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  1. #11
    eddie's Avatar
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    I tried the Adorama paper last week, for the first time. Very impressed... My normal paper is Ilford MGIV fiber matte, which I still prefer (it has good tooth for hand-painting) but, for the money, the Adorama is a real bargain.

  2. #12

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    eddie,

    Would you care to describe the difference in detail? I'd be very interested in knowing what you found out.
    Develop, stop, fix.... wait.... where's my film?

  3. #13
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    They're actually quite similar. Any differences I describe are small. The Adorama seems to have a slightly whiter base. In sepia and selenium they tone similarly. I haven't tried gold toning, or hand coloring with them yet.
    I added a 25 sheet pack of 5x7 (matte/fiber) to an order I was placing. It was $6.50 well spent. I plan to order more, once I determine how it hand-colors.

  4. #14

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    My vote is for Ilford Multigrade FB. I've used that for many years with excellent results. I recently tried the Ilford Warmtone and was well pleased although in Dektol it was not as warm as expected. I try to keep to one paper in different sizes since to me it maintains a consistency in a portfolio. For a different look I do pt/pd. Personally I stick with FB paper. In the past I tried various papers including graded papers each of which had slightly different characteristics however, my feeling is that regardless of the paper it is the image that counts.

    http://www.jeffreyglasser.com/

  5. #15
    K-G
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    One paper that you definitely should try is Adox MCC 110 , I think it is called Adox Premium MCC 110 at Freestyle . I have very limited experience from Ilford MGWT but I regard Ilford MGIV as a top quality paper and still I think Adox MCC 110 is even a litle bit better. It is close to neutral but with a touch of warmth in the image tone with Dektol and similar developers. It is very close to the old Agfa MCC 111 but with a brighter white emulsion.
    Also rember that Ilford Galerie is still made in grades 2 and 3 with the same outstanding quality as before.
    What a situation to be able to choose between several excelent alternatives instead of of having to pick the least disastrous as we too often are forced to.
    Good luck !

    Karl-Gustaf
    Karl-Gustaf Hellqvist

    www.heliochroma.com

  6. #16
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    my 2cents are Ilford Warmtone fibre only, Dektol 1 1:5 with selenium tone.

  7. #17
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    Quote Originally Posted by Bob Carnie View Post
    my 2cents are Ilford Warmtone fibre only, Dektol 1 1:5 with selenium tone.
    Funny you mention that....that's exactly what I used to use. It's definitely still going to be my focus moving ahead--to eventually return to Ilford and probably that setup--I just needed to learn more control before I kept buying. I think now I am going to do a mix of Adorama and Ilford and see how they compare, which will also allow me to make mistakes/adjustments with the new setup. Also, probably buy a small pack of the Adox MC as well, since it seems to be highly regarded by the fellow above.

    Thanks
    K.S. Klain

  8. #18

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    I recommend having one standard paper with one or two addition brands when the contrast curve of your standard paper is not adequate. If you are using a stained negative, I understand graded paper is the better choice. Contrast filters tend to reduce the contrast of pyro negs.

    I get consistent results using a major branded paper vs re-branded paper selling at a discount. You get what you pay for most of the time. Ilford FB WT is a very nice product but has a creme paper base which may not work for your portfolio or framing. ADOX MPC 310 RC delivers the old Agfa print color and contrast. It has a white base with strong blacks which don't haze. The glossy has a ferrotyped finish and the semi mat is a fiber, silk finish.

    I happen to like EMAKS graded, Cachet's premium exhibition paper. Fiber is nicer in the hand, often has better low tone separation, easier to dry mount (does not melt), and arguably more archival.
    Last edited by Richard Jepsen; 07-31-2011 at 04:27 PM. Click to view previous post history.
    RJ

  9. #19
    Klainmeister's Avatar
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    Yes, but I see a couple hundred to get me back into the swing of things. Then move onto something like Ilford or Adox. Frankly, I used to do fiber and putting a selenium toned fiber Ilford next to the same process only RC showed me that fiber was the way to go in regards to portfolio or presentation work. The sad thing then was I didn't have many good negatives....now that I have negatives who knows.

    The warm tone was intriguing for a while, but for some reason my "vision" of my work fits the neutral tones better. Just how it is.
    K.S. Klain

  10. #20

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    A few weeks ago I bought a 100 sheet package of the new Oriental Seagull VC-FBII. So far I really like it, have used it for both normal prints and lith prints. I'm thinking the same as you, I'm going to use this paper for a while to learn "everything" about this paper and get consistent results. If I still like it after 100 sheets I don't know, but after about 10 sheets I really like it.

    The RC paper I have in stock will be used mainly for contact sheets.

    And I just have to add a comment. I recently got a bunch of old paper for free (from early 1970s). Today I tried on of the types for the first time. Agfa Brovira BH 119 grade 5. Guessed the exposure, made a straight print and put it in the lith developer. Waited for the right moment and then stopped the development. I immediately fell in love with it. The print came out perferct with just the right look. Too bad that the paper is out of production...

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