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  1. #21
    Ian Grant's Avatar
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    The Adox brand name now belongs to Fotoimpex, Berlin. This is why rebranded Ilford films are being sold as Adox CHM 100 & 400

    So Fotoimpex are now rebranding some of their other products as well. If you check their site you will find that Adox Fine Print Polywarmtone is actually just a name change for their Classic Arts Polywarmtone paper.
    http://www.adox.co.uk/html/fine_print_classic_arts.html

    They state: Adox Fine Print Polywarmtone . . . . . . Forte Polywarmton or Bergger CM/CB/CB cream or Moersch Sepia. These Papers are identical in all parameters. (They are referring to emulsion characteristics). So these all come from the Forte factory. Meanwhile EFKE also make paper.

    Adox is now the house name for Fotoimpex products.

    Ian
    Last edited by Ian Grant; 07-21-2005 at 01:24 PM. Click to view previous post history.

  2. #22

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    There seems to be some confusion so let me clarify.

    ADOX CHM 125 = FP4
    ADOX CHM 400 = HP5
    ADOX CHS 25 = Efke 25
    ADOX CHS 50 = Efke 50
    ADOX CHS 100 = Efke 100
    ADOX ORT 25 = Efke Ort 25 = J&C Ort 25 = Maco Ort 25
    ADOX print film = Maco Genius = J&C Classic Ortho
    J&C Classic 200 = Forte 200 = other well known rebranded versions of this film
    J&C Classic 400 = Forte 400
    J&C Classic Polywarmtone = Forte Polywarmtone plus =ADOX Polywarmtone = other well known rebranded versions
    J&C Classic Museum = Forte Fortezzo Heavy = other well known rebranded versions
    J&C Classic Polygrade = Forte PV-G = other well known rebranded versions
    J&C Expo = Maco Expo = Efke Emaks


    The Adox mark is shared between Fotoimpex and J&C. Some products in the USA may be marketed under different names than in Europe. This may or may not change over time.
    www.jandcphoto.com

  3. #23
    abeku's Avatar
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    Thanks JandC for sorting out it all out. On the film front it was all clear to me, but on paper side it was a jungle. Now, I know better which paper to buy.

  4. #24
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    Adox Vario G paper

    I am having some trouble getting my negatives to match up with this paper. It has a beautiful (to my eyes) neutrl image tone, it tones in thiocarbamide quite well(very dark rich brown, little yellow) no change in image tone with selenium until you get stronger than 10:1. The problem I have is that it seems rather "soft" i.e. with a #2 filter and V54 cold lamp I actually get about a #1 grade result. So to compensate I am recalibrating my negatives: I shoot a Z8 and Z5 exposure on the same neg(4x5) then dev in rodinal. I've been using 50+1 dilution and ten minutes but the Z5 exp prints like 4- and the Z8 is a 7 so I tried 25+1 dilution and 9minutes(time recommended on dev bottle for FP4) : this combination gave me a perfect Z5 but blank paper for Z8. As an aside the neg developed 50+1 when printed on Ilford MGIV RC gives Z6 and Z10 respectively.
    So should I change dilution back to 50+1 and extend my times or? Also I have found that almost all papers with the exception of Ilford MGIV and some Kodak exhibit a rather compressed range weighted towards the soft end of the spectrum when used with an aristo V54 coldlite. And believe it or not I have run some tests with my ancient B&J Solar (5x7) enlarger that uses tungsten diffusion and I get basically the same results! I have compared my results to those published by Steve Anchell in his VC book and they shjow the same basic trend. Comments? ideas?
    No escaping it!
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    to take this path

  5. #25

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    You may want to increase your contrast by 1/2 to 1 grade. I print using both cold light and condenser and found that I get a full tone range with a Dupont 4 filter. I test my paper by using a Kodak print scale and a clear negative, by running a series of test prints, each the sized of the print scale, at 1 second intervals at f8 until I get 10 distinct tones. I found that when using polycontast a number 3 filter worked well, but for Adox I need a number 4.

  6. #26

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    I have used some of this paper, the VC.
    It behaves very much like Du Pont Varilour (I still have some). This is hardly surprising as many Adox Products are DuPont formulas.
    The paper surface looks similar-not a brilliant gloss. I have even seen a silver sheen induced on the surface which ocurrs sometimes on Varilour.
    It tones well and responds well to blue black and olive black bleach and redevelopment.

    Mark Layne
    Mark Layne
    Nova Scotia
    and Barbados

  7. #27
    ronlamarsh's Avatar
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    dupont filters? where di you get them? are they significantly different than polycontrast or multigrade?
    No escaping it!
    I must step on fallen leaves
    to take this path

  8. #28

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    I have 1 set that I bought in the 60s and another that I bought from a Photo Shop that was going out of business. I also have Kodak and Ifford as well as a color head, but I think the DuPont filter give a "cleaner" look with bright highlights. I think the #9 gives a true grade 5, but it is very dark and hard to see the image and prints slow. Maybe just my bias. You can find DuPont sets on E bay.

  9. #29
    Ian Grant's Avatar
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    Ilford have changed their Multigrade filters slightly over the past few years, and made one huge shift compared to the very first generation of Multigrade, which was produced in the 1950's.

    A set of mounted 151 filters, for Tungsten lamp. has yellow for Grade 5 and Magenta for Grade 1. When they relaunched Multigrade in the 70's they completely reversed the colour sensitivities, and the filters too.

    Ian

  10. #30

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    Ian,

    This is most likely a good explanation as to why I may not have gotten good results with Ilford Mutilgrade, my Ilford filter is an old set as well, but Dupont works well for Kodak. I will buy some Mutilgrade and get a new filter set, or reverse my Dupont set.

    Adox seems to filter with the Dupont set, I will need to look to see if a data sheet was enclosed with the paper, I have been screweing up all along.

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