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  1. #21

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    Quote Originally Posted by Thomas Bertilsson View Post
    ... My method is to give the print just a hair more exposure, and after the print is developed, fixed, and washed, I use a pot ferri bleach and bleach back the fog until it is near paper white. I use a fairly dilute bleach, so that things don't happen too quickly.
    It makes for a pretty nice print, and good enough where the difference compared to a print on fresh paper is pretty minimal.
    The slightly lower contrast of the paper has to be accounted for.

    Afterward I wash, fix again, wash, and then either dry the print or commence with toning in normal order.
    Thomas, that's considerable washing, so if you are doing this process with Ilford FB Warmtone I thought you should be aware of info from an Ilford pub that I have. To quote:

    "The optical brighteners that give MULTIGRADE papers their brilliant, sparkling whites stay exactly where they are needed - in the highlight areas of the print. All MULTIGRADE papers, except MULTIGRADE FG WARMTONE, have anchored optical brighteners which means they won't wash out and the paper stays white. With MULTIGRADE FB WARMTONE, the brighteners can be removed with extended washing for an even warmer base tint."

    I've also posted this info on the LF forum some time ago.

  2. #22
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by silveror0 View Post
    Thomas, that's considerable washing, so if you are doing this process with Ilford FB Warmtone I thought you should be aware of info from an Ilford pub that I have. To quote:

    "The optical brighteners that give MULTIGRADE papers their brilliant, sparkling whites stay exactly where they are needed - in the highlight areas of the print. All MULTIGRADE papers, except MULTIGRADE FG WARMTONE, have anchored optical brighteners which means they won't wash out and the paper stays white. With MULTIGRADE FB WARMTONE, the brighteners can be removed with extended washing for an even warmer base tint."

    I've also posted this info on the LF forum some time ago.
    Good information.
    "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

  3. #23
    Shawn Dougherty's Avatar
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    Quote Originally Posted by silveror0 View Post
    "The optical brighteners that give MULTIGRADE papers their brilliant, sparkling whites stay exactly where they are needed - in the highlight areas of the print. All MULTIGRADE papers, except MULTIGRADE FG WARMTONE, have anchored optical brighteners which means they won't wash out and the paper stays white. With MULTIGRADE FB WARMTONE, the brighteners can be removed with extended washing for an even warmer base tint."

    I've also posted this info on the LF forum some time ago.
    This is absolutely noticeable as well. When I want extra warmth I wash for about 1.5 hours. It's something you want to test because you need to account for it with your drydown when printing.

  4. #24

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    Thanks to all of you for your replies.

    I took the easy test route, and got my answer this morning. I have never seen such mottled paper, pink in color and with phenominal abstract patterns. Who needs a camera, lens and film to produce fine art photography?

    Seriously, it is toast, and as Ian suggested, was stored in too damp a location. An order for a fresh supply is going out today.

    Thanks again,
    Merg

    I should have mentioned the paper sans development that went directly into the fixer was fine. Any use to you Vaughn?
    Last edited by Merg Ross; 10-18-2013 at 12:25 AM. Click to view previous post history.

  5. #25
    Vaughn's Avatar
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    Merg, yes it is. Unless you need it out of your way ASAP, perhaps I can swing by and pick it up the next time I am passing thru the Bay Area. Possibly over the Thanksgiving holidays.

    Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  6. #26

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    Quote Originally Posted by Vaughn View Post
    Merg, yes it is. Unless you need it out of your way ASAP, perhaps I can swing by and pick it up the next time I am passing thru the Bay Area. Possibly over the Thanksgiving holidays.

    Vaughn
    Vaughn, no problem storing it. 99 sheets of (outdated!) 16x20 Ilford Multigrade Glossy Fiber paper. Let me know when you are in the these parts (East Bay). I'll save the paper for you.

    Merg

    Vaughn --- need to ammend, just took another look. About 70 sheets of the Ilford and an unopened 50 sheets of Oriental Seagull VC Fiber (16x20).
    Last edited by Merg Ross; 10-18-2013 at 06:02 PM. Click to view previous post history.

  7. #27
    RalphLambrecht's Avatar
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    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  8. #28

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    Quote Originally Posted by Ian Grant View Post
    The Cadmium salts used in emulsions were banned from use in the EU many years ago and later from batteries as well. Kodak was the last big company to use Cadmium in a B&W paper in Ektalure.

    The more soluble a Cadmium salt is the more toxic through ingestion, inhalation, contact with skin, those used in paints are insoluble so not as toxic, the ones in papers are soluble.

    Ian
    The MSDS for Liquid Light Emulsion & Ag-Plus Emulsion states that CADMIUM CHLORIDE is an ingredient. Just to note.

  9. #29
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    Quote Originally Posted by Merg Ross View Post
    Vaughn, no problem storing it. 99 sheets of (outdated!) 16x20 Ilford Multigrade Glossy Fiber paper. Let me know when you are in the these parts (East Bay). I'll save the paper for you.

    Merg

    Vaughn --- need to ammend, just took another look. About 70 sheets of the Ilford and an unopened 50 sheets of Oriental Seagull VC Fiber (16x20).
    I will not be able to use the seagull. For some strange reason it holds onto the carbon particles and my carbon prints had a slightly fogged look to them. It drove me up a wall for almost a year trying to figure out what was going wrong with my carbon process -- finally figured it out when I used a piece of Ilford paper and had no 'fog'. I had taken a break from carbon when my triplets were born (taught myself platinum printing instead) and had re-started carbon printing after buying a couple boxes of Grade 1 16x20 Oriental on sale to make some 11x14 carbons on. I know of one other person who has used it with no problems, so I don't know what's up -- but I won't waste anymore of my time with it...a year was enough!

    I often visit friends in Hayward (PhotoCentral) -- are you close to there?
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  10. #30

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    Quote Originally Posted by Vaughn View Post
    I often visit friends in Hayward (PhotoCentral) -- are you close to there?
    Yes, straight shot from my place on Hwy 13 and I-580---about 20 minutes.

    Last show I saw at PhotoCentral was Richard Garrod's. I spent a day with Dick last week in Monterey and we went over to his exhibit in Pacific Grove. Simply stunning; terrific photographer and friend!

    Keep in touch.

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