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If the base is the issue, Ilford Galerie graded has the whitest base out there of anything I've tried. Oddly, it's whiter than Ilford MGFBIV, which I would have thought would be on the same base. Warmtone papers are often on a slightly off-white base, which may be what's troubling you.
Have you tried local bleaching, with potassium ferricyanide? This is great for giving highlights just a little extra sparkle.
Selenium toning the neg also has the potential to push up the highlights. I use Kodak Rapid Selenium Toner 1+3 for 8 minutes to get one stop of additional highlight density.
Also, be sure that it's not just an issue of drydown. If your prints look good wet, but seem to loose their brilliance when they dry, then you'll want to think about this. If you use the same paper all the time, you can eventually develop an intuition for how a wet print should look, but otherwise, Les McLean has written about testing for drydown so that you can calculate it and incorporate it into your exposure times.
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I have tried a few sheets of the new Fotospeed Legacy (in Neutol WA)and it is slightly warm (in a dark chocolate way, rather than warm brown like forte polywarmtone) and the base is a lot whiter then MG Warmtone. Very, Very nice paper, with superb finish. Really sparkles, glows - call it wehat you will, but it has depth. Definitely the warm paper to sit alongside Seagul VCFB for me....
Some have described this paper as having a cream base. It looks fairly white to me!
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Tom;
where did you get this paper. I have been searching around but no luck. I did send an email to Fotospeed but I think it is the middle of the night at their end of town.
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One other issue that would effect the paper base is safelight fogging. The bright areas of the print are where you will see the unsafelight do the most damage.
lee\c
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