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  1. #21

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    Quote Originally Posted by bobbysandstrom

    Forte POLYGRADE (not polywarmtone) in Agfa Neutol WA (not Neutol Plus) then selenium toned in 1:20 at 72F for 2 minutes!
    .


    What did the Forte PG look like in Neutol +? It interesting that you preferred the WA, which in my experience (not on PG though) increases the green considerably over Neutol+, then used selenium to get rid of it.

    Wayne

  2. #22

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    Mike, I used to love that paper but unfortunately like so many other things, it's changed! Hopefully from what Simon is saying, Ilford/Harman's soon to be released Selenium toner will be just what the doctor ordered for helping MGIV in the dmax department. That would be sweet!

  3. #23

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    Quote Originally Posted by Tom Hoskinson
    If you don't mind mixing your own developer, Ilford ID-78 is an excellent replacement for Neutol WA. Both developers are Warm Tone Phenidone/Hydroquinone formulations.

    See: http://www.apug.org/forums/article.php?a=23
    You can also try throwing 10-11 grams of glycin into ID-62, and get something akin to a cooler toned Ansco 130, that gives results very similar to BW-65 but lasts forever like Ansco 130. I use several variations of this basic idea for Forte PW, and love it.

    Ilford ID-62

    Water (at 125F) 750.0 ml
    Sodium Sulfite (anhydrous) 50.0 grams
    Hydroquinone 12.0 grams
    Sodium Carbonate (anhydrous) 60.0 grams
    Phenidone 0.5 grams
    Potassium Bromide 2.0 grams
    Benzotriazole 0.2 grams
    Water to make 1.0 liter

    Dilute 1:2 for use.




    Wayne

  4. #24

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    Wayne, I don't have the photos in front of me but I believe they were a bluish green. I simply prefered the warmtone dev for the type of tonal separation it produced on that particular negative. It had nothing to do with tone in terms of color as my end was to neutralize as much as possible. Who knows, maybe with some other negative I'd feel differently. This process has just reinforced to me the fact that photography is a compromise from beginning to end. No magic answer for every situation. No "one and only" film format, film, developer, paper etc... It is my goal however to find the most pleasing combo so I can make it my own and really learn it! I hate testing materials but it's a necessary evil. Sorry for rambling...

  5. #25

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    Wayne, thanks for the info. I ordered today a small kit of 130 from PF and also some Nuance Expo from J&C. I'm anxious to take a look at that and possibly some amidol using a waterbath. (I've never done that as I've only used vc printing so far.) Simon said in another post that Ilfords new selenium will supposedly beef up the lows (I'm assuming more readily than KRST) on the MGIV. That would be nice.

  6. #26

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    Quote Originally Posted by Wayne
    You can also try throwing 10-11 grams of glycin into ID-62, and get something akin to a cooler toned Ansco 130, that gives results very similar to BW-65 but lasts forever like Ansco 130. I use several variations of this basic idea for Forte PW, and love it.

    Ilford ID-62

    Water (at 125F) 750.0 ml
    Sodium Sulfite (anhydrous) 50.0 grams
    Hydroquinone 12.0 grams
    Sodium Carbonate (anhydrous) 60.0 grams
    Phenidone 0.5 grams
    Potassium Bromide 2.0 grams
    Benzotriazole 0.2 grams
    Water to make 1.0 liter

    Dilute 1:2 for use.




    Wayne
    Wayne, of course, Ilford ID-78 is a derivative of Ilford ID-62. For a blue-Black tone, add up to 0.2 gram of Benzotriazole to the stock solution. For a warmer result, increase the amount of Potassium Bromide (it can be increased up to 10-12 grams per liter of stock solution).

    For a concentrated version of Ilford ID-62, see Ilford Universal Concentrated Liquid Developer:

    http://www.apug.org/forums/article.php?a=36

    The same comments about tone, Bromide and Benzotriazole apply to both Ilford Universal Concentrated Liquid Developer and ID-62.

    Ilford Universal Concentrated Liquid Developer was my favorite paper developer up until the time that I began LF contact printing with my current Azo/Amidol combination.
    Tom Hoskinson
    ______________________________

    Everything is analog - even digital :D

  7. #27

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    Bobby: I have found the Forte Polywarmtone to vary from box to box and even within a box. I have achieved results from spectacular to terrible. When it is good it is very very good but when it is bad...... In spite of that I am going to stick with it for awhile anyway as I understand Forte is trying to improve their quality control. The best results I get is when the untoned print has a slight olive cast. With about 1 minute of toning in selenium at 68 degrees at 1:10 the olive cast is removed an replaced by a plesant warm tone.

  8. #28

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    I hear ya Jim!

  9. #29
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    Quote Originally Posted by Wayne
    What did the Forte PG look like in Neutol +? It interesting that you preferred the WA, which in my experience (not on PG though) increases the green considerably over Neutol+, then used selenium to get rid of it.

    Wayne
    Hi Bobby,
    I too am interested in your answer to Wayne's question.

    regards
    Peter

  10. #30
    Jersey Vic's Avatar
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    After my Agfa 118 disappeared, I spoke to an exhibition printer I know and she recommended polygrade V (also available from Freestyle as Arista.edu 'from Hungary") and to develop it in Ethol LPD 1:9 (for the liquid; 1:4.5 for the powder) for 5 minutes- Clean hightlights, subtle gradation in the midtones, solid blacks with no color cast.
    I love it-Great great stuff.

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