Graded RC users?

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Michel Hardy-Vallée

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Just out of curiosity, are there any users of graded RC paper (Ilford, Kentmere, etc) around here? What advantages do you get from it instead of the more common VC RC?
 

firecracker

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Just out of curiosity, are there any users of graded RC paper (Ilford, Kentmere, etc) around here? What advantages do you get from it instead of the more common VC RC?

I use Fuji Grade2 RC paper, and it's good when I only have one image to print and cannot decide the contrast myself, like when I'm not too familiar with the image and don't know how to cook it right.

It gives me good solid black at default, so if I want more gray, I mix my fresh developer (Dektol) with used one to weaken it or start using a second developer (Selectol Soft) to adjust.
 

dancqu

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Just out of curiosity, are there any users of
graded RC paper (Ilford, Kentmere, etc) around here?
What advantages do you get from it instead of the
more common VC RC?

A real advantage Graded has over VC, FB or RC,
is a high level of darkroom lighting. Graded paper
has a blue sensitive emulsion. It is not green
sensitive. There are at least a few Graded
RC papers. If your safelights are set for
VC you'll need to change them to
take advantage. Dan
 
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Michel Hardy-Vallée

Michel Hardy-Vallée

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Dan, I've been meaning to find a Kodak OA safelight or something similarly bright but they don't seem to be around much these days--only OC or red ones. Where would you get one nowadays?

Jon: interesting tip, is it because of the effect of the pyro stain?
 

Jon Shiu

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Yes, in most cases with low/normal contrast scenes I got too flat highlights with Ilford MGIV VC. With graded paper, completely different tonality. I used WD2D+ from the Formulary, and mostly got thin negs and bad results, so gave it up.

Jon
 

dancqu

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Dan, I've been meaning to find a Kodak OA safelight
or something similarly bright but they don't seem to be
around much these days--only OC or red ones.
Where would you get one nowadays?

Odd about those OAs. Never saw one till a few
years ago when I went eBay for the start up of
a many years away from darkroom. The very well
lighted darkroom of years gone by was in mind and
I remember the light was yellow. The OAs, of which
I have four very nice 5 1/4 inch Kodaks, are yellow
green. I'd like to give them a try but as my work
space took shape I found they would not fit in.

So, with some under cupboard wiring and sockets
I've now three in a row yellow-ish orange Kodak
Brownie B models. A Yankee with same color
filter installed does near the sink. The small
Kodaks have five watt miniture and the
Yankee a 15 and another 71/2 watt.

Shop ebay for, safelight, safe light, and darkroom
light. Also by brand and model. Dan
 
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Yes, in most cases with low/normal contrast scenes I got too flat highlights with Ilford MGIV VC. With graded paper, completely different tonality. I used WD2D+ from the Formulary, and mostly got thin negs and bad results, so gave it up.

Jon

Jon, what grades are you using to do your proofs? also, are you going to fiber for the final prints and what adjustments are you using? I shoot a lot of low contrast scenes and have recently started using Kentmere G-3 fiber for the prints. It looks very good. These are contact prints, 8x10. Are you enlarging? I heard that the Arista II is Kentmere. Maybe I should give it a try for proofing. Thanks for the info.

Jim
 
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For any fine printing I use Ilford Gallerie. It really stands apart from the VC papers I've used in it's ability to give good seperation in the shadows and beautiful creamy, delicate highlights.

I also think it's easier for me to get a good fine print from Gallerie than it is with VC papers.
 
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