Large Format Photography Australia

Back about the late 1990s I was given a pack of of proposed prestige graded warm tone paper to appraise for Kodak. It was fibre-base and about midway between single weight and double weight with a smooth lustre sort of surface. I shot some varied material to show particular strengths — this high key shot of a school chapel printed super creamy and delicious.



Sinar F2 ii 4x5, Schneider Apo Symmar 300 mm 1:5.6
Kodak T-Max 100, T-max RS, Jobo ATL 2 Plus

A classic example of the power of small areas of paper-base and tiny bits maximum black to confer brilliance on a picture made of mostly high key mid-tones.
And Walter, you again got those shadows dancing nicely with all the architectural details. The four electric wires coming into the building also registered their existence by two sets of thin shadow lines ... nice subtle touch.

Thanks Maris,

I quite deliberately pursued motifs somewhat at odds with common expectations fot yhe paper which was a planned successor to Kodak Medalist 'Portrait'. paper, usually the choice for deep, rich-toned renderings. In the days of yore I had been an ardent advocate of Agfa's Portriga-Rapid and Record-Rapid and knnew fully how adaptable these warrm-tone papers can be. the power is always. in the subtlety.