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  1. #11
    David A. Goldfarb's Avatar
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    Fortezo has a completely different tone--much greener than Expo. A fine paper, but different. I'm not a fan of warmtone papers.

    Gallerie is also a great paper, but different. It has a much brighter base than any other paper out there, and it looks pretty similar no matter what you process it in. It doesn't do anything special in amidol (maybe just slightly darker blacks, but it's not that noticable), so you can't get advantage of water bath development in amidol with Gallerie, at least not significantly as you can with Azo and to a lesser degree with Maco Expo. If one is looking for a paper capable of great contrast and bold tones, then Gallerie is it, but if one is looking for a "malleable" paper that will allow more development control, then Gallerie is not it.

    Oriental Seagull--maybe. It's what I would use if I didn't use Expo.
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  2. #12
    ann
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    thanks, David. i am not looking for another warmtone paper, i rarely use them , but have a project that i did use the Forte Polywarmtone plus with, and do have a lot of the old version of that paper that is set aside for a special project.

    I may try some of the EXpo later in the new year just for fun. As i already use Seagull.

    Am a bit worried about Galerie as i have a project in process that i have been using that paper and i haven't finished printing, hopefully, Ilford will continue that paper. at least in grade 3

  3. #13
    Bob Carnie's Avatar
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    Hi Jarred
    Maco Expo rf

    If David likes this paper as a regular grade paper , I can endorse this paper as a wonderful paper for Lith paper Expo rf grade two.
    Therefore make your negs so that they print normally at grade 2 and when you do lith printing use the same paper.

  4. #14

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    David, do you know anything about the effects of Maco's high gold chloride content? This was also mentioned in Tim Rudman's "Lith Printing Materials Update" on http://www.unblinkingeye.com/, but I don't know how that affects the paper properties. Does this make it more or less responsive to chemical process changes? Does anything funky happen with gold toning (I suspect nothing unusual, but...)? Exposure range difference?

    Also, Rudman mentions Fomatone MG Classic as "probably the last remaining cadmium paper". Does anyone know how cadmium affects a paper?

  5. #15

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    Thanks, Bob.

  6. #16
    David A. Goldfarb's Avatar
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    There are a lot of variables involved in various emulsion components, but gold chloride can raise Dmax. Super-XX film was said to have a high gold chloride content, and this in part explained why it cost nearly twice as much as other Kodak films.

    Cadmium makes for very rich blacks in papers like Ektalure. I suspect that the regulation of cadmium is what did Kodachrome 25 in, because Kodak's explanation for its elimination was that the market for K-25 didn't justify reformulation in light of new EPA regulations.

    I'm not sure what gold chloride does to gold toning effects, but Expo RF does tone well in selenium.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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  7. #17

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    A different take on this....perhaps a standard paper which you are familiar with as a 'constant' is important, but other than that why not use a short list of papers (which may not be maleable) that have (polarised?) properties you seek. One paper is unlikely to be able to do it all - thats why amoebae(?) evolved into more complex organisms - there was a limit to how well one cell could do everything copared to many specialist cells. I have a flexible shortlist of Forte Polywarmtone, Oriental Seagul VC and Agfa MCC, giving me warm, cool/neutral and warm of neautral. Different devs of course mix things up further. I play with other papers which sometimes turn out just right for the image in mind, sometimes they don't. One super malleable paper sound like a good idea for perhaps much of your work, but for all, it is surely making unneccessary compromise....You will not get Seagull oooking like PWT or vica versa. I am not sure if this is what you were suggesting, though

    For me, visualising scenes as negs, then prints, then framed were a milestones. I pick the materials accordingly. If I had to print all of my images on one paper It would be a distinct limitation.

    Tom

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