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  1. #171

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    Quote Originally Posted by VaryaV View Post
    I would die if Galerie went away. I am just remorse that the new Coldtone doesn't have the same finish.



    Really? That would be cool.
    Pan F+ in 5"x4" is one of the products that has been requested in the past but I don't think the emulsion is compatible with a polyester sheet film base and Harman wouldn't think it worthwhile to develop. Delta 100 and FP4+ are hardly lacking in large format anyway.

    Tom

  2. #172
    VaryaV's Avatar
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    Tom, you got me going there for a minute. I just started shooting PanF+ again over the holidays, and jumped when I saw your comment. Drat!

    I have packs of D100 and FP4+ in the frig.
    Sourdough, salami and blue cheese... and 2 dogs drooling with such sad, sad eyes. ... they're working me... they know I'll cave!

    APUG Portfolio

  3. #173

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    I had only one long session with the new Cooltone - bought a box of 16X20 - printed large format negs with both a blue-green cold light and an additive
    colorhead. An easy paper to use, and got superb results quickly. But it does print very fast, esp compared to MGWT. The tonal gradation into the high
    tones and shadows was perceptibly much better than MGIV. With amidol and a tad of gold toner I got wonderful silvery true black rendition, with none of
    that greenish residue inherent to MGIV. Responded well to modest selenium toning - I say modest, because this is a paper I bought deliberately for classic cool tones, not for some kind of antique brown effect. In a different session I'll try one of my MQ blue-black tweaks, just to see what happens. The surface of the wet paper is a bit fragile, and the gelatin dries somewhat glossy. Response to Farmer's Reducer was so-so. I don't know whether or not it will achieve the kind of bold graphic blacks characteristic of olden Seagull G or Brilliant Bromide, since I'm obviously still in the early stages of testing - but
    anything where a long-scale sparkly silvery gradation is involved certainly seems like the domain of this particular paper. It will be interesting to compare
    it with the "neutral tone" Classic product. I had a bit of an issue getting the overnite dried paper to lie flat (and the humidity here is quite low at the moment - a severe drought, in fact), so I just gave it half a minute in the drymount press before placing it under my big sheet of plate glass with the
    other prints awaiting drymounting. That seemed to do the trick nicely. This paper is a very welcome addition to my darkroom arsenal.

  4. #174
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    Quote Originally Posted by Tom Kershaw View Post
    Galerie is the best paper by far (new MG papers on the way soon) that I've printed with, so sharp, and great tonality. Adox MCC 110 was much better than MGIV - not sharp and I suspect the curve of my negatives is not well matched; but it will be interesting to compare to the Classic paper. Most excited about the 'Cooltone' product as this is a unique offering. I'd still be surprised if anything can beat ILFOBROM GALERIE.

    Any chance of the Harman cool tone developer coming back, surely more rational than Pan F+ in 5"x4" ... ?

    Tom
    Why do you think MCC 110 much better than MGIV? It responds less to selenium (though it does respond slightly) but I made direct comparisons and when dry was hard pressed to tell the difference between untoned MCC 110 prints and untoned MGIV prints. I could only tell them apart from the notes I wrote on the back.

  5. #175

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    'Much better' is probably an exaggeration but I found MCC 110 sharper with a tonality that suited my negatives, although I've printed XP2 super negatives onto MGIV with some success.

    Tom

  6. #176

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    MCC110 has a kind of "depth" to it, a lovely microtonality characteristic of silver-rich papers. It certainly has its limitations in the cool direction. But I have comparison printed the same negs with it as with MGWT. The new Cooltone is richer in this respect (tonal separation) than MGIV, and will deliver a true black - which gets me past the inevitable purplish black of MCC and the greenish black of MGIV. Which is "better" really depends on the specific image. I work with all these papers. When I want a true warm tone paper, well ... I don't think it can get much better than MGWT. But I don't like comparing apples to oranges, esp VC versus graded papers, which are now nearly extinct, and are apparently more expensive to manufacture at a high-quality level.

  7. #177
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    I agree that MCC 110 has lovely tonality. I have an 11x14 hanging on my wall made on it, and a 15x15 (roughly) from a 6x6 Pan F+ negative on my mother and father in laws wall, also printed on it. I was surprised though when I made test prints, admittedly only to 8x10, and had a hard time telling the dry prints apart between MCC 110 and MGIV. The biggest difference, which gives it away on a very close look, was that the contrast couldn't be matched exactly using my filters. In and after toning they began to show more difference with the MGIV going more purple sooner.

    I have not compared MCC 110 directly with MGWT as I use the latter for warm results and have been using the former (though mulling a change to MGIV until these new papers came along) for neutral results after light se toning.

  8. #178

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    The differences in microtonality certainly shows up better when printing something richly detailed to begin with, esp from an 8x10 neg. I did print one unsharp-masked 8x10 onto the new Cooltone, and that was definitely a gradation wow, though there are a few dodge/burn tricks on that particular image which warrant a re-printing in another session. As usual, one never knows the result exactly until a true dry-down, all toned. But this new VC cool paper has its own distinct personality - neither that of MGIV or Kentmere Fineprint. The image color reminds me more of Galerie graded, but might in fact be slightly cooler. I haven't used Galerie in a long time, and can't even buy it locally except in 11x14. My main question at this point will be comparing the new "neutral tone" VC to what Fineprint would do, which was also nominally neutral, but would go wonderfully cool with the right developer and toning regimen. It's probable that I'll keep all three of Ilford's VCFB papers
    on hand, since I have such a wide range of negs to work from. ... but again, time will tell.

  9. #179
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    It was mentioned that this paper has a 50% less washing requirement. Does anyone here have an opinion on this, and if so how would this be possible?
    Asked this question on another site without a good answer on how this is possible.

  10. #180

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    I'd ask them directly about that, Bob. I often use more than one type of paper in a printing session, with different kinds of toners. So, even
    though I use "archival" TF4 fixer for all of them, still give my standard one-hour wash, regardless. I might have to rethink that, now that water
    rationing is a possibility - we're having by far our driest year on record here in California.



 

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