Galerie Graded and Paper Developers

[Richard Jepsen]

I'm ready to reorder photo supplies and intend to print more on Galerie. I've used Galerie before but never as my standard paper. With EMAKS graded gone I wish to print more on Galerie. I recall Galerie has inky blacks, very clean/white highlights and broad midtones. When untoned, the grey tones have a, just to the left of neutral, pencil lead look. Toned in KRST the lead tone cools off.

What is the KSRT ratio/time which offers print protection while not cooling off the tone?

Can experienced printers recommend a developer which would bend Galerie print tones to something different (warmer) than the Dektol look. Ive used 130, LPD, Dektol, Ilford PQ, Ilford Unltigrade, Liquidal, ECO 4812, and a few others. LPD is my current standard.

Any user comments on Galerie graded welcome.

 

[Simon R Galley]

I use GALERIE all the time and absolutely love it...I always have.

I have experimented with it using HARMAN Warmtone Dev, that did indeed warm it up, as any 'warmtone' type dev would do, not my personal thing though as I prefer a neutral / cold image tone.

Simon ILFORD Photo / HARMAN technology Limited :

Simon

 

[John Wiegerink]

I haven't used it in at least 20 yrs., but if I remember right the old Galerie I used isn't the same as the new. Could be wrong and I'm sure somebody will point that out to me if I am. JohnW

 

[Keith Tapscott.]

I'm ready to reorder photo supplies and intend to print more on Galerie. I've used Galerie before but never as my standard paper. With EMAKS graded gone I wish to print more on Galerie. I recall Galerie has inky blacks, very clean/white highlights and broad midtones. When untoned, the grey tones have a, just to the left of neutral, pencil lead look. Toned in KRST the lead tone cools off.

What is the KSRT ratio/time which offers print protection while not cooling off the tone?

Can experienced printers recommend a developer which would bend Galerie print tones to something different (warmer) than the Dektol look. Ive used 130, LPD, Dektol, Ilford PQ, Ilford Unltigrade, Liquidal, ECO 4812, and a few others. LPD is my current standard.

Any user comments on Galerie graded welcome.

Try Ilford's own Bromophen.

 

[Thomas Bertilsson]

I'm ready to reorder photo supplies and intend to print more on Galerie. I've used Galerie before but never as my standard paper. With EMAKS graded gone I wish to print more on Galerie. I recall Galerie has inky blacks, very clean/white highlights and broad midtones. When untoned, the grey tones have a, just to the left of neutral, pencil lead look. Toned in KRST the lead tone cools off.

What is the KSRT ratio/time which offers print protection while not cooling off the tone?

Can experienced printers recommend a developer which would bend Galerie print tones to something different (warmer) than the Dektol look. Ive used 130, LPD, Dektol, Ilford PQ, Ilford Unltigrade, Liquidal, ECO 4812, and a few others. LPD is my current standard.

Any user comments on Galerie graded welcome.

I have used Galerie with LPD, and I use it replenished, which means a concentration similar to 1:2, but with all the bromides in the developer there is a distinctive soft-working quality. It gives a hint of warmth with the paper too, which I find appealing. If you're using LPD, try 1:2 or 1:3 for warmer tones than stock or 1:1.

 

[Richard Jepsen]

I like the untoned Galerie image tint. But, I use KRST for print protection. I recall David Vestal writing about toning Galerie with no color shift using with high KRST ratios; 1:40 and ?? time. In the late 70s Vestal was one of many writers/photographers calling for the best graded paper from manufacturers. Unique papers from Defender/DuPont and others were disappearing. Photographers provided manufacturers feedback on their wishes. Ilford responded with Galerie. The new paper was highly praised.

I'm not making the case for what paper is the best. All the papers I have used are very good. They are all different concerning contrast curves, paper surface, tint, and other properties.

I'm making the case to stay with one film, one developer, one or two papers until you know them like the back of your hand. I have gotten great results in less time when I standardize negatives for the variables in the image chain. Paper is a big deal and every time I get calibrated the papers disappear.

When you know your materials you can enter your DR and nail a print within 10 to 15 min. Is that not a joy!!

 

[Richard Jepsen]

I have used Galerie with LPD, and I use it replenished, which means a concentration similar to 1:2, but with all the bromides in the developer there is a distinctive soft-working quality

I found 130 a little softer than LPD. I'm not an expert but I think it may be bromides building up in 130 that cause a stain. I use it 1:4 (expensive). Not saying 130 will always stain but when it gets tired you may see the glow.

 

[Thomas Bertilsson]

I found 130 a little softer than LPD.

With LPD replenished, I find them about the same. But to my experience, 130 changes with dilution too, where higher dilution gets a bit softer.

 

[DREW WILEY]

The stain from 130 is due to glycin, which changes over time, i.e., fresh tan glycin gives little stain,
mocha-colored semi-oxidized, some stain, old chocolate glycin an overall tea-like stain. My own
custom is to have one bottle of glycin power "aged" like a fine wine to a mid-state, and another
bottle virgin uponpened in the freezer. In other words, fresher glycin= cooler image / older, more
oxidized glycin = warmer and more stain. And we can also tinker with the formula toward cooler
by substituting benzotriozole for the KBr restrainer, at about 1/4 the gram wt, though that is not
related to staining per se.

 

[Richard Jepsen]

Anyone use the new Eco-Pro or 130 with Galerie? What is your favorite developer and toning technique with the paper?

 

[Rich Ullsmith]

Selenium on the bottom and yellow-brown (2+4) sepia on the top. Money! Just don't let the selenium go too far.

 

[Richard Jepsen]

Rich, could you elaborate on what the look is and the steps.

 

[Rich Ullsmith]

Nice split between warm brown highs and hard black on bottom. Selenium first, pull it at the first hint of density. Kinda time consuming, with the sulfite bath and wash before the bleach and sepia.

Galerie is nice for this because it reacts more slowly in both the selenium and the bleach. Easier to control. Warm papers get outta hand pretty quick.

 

[Richard Jepsen]

Rich, I have not used bleach but I read you print deeper because the bleach cuts back the print. Is this the print technique to use?

Sounds like a way to warm up Galerie and create open shadows. Bergger WT would lightly split in KRST.

 

[doughowk]

Trying Galerie with Ansco 120 - a Metol based developer - gave at least neutral to hint of warmth. Will be trying Moersch Separol Soft which in past has yielded warm tones on some other papers.

 

[Richard Jepsen]

People need to try Galerie. It's a classic traditional graded paper with a neutral, rich tonal range. Crisp whites and inky blacks with a long palette of gray tones in between. There is something to be said about simplicity and knowing your negative. When you have your developing down and sort negatives for paper contrast the prints print themselves. Will almost.

I would think 120 would be soft and slightly warmer. Are you using 120 with a harder developer to get 1/2 step changes in contrast on Galerie?

 

[Paul Howell]

Has anyone tired Beers formula with Galerie?