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  1. #1
    Colin Corneau's Avatar
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    Developer suggestions for Ilford Galerie (Gr. 3)

    Hey kids

    I picked up a pack of 8x10 Galerie -- just to try out my very first graded paper.

    Normally use MG-FB warmtone by Ilford, with their warmtone developer, and love it. And yes, I know this is very subjective...but I always appreciate and respect the voice of experience.

    Also, any info on how this paper tones? I use selenium, normally, and am getting into sepia also.

  2. #2
    Martin Aislabie's Avatar
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    Galerie - lovely paper

    Responds well to different developers - cool/neutral/warm - it is very slightly warm emulsion in neutral Ilford MG Dev on a very white base

    My preference if for cool tone developers - but I don't know what you have available on your side of the pond

    It also responds well to developer concentration

    Tones well to all the Toners I have tried - about half way between Ilford Multigrade FB (not much) to Ilford Warm Tone Fibre (lots)

    I find if you work with it - it pays you back

    Have fun

    Martin

  3. #3
    jmcd's Avatar
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    Bromophen is a good choice.
    Last edited by jmcd; 05-12-2009 at 12:04 PM. Click to view previous post history. Reason: correct name

  4. #4
    eddym's Avatar
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    I love Galerie. I've used it with Zone VI developer and dilute Rapid Selenium toner, and get a tone just slightly warmer than neutral. With Ilford Warmtone developer, it's even warmer, but then can go reddish with too much selenium toner.
    Eddy McDonald
    www.fotoartes.com
    Eschew defenestration!

  5. #5

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    Galerie Gr 2&3 is pretty much my standard paper, used with Dektol 1:2 or occasionally 1:3. Fixer is followed by a rinse, then plain hypo (with a bit of sodium sulfite for resistance to staining), then rapid selenium toner 1:10 with Kodak Hypo Clearing Agent stock (1:4). I keep the toning bath at 75-80F. Air dried overnight, as heat drying negates the toning effect. Gives slightly warm tone with bright whites. Love it.

  6. #6
    Colin Corneau's Avatar
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    Wow, great advice all.

    Still a bit green, to not know the trick with sodium sulfite...any tips on how much to add? This is timely because I had a print I really worked on and just loved, found the perfect method to sepia tone JUST right and selenium tone JUST right...only to have a stain somehow in the top ruin it.

  7. #7

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    I use Kodak dektol or D72 homebrew 1:2 for 2-3 minutes, got excellent results, Gallerie is great paper
    quiet-light.blogspot.com

  8. #8

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    Contrast Control Developer?

    With Graded paper a contrast control developer
    is a good thing to have. Beer's or Adam's Ansco
    120 are two. Edwal markets an off the shelf
    version. Dan

  9. #9

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    When toned in KSRT Galerie has a minor color shift but changes color faster than MG IV. If your into a sepia warm look you may want to try the new/changed Oriental WT or FOMA warmtone. Galerie's base color is slighty warmer (warm gray) than Ilford MG IV. For contrast control consider using a condensor light source tor increased contrast and a diffused head for lower contrast. Additional control can be found using Dektol and a slightly lower contast developer like Ansco 130. EMAKS graded is another very good paper. EMAKS grade 2 is very soft.
    RJ

  10. #10

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    Colin,
    I add 910 gms plain hypo (sodium thiosulfate) to 2360 cc water and stir to dissolve, then add 113 gms sodium sulfite, stir again, then add water to make one gallon, stir again. The sodium sulfite MINIMIZES the chance of staining and avoids build-up of thiocyanates in the fixer, so I’m told. My prints (double weight only) made in the ‘70s show no signs of deterioration yet, and since I’m not making prints commercially I choose to not take any shortcuts to expedite processing; however it seems that using a hardening fixer may cause the paper emulsion to not readily accept spotting dyes, so I’m considering a non-hardening fixer now. FWIW, the process I use when toning is worth mentioning, since it differs from Ilford’s recommendations.

    Process sequence following stop bath –
    All agitation is by tray rocking
    • 1st fixer (Kodak Fixer), 3 min @ 68F, constant agitation
    • Rinse front and back under running water; prints are stored in cold water until ready for final processing
    • 2nd fixer (plain hypo + sodium sulfite), 3 min @ 68F, constant agitation
    • Toner, prints go directly into toner without draining, 75-80F, constant agitation
    • Hypo Clearing Agent, 3 min @ 68F, constant agitation
    • Rinse both sides in running water, several minutes (using inverted tray propped up at one end)
    • Final wash, 1 hr minimum, 65-70F, in archival washer
    • Squeegee off excess water (inverted tray)
    • Dry by placing face down on drying screen overnight

    BTW you may be interested in the processing used by Alan Ross to make Yosemite Special Edition Photographs from Ansel Adams’ negatives:
    http://www.anseladams.com/content/ca...g_methods.html

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