Did you try the "Oriental" VC paper that was around for a while until maybe 5-10 years ago? It didn't have anything to do with the older Oriental papers as far as I know but around 2007-2008 I used a lot of it for a portfolio and it seemed to be quite good. Despite a Japan label my understanding is it was actually made by Harman.
I liked the Fotoimpex/Adox MCC 110 paper but it seems unlikely that will be seen again.
The thing that people seem to want to ignore is that, with the synchem capacities Kodak, Ilford etc had, Glycin would have been very easy to make (compared to colour couplers). Considerably more interesting is Ilford's hints at the ways that Phenidones could be modified to deliver significant differences in print colour (especially to the warmer end).
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The redux Oriental Seagull graded, under new ownership, did replicate the hue and toning qualities of the original quite well. But it lacked the same impact, for lack of a better way of stating it; and the Grade 4 version was a lackluster bellyflop. I was certainly disappointed with it, and even more disappointed with the VC version, but still did manage some very nice prints. Nowhere near as flexible as the original Seagull, despite being VC. Yet it too kept continuity with at least the special image tone of Seagull tradition. The quality control of the Seagull brand pretty much fell apart in recent years.
MCC 110 had its own native image tone, which was too confining for me personally; but it split toned decently (not as dramatic as MGWT).
I don't recall that. I did try some earlier Forte, which seemed quite a bit different from the current selection. The latest Bergger neutral tone VC (Prestige?) is something I could leverage into an Oriental Seagull "feel", with a nice rich tone and deep DMax, though not quite the same image color. Cold tone papers are almost unobtainable at the moment, were it not for another batch of MG Cooltone showing up, which is more versatile for me than Bergger, if not quite as rich.
I'm trying to remember which paper I last developed in amidol. I think it was the last of my Galerie graded, and shots I took in the Ruby Mtns in Nevada, a stunning range not many people know about, with some stunning thunderstorms.
I've recently toned in selenium (1+9 and 1+19 dilutions) the same print, made on Ilford Multigrade FB Classic Glossy, developed in Ansco 130 and in D-72. The Ansco 130 print exhibited very little colour change and did not seem to have increased contrast, while the D-72 acted more how one would expect (considering this Ilford paper is not known to tone very well).
Anybody have the same experience ? Has anybody tried either sepia or split-tone sepia & selenium after printing in Ansco 130 ?
Thanks for your answers. Clearly I have to do more tests.
@chuckroast I'm pretty jealous that you're able to print on Variant 111. Impossible to find in Canada, and with the exchange rate, it's gotten too expensive to buy either from the US or directly from Europe. I loved 112 when I had the chance to try it, and I hear 111's glossy isn't as glossy as Ilford's.
Well, just got proof that B&H doesn't check its stock of Photographers Formulary Developer 130 very often. Opened both backs, and the Glycin was this colour :
View attachment 406362
I advised B&H and they offered a refund.
So I talked to PF about this, because mine also showed up looking like that, but it worked fine.
PF told me that B&H actually goes through a fair bit of 130 so they were surprised.
I would order this directly from PF to try to minimize the risk of bad glycin. I will say that the 100g of glycin I bought from them recently was still a light tan color but not quite that dark.
Perhaps a symptom of not rotating the inventory in their warehouse. A light chocolate color gylcin powder will work, but with a more limited lifespan. That's why I don't buy 130 kits, but the separate bulk chemicals, from PF. I keep a reserve of fresh glycin powder in the freezer; it doesn't change frozen.
If it's a real light tan then it's just fine. Turning a color like Swiss Miss hot chocolate is where I start to get a little bit suspicious.Upon your recommendation, I did/do just that, but the Glycin I got from PF was light tan brown.
Light tan glycin is relatively fresh. It can be off white, but that is less common, it seems. Mocha is usable, but getting over the hill. Once it's Hershey Bar chocolate, it's questionable.
What I have seems mocha to me, if not darker, but since I'm not that good at judging colours, let me know what you think from the photo I posted.
Is there a possibility that there is no reliable direct correlation between the colour of glycin and its efficacy?
Matt in the more than 10 years that i've been using Formulary 130, that's always been the stated correlation...& why i either mixed it immediately or separated the kit and stored the glycin in the freezer.
Understood,
But perhaps that is one of those things that reflects different times, different suppliers of different constituent components and different external factors.
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