Fotokemika experiences & some questions...

I’ve been practicing printing with Fotokemika Varycon FB paper. Currently I’m using Dektol for the development. When I compare this with my other paper I’m learning with (Arista EDU Ultra FB, Foma I believe) it seems the Fotokemika has a longer tonal range, but doesn’t have the whites as bright as the Arista.

I would like to know other peoples experiences with Fotokemika variable contrast FB papers. Do you notice a longer tonal range also, and a duller white when compared with other papers? Perhaps I’m experiencing some fogging from my safelight and I should check that out. I know my exposures seemed to be significantly longer with Fotokemika as compared with other papers. Perhaps this is just a slower paper and I should expect this.

Let me know your experiences / advice with Fotokemika please.

Regards,
Martin

It is really good paper - the RC stuff is the best I have ever encountered! Anyway the reason why your whites are not as white is because of the lack of artificial whitener in the paper - excessive washing (more than 30 minutes after hca treatment) can also cause a slight yellowing. The paper - especially the Fineprint version available from jandc - is incredible witha very long tonal range and according to some is second only to Azo. The long exposure times are because it is an older VC (possibly one of the first) emulsion - don't worry!

Hope this helps,

Lachlan

I'm still waiting for my dark-red safelight to come, so I can try this paper out. The paper has a sensitivity up to 580nm. The common OC (orange) safelights are only good until 560nm, where the dark-red protects up to 610nm. What type of safelight are you using?

I've had very good luck with this paper, and I've noticed the same things you have: long contrast range and duller whites than other papers. And very flat, especially after printing on Kentmere. As mentioned above, no optical brighteners. When matted (borders not showing) the whites look just fine.
I use Ethol LPD 1 to 3. Never have liked Dektol.
I'm shooting 4X5 Fomapan 200 at e.i. 100, and developing in HC 110, dilution less than dilution H (3/4 of H). Great combination of film and paper. Dean

Kodak 1A at 1m+ distance.

Hope this helps,

Lachlan

That is Kodak's light-red filter, which is not what Foma recommends (dark-red #2), but it should be fine for a couple of minutes if it's not too close to the paper. There is also a red filter (#1), which would be a bit better. Anyway, this safelight should work reasonably well. Just don't expose the paper to it unnecessarily. Shield it during exposure and place the paper face-down into the processing trays.

Right now I'm using a red LED safe light... But I feel I need to run some tests with it. Its also possible I had it too close when printing. I have contact the place where I purchased it to check the "nm" the lights emit.

Since the paper is sensitive up to 580nm, then I will need something above that value for a safe light, right? If it turns out that my light is not safe, then I may retest with some rubylith covering them.

The Fotokemika FinePrint from J&C is under the ADOX name, correct? Do any of the Fotokemika papers offer brightners in the whites or are they all about the same?

How would you compare the Varycon to the FinePrint? Also, what do you consider the best paper made by Fotokemika (Varycon, FinePrint, EFKEBROM, EMAKS)?

Since I'm just starting in the darkroom I'd like to find one or two papers only to learn with. The only downside I see to this paper is the lack of brightness in the whites (and that doesn't bother me too much).

Are there any other negatives you see about this paper? Is there any reason why the long tonal scale would be seen as a negative? Could anyone suggest another good paper with a long tonal range & bright whites, or something else good to learn with?

Thanks,
Martin

My safelight emits 625nm... So is this alright for the paper?

What do you mean by long tonal scale. Isn't this a VC paper? Almost any VC paper will have a long scale with low contrast filters. The thing to check is how the paper responds to the range of filters. Some papers will not work well with the lower contrast filters and this flattens out the mid tones. Or they will not produce full contrast at the high end. You probably should at least get a package of Ilford Multigrade IV to use as a reference for filter response since it has very good range.

Why don't you try making a print without any safe lights at all?

- Thom

In my experience, Varycon has low contrast in the shadows at all contrast settings. This can be very useful in producing long, deep, textured blacks - but it can also be a pain in the behind if that's not what you want.

Using the "minimum time to maximum black", as I was once taught to do, is a compleat failure with this paper. It is far better to adjust contrast and exposure to get the midtones and highlights correct, and then use toner to enhance the blacks if necessary.

The paper is wonderful for the right negatives!

BTW, it lith prints well too - but with a strong tendency to pepper fogging. Amazing pepper fogging!

If you liked the Varycon then try the Fineprint! I wish jandc/fotoimpex/retro would get a run of grade 2 & 3 EFKEBROM made - IIRC it is essentially the same as Velour Black. Would anyone else be interested? BTW I can only find reference in the FOMA/FORTE/EFKE to using Kodak 1A safelighting - the deeper reds are for ortho film!

Lachlan