As I continue my journey of creating handmade salt prints from calotype paper negatives, I recently tested two popular papers: Bergger COT-320 and COT-160. Each paper has unique characteristics, and I want to share my experience working with both.
Bergger COT-320: Tactile and Versatile
The COT-320 paper immediately impressed me with its thick, sturdy feel. When holding a finished print made on this paper, the tactile sensation is a delight. Its weight and texture evoke a sense of craftsmanship, making the print feel substantial and timeless.
But beyond its physical properties, the COT-320 offered an exceptional tonal range. My workflow yielded deep, rich chocolate browns that beautifully complemented the ethereal quality of my calotype negatives. I also found that, with some modifications to my process, I could push the tonal range into the red/brown spectrum, giving me added flexibility depending on the mood I wished to evoke. You can see these tones in the photo of my latest artist proofs below.
Bergger COT-160: Light and Delicate
On the other hand, the COT-160 paper surprised me with its thinness, but I quickly grew to love it. While lighter than the COT-320, it still felt durable and capable of holding up to the salt print process.
What truly stood out with COT-160 was its ability to produce stunning red/brown tones. The rich, warm hues immediately captured my attention, and I fell in love with the unique aesthetic it brought to my prints. This tonal quality inspired me to use COT-160 for my upcoming Ultra Large Format project, where I will be crafting handmade calotype negatives and producing gallery-quality salt prints.
Conclusion
Both papers offer their own strengths, with the COT-320 delivering rich chocolate tones and a sturdy feel and the COT-160 providing a lighter texture with beautiful red/brown hues. For my new Ultra Large Format project, I’ve decided to embrace the COT-160 for its tonal qualities, which align perfectly with the creative direction of my work.
I will mount the 14×17 Ultra Large Format contact salt prints on 20×24 archival mounting boards and a 16×20 window overmat. By doing so, I create a relief around the 14×17 print area, highlighting each piece’s handmade nature. I also find this presentation ideal for titling, signing, editioning, and dating the work directly on the print, which adds a personal touch and enhances its value for collectors. This method showcases the artwork as I envision it and adds a layer of craftsmanship and authenticity that collectors will appreciate.
Stay tuned for the announcement of this new project—I’m excited to share more details soon!
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Beautiful! thank you for doing all the discovery work – you definitely are an inspiration, always have been. Thank you!
Hi Kerry, you are welcome and thank you for commenting and connecting. I appreciate it.
Hi Tim
I’ve just done a project of argyrotypes using COT-320 8×10 size. I tried a two or three sheets of 160 paper and really liked it, slightly easier to coat but didn’t notice much in tonal difference, I think there were too many other variables in play. For 8×10 I think it is perfect but the 320 was easier to get hold of at the time.
I am inspired by your work on Calotypes and shall have to try that. The words you used to describe the effect and personal connection resonated with me for my project where I used well Polaroid sheet producing non-transparent paper negative, the defects creating a unique texture, not dissimilar to the calotype.
I look forward to your next venture.
Warm Regards
Richard
Hi Richard, good to hear from you. Thanks for sharing your thoughts and experience. I would love to see the prints you made for your project. If you have photos of your prints online, please share them so I can check them out. For my salt printing workflow, the tonal differences between 320 and 160 were substantial, and I couldn’t deny the beautiful warm/red tones that 160 gave me for this specific project. I love how the 320 also looks and performs, and I am sure I will find a place for it in a future project. Stay in touch.
Tim
Hi Tim
I found it difficult to scan or photograph the prints to get a reasonably accurate representation of the tones but my attempt can be see here:
https://richyphoto.com/blog/2024/10/06/display-prints-rugged-beauty/
Richard