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NEW ILFORD PAPER

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Aurelien

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Ilford just released that :

"FREEDOM OF EXPRESSION. HARMAN TECHNOLOGY LAUNCH THE FIRST NEW ILFORD BLACK AND WHITE SILVER GELATINE PAPER FOR 13 YEARS – ILFORD MULTIGRADE ART 300

11th February 2011

FOR IMMEDIATE RELEASE

10th February 2011

Freedom of Expression
HARMAN technology launch the first new ILFORD Black and White Silver Gelatine Paper for 13 years – ILFORD MULTIGRADE ART 300

HARMAN technology is delighted to announce the introduction of a new silver gelatine photographic paper produced in co-operation with Hahnemühle FineArt GmbH.

Following extensive consultation with photographers and printers, an R&D project was started 18 months ago when a survey of users identified the need for a true fine art base with a MULTIGRADE silver gelatine coating. The ideal product would have a cool base colour and a neutral to warm image tone. Many of those surveyed yearned for long lost papers and these features came out repeatedly during the survey where over 150 respondents around the globe gave their views.

Steven Brierley, Director of Sales and Marketing at HARMAN, says ‘It seemed to me that if we could meet this clearly identified need we would please many and significantly widen the choice for those who wish to use silver gelatine papers when making fine art B&W prints. By offering a true fine art textured matt paper with a MULTIGRADE coating we believe we have met their needs and expanded the range of paper surfaces available today’

’This silver gelatine paper is a true fine art product and we were delighted when Hahnemühle agreed to help us by producing a special paper base. The brief was clear, 100% cotton rag paper base, acid free but with the wet strength needed to survive the archival washing required when making fine art prints – all of which have been met’

Users will find the new ILFORD MULTIGRADE Art 300 a delight to use with many of the merits for which ILFORD MULTIGRADE papers are renowned and some exciting new benefits. Exposure times and product handling will be very familiar for MULTIGRADE users who will quickly find they are producing excellent prints.

The new surface delivers a matt fine art print that has both a texture and what some users have described as an eggshell sheen. Compared to ILFORD FB (baryta) papers slightly shorter wash times are achieved, and the paper can easily be handled in large sheets thanks to its 300 GSM weight.

The product will be branded as ILFORD MULTIGRADE Art 300 and will be available in sizes from 5 x7 up to 20 x 24 inch packed in boxes of 10/15/30/50 sheets. (Roll size and availability to be announced soon.)

Quotes from users:
"I’d just like to say that I LURVE it.
It’s a very easy paper to work with: you can “throw “ exposure at it and it seems to come up looking lush and lovely with good blacks, sensitive shadow areas and responds as it should to all the usual burning and dodging without fuss. It has all that lovely Kentmere Art Classic inky black texture when dried and the paper weight seems to be heavier than normal. It seleniums beautifully whether split or full, to a nice chocolaty brown and dries perfectly without overly much “drying down”. I give it a mighty thumbs up, as soon as it’s in production I’ll be buying the larger sizes" Robin Bell, London.

"This new art paper is, in my opinion, the most exciting paper I've seen since the launch of ILFORD MULTIGRADE FB WARMTONE in 1997. To hear about the launch of a paper which is ideally suited to an artistic use or interpretation - especially in times of austerity is a welcome surprise.
I was fortunate to be able to try some pre release samples and fell in love with the paper immediately. It has a wonderfully heavy base, a beautiful colour and responds better than any other paper I know in split toning in Selenium. I am planning on doing a series of paper negative images specifically for printing on the paper." Andrew Sanderson, Photographer and Master Printer - Holmfirth, England.

“I'm beyond excited about the paper, even though I get excited about a lot of new products. This one in particular looks amazing - the blacks are incredible. You must make this stuff." Sam Davis, Photographer and Instructor - Los Angeles CA, USA.

"For B&W art prints there is nothing like it on the market, and it will, I am sure become much loved by fine art printers. Larger prints are even more suited to this very heavy textured near matt paper, which I am finding to be a joy to print with. The DMax is superb for any paper and especially for a matt paper and is improved by selenium toning. I think this paper is a very welcome addition to the silver gelatin market." Tim Rudman, Photographer and Master Printer - Woking, England

The new paper will feature on the HARMAN stand, C2 in Hall 9, at Focus on Imaging, NEC Birmingham, from 6th to 9th March 2011.

The launch date for the UK market is 4th April 2011.


--- ENDS ---"

To read the original here : http://www.ilfordphoto.com/pressroom/latest.asp

So, there are also good news in the analog world :D
 

Ian Grant

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Wolfganf Moersch has posted examples of Lith prints made on this paper already here on APUG and made a few comments about the paper. (Sme time last month).

Ian
 

Black Dog

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Woohoo...I'm off to dance in the streets:D!
 

swittmann

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Neutral to warm tone, 300 GSM, textured surface - sounds goooood to me :smile:
Thanks to Ilford & Hahnemühle, and thanks to Aurelien for sharing these great news!
 

Rob Skeoch

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In the previous Postcard Exchange I had a chance to use this new paper. Everyone on the postcard exchange received a print on it. For the most part people liked the feel of it.
-rob
 

MartinB

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(not) only in Canada, eh?

Looking forward to trying it out, esp for lith.

Any idea of when it will hit Canada? Will you be carrying it Rob?

(apologies for the Red Rose tea reference in the title!)

Martin
 

Tim Gray

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Rob, I enjoyed your print and the paper used in the exchange. Thanks for giving us a preview.

I have a question though. In the release it says:
Compared to ILFORD FB (baryta) papers slightly shorter wash times are achieved, and the paper can easily be handled in large sheets thanks to its 300 GSM weight.

So I take it this isn't considered an FB paper? Does that mean it doesn't have a baryta coating? Does it mean anything?
 

Kevin Kehler

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So I take it this isn't considered an FB paper? Does that mean it doesn't have a baryta coating? Does it mean anything?

This is actually my question exactly; is this a FB paper or a new third category after RC paper? I know Hahnemühle has been around a long time but as I associate them with inkjet papers, is this an inkjet paper with a silver-gelatin coating? I also wonder at the rated archival rating. Ilford's site has the press release but no other information on the paper.
 

JohnMeadows

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Is this the stuff you were showing at the meet-up recently? I really liked the look of it!!
 

Ian Grant

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Presumably it's an art paper with no baryta layer, that would still be a Fibre based paper, it's not another category, but with no baryta water diffuses more freely through the paper speeding washing.

Ian
 

Tim Gray

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Presumably it's an art paper with no baryta layer, that would still be a Fibre based paper, it's not another category, but with no baryta water diffuses more freely through the paper speeding washing.

Are their any consequences of coating fibre paper without the baryta layer? Obviously the texture of the surface is one difference, but anything else?

Oh, and is this what is meant by 'art paper'? No baryta coating? I seem to remember hearing about other (discontinued) art papers. Presumably there have been papers like this in the past, but I think by the time I came onto the darkroom scene (2006) most of those had left.
 

Ian Grant

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The baryta is there to give a smoother finish and eliminate the paper texture so there's no disadvantages to not having it there if you want the paper texture to show,

A print on art paper looks more like a salt print or platinum print.

Ian
 

MattKing

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Well, this is interesting enough to me to have me want to try some silver-gelatin printing again. Any of the folks who've tested the pre-production paper have any guidance on what developer to use? Ansco 130? Ilford Warmtone? something else?

Rob used Ilford Bromophen on his postcards (according to the blurb on the back).

They look really nice.

There is another thread here on APUG about papers that look like the image is in the paper, rather than on top. This paper would certainly qualify.
 

Colin Corneau

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I have a copy of the postcard from Rob and agree. It's a distinctive paper, both in look and feel/weight.
 

Laurent

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Rob used Ilford Bromophen on his postcards (according to the blurb on the back).

They look really nice.

There is another thread here on APUG about papers that look like the image is in the paper, rather than on top. This paper would certainly qualify.

When I received this print from Rob, I first thought it was a platinum/palladium print, as the paper really looks like water-color paper, and the emulsion seems to be in the paper. I can't wait to test this new paper !
 

cmacd123

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When I received this print from Rob, I first thought it was a platinum/palladium print, as the paper really looks like water-color paper, and the emulsion seems to be in the paper. I can't wait to test this new paper !


Yes, he included a print with some film I ordered from him. The print looked so nice that my first through was why am I bothering to order film when I never come close to such a nice print. The sample almost had what I would think of as Depth, the image IN the paper. The look reminded me of those coffee table books where the frontispiece brags about how the editor could only get it printed at some obscure art printer in some exotic locale.

I will probably stick to RC paper until I get much better at getting the results I want, but you good printers will have a knock out improvement on existing papers.
 

Laurent

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Using fibre base paper will help considerably towards increasing the appreciation of your own prints.

Tom

This is so true that I now have trouble appreciating the prints I made on Ilford Portfolio, as they do not have the same aspect... Now I find them greyish, when I compare them to the same print (made at the same moment in the same fresh chemicals).
 
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