Gallerie is a beautiful paper.
Starting with a safelight test is good advice and job #1
When I switched to vc (mc) paper I had a big time struggle getting results that equaled my old Gallerie prints. What I did was choose a full scale negative that printed well on grade two Gallerie with normal development in Zone VI developer and then tried to duplicate it with Multigrade IV fibre based paper. In the end it was a Glycin/Metol developer and selenium toning at a 1:10 dilution that did the trick.
Glycin developers are unique (as far as I know) in that if you extend development time they'll proportionally build density in the darker print values, and not make the whole print darker over all as other developers do.
Anyways...the Multigrade IV prints stand shoulder to shoulder with the Gallerie prints......at least in my eyes...
Note to self: Turn your negatives into positives.
I haven't used any Ilford Fibre based papers for a while now, but like Murray I've always found the Mutligrade Fibre based paper was pretty much on a par with Galerie, the differences are subtle, Galerie's slightly warmer and prints with a marginally longer tonal range.
Originally Posted by MurrayMinchin
But it's the very subtle differences which become important, Ilford papers are superb at handling subtle highlights, whereas Agfa papers were very much better at shadow separation, and the holy grail is a paper that can handle both well.
Forte Polywarmtone was the last VC (MC) paper to almost achieve that goal, and the secrets almost certainly comes from Guilleminot. So the Bergger/Ilford tie up wull be interesting.
A correction: That should be D-Max Newsletter. Specifically
Originally Posted by dancqu
Volume 7 Issue 4. D-Max is available from The View Camera
Store, an APUG sponsor.
Phil Davis' article deals with the testing of three Forte Papers.
Quote: "In other words, within this filter range, the only real
difference in image contrast and gradation occurs in the
dark tones, ..."
He goes on to say, "This is a characteristic that's visible to
some extent in most, if not all, variable-contrast paper curve
families ...". Important to the VC printer is that "range" of
filter grades wherein only dark tone contrast is affected
by filter change; in his tests 5 grades with one paper
and 4 grades with another. Dan
Thanks again for the well informed and comprehensive answers. The only problem with an area that's far from anywhere is working in isolation.
I have been using the Forte paper mostly and found it the best of the VC,s but alas, that's gone too. I will stick with Ilford MC1V, hard to get anything else here, and check out the safelight issue.
I guess my memory of papers like Seagull, Record rapid, portriga rapid, Gallerie etc. has spoiled me somewhat.
Still, we should be thankful in this day and age that we can still buy traditional papers at all.
I did a side by side of Galerie and MGIV FB. Where as shadows / midtones were about equal, I found the Galerie highlight to have more 'sparkle' - i.e. more highlight contrast. I used HP5 / Perceptol 1+2, so this would probably result in a more pronounced shoulder. If, on the other hand, I used something like TMAX in DDX, I imagine there would be less of a shoulder and perhaps a better match to MGIV. In short, for HP5 / Perceptol, I prefer Galerie. Perhaps this would not be true if other film/dev combos are used.
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