm format. Anyone have suggestions for paper and
developer?

I do not know Charles Sheller. Do you mean Charles Sheeler?

In any case, Edward Weston printed on Platinum paper until one of his sons
showed him some prints on silver-gelatin paper (Azo?), and he switched to
that. I would not say the s.g. prints are especially warm. Many of E.W.'s
prints look brownish and disagreeable to me in terms of print color, though
those were probably the platinum ones, but it may be that the prints I have
seen are not that good (though they should be: most of the ones I have seen
were at the Museum of Modern Art in NYC). I have an E.W. print of a Juniper
tree, printed by his son Cole, that is very nice, but it looks as though it
was probably printed on something like Oriental Seagull or possibly Ilford
Galerie paper. I.e., normal black, possibly slightly selenium toned. I
actually like it better than one printed by E.W. himself.

--
.~. Jean-David Beyer Registered Linux User 85642.
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"Jean-David Beyer" wrote in message
news:1Ao0g.13159$b06.9057@trnddc08...
Peregrine Rigging wrote:
I want to imitate the warm (?) look found in Charles
Sheller's and
Edward Weston's work with industrial sites - Armco and
Ford. I am
working in 35mm format. Anyone have suggestions for paper
and
developer?

I do not know Charles Sheller. Do you mean Charles
Sheeler?

In any case, Edward Weston printed on Platinum paper until
one of his sons
showed him some prints on silver-gelatin paper (Azo?), and
he switched to
that. I would not say the s.g. prints are especially warm.
Many of E.W.'s
prints look brownish and disagreeable to me in terms of
print color, though
those were probably the platinum ones, but it may be that
the prints I have
seen are not that good (though they should be: most of the
ones I have seen
were at the Museum of Modern Art in NYC). I have an E.W.
print of a Juniper
tree, printed by his son Cole, that is very nice, but it
looks as though it
was probably printed on something like Oriental Seagull or
possibly Ilford
Galerie paper. I.e., normal black, possibly slightly
selenium toned. I
actually like it better than one printed by E.W. himself.

--
.~. Jean-David Beyer Registered Linux User
85642.
/V\ PGP-Key: 9A2FC99A Registered Machine
241939.
/( )\ Shrewsbury, New Jersey http://counter.li.org
^^-^^ 05:50:01 up 5 days, 19:16, 3 users, load average:
4.35, 4.22, 4.08

Almost all of the Weston prints I've seen (and that's a
lot) are on neutral or cold paper. He printed on many kinds
of paper encluding enlarging paper. some of his old prints
look brown because they were not fixed completely and have
sulfided over the years. His Platinium prints also vary in
tone.
Years ago there were many warm tone papers, they were
popular for portrait work. There are still some warm tone
papers but they probably don't look exactly like the old
ones. Developer makes a difference in the image color.
Perhaps the best way to get a brownish tone is to tone the
print in Kodak Brown Toner. KBT works well for partial
toning because it does not split tone. This also results in
good image protection from partial toning. While the
instructions are to use it a 100F, it can be used at lower
temperatures with consequent longer tonint time. This can be
an advantage if one wants only a slight color shift. To stop
the toning from continuing in the wash bath the print should
be treated in a bath of 10% Sodium Sulfite or in stock
strength Kodak Hypo Clearing Agent, for a short time before
washing. This will also eliminate any possible staining.
Developers also affect the color the image turns when
toning. There is on rule for this, one must experiment. In
general, lower activity developers or the addition of
Potassium bromide to any developer, tends to shift the image
color toward yellow.


--
---
Richard Knoppow
Los Angeles, CA, USA

On Sun, 16 Apr 2006 09:59:25 GMT, Jean-David Beyer
wrote:

I do not know Charles Sheller. Do you mean Charles Sheeler?

In any case, Edward Weston printed on Platinum paper until one of his sons
showed him some prints on silver-gelatin paper (Azo?), and he switched to
that. I would not say the s.g. prints are especially warm. Many of E.W.'s
prints look brownish and disagreeable to me in terms of print color, though
those were probably the platinum ones, but it may be that the prints I have
seen are not that good (though they should be: most of the ones I have seen
were at the Museum of Modern Art in NYC). I have an E.W. print of a Juniper
tree, printed by his son Cole, that is very nice, but it looks as though it
was probably printed on something like Oriental Seagull or possibly Ilford
Galerie paper. I.e., normal black, possibly slightly selenium toned. I
actually like it better than one printed by E.W. himself.

Were there any really warm toned Amidol developers used around EW's
time ?

==
John S. Douglas
Photographer & Webmaster
www.legacy-photo,com
www.xs750.net

In article ,
John wrote:
On Sun, 16 Apr 2006 09:59:25 GMT, Jean-David Beyer
wrote:

I do not know Charles Sheller. Do you mean Charles Sheeler?

In any case, Edward Weston printed on Platinum paper until one of his sons
showed him some prints on silver-gelatin paper (Azo?), and he switched to
that. I would not say the s.g. prints are especially warm. Many of E.W.'s
prints look brownish and disagreeable to me in terms of print color, though
those were probably the platinum ones, but it may be that the prints I have
seen are not that good (though they should be: most of the ones I have seen
were at the Museum of Modern Art in NYC). I have an E.W. print of a Juniper
tree, printed by his son Cole, that is very nice, but it looks as though it
was probably printed on something like Oriental Seagull or possibly Ilford
Galerie paper. I.e., normal black, possibly slightly selenium toned. I
actually like it better than one printed by E.W. himself.

Were there any really warm toned Amidol developers used around EW's
time ?

Weston Amidol is *very* cold tone -- even colder than Formulary Amidol,
which I used as a standard developer for a few months. If there is a
warm-tone developer using Amidol as the main developing agent I've
never heard of it.

--
Thor Lancelot Simon

"We cannot usually in social life pursue a single value or a single moral
aim, untroubled by the need to compromise with others." - H.L.A. Hart

Yes, I meant Sheeler.


On Sun, 16 Apr 2006 09:59:25 GMT, Jean-David Beyer
wrote:

Peregrine Rigging wrote:
I want to imitate the warm (?) look found in Charles Sheller's and
Edward Weston's work with industrial sites - Armco and Ford. I am
working in 35mm format. Anyone have suggestions for paper and
developer?

I do not know Charles Sheller. Do you mean Charles Sheeler?

In any case, Edward Weston printed on Platinum paper until one of his sons
showed him some prints on silver-gelatin paper (Azo?), and he switched to
that. I would not say the s.g. prints are especially warm. Many of E.W.'s
prints look brownish and disagreeable to me in terms of print color, though
those were probably the platinum ones, but it may be that the prints I have
seen are not that good (though they should be: most of the ones I have seen
were at the Museum of Modern Art in NYC). I have an E.W. print of a Juniper
tree, printed by his son Cole, that is very nice, but it looks as though it
was probably printed on something like Oriental Seagull or possibly Ilford
Galerie paper. I.e., normal black, possibly slightly selenium toned. I
actually like it better than one printed by E.W. himself.