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  1. #11
    Klainmeister's Avatar
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    Balls, very disappointed indeed. Fineprint has a certain 'pop' to it that I haven't found in many other papers. Maybe Adox MCC or something.

    I am with Thomas, I find Fomabrom to be quite warm both in LPD and Dektol.
    K.S. Klain

  2. #12
    Roger Cole's Avatar
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    Adox MCC is a great paper but if you're looking for a cool tone look some folks get with Fineprint it isn't the paper. Like the old Agfa version it is rich and slightly warm. I can cool it a touch to pretty neutral in KRST but it doesn't seem capable of a cool look.

  3. #13
    Klainmeister's Avatar
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    Yeah, I kinda am beginning to feel like my cooltone options are somewhat limited. That's ok. I have only seen a handful prints on MCC and the blacks were BLACK, and I do appreciate that quite a bit.
    K.S. Klain

  4. #14
    ath
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    I haven't tried this with MCC but the similar MCP came out quite blueish in a warmtone developer with "cold tone additive". This additive was available in Germany under the name Labaphot BL20 and since it's also an effective anti-foggant I suspect it to be more or less a simple Benzotriazol solution.

    Edit: Moersch makes the Finisher Blue which seems to have the same goal - giving cold tones on "warm" papers.
    Last edited by ath; 07-17-2013 at 01:37 PM. Click to view previous post history.
    Regards,
    Andreas

  5. #15
    Thomas Bertilsson's Avatar
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    Moersch offers the SE6 Cold Blue Black paper developer, which cools things down significantly without doing any toning. An interesting product.

    http://www.moersch-photochemie.de/co...itiv/5/lang:en
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  6. #16
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    As a follow up. We now have six 50 sheet boxes of 16x20 Kentmere Fineprint fb vc in the freezer. Simon says freezing should give them a 6-7 year life. One advantage of a second marriage is that Dolly and I both brought 20 cu. ft. freezers into the marriage. 5-6 is about the number of boxes I use in a year, tearing one sheet in half for 7x17 contacts and the occasional 16x20 enlargement of 8x10 negatives. I plan to spend the coming year trying papers that you have recommended. Thank you for your thoughts.

    Taking another approach I have purchased a Nikon D7100 to use with a selection of Nikon AF lenses left over from my N8008 and N 6006 days twenty years ago. This 73 year old dog is enrolled, starting this coming Monday, in “Introduction to Digital Photography” at the U of Akron, OH. I never thought I would see that happen.

    With the Ohio farm museum (1800s focus) a mile away and having watched closely Bill Schwab, Charlie Wheelihan, Daniel and Silke, I am giving serious thought to wetplate. No funds have been committed, but thoughts are stirring.

    Thank you again for your ideas.

    John Powers
    "If you want to be famous, you must do something more badly than anybody in the entire world." Miroslav Tichı

  7. #17
    David Allen's Avatar
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    Quote Originally Posted by ath View Post
    I have found that Fomabrom Variant 111 - Naturglanz (Baryt) is a very good paper but I switched to ADOX: Fine Print® Vario Classic because of two things: One it had more micro contrast and, unlike, the Foma paper I did not suffer any issues with the surface of the paper getting a fine imprints of my Zone VI drying screen.

    When the truly great ADOX: Fine Print® Vario Classic was lost I switched to Kentmere FPVC Baryt and was also very happy as it also had that special micro contrast that I like for my work. I truly believe that Ilford has really made a mistake discontinuing Kentmere FPVC and that, if sales were really that poor, it was a result of them not promoting the paper properly and also not understanding and publicising how good that paper was and for what a great price.

    I have tested both Ilford Multigrade IV Baryt and ADOX: MCC 110 - Naturglanz (Baryt). Both are excellent (if very expensive) papers but they both lack that special micro-contrast. When I posted about the fact that, for how I work, MCC 110 - Naturglanz (Baryt) just isn't as good as the ADOX: Fine Print® Vario Classic, Mirko replied to me by e-mail stating that can only be because of something particular about my workflow. However, although that can be the case and I am someone who likes images that look visually contrasty albeit with a full range of tones from dark shadows to bright highlights, I have found that the micro-contrast in the shadows and mid-tones with these papers is missing.

    If you really liked Kentmere FPVC then I would suggest that you try Fomabrom Variant 111 but be aware that you must dry it face up to avoid problems with surface marks. Of all of the papers that I have recently tested, this is the only paper that still has that special micro-contrast and remains affordable. Of course, it might well be that I could get the same results with ADOX: MCC 110 with more experimenting but, frankly, I can't afford to buy enough paper to truly test this - althougfh I would like to.

    Just to put the above in context (especially with regard to colour) I use Dikumol at 1 + 6 for a minimum of three minutes.

    Bests,

    David
    www.dsallen.de

  8. #18
    Roger Cole's Avatar
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    If you want higher contrast within very similar tonal values but without increasing macro contrast from shadows to highlights, learn to make unsharp masks.

  9. #19

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    I've chimed in on this topic several instances before and apparently bet on the wrong horse. I was assuming that Fineprint was going to secure the market presence of a premium cold tone paper. Apparently we all discovered it too late and its real potential was overlooked, and it just didn't sell enough. The neo-Seagull has been disappointing and now appears afflicted with quality control issues, Polygrade V is gone, Brilliant Bromide disappeared back in the Jurassic, and now Fineprint is getting axed and it a bad time for me to stockpile the last of it. There are absolutely wonderful VC papers out there like MCC and MGWT, but these are incapable of a classic cold tone (which at least a third of my negs need). That apparently leaves only Gr3 Ilford Galerie- a very fine product but expensive and not widely available, and of course, without the modern convenience of VC control. Perhaps if everyone screams loud enough, someone will have the incentive to develop a new classic cold tone paper, something that swims in amidol and gold toner. But if this happens, I'm sure it won't be cheap. Kentmere graded is blaaah
    compared to VC Fineprint, and MGIV is relatively anemic too. Seems like a vacuum like this would be filled by someone.

  10. #20

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    [QUOTE= Perhaps if everyone screams loud enough, someone will have the incentive to develop a new classic cold tone paper, something that swims in amidol and gold toner. But if this happens, I'm sure it won't be cheap. Kentmere graded is blaaah
    compared to VC Fineprint, and MGIV is relatively anemic too. Seems like a vacuum like this would be filled by someone.[/QUOTE]

    Drew, you're probably right. Ilford will more than likely be the one to fill the void and it won't be called VC Fineprint, but some other star-spangled name and will cost twice as much.

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