what is the last thing you developed or printed

[Axle]

Developed 8 sheets of film last night. Two tri-X 320 in PMK Pyro and six of Plus-X Pan in HC-110 Dil. B

 

[Simon R Galley]

Dear Thomas,

When we developed the new CLASSIC FB one of the 'product improvement targets' given to R&D was to improve its 'tonability' and we do make reference to it in the product information.

Very sorry about your Grandfather.

Simon ILFORD Photo / HARMAN technology Limited :

 

[Rick A]

My first (some what) successful carbon transfer.
4x5 camera negative onto 5x8 fixed out Kodak single weight FB paper. It's not without issues that I'm still working out.

 

[Thomas Bertilsson]

Hi Simon,

Thanks for your reply, and for your kind comment about my grandfather. Attached is a proof scan of the negative.

I did my research on the new paper before I tried it, and found accounts where you explained your approach with the new Classic paper. So I was somewhat prepared, but as you know, it isn't until we try and see for ourselves that we really know.
I'm pretty sure I'll be able to get what I want from the Classic. For landscape work - for sure! For portraiture - the jury is still out. Overall I am still extremely excited to have a new paper to play with. I love how the paper dried flatter than I'm used to as well.

Overall it was a very good experience, especially for a first attempt.
I'm excited to try the Cooltone product as well.

- Thomas

Dear Thomas,

When we developed the new CLASSIC FB one of the 'product improvement targets' given to R&D was to improve its 'tonability' and we do make reference to it in the product information.

Very sorry about your Grandfather.

Simon ILFORD Photo / HARMAN technology Limited :

 

[Mainecoonmaniac]

You're an awesome printer

Then I also made two 8x10 prints, also on MGIV fiber matte, with a negative that had vexed me for a couple of printing sessions. I was finally able to make it work, which was very happy making!

You're an awesome printer. They look luminous. Looks like you've been practicing your craft for a long while.

 

[removed account4]

Made six more prints last night, of three different negatives. Printed 8x8" on 11x14" Ilford Multigrade Warmtone fiber semimatte, one picture from my 'Woods' series, and another one that was a 6x6 pinhole negative. Way fun, and I'm feeling like I'm really in the zone, churning out good prints.

Then I made one 5x5" print on 8x10" Ilford MGIV matte fiber of my grandfather, who passed away two weeks ago. My family back in Sweden has requested copies, so I made the test print last night. Today I hope to be making the 30 or so copies with the instructions I wrote down yesterday. It'll be a lot of work, but hopefully worth it to everybody.

so sorry to hear of his passing thomas
your family will be very happy to have such a nice portrait of him.

my condolences ...

 

[Simon R Galley]

Indeed, such a lovely portrait.

Simon ILFORD Photo / HARMAN technology Limited :

 

[StoneNYC]

Hi Simon,

Thanks for your reply, and for your kind comment about my grandfather. Attached is a proof scan of the negative.

I did my research on the new paper before I tried it, and found accounts where you explained your approach with the new Classic paper. So I was somewhat prepared, but as you know, it isn't until we try and see for ourselves that we really know.
I'm pretty sure I'll be able to get what I want from the Classic. For landscape work - for sure! For portraiture - the jury is still out. Overall I am still extremely excited to have a new paper to play with. I love how the paper dried flatter than I'm used to as well.

Overall it was a very good experience, especially for a first attempt.
I'm excited to try the Cooltone product as well.

- Thomas

7 8x10 cooltone images printed today, from 110 Lomorgraphy Orca film

The one thing I do like is it's fast speed exposure and fast developing, 2 stops faster than WT I think.

The one thing I worry about is that though I would like the WT to be "improved" in some ways like faster development and maybe faster printing speed and definitely better shadow separation, but it's the only paper with a Semi-Matte, the FULL matte of the other papers is not for me, and I don't like glossy much. The Semi-matte is the best compromise to me. All the teachers like the glossy better lol.

 

[David A. Goldfarb]

I've been keeping up with my film processing since moving to Hawai'i earlier this year, but today I started making proof sheets and should be printing regularly again. A little slow going at first, adjusting for different water, higher processing temperatures, and getting a little more staining with amidol than I did in New York. Cold water is 75F out of the tap here, and room temperature can be 80F.

For now, I think I'll switch back to D-72/Dektol for enlarging paper and save the amidol for Azo/Lodima, when I really need it. I may have to generally rejigger my process for what I can get locally, what can be shipped here, and what works in this environment.

 

[pdeeh]

Three test strips ... One of those sessions which took too long to set up, too many mistakes, too much clumsiness ... Gave up in the end

 

[Simon R Galley]

Dear Stone,

So pleased you are getting into printing and evaluating well.

BUT : We will NEVER change ILFORD Fiber Base WARMTONE... ever.

Simon ILFORD Photo / HARMAN technology Limited

 

[Thomas Bertilsson]

7 8x10 cooltone images printed today, from 110 Lomorgraphy Orca film

The one thing I do like is it's fast speed exposure and fast developing, 2 stops faster than WT I think.

The one thing I worry about is that though I would like the WT to be "improved" in some ways like faster development and maybe faster printing speed and definitely better shadow separation, but it's the only paper with a Semi-Matte, the FULL matte of the other papers is not for me, and I don't like glossy much. The Semi-matte is the best compromise to me. All the teachers like the glossy better lol.

But Stone, if you don't like the shadow separation in your prints with a specific paper, you need to work on making your negatives such that they suit the paper to your liking better.
This is a major piece of the system of black and white photography, to be able to adjust how we treat our materials to suit our tastes, by changing things like negative exposure, negative development, agitation during development, developer choice, and so on. The paper's characteristics we are able to manipulate a little bit with different developers and such, but they are fairly constant. Where you have real power to do something about how your paper responds, it is at the stage of exposing and processing negatives. That's where we have most control.

I really like the 'eggshell' semimatte surface too. It's really beautiful. Though my favorite is the matte surface of the regular Multigrade papers. On its own right out of the developer the matte surface isn't necessarily what I want. But after toning I get exactly the tonality I want. Such gorgeous surface. I think once I'm done with my warmtone paper I'm going to move on and print only on the Classic. Just to keep it simple.

 

[StoneNYC]

Dear Stone,

So pleased you are getting into printing and evaluating well.

BUT : We will NEVER change ILFORD Fiber Base WARMTONE... ever.

Simon ILFORD Photo / HARMAN technology Limited

I figured, I was waiting for that response, I hadn't seen a definitive answer that I recall.

Thanks Simon

Will you potentially make a semi-matte classic. Paper or even expand the classic line and make a WT Classic? Or is this another one of those cases like HP5+ where you don't want to make Delta400 in sheet as it would dilute the market for HP5+ potentially making the price go up? Or something?

I guess these questions are arbitrary, I may have found my paper.

But Stone, if you don't like the shadow separation in your prints with a specific paper, you need to work on making your negatives such that they suit the paper to your liking better.
This is a major piece of the system of black and white photography, to be able to adjust how we treat our materials to suit our tastes, by changing things like negative exposure, negative development, agitation during development, developer choice, and so on. The paper's characteristics we are able to manipulate a little bit with different developers and such, but they are fairly constant. Where you have real power to do something about how your paper responds, it is at the stage of exposing and processing negatives. That's where we have most control.

I really like the 'eggshell' semimatte surface too. It's really beautiful. Though my favorite is the matte surface of the regular Multigrade papers. On its own right out of the developer the matte surface isn't necessarily what I want. But after toning I get exactly the tonality I want. Such gorgeous surface. I think once I'm done with my warmtone paper I'm going to move on and print only on the Classic. Just to keep it simple.

Yes I realize that, it's something I will have to improve with new images taken, but I have many many images already taken in have to deal with those, also as you and others noted the classic line has a much better shot of separation so shadow separation can be improved in the paper significantly so that's why I was asking if they might make improvements or come out with an additional "classic warmtone" with better separation then the legacy warmtone paper.

You've seen my negs, you know the issues.

 

[StoneNYC]

SIMON additionally I have a question for you, I know it seems stupid but I can't seem to find the information anywhere without having to buy a box and I'm starting to go broke over buying all this paper.

I noticed that there is a warm tone RC paper that is available. The question is did you guys match the speed of that particular RC paper to the warm tone papers so that testing could be done on the RC before the final fiber-based print? Or does that RC paper have the same speed as the normal RC papers?

Since the cool time FB Classic is much faster I thought it were possible the WT RC might be matched to the WT FB?

Thanks! (Anyone).

 

[Thomas Bertilsson]

Yes I realize that, it's something I will have to improve with new images taken, but I have many many images already taken in have to deal with those, also as you and others noted the classic line has a much better shot of separation so shadow separation can be improved in the paper significantly so that's why I was asking if they might make improvements or come out with an additional "classic warmtone" with better separation then the legacy warmtone paper.

You've seen my negs, you know the issues.

Take the opportunity to learn how to be a better printer by printing those negs.

This is why I always say that the print doesn't actually start with the light meter and negative. It starts with the paper. If we don't know what the paper will do with our negatives, then we will not stand a good chance at making good negatives. To me, the paper dictates everything I do, from a technical standpoint. That's where it all starts. Then I work my way backwards through the chain of events to what is the first chronological event - the metering.

That is speaking from a technical standpoint. Artistically - I apply little to no rules. Only have fun. A little bit of lacking shadow detail isn't going to make a world of difference in the grand scheme of things.

 

[removed account4]

SIMON additionally I have a question for you, I know it seems stupid but I can't seem to find the information anywhere without having to buy a box and I'm starting to go broke over buying all this paper.

I noticed that there is a warm tone RC paper that is available. The question is did you guys match the speed of that particular RC paper to the warm tone papers so that testing could be done on the RC before the final fiber-based print? Or does that RC paper have the same speed as the normal RC papers?

Since the cool time FB Classic is much faster I thought it were possible the WT RC might be matched to the WT FB?

Thanks! (Anyone).

back when i was cranking out 6-800 prints ( rc ) a day ..
we knew the FB from the same negative we would have to
adjust our times .. i think the factor was 1.5 x the RC time was the FB time ...
it wasn't hard to determine the factor because it was consistent ..

 

[Dinesh]

Wait for it ........

 

[Bill Burk]

.... To me, the paper dictates everything I do, from a technical standpoint. That's where it all starts. Then I work my way backwards through the chain of events to what is the first chronological event - the metering.

That is speaking from a technical standpoint. Artistically - I apply little to no rules. Only have fun. A little bit of lacking shadow detail isn't going to make a world of difference in the grand scheme of things.

This is a great approach, well stated!

 

[JW PHOTO]

Last week I processed a roll of HP5+ and a well outdated roll of Tri-X 320. They were shot in a Hasselblad SWC and old 500C and developed in home-brew Perceptol 1+3. The negatives came out just fine as expected and I picked a couple to print over the following weekend. I had a box of the old blue boxed 11x14 Oriental Seagull VC from years ago and thought I'd use some of it up. I used my old Omega D3V condenser enlarger with a grade 2 Ilford filter and they almost printed themselves. It was a very bright scene of an old white one-room school house so I dropped down to 1 /1/2 grade filter and like it better. I sure wish I had a big stockpile of this paper, but I'm down to ten sheets now. I might try some new Seagull, but don't expect the same results. I did notice that it doesn't change tone much with selenium toning, but it still looks just fine to me. Maybe it's just me, but I fine it easier to lock-in on a paper I really like and then use a film and developer that works the way I want with that paper. Of course VC papers do make life much easier then when I started with graded stuff. John W

 

[Simon R Galley]

Dear Stone,

Please do not go broke buying all these papers, although the turnover is greatly appreciated :

All the ILFORD Photo papers are incredibly consistent batch to batch, but dependent on dev / temperature / neg etc etc every print has to have a test, sometimes several more, especially when you are starting out. FYI When I print I do a test strip on the neg always when possible with the lens at f8 or f11 ( and then adjust the exposure time ) 1" wide test strip bottom left to top right of the image ( why ? because that's what I was taught ! ) I then estimate in my head the adjustment to the exposure up or down and any contrast level changes if I'm on MULTIGRADE and then do another 1" test strip bottom left to top right again, I'm normally spot on 2nd test, if not, I'm one or two seconds out, then I make a full print without any dodging or burning, I then look at that print in daylight, decide where I will dodge and burn and then print my final keeper print. I will write this exposure and info on the negative sleeve including dodging and burning ( not with the neg in ). Next time I print ( if I do ) I know at least where to start.

To your point..... RC and FB emulsions and responses are different, you can only test with the type and box of paper you are actually using and you cannot short circuit the system, but something like MGIV RC Gloss and Pearl surfaces will be 'very very similar' and may save you one test print or so.

I usually print on MULTIGRADE IV Cooltone in RC for 'sharing' prints and ILFORD Galerie FB 2.1K for my own keepers, although I have been using MULTIGRADE CLASSIC Cooltone FB as I like Cool and contrast prints.

NB : If I have a neg that needs a lot of dodging and burning, I normally slow the exposure by stopping down so I have at least 60 seconds to work on the print so as to lessen any obvious hand or finger movements.

So : Work on 4 sheets per keeper print, 2 and half to 3 when you get really good :

But remember the most important thing about printing ( and less expensive ) is to make a great negative in the first place.

Simon : ILFORD Photo / HARMAN technology Limited :

 

[Rick A]

Trying out Ilford MGRC Cool Tone paper.

 

[ciniframe]

Last developed would be two rolls of 16mm from my Minolta 16. Always have to wait for two rolls to get a easy to measure volume of developer mixed.

 

[StoneNYC]

Thanks everyone for the comments

I know I'm wasting my time, but warm tone emulsions are typically slower than neutral and "cold" emulsions, with pure chloride emulsions being the slowest. That's the way it works. How is that even a problem? (don't answer that). As for shadow separation, WT has a fairly standard curve shape, similar to most other VC papers (with the exception of the new Classic and Cooltone emulsions). If you're not pleased with shadow separation, it isn't the paper. It's the printer.

Not at all wasting your breath, in fact I found that to be very very useful information, I didn't realize that the different tones also equated to different speeds as far as how they are produced in the chemicals needed etc., so thank you for that now I understand.

Dear Stone,

Please do not go broke buying all these papers, although the turnover is greatly appreciated :

All the ILFORD Photo papers are incredibly consistent batch to batch, but dependent on dev / temperature / neg etc etc every print has to have a test, sometimes several more, especially when you are starting out. FYI When I print I do a test strip on the neg always when possible with the lens at f8 or f11 ( and then adjust the exposure time ) 1" wide test strip bottom left to top right of the image ( why ? because that's what I was taught ! ) I then estimate in my head the adjustment to the exposure up or down and any contrast level changes if I'm on MULTIGRADE and then do another 1" test strip bottom left to top right again, I'm normally spot on 2nd test, if not, I'm one or two seconds out, then I make a full print without any dodging or burning, I then look at that print in daylight, decide where I will dodge and burn and then print my final keeper print. I will write this exposure and info on the negative sleeve including dodging and burning ( not with the neg in ). Next time I print ( if I do ) I know at least where to start.

To your point..... RC and FB emulsions and responses are different, you can only test with the type and box of paper you are actually using and you cannot short circuit the system, but something like MGIV RC Gloss and Pearl surfaces will be 'very very similar' and may save you one test print or so.

I usually print on MULTIGRADE IV Cooltone in RC for 'sharing' prints and ILFORD Galerie FB 2.1K for my own keepers, although I have been using MULTIGRADE CLASSIC Cooltone FB as I like Cool and contrast prints.

NB : If I have a neg that needs a lot of dodging and burning, I normally slow the exposure by stopping down so I have at least 60 seconds to work on the print so as to lessen any obvious hand or finger movements.

So : Work on 4 sheets per keeper print, 2 and half to 3 when you get really good :

But remember the most important thing about printing ( and less expensive ) is to make a great negative in the first place.

Simon : ILFORD Photo / HARMAN technology Limited :

Thank you Simon, what I've been doing is going by the paper speeds which are listed on the little sheet of paper that you give with the boxes, they're very helpful and fairly accurate, so that's how I've been adjusting per test strips etc. between RC and FB.

I'm switching over completely to FB.

I've been starting with two stops under wide open depending on the lens so it sometimes is f/5 .6 for 50mm and sometimes is F/11 for 80mm or 135mm depending on the lens.

I've gone through probably 500 sheets of Ilford 8x10 paper, every type you make, and 30-40 sheets of 11x14 of which I still have 150 more, The teacher led me to believe that we would be using RC on everything and so I bought a bunch of that in the beginning, obviously ran through the 8 x 10 stuff, but the 11 x 14 I'm not really using it now that I've switched to FB I'm not sure what to do with it all hah!

I guess maybe I'll make a bunch of "cheap" prints to sell in 11x14 just to run through it.

Good times, of course you've also gotten me to rethink the film I use and now I'm loving Ilford PanF+ even more than I did before, it prints so beautifully it's incredible. Now you'll never get me off your case for making it in sheet film, you've doomed yourself Sir!

 

[removed account4]

been coating paper for the last few days
exposed in camera paper negatives
( with the paper i coated )
and i need to wait for the lights to be on
before i can see if my home-brew reversal tintype developer
worked or not ... too much light sensitive stuff hanging / drying
to put lights on

 

[removed account4]

its dried and electrified ....