Ilford Warmtone RC Experience

[jmal]

I'm off to buy some paper this evening (two failed attempts with online shopping have forced me to the local shops $$) and am considering the above paper. I have been using either Ilford MGIV RC or Oriental RC in the neutral versions. I think I'd like a paper similar to those I've been using, but with a creamier base. I'm not looking for anything drastic, just a touch of warmth. It seems that Roger Hicks uses this paper often and the tones that I've seen in one of his books are close to what I'm after. I'm not really interested in toning at this point, so that is not a factor. Anyone have experience with the Ilford Warmtone RC? Also, I'm going through a bit of a financial tight spot, so trying a number of papers is not an option. I bascially have to buy a 100 sheet box of whatever. Hence, before I plunk down the money, I would like to hear just how different the Warmtone is from the standard MGIV. If it matters, I use Dektol 1:2 for developing. Thanks.

Jmal

 

[Will S]

I can't ever find Ilford warmtone in the stores here. All they carry is MGIV, the Gallerie Grade 3, and MGIV RC.

However, why not just get a box of 25 if you are trying different papers? Adorama carries it.

I find the RC too shiny for my likes and not quite as warm as the fiber base. I develop in the Ilford Warmtone developer, but before using that I used Ansco 130 diluted 1+2.

Best,

Will

 

[wilsonneal]

This is my default paper. I used to use the neutral MGIV RC for proofing and the warmtone FB for finished prints. I switched to the RC warmtone for proofing to keep it all consistent. I like it. It's just a touch warmer. It's not like Sepia or Portriga warm, just a touch. I soup in Dektol 1:2.

Some of the work in my gallery is on this paper.

Try a pack of 25 sheets and see if it suits you.

Neal

 

[jmal]

Thanks for the info. I would try the 25 pack, but relative to the price of a 100 box, it's very expensive. As I mentioned in my first post, I don't have the money to buy the 25 pack samples at the inflated price. The WT sounds like it's the right paper for me. I just didn't want to end up with sepia prints. As far as buying online goes, I just had BH send an opened box of paper which I returned. When they sent the exchange paper, that box had been opened as well. I have no idea why they break the seals on their packages, but I can't trust what I'm getting if it's been opened. Now I'm affraid to order online because I don't know what I'm going to get. If I have to return it, I'm out of paper for a week, at least.

Jmal

 

[pentaxuser]

Will If you are happiest with fibre paper then I'd be the last to try and dissuade you from using it but you can get Ilford RC in both Pearl and Satin finishes. Satin in particular is quite matt and has a "tooth" to the finish.

pentaxuser

 

[Lee Shively]

I've used a lot of the Ilford WT RC paper although I mostly print on fiber base paper now. Don't worry about it being like sepia in tone--it's not. It has a very pleasant look to my eyes with just a hint of olive. The paper does tone nicely in everything I've tried--I like it when it's given a short selenium toner bath. It's a pretty sturdy paper--I've toned it in hot Nelson's Gold for over 20 minutes and it held up fine. It's about one stop slower than Ilford MG IV. Personally I prefer the pearl surface over the glossy--the only surfaces I've ever tried.

You might try ordering from Freestyle or Calumet. Both of them have been very reliable in my experience.

 

[firecracker]

Thanks for the info. I would try the 25 pack, but relative to the price of a 100 box, it's very expensive. As I mentioned in my first post, I don't have the money to buy the 25 pack samples at the inflated price.

I kind of feel sympathetic here because in the Japanese market, Ilford doesn't provide many 100-sheet packs; they do only for the RC paper 8x10 and smaller, but not for the FB paper at all, which has been my consistent complaint about their service.

By the way, the street price of the 25-sheet pack 8x10 Iflord warmtone FB paper is now around 40-45 USD, which was 30-some bucks before the last price increase. Pretty crazy when you can get a 50-sheet box of Fuji's a-touch-yellowish-and-creamy-white Rembrandt FB paper for about 50 USD. I think I know how this market seems to work...

Anyway, I wonder if a "touch of warmth" is something that could be achieved by the aging process of the paper. I mean if a finished print is displayed somewhere even indoors, if there's a window in the room, many years later, you get the print slightly tanned. What I have seen is the slight change in the base color and I don't think it was due to some technical failure such as improper fix time, etc.

The neutral version of Ilford RC paper (pearl) that I use sometimes, and I used to use more often, looks pretty pale-white and color-less to me, but even it's so when it's newly printed and fresh, when it's aged, I don't really think it's going to look the same.

So, I personally don't go too crazy on the color of the paper these days.

 

[Will S]

As far as buying online goes, I just had BH send an opened box of paper which I returned. When they sent the exchange paper, that box had been opened as well. I have no idea why they break the seals on their packages, but I can't trust what I'm getting if it's been opened. Now I'm affraid to order online because I don't know what I'm going to get. If I have to return it, I'm out of paper for a week, at least.

Jmal

Has anyone else gotten paper lately where the box of supposedly new paper had been opened? I think I'm seeing a trend here and I wonder why....

Thanks,

Will

 

[ScottH]

Has anyone else gotten paper lately where the box of supposedly new paper had been opened? I think I'm seeing a trend here and I wonder why....

Thanks,

Will

A few days ago I received 3 different packages (2 boxes & a 25 pack) of Ilford Paper from B&H. None were opened. I've never had this happen with any purchases from B&H, paper of otherwise. Strange...

 

[Neal]

Dear Jmal,

Personally, I like the tone of Ilford warmtone RC. To my eye it does not look at all like a fully toned sepia print. See if your local shop has the example pack that Ilford sends around. At the local shop I use they keep it attached to the shelf where the paper is.

Neal Wydra

 

[Roger Hicks]

. It seems that Roger Hicks uses this paper often and the tones that I've seen in one of his books are close to what I'm after.

Jmal

What you see in a book or magazine article doesn't necessarily bear all that much relationship to the original print (or even to a copy of the book printed 1000 sheets before or 1000 sheets after, because photomechanical printing varies across a run) but I'd say that MG WT RC is superb stuff and that the photomechanical reproduction is rarely as good as the originals.

Which book was it? Some are better printed than others...

Cheers,

R (www.rogerandfrances.com)

 

[jmal]

Thanks for the replies. I'll be printing tonight on the WT, so I'll see how I like it. Yeah, the open boxes of paper from BH were weird. Roger, the book is Darkroom Basics and Beyond. Also, I've looked extensively at your site and it seems the Ilford Warmtone appears frequently.

Jmal

 

[jmal]

Well, in case anyone's interested, I did a little printing with the Ilford Warmtone RC and have a few observations. I like the base color of the paper for most subjects as it is little creamier than the neutral I had been using. Some of my industrial photos work better with a colder, greyer tone, however. Also significant is the slower paper speed. My exposure times have doubled with the warmtone. Lastly, the darker tones seem to show a little more shadow detail. This could be my imagination. The exposures may be--actually are--a bit different, so an exact comparison is difficult. However, with prints that are very close the warmtone seems to hold the shadow details better. I know this does not serve as a formal review, but perhaps this will aid someone interested in trying this paper.

Jmal

 

[Roger Hicks]

Well, in case anyone's interested, I did a little printing with the Ilford Warmtone RC and have a few observations. I like the base color of the paper for most subjects as it is little creamier than the neutral I had been using. Some of my industrial photos work better with a colder, greyer tone, however. Also significant is the slower paper speed. My exposure times have doubled with the warmtone. Lastly, the darker tones seem to show a little more shadow detail. This could be my imagination. The exposures may be--actually are--a bit different, so an exact comparison is difficult. However, with prints that are very close the warmtone seems to hold the shadow details better. I know this does not serve as a formal review, but perhaps this will aid someone interested in trying this paper.

Jmal

Your observations are identical with mine -- we find more shadow detail too.

Cheers,

R. (www.rogerandfrances.com)