Like many people, I have made beautiful monochrome prints with Ilford's XP2Super (and before that, XP1 and XP2). Over on the Ilford forum, an Ilford Fact Sheet titled "Making Your First Black & White Print" states on Page 3 (right column in the PDF): "Printing from Colour Negatives. Multigrade paper produces reasonable black and white prints from colour negatives. Use a Multigrade filter 3 or 4 to set an initial contrast level." When I saw this the other day, it got me thinking. Why only a "reasonable" result with color negative film? Why not as good as a chromogenic film? Is it just the orange mask, or something else? Occasionally I have made a satisfactory black and white print from Reala 100, but there was no black and white negative of the same scene available for comparison, which might have made a difference in my satisfaction. I know some people shoot color negs and then scan them for both color and B&W output on an inkjet printer, but I don't recall seeing anyone recommend shooting color negs and then printing on traditional black and white paper in the darkroom (unless they were using Panalure). When I find the opportunity, I plan to shoot the same scene with both FP4+ and then Reala 100 and print the results on Multigrade. But it will be awhile before I can do so. Meanwhile, I wondered if any of you have had any experience with this. If so, and assuming you were not happy with printing color negs on Ilford Multigrade--and yet like XP2 Super--do you know the technical reason for that difference? If I could get an excellent monochrome print from color film, then I would shoot Reala 100 and Superia 400 exclusively. I could have color for the "family snaps" and yet have scenics and still lifes on the same roll. Otherwise, I use Reala 100 (in two formats), Superia 400, XP2 (in two formats), and FP4+ (in two formats). Pat Trent PS: Apologies if there is a thread on this point somewhere, but I could not find one here or in some other forums I searched (or Google).