Quote Originally Posted by Richard Jepsen View Post
Yesterday I visited with a friend who years ago converted his workflow to digital. He is a skilled digital printer and has several gelatin silver prints in the National Portrait Gallery, Washington DC. Looking at his B&W inkjets and gelatin silver prints I was struck at the rich tonality of fiber B&W paper. I wish I could get the shadow detail he does but I love the analog workflow & look of B&W silver prints viewed in the hand.

That brings me to GALERIE. I have limited experience with the paper, maybe 100 sheets total. I tend to like warmish mid - higher tones and cooler shadows. My experience indicates GALERIE is not going to have this look.

Has anyone been able to warm up GALERIE or to semi split tone it?
I have limited experience with it too, but from what I've used Galerie (mostly G3), it mostly produces an increase of Dmax with selenium alone. It's super beautiful this way, though. When you use indirect toners (indirect = bleach first), it takes on the toners beautifully, in a way similar to MGIV fiber, but I find it a bit more colorful. Then when you add a second toner on top it really comes alive.
If you can manage to live with Grade2 and Grade3 paper alone, and find grades in between by adjusting your developer, Galerie is hard to beat. I remember viewing the prints of a talented, yet very private, photographer from Minneapolis. I met her once, and was never able to find her again to continue our conversation. She used a Minox 35GT camera, shot only Ilford XP2-Super film, and printed everything on Galerie 3 and toned in Kodak Selenium 1+3, at 85*F and for several minutes. The prints were lucious, delicate, beautiful, and very rich in their tonality. Her printing skills were magnificent. I can't afford using Galerie continuously, or I probably would be using it more.