jb - yes I can and I will get around to it in the next day or two but...
Originally Posted by jbridges
So many readers on my site have asked for samples of materials I am actually working out a way to deal with sending out actual samples for a couple bucks with a selection of negative formats/processing that will not suck down all my time and end up cost neutral. If that interests you at all hit me up via email.
I've just loaded a couple of scans of two MCC 110
prints I made last night -- one toned in selenium,
the other split toned in Kodak Sepia II and selenium:
MCC's tones barely budge in selenium -- you would
not see the difference (if there is a difference) in a
scan so you can expect untoned MCC to look like my
If you don't like the images, don't blame the paper --
it looks much richer and subtler and vibrant in hand
than any computer reproduction can suggest.
I am a died in the wool 130 fan but I agree that the Dektol/D72 is better on this paper. Evan better is to replace the carbonate in D72 with TSP ala Edwin Lowe fo deeper blacks. Replace the carbonate wit 1 part TSP for 2 parts carbonate and dilute 1+2...Evan Clarke
Originally Posted by rwboyer
Sanders - Thank you very much. Excellent information/visuals and your prints look wonderful.
Rb - I might take you up on that offer!
what means "TSP" please?
Originally Posted by eclarke
em... TSP = Trisodium phosphate (Na3PO4) ?
Tri-Sodium Phosphate, it's an alkali thats been used since the 30's in some developers in place of carbonate or in other cases Borax.
I just ordered up my second large batch of MCC and PRINT WA developer. This has become my new standard paper. It took me the better part of an entire weekend to calibrate my ZoneMaster II to work with it because the curves are so substantially different than Multigrade IV to be silly. Once recalibrated, it's heavenly to work with.
The biggest advantage I see to MCC is two-fold: Blacks are BLACK! Not some off-blue cast that Ilford Multigrade IV papers have. Secondly, the straight-line section of the tonal response curves are straight! I'm so used to fighting the double-hump in the curves that I ended up split-grade printing most of the time. With MCC, I get perfectly predictable Zones I-IV and have been able to reduce contrast by an entire paper-grade to still get good blacks.
A third advantage to MCC is the fact I get zero gloss differential.
I could go on and on, but I think you get the idea... It's only marginally more expensive than the alternatives, but my time is more valuable than the price difference.
Yep, yep, and more yep - right with you.
Originally Posted by Ken N
Just out of curiosity what MC filters are you using - not that it really matters but...
I have a VC head that is calibrated for Polycontrast, ilford MG, and old agfa paper. I also have a set of real Polycontrast, MG, and Agfa VC filters. There are Adox specs for color heads but was wondering what filter set if any matches up to this paper - I am thinking the Agfa filter set does due to it being an Agfa emulsion?
Yesterday I contact printed an 8x10 negative that was a landscape scene of high contrast on both the new Adox MCC and Ilford Multigrade VC FB. I used the standard "split grade printing" technique so well known to many of us here, and the inexpensive and easily mixed Zone vi developer at the standard 1 plus 3, 70-72F. Looking at the prints today ( not toned ), they are very similar. The Ilford paper might represent the scene with slightly brighter highlights and a smidgeon more contrast. However, as well all know, mix the prints up and look at them next week, and it might be hard to tell such similar appearing prints apart. Both prints look fine, and represent the scene as I had intended. My first impressions are that the papers might be very similar in their responses using the Zone vi developer ( similar to Dektol ). More prints will be needed before a firm conclusion can be drawn. I have done BTZS paper tests with the VC MCC and will shortly do so with the Ilford Multigrade VC FB. It will be interesting to see if the curves will be appreciably different when Zone vi developer is used.
I was interested to read about the response of MCC to toning. I tend to tone very selectively, believing that the evidence for Selenium toning and longevity is not as clear as one would suspect from reading various posts and articles. Toning for adding interest and certain qualities to a print are of more interest to me, and the experience of others regarding toning and MCC will certainly be relevant.
Thanks, and many thanks, to Adox for bringing another paper to the market.