Added: Carlus Concepcion - Date: 03.01.2022 22:21 - Views: 10513 - Clicks: 1459
My thanks to Jack Milne in Australia for directing me to this site. He had a bookcase full of old Kodak paper boxes in which he stored his negatives, some of which had both codes printed on the labels. Kodak VELOX paper was a very slow printing paper, producing a blue-black image, suitable for contact printing only, where the negative is placed in contact with the paper to produce a print of the same size.
Kodak discontinued the manufacture of Velox paper in They could also be used for contact printing. Bromide paper gave a neutral black image. Bromesko produced a warm-black image. About it was available in 6 surfaces, and by , when Kodak changed their coding system see below , it was available in Glossy, Velvet, Matt, Rough Lustre, and Fine Lustre.
The paper was also made on White and Ivory a yellowish white bases. Both Bromide and Bromesko papers were replaced by other enlarging papers, some with resin-coated bases, by Kodesko is another paper Michael Talbert has found reference to. It was a warm toned paper manufactured by Kodak in the s, before Bromesko. It was unusual in that it had a parchment-like quality and was semi-translucent. The Kodak Professional Catalogue states that prints could be mounted onto a light coloured backing paper. Maybe that is where the name Bromesko originated.
Royal Bromesko paper was introduced in and discontinued in the late s. It was an enlarging paper giving a warmer image tone by direct development in Kodak D developer than Bromesko paper processed in the same developer. It had a slightly lower printing speed than Kodak Bromide or Bromesko papers. The grades for Velox and Bromide were different.
The naming system and grades for Bromesko were different to that of Velox and Bromide. And at that time smaller packets of paper were sold by weight, not quantity. Larger sizes and boxes were sold in dozens and half-dozens. White Smooth Matt was a completely smooth dead matt paper and Crayon Black was the nearest pre equivalent surface. It is uncertain when the name Nikko dates from, but it is listed under Bromide papers in a Kodak catalogue. It is believed the name is pre-WW1, if not earlier.
This Grade 5 was used for negatives which were very soft, or grossly underexposed. Contrast Grades after Kodak changed their coding system relating to paper grades, types of paper surfaces, for Bromide, Bromesko, and Velox papers in In paper packing quantities were standardized to 10s, 25s, 50s and s rather than by weight or in dozens or half-dozens of sheets and Kodak changed their system so that all surfaces and grades matched for Bromesko, Bromide and Velox papers.
The coding system was e. Types of Royal Bromesko Paper from In the UK, Kodak Royal Bromesko Paper was introduced in as a printing paper similar to Bromesko but having a warmer browner image tone with a slightly lower printing speed. Fine Pearl was a new surface in It had a matt surface with an extremely fine grain. Kodak recommended this surface as a good choice if much retouching had to be done to the print, as in portraits. In it was for sale in mainly continental sizes. Smooth Lustre surface was free from any base texture and had a surface with slightly less shine than an unglazed glossy print.
Fine detail reproduced very well. The author believes this surface was very similar or identical to Fine Pearl. A list of Kodak black and white printing papers dated October , however, does not mention the Low Lustre paper. Royal Bromesko surfaces added in All in Double Weight base only. Would be code: WSG 4D. Manufacture of Royal Bromesko paper was discontinued in the late s. WSL 3D. The difference in image tone between Royal Bromesko and Bromesko papers was very noticeable, even when processed in the standard Kodak paper developer, D The author found, when comparing prints for contrast and density, that the visual contrast decreased on Royal Bromesko because of the colour of the image compared to a similar print made from the same negative on Kodak Bromide paper.
The blacks of the print turned brown-black and mid tones a light brown. Kodak Royal Bromesko Developer was obtainable in liquid form, to be diluted one part developer to nine parts water, to make a working solution for use with Royal Bromesko paper. The Ilford Manual for gives two print developers, ID and ID, suitable for producing warm-black to sepia to red tones on Clorona paper.
As the tone of the print changed from brown-black to sepia, and finally to red, the visual contrast decreased, so that a negative of fairly high contrast usually gave the best . This is exactly what the author found when using Royal Bromesko paper. Velox Paper Kodak VELOX paper was a very slow 'Development' printing paper , producing a blue-black image, suitable for contact printing only, where the negative is placed in contact with the paper to produce a print of the same size.
The negative to be printed was placed on top of the emulsion side of the paper and in contact with it. Special contact printing frames were made which held the negative and paper in close contact under a piece of glass. The exposure was made by holding the printing frame up to a bright tungsten light, or daylight, for a few seconds. The paper was then developed, fixed and washed to produce a contact print with a slightly bluish black image. Velox Paper was first manufactured by Dr. Baekeland in It was a slow, silver chloride paper which could be handled before exposure even under weak electric light or yellow gaslight.
In a photographic darkroom it could be handled under a bright yellow safelight. Baekeland, and started to manufacture Velox paper in the U. Prior to 'Development' paper, contact printing was carried out using paper that darkened naturally when left exposed to daylight. P was coated with Albumen, which was mixed with ammonium chloride and silver nitrate. Velox in the s. The paper was exposed to daylight via a glass negative plate, the two being held in close contact within a contact printing frame, as already described above. Upper-most within the wooden contacting printing frame would be the frame's glass and beneath that was placed the glass negative plate.
A sheet of Albumen paper, emulsion side in contact with the glass plate, came at the bottom of the frame and finally the wooden back of the printing frame was attached to hold the paper and negative plate firmly in contact under spring pressure. In the middle of the wooden back would be a hinge, so that part of the back could be opened to look at the image appearing on the P.
Thus, if the image was still too light, the lifted half of the back could be hinged down again and the exposure continued without any risk of having disturbed the registration between the paper and the negative. Unlike 'development' Contact paper, which was exposed only briefly to bright tungsten light or daylight, the printing frame with P.
P was placed on a window sill facing the sun, or in strong daylight, for a ificant length of time. Every quarter of an hour, or less in bright sunlight, the back of the frame was opened to check on the density of the image on the Albumen paper. Sometimes the toning process was done before fixing. Contact Printing with Velox paper was much faster, more reliable, and the extra toning procedure was not required. Despite the arrival into the market of many types of Bromide, Contact, and Chloro-bromide "development" papers, P. P remained on the market until the mid s. Velox Paper was one of the first photographic papers to require a chemical solution, developer , to produce an image on the paper.
In the case of this packet, it is difficult to ascertain as to whether the paper was manufactured by the Nepera Chemical Company or the Eastman Kodak Company as both names appear on the packet. It may have been produced at the Nepera Chemical Company a few months after the Eastman Kodak takeover, possibly around to The paper could be handled and worked in a yellow light, similar to the colour given by 'Towns Gas' burnt in gas mantles i.
Ref: Kodak Professional Catalogue, This second packet of Velox Paper is likely to be of later manufacture. It clearly states that it is now being made by Kodak in London, which tells us it is very probable that by this time Kodak had set up a production line for Velox paper in the U.
The price was 1s. There is no back printing on the paper. It was bright yellow, so much too bright for Kodak Bromide papers. Kodak Bromide papers were about times faster than Velox paper and, although Bromide paper could be used for contact printing, Velox paper was useless for making enlargements the exposure to enlarger illumination would have being too long.
Kodak Limited, London were still making Velox paper for contact printing in small sizes until the late s. It was finally discontinued in Four packets of Velox paper dating from the s. By the early s Velox paper was being sold in two contrast grades. Taken from Velox paper instruction sheet, dated This had a Cream coloured base almost sepia , and a smooth surface, possibly close to a semi-matt, and was only available in double weight thickness. By the s, codes for the various surfaces and grade s had appeared.
This packet dates from the s. VG-3 dates from the late s or possibly the s. VG-1 dates from the s. They are all single weight paper. The double weight code would be e. Another grade is listed in the Kodak Professional Photographic Apparatus and Materials catalogue.
It was available in Art, Glossy and Carbon surfaces and a code e.Dating kodak photo paper
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