how to properly process Kodak Polymax II RC

Hello,

my first post here. i'm beginner in darkroom stuff. about to do 300 print test i found on this site. hoping to learn some basic dodging, burning.
intro:
So, couple days ago i got two packs of Kodak Poly II RC 8x10 inch, 100pcs. last night i tested both packs (one sheet from top/middle/bottom) with Ilford Multigrade developer and Ilford Rapid Fix, and, to my surprise, both packs were good. no signs of fog, even though it said "process until 06/06". from this site and other resources I red that this paper goes bad really fast.

question 1
is there anything different that i should do when processing this paper, to make sure i get best results? i'm going to use same developer but use kodak fixer this time.

question 2
i'm using Keiser VPM6005 Multigrade enlarger. Is Kodak paper going to respond same way as Ilford MG to enlargers filters?

thank you,
bazzinga

The developer and fixer you have will be fine.
Kodak's VC filtration is different than Ilford's. The enlarger may have recommended settings for Kodak vs Ilford. If not, just make some tests to get an idea of how it responds vs what you are used to and go from there.

The beauty of variable-contrast papers is that you don't need to be constrained to any particular contrast grade.

It sounds as if there is no age-related fog which is good but the other check for old paper is to see if it has lost its contrast range. Kodak paper will respond to Ilford filters in the sense that it should become more contrasty as you increase the filter number. Do a series of test strips with the range of filters to be sure that the contrast increases as it should.

I have Ilford MGIII paper, so quite old now, that shows little if any sign of fog but I cannot now get anything like the full range of contrast from the paper

pentaxuser

Dear bazzinga,

If you are having trouble getting good contrast, consider adding time in the developer. With fresh RC paper 90 seconds is plenty but going to 3 minutes is still within the recommended range.

Good luck,

Neal Wydra

I recently finished a 500 sheet box of Kodak Polycontrast III postcard paper. At the same time, I've been printing on both Ilford and Oriental variable contrast papers.

In essence, I don't worry a lot about the specific grade numbers used - I just work with the "2" grade setting as my mid-point, and move up and down as the negative and paper requires.

If I switch between the papers, I need to do new test strips. The experience with one paper makes it easier and quicker to fine tune the prints on the next paper, but the times and contrast settings are never identical.

The Polycontrast III paper was a fair bit older than your Polymax paper, but must have been stored reasonably well before I got it. Toward the end though, it was getting harder to get the best contrast.

Polymax is processed the same as any other RC paper. The only caution that I have is that any Polymax II you get is likely to be quite old. Unless it has been refrigerated, you may get some age fog. That can often be dealt with by adding some benzotriazole (Anti-fog) solution to the developer.

thank you everyone for responses.

I have Ilford MGIII paper, so quite old now, that shows little if any sign of fog but I cannot now get anything like the full range of contrast from the paper

pentaxuser

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yes, I am worried about full contrast range. but I guess only way to find out is to go in darkroom. I'll report how it goes.

The only caution that I have is that any Polymax II you get is likely to be quite old. Unless it has been refrigerated, you may get some age fog.

Click to expand...

Yes, paper was kept refrigerated. so I'm lucky

So, spent couple hours in darkroom. everything went good, except I couldn't get rich blacks on matte paper. but I guess thats a "feature" or am i doing something wrong?

bdial said:

The beauty of variable-contrast papers is that you don't need to be constrained to any particular contrast grade.

Click to expand...

If you are using a colour head with yellow, magenta and cyan filters, you will find a list of amounts of magenta and yellow to add to get a desired grade.

These are useful as they are formulated to give roughly the same exposure time, whatever grade you are using.

However, if you start at no filtration, you will be roughly at grade two. Add magenta to increase contrast or yellow to decrease it. This method will require the exposure time to be increased as you increase the filtration though.

I don't usually think in terms of grades. I just decide if I need more or less contrast.


Steve.

bazzinga said:

So, spent couple hours in darkroom. everything went good, except I couldn't get rich blacks on matte paper. but I guess thats a "feature" or am i doing something wrong?

Click to expand...

You are unlikely to be doing something wrong and matte paper even in good condition will not give as rich blacks as gloss but as I said try to get the full range of contrasts with the paper. If each filter or dichroic head setting gives a more contrasty look then it may be that it is just the feature of the matte paper than prevents rich blacks

pentaxuser

pentaxuser said:

If each filter or dichroic head setting gives a more contrasty look then it may be that it is just the feature of the matte paper than prevents rich blacks

pentaxuser

Click to expand...

Yes, I could get good tonal range, except saturated blacks. But now I'm sure it is just a "feature" of matte paper. last night I was enlarging on Kodak Poly II RC glossy and could get really rich blacks. so I guess I'll keep matte paper in fridge for now.