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  1. #21
    c6h6o3's Avatar
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    Quote Originally Posted by Donald Miller
    VC and graded papers each have their strong characteristics. VC has a lot of flexibility especially with dichroic type heads (whether color or VC). Graded papers seem to have a more robust tonal scale. That translates to deeper and fuller values; Greater richness in the print. Both can produce satisfying prints dependent on the photographers vision and ability.
    I find that the manufacturer makes more of a difference than whether or not the paper is graded or VC. I get better prints with Bergger VC than with any other paper except Azo, including the old Oriental Seagull, of which I still have a few sheets.

  2. #22

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    I've used Foma Warmtone FB Multigrade and compared to Agfa or Ilford Multigrade paper I found it to be softer in tonal values. Using a condensor enlarger even filter 5 was more like 3.5 or at max 4. I've used the Foma paper for portraits, weedings etc. as I really liked the tone of the paper, too bad it is now only available in glossy anymore.
    May be you can get the Foma paper cheaper in CZ?
    Colour? We can always use an airbrush later...

  3. #23
    Juraj Kovacik's Avatar
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    Is not easy for me to buy papers in CZ - it is time consuming and I' in some time presure, at leats from the time my first son was borning. It was 15 yeras ago :-)

    but Ilforg mg fiber looks really good. I'm going to stick with it for a moment and will see...

    Thanks all for your suggestions, they were helpfull.


    JK

  4. #24
    David A. James's Avatar
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    Variable Contrast v Graded papers

    You made a good decision. It is very difficult to make comparisons without some degree of standardization. For example to fairly compare graded papers with say, Kodak Polycontrast or Ilford mutigrade requires the same paper developer - say Kodak Dektol (highly active paper developer). But generally, as the good Dr. pointed out, even with a point source condenser enlarger, the results will always be a grade or two lower in contrast than a graded paper of the same contrast. With diffusion enlargers, it is much worse. Nevertheless, variable contrast papers will always exhibit a greater latitude for exposure/development corrections without losing subtle shadow detail than similar graded paper. Moreover, you can buy one box of 50 sheets instead of 5 packages of 25. Take a negative of good contrast, one that will 'Pop' when printed. Degrade it deliberately until it loses that 'Pop' or contrast. Then keep the combination and try to improve the print merely by manipulating the developer dilution and processing time. You should be able to improve it and what this will teach you is that you can make-up for any loss of paper-grades by improving your darkroom technique.



    Quote Originally Posted by Juraj Kovacik
    Is not easy for me to buy papers in CZ - it is time consuming and I' in some time presure, at leats from the time my first son was borning. It was 15 yeras ago :-)

    but Ilforg mg fiber looks really good. I'm going to stick with it for a moment and will see...

    Thanks all for your suggestions, they were helpfull.


    JK

  5. #25
    Juraj Kovacik's Avatar
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    I've stick with Ilford multigrade papers for some time and they are great. But for the last weeks I started worked again with fomabrome - the main reason was a shortfall of Ilford papers in my local shops. And I must say I like this Fomabrom papers too - btw I grown up on it 15 years ago. I've made that Liptov series on them and I'm satisfied. I concentrated only on set up of time and only rarely I use 4 minut development - mainly as a correction of underexposed prints. As developer I use Ilford PQ in 1:9 for both Ilford and Foma - it looks I like it more the Ilford Multigrade, but don't ask me why - is only about feeling. I've to try some of these Liptov prints on Ilford MG - i build up some stocks of it again.

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