Inkjet-paper similar to gaslight-paper?

[LisaKP]

I have an amazing 30x40 cm copy of this photograph, made from the glass plate by an employee at the image archive that has the image collection of the photographer B Mesch. Dusting of the frame I discovered another layer of paper on the edge, behind the glass. Of course I opened the frame and it showed it was a standard-packaging paper (the one that came with the frame) with a sample image. I’m so lucky I discovered it and could remove it. I replaced it with an acid- and OBA-free photo rag-paper.
Opening the frame I could also look closer at the darkroom paper used for the copy. It is very plastic-like. No structure at all, very matte but still with som odd lustre and very thin, compared to ink jet fine art papers. Now, I wonder what ink jet paper I could look into that are similar to this darkroom paper. Also, I remember the employee told me he made copy on ”gaslight-paper” if that would be a hint.

Thanks in advance for paper suggestions!
Lisa

PS. I’m the worst noob at printing. So any ”forgiving” paper would be ideal.

[Ernst Dinkla]

Lisa,

https://www.photomemorabilia.co.uk/Ilford/Selo_Gaslight_paper.html

Is that copy a contactprint, so a 1:1 copy of the glass negative? That paper was created for contact prints which didn't need a true darkroom with red light, a subdued lighted room was good enough. If enlarged on that kind of paper the enlarger should have had a high powered light source, probably UV rich to give it a high actinic power as well. I doubt that the paper was ever used in that way. Could be the paper resembles a Gaslight paper.

Met vriendelijke groet, Ernst

http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots

[LisaKP]

Hi Ernst,
The print is an enlargement, close to an A 3-sheet. I would estimate the actual glass plate to be approximately the size of an A5. I remember the guy at the image archive told me he had to hunt down what he called gastight paper as he wanted to be as close as possible to original prints he'd seen from the photographer.I dont think that size of an enlarged copy was common then though (the portrait is from late 19th at and from an engagement session).

Do you know any inkjet paper that has similar qualities, very smooth, thin and plastic-like, with a kind of "hidden lustre"? I understand digital printing is a completely different process, with pigments and coating behaving not at all as how a darkroom copy gets it tonality and depth. Still, I'd very much like to try anything imitating the original paper.

/Lisa

[fgorga]

My understanding is that gaslight paper was/is defined by its emulsion (slow chloride-based) and not by the paper base, although much was probably fairly lightweight, as you say.

As for an inkjet paper to simulate this, I'm not sure that you will find something similar. You might look at papers with a baryta surface for their subtle sheen, but all the baryta inkjet papers I know of are quite heavy,  300 GSM plus.

[LisaKP]

I didn't consider it might be the emulsion rather than the base that defined the gaslight paper – definitely need to do a google session and learn more lol.)

Yup, all inkjet baryta-type papers I've tried have been quite heavy. I'd fancy something going trough the sheet feeder rather than having to run the paper trough manual feed (Epson P600), but most aren't possible either due to weight or the recommended printer media setting demanding manual feed. So far I've liked Epson trad photo paper the best, and tried some from Hahnemuhle and Ilford too. I think I'll have to order some new baryta samples and do some (unscientifical see-and-feel-)testing

[Ernst Dinkla]

Lisa,

Could you give some info on the period the original photographer worked and in which period the museum employee made the enlarged copy?
Did you compare the prints made by both men?
Describe the shine of the "white" paper and the "black" areas, differences in gloss between both areas, etc. Any sign of brush strokes in the surfaces?
Silver reversal at the edges in the prints?
Measure the paper thickness.


Met vriendelijke groet, Ernst

http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots
.

[deanwork]

Epson used to make an rc paper called semi-matte that was available in thin sheets. I don’t know if any of it is still around on the used market. It has optical brighteners.

However if this is to be framed thickness isn’t going be evident.

Hahnemuhle Fine Art Baryta Satin or one of those might actually look betten

John

Lisa,

Could you give some info on the period the original photographer worked and in which period the museum employee made the enlarged copy?
Did you compare the prints made by both men?
Describe the shine of the "white" paper and the "black" areas, differences in gloss between both areas, etc. Any sign of brush strokes in the surfaces?
Silver reversal at the edges in the prints?
Measure the paper thickness.


Met vriendelijke groet, Ernst

http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots
.

[LisaKP]

Could you give some info on the period the original photographer worked and in which period the museum employee made the enlarged copy?
Did you compare the prints made by both men?
Describe the shine of the "white" paper and the "black" areas, differences in gloss between both areas, etc. Any sign of brush strokes in the surfaces?
Silver reversal at the edges in the prints?
Measure the paper thickness.


Met vriendelijke groet, Ernst

Hi Ernst,
sorry for the late reply. (I've been busy at work the whole week.)

The print I have is made between 2000 and 2010. Unfortunately haven't seen any original prints from B Mesch, only later copies from staff at the image archive. Mesch was active in late 19th century and in the first half of 20th. The very glass plate for the print I have is from 1910. 

I sealed the frame already when I removed the packaging paper so I haven't been able to measure it, but I remember the paper being thin (almost like standard copy paper) but heavy'ish and with a very smooth surface. I'd describe it as rather compact (not porous). If I was to guess grammage I'd say 175-200g. The gloss is very similar in dark and light areas, maybe a tad bit "flatter" in the darkest third of the span. It's loustrous withouth having the satin- or pearl-sparkly feeling modern coated paper has, as if the small amount of lustre doesn't result in bi-colors but more gives a bit depth.   

I'm sorry I couldn't give better answears. Also, I dont know what silver reversal is, but I'd very much like to learn if you happen to have a link with a good explanation.

All the best,
Lisa

[Ernst Dinkla]

2000-2010 ...... Copyproof CPTN I had in mind as the material used for the enlarged print but your description does not totally fit. Most thin analog/diffusion copy materials like that were more close to the copy paper you describe but they have no texture, are not dense and have no real gloss but somewhat in the blacks. And show in aging elemental silver on the surface as the fixing is not properly done.

For the Mesch period and by that gas light contact prints you more likely find in Sweden the Agfa Lupex prints and get an idea about that surface and find an inkjet paper that resembles it. Thick or thin does not really matter then. I must have Lupex contact prints in the greater family archive, have to check that. Before 1950 there is Agfa Lupex printed on the back.
http://resources.conservation-us.org/pmgtopics/2005-volume-eleven/11_16_Messier.pdf

Met vriendelijke groet, Ernst

http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots