I tried and tried to like Elite, but just never cared for it. I found the base color to be too blue(ish) and the overall tonality was...meh. Toning it helped a bit, but... I was sure it was just me because this was John Sexton's favorite paper. How could I not like it? Hmm, reminds me that I, also, didn't particularly care for TMax 100, either.
I still have a 16x10 fibre base box of Polygrade in the freezer, and Seagull...but scared to crack them open. Probably fogged beyond usefulness.
If it's in the freezer, and has been in the freezer, it's probably not fogged at all. I have Seagull that hasn't been in a freezer and is still good. (Not any Forte paper, though - that's all fogged to some degree.)
Hey everyone,
I’ve been thinking a lot about this lately, and I’m hoping to hear other printers’ experiences.
It feels like Ilford Multigrade FB (Classic / Warmtone) has become the only serious silver-gelatin enlarging paper that anyone uses anymore. Walk into any fine-art darkroom, talk to printers I know, check galleries, or read process write-ups… it’s Ilford MGFB across the board.
I get why: consistency, availability, archival behavior, etc. But I can’t help feeling like the paper just doesn’t have that “magic” quality that older papers had. There’s nothing wrong with Ilford MGFB, but there’s also nothing that makes me stop and marvel at it either.
When I look at older prints on papers like Oriental Seagull (the real stuff), or other classic 70s–90s emulsions, the surface just had this sparkle, the kind of depth and micro-contrast that made the blacks feel like velvet and the highlights almost shimmer. The textures were gorgeous and subtle.
By comparison, Ilford’s current glossy FB surface feels… a little dead? Flat? Lacking that micro-sheen? I find myself wishing for something that actually excites me again.
So I’m wondering:
• What are people doing now that the beautiful papers of the past are gone?
Are you coating prints with lacquer or gloss sprays to bring back some of that pop?
• Is there any paper on the market that’s truly notable besides Ilford?
Foma/Fomabrom, Adox MCC, MG Art 300 — do any of these really scratch the itch, or are we all settling?
• Has anyone moved to liquid emulsions or hand-coating their own papers?
If the commercial options are so limited, is DIY the future for people who want unique surfaces again?
• And bigger picture… when are we going to see NEW silver-gelatin papers?
Are any manufacturers actually working on something new? Or are we just going to be using the same handful of emulsions indefinitely?
I’d love to hear how people are dealing with the current landscape.
Are you happy with the available papers? Have you found workarounds? Or are you feeling the same sense of loss for those older, magical surfaces?
Looking forward to your thoughts.
I have a full box -3 sheets of Kodeak Elite 8X10. It sure has a heavy base and wood make one heck of a sturdy paper airplane. Mine is fogged, but not real heavy, but I don't know if I can salvage it or not. I tried a heavy dose of Benzotriazole, but no luck. I kept it thinking I might find a use for it further down the line. We'll see if I ever do or not.Kodak Elite -- if anyone finds any of it -- might be good for making paper airplanes, now.
Well, one thing can be said about Ilford MG... it's probably not going to be gone anytime soon!
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