Ilford Multigrade Art 300 FB

[kraker]

Simon, thanks for clarifying how they got their early delivery.

I was just joking about the 0.1 version, I'm sure it's the one and only original launch product.

Now I just need to find some time to set up my darkshower and give this paper a try...

 

[Jon Butler]

I got 120 sheets of 11x14 at focus and used about 60 sheets so to date.
For the right subject it is a is a fantastic product. It handles with ease, tones and dries beautifully, it's distinctive look is instantly recognisable ever under glass.

I will now keep 11x14 & 16x20 Art300 in stock along with MG4 FB WT Gloss and S/Matt plus RC MG4 Satin.

IMO Art300 is a premium product and a great addition to the silver printers arsenal giving a unique look and a paper that I will be using regularly in the future.
Jon

 

[George Papantoniou]

I'd surely like to try this paper, too bad the Ilford importer here in Greece is so lame... will have to try and find a European online shop that doesn't charge an arm and a leg for shipping that stocks the new paper...

 

[Katie]

I got 120 sheets of 11x14 at focus and used about 60 sheets so to date.
For the right subject it is a is a fantastic product. It handles with ease, tones and dries beautifully, it's distinctive look is instantly recognisable ever under glass.

I will now keep 11x14 & 16x20 Art300 in stock along with MG4 FB WT Gloss and S/Matt plus RC MG4 Satin.

IMO Art300 is a premium product and a great addition to the silver printers arsenal giving a unique look and a paper that I will be using regularly in the future.
Jon

OH WOW - totally small world here. Hi Jon! I just started a topic about one of your recent prints that you printed on the new Art300 paper... I was very curious as to how you achieved the tones in that particular image. It is just breathtakingly beautiful!

here is the link to the thread:

(there was a url link here which no longer exists)

Thanks, and please forgive my misspellings - I have a cranky laptop keyboard sometimes.

 

[FredW]

Given that I am generally an alternative process printer, I tried the new Ilford MG Art Paper tonight for the first time. In one word WOW, its a beatiful paper, I will definitely be using more. Thank you Ilford.

 

[Simon R Galley]

Dear Fred,

Pleased you liked it....I will tell the guys and girls who developed it.

Simon. ILFORD Photo / HARMAN technology Limited :

 

[VaryaV]

Sorry, I know this is a little late, but Simon I have been using Foma Chamois for a few years and was heart broken at it's discontinuation. I recently heard about the Art 300 and was planning on buying some anyway.

How close is it in color and texture to the Chamois? it is/was, one of my favorite papers and I would be thrilled to have an alternative.

Thanks!

 

[Simon R Galley]

Hi Varya,

Its very different, it is a full Hahnemuehle Fine ART BASE with a very pronounced texture, the CHAMOIS was/is a very nice product but not as textured as the ART 300. As to colour, we call it neutral to warm, I would call CHAMOIS as warm.

Simon. ILFORD Photo / HARMAN technology Limited :

 

[Thomas Bertilsson]

Varya,

I'm obviously not Simon, but the Foma paper came in two varieties. One with a white base, and another with a warm base. The Art 300 is between them in color. It tones nicely, but will not go as 'golden' as Chamois in sepia/thiourea toners. Other than that their tonality is actually a bit similar with wonderful deep shadows and great looking highlights.
The texture of Art 300 does not lend itself to scanning very well. It is downright difficult to get rid of the sheen of the surface, and I suspect photographing it in a copystand with polarized light is probably the best way. But the prints are just incredibly beautiful on Art 300 and really wonderful to look at in your hand.

My two cents.

- Thomas

 

[VaryaV]

Hi Varya,

Its very different, it is a full Hahnemuehle Fine ART BASE with a very pronounced texture, the CHAMOIS was/is a very nice product but not as textured as the ART 300. As to colour, we call it neutral to warm, I would call CHAMOIS as warm.

Simon. ILFORD Photo / HARMAN technology Limited :

Thank you, Simon. I love the idea of an even heavier texture. Must be similar to some of the watercolor papers I've used. Ok, egg-shell warmish, I'll give it whirl. I cut them down to 4x5 and hope I can get it through the speed easel...

Varya,

I'm obviously not Simon, but the Foma paper came in two varieties. One with a white base, and another with a warm base. The Art 300 is between them in color. It tones nicely, but will not go as 'golden' as Chamois in sepia/thiourea toners. Other than that their tonality is actually a bit similar with wonderful deep shadows and great looking highlights.
The texture of Art 300 does not lend itself to scanning very well. It is downright difficult to get rid of the sheen of the surface, and I suspect photographing it in a copystand with polarized light is probably the best way. But the prints are just incredibly beautiful on Art 300 and really wonderful to look at in your hand.

My two cents.

- Thomas

Hiya Thomas... Since you are the one that told me about the Art 300, of course I've got to try it out! You saved me from having a complete meltdown in the d/r without the chamois. Believe me I know how hard it was to scan... hot spots all over the place...

Great I have to put an order in for more HP5+ this week anyway will pick up some of the paper... Thanks Guys!

 

[Simon R Galley]

Dear Thomas,

You are quite correct : 2 'surfaces'

My apologies, to you and FOMA....

Simon ILFORD Photo / HARMAN technology Limited

 

[Vincent Brady]

Varya,

I'm obviously not Simon, but the Foma paper came in two varieties. One with a white base, and another with a warm base. The Art 300 is between them in color. It tones nicely, but will not go as 'golden' as Chamois in sepia/thiourea toners. Other than that their tonality is actually a bit similar with wonderful deep shadows and great looking highlights.
The texture of Art 300 does not lend itself to scanning very well. It is downright difficult to get rid of the sheen of the surface, and I suspect photographing it in a copystand with polarized light is probably the best way. But the prints are just incredibly beautiful on Art 300 and really wonderful to look at in your hand.


My two cents.

- Thomas

Hi Thomas, While I agree with everything you said about Art 300 and agree that they are beautiful to hold in your hand, I was disappointed when I saw a few of my prints behind glass at an exhibition. They had lost that lovely tactile look to them that I experienced when my prints were being sent away . Have you experienced this?

Cheers
Vincent

 

[Thomas Bertilsson]

Hi Thomas, While I agree with everything you said about Art 300 and agree that they are beautiful to hold in your hand, I was disappointed when I saw a few of my prints behind glass at an exhibition. They had lost that lovely tactile look to them that I experienced when my prints were being sent away . Have you experienced this?

Cheers
Vincent

Hi Vincent,

I have not seen that the prints have faded or appeared different after some time at all, no.
Could it have to do with the lighting at the venue, perhaps?

- Thomas

 

[MaximusM3]

Hi Thomas, While I agree with everything you said about Art 300 and agree that they are beautiful to hold in your hand, I was disappointed when I saw a few of my prints behind glass at an exhibition. They had lost that lovely tactile look to them that I experienced when my prints were being sent away . Have you experienced this?

Cheers
Vincent

Vincent,

It is interesting you say this. I've been using Art300 now for two months and have gone through 3 boxes of 11x14 and absolutely love it. There are a few quirks but, the one that I seem to have a hard time with, is with images with strong blacks and deep shadows. The glare of the paper, especially behind glass, absolutely kills small amounts of detail, unless viewed under certain angles. I've tried many different kinds of lightning conditions but again, shadows do suffer and flatten out because of the "shiny" texture of the paper. It has nothing to do with fading but with the "shimmering" qualities of the emulsion and I do find it a bit annoying at times. Aside from that, I love it and I've bought/still buying it regularly.

Max

 

[Vincent Brady]

Vincent,

It is interesting you say this. I've been using Art300 now for two months and have gone through 3 boxes of 11x14 and absolutely love it. There are a few quirks but, the one that I seem to have a hard time with, is with images with strong blacks and deep shadows. The glare of the paper, especially behind glass, absolutely kills small amounts of detail, unless viewed under certain angles. I've tried many different kinds of lightning conditions but again, shadows do suffer and flatten out because of the "shiny" texture of the paper. It has nothing to do with fading but with the "shimmering" qualities of the emulsion and I do find it a bit annoying at times. Aside from that, I love it and I've bought/still buying it regularly.

Max

To Thomas & Max,

Sorry guys, but I did not intend to imply that the prints had faded, but that they had lost that look of quality because they were now behind glass. I gather that there is an antireflective glass now available which might overcome the flattening appearance. But I've yet to see that glass in action.
But like you Max I think the paper is beautiful and will continue to use it.

Cheers
Vincent

 

[VaryaV]

Just tried the Art300 for the first time and though my prints are still in the wash, all I can say is WOW!

I was totally blown away by the way it handles blacks. I am so used to using the chamois and the creaminess of it, but blacks weren't it's strong point. The Art300's tonal range is spectacular and incredibly rich... Yes, this is the richest paper I have held in my hands.

I had already made up my mind to use the Kentmere Bromide for this project because of the cold blacks until I printed this just on chance since I just got it. Will see how much it lightens when dry.... but man, is this paper sweet. I will definitely be using a lot of it.

And, thank you, Thomas for the recommend!

 

[Thomas Bertilsson]

Varya,

I am happy it worked out for you! My own introduction to the paper was similar to yours.

Also, I'm glad you didn't settle on Kentmere Bromide, because that too is no longer with us... I remember using it with pyro negs, and the blacks were amazing.

Have fun!

- Thomas

 

[K-G]

As far as I know you can still get Kentmere Bromide , grade 2 , from Silverprint in London. If the production has ended and this is the last remaining, I don't know. I also don't know how the possibilities are for importing from the UK to the US.
Check the link below.

Karl-Gustaf

http://www.silverprint.co.uk/ProductByGroup.asp?PrGrp=1196

 

[VaryaV]

Varya,

I am happy it worked out for you! My own introduction to the paper was similar to yours.

Also, I'm glad you didn't settle on Kentmere Bromide, because that too is no longer with us... I remember using it with pyro negs, and the blacks were amazing.

Have fun!

- Thomas

After the prints dried I have changed my mind yet, again. I'm going with the Slavich#3 for scans and the Art300 for mounting/framing. at least today that is. I can't deal with scanning textured papers as the chamois gave me all kind of hot spots and I know scanners have difficulty registering color because the texture glistens under light. The Slavich wins because the matte and the blacks are so lovely. I tried #2 but lost the deep, rich blacks I need. The Art300 did shift a bit once dry but it still is an astounding paper and I will also use it for my new sci-fi project.

ps. I didn't like the way the Kentmere looked when dry, though gorgeous when wet. I am so used to using the Ilford Galerie as my standard paper the texture is just not the same quality. I didn't like it, though the blacks registered exceptionally well. So I am going with the Art300/Slavich combo.