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  1. #11
    Bob Carnie's Avatar
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    I am using pot bromide and pot ferri for the bleach and sodium sulpide for the toner
    bleach for time, wash then dip in sulphide to tone.. the real stinky stuff, keeps Dinesh out of my darkroom.
    Quote Originally Posted by brian steinberger View Post
    Bob, are you sepia toning in thiorea toners? If so, how much sodium hydroxide are you adding for color? Very interesting processes you're doing there!

  2. #12
    brian steinberger's Avatar
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    I have a problem alot of times accepting MGWT when un-toned or slightly selenium toned. I love it toned lightly in sepia, or heavily in selenium or viradon, but to my eyes un-toned it looks rather unpleasant. This may be my developer (LPD). Slightly selenium toned is better, but doesn't seem to work well for much of my work.

  3. #13
    Rafal Lukawiecki's Avatar
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    Quote Originally Posted by brian steinberger View Post
    I find MGIV in 130 1:1 then selenium toned just lovely.
    Ditto. I have been printing on MGIV with Dektol or MG dev for years, but it was in PF 130 1+1 22-23 C that it started to sing for me. I tone in KRST 1+9, usually 2-3 min, 24 C.

    I also use Galerie, graded, for portraits, but for landscape the above combination works for me. I will experiment with MCC next, though, just in case.
    Rafal Lukawiecki
    See rafal.net | Read rafal.net/articles

  4. #14
    hpulley's Avatar
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    I love both of these. Sometimes I just want white and the matt finish looks more fine art to me and then its MGIVFB but usually I just love the MGWTFB, the semi matt is smoother. I'm using bromophen 1+3 lately and love it. Have Berg selenium for toning too.
    Harry Pulley - Visit the BLIND PRINT EXCHANGE FORUM

    Happiness is...

  5. #15

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    MGWT is my favorate paper...followed by MGIV. I have tried all the developers mentioned and the ones that suit my tastes most is Agfa Neutrol WA and Ilfords Warmtone Developer. I don't like the look of it toned in selenium only but I find a combination of sepia and selenium works best for my taste. Often I will just use sepia toner (kodak sepia I).

    The one drawback of MGWT is with drymounting. It has such a nice high gloss finish that you must drymount it perfectly. The smallest speck of dust or even a pet hair will show up under the print if it is not perfectly clean. The emultion on the corners of the print want to flake off as well if you go to long under the press. I seem to ruin 25% of all my prints drymounting with this paper... With MGIV or the Varicon paper I have no such issues. But the beauty of MGWT makes all the hassel worth it in my mind.

  6. #16
    brian steinberger's Avatar
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    Quote Originally Posted by John Simmons View Post
    MGWT is my favorate paper...followed by MGIV. I have tried all the developers mentioned and the ones that suit my tastes most is Agfa Neutrol WA and Ilfords Warmtone Developer. I don't like the look of it toned in selenium only but I find a combination of sepia and selenium works best for my taste. Often I will just use sepia toner (kodak sepia I).

    The one drawback of MGWT is with drymounting. It has such a nice high gloss finish that you must drymount it perfectly. The smallest speck of dust or even a pet hair will show up under the print if it is not perfectly clean. The emultion on the corners of the print want to flake off as well if you go to long under the press. I seem to ruin 25% of all my prints drymounting with this paper... With MGIV or the Varicon paper I have no such issues. But the beauty of MGWT makes all the hassel worth it in my mind.
    John, I know in the past you used cold tone developers sometimes with MGWT. Are you still doing so?

  7. #17
    Dinesh's Avatar
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    Quote Originally Posted by Bob Carnie View Post
    ..... the real stinky stuff, keeps Dinesh out of my darkroom.
    Yeah, that and the fact that you don't wear pants when you print!
    Kick his ass, Sea Bass!

  8. #18
    Steve Sherman's Avatar
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    My 2 cents

    For the last 8 months I have been printing and preparing a show for a Toronto gallery the same Bob Carnie appearing here can attest too.

    Several things have become quite clear as the majority of the show was printed on MG1V or MCWT.

    I have always been hung up on the color of my final image, for years I have never been quite satisfied, always a Portriga Rapid "warm tone" guy I have been trying to replicate that color for years without success. I've used Azo, pure palladium and always returned to Ilford's WT as the closest current paper to Portriga Rapid.

    Printing for the Toronto show began with the idea of split toning a major section of the show by using MG1V and then split toning only the highlights while preserving the cold blacks to make for a dramatic result. The rest of the show is printed on MGWT and Portriga Rapid with a small amount on Azo and a Palladium or two.

    Of the dozen or so split toned MG1V only two or three remain in the show for the simple reason that cold tone papers just can't match the low value micro contrast when compared with chloro-bromide emulsion or warm tone papers.

    About three months ago still trying to achieve the warmth I have been chasing for years I read about and ultimately tried another warm tone developer, GAF 125 with MGWT. The results are glorious, not only my opinion but of those Portriga Rapid printers I have known for 25 years. One thing I have noticed, the newer the MGWT the more warmth in the final print.

    The unfortunate part, I've decided to reprint all but two or three of MG1V prints for the Toronto show.

    Google GAF 125 developer, new MGWT and a 1:40 selenium bath for 5-8 minutes, just spectacular!

    Cheers
    Real Photographs are Born Wet !
    http://www.steve-sherman.com

  9. #19

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    Steve, is it possible to purchase GAF 125 somewhere or do you make your own? All I found on search was the recipe.

  10. #20

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    Dear Olwick;
    You'll find the formula for GAF 125 in the paper recipes section in the articles forum.
    Denise Lbby

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