Ross wrote:
> Which reminds me. . . I revived my B&W darkroom last fall
> after a lapse of 10 years
Welcome back to the fold.
> I've been using Ilford fiber-base variable contrast paper,
> developed
> in their liquid concentrate PQ developer--and have had a
> struggle
> getting the "snap" in images that I hoped for.
Getting Ilford's MGIV fiber to "snap" is hard. I mostly use
Multigrade developer which does help some. Charcoal-like Dmax
is a bit tougher with Multigrade because of the emulsion's
tendency to "bronze" a little. I've found that MGIV fiber
definitely needs squeegying before drying. MGIV RC Glossy tends
to scratch too easily if you squeegy it, but the density does
improve a bit.
Several tricks I've learned to get snappier MGIV prints (of any
variety):
1. If you use Multigrade developer, use the stronger dilution.
The week stuff just won't cut it.
2. Add 50-100% development time and adjust exposure accordingly.
For fiber prints, it's supposed to take two minutes to develop
the print. I'm usually going 3-4 minutes. Keep that print in
motion--the sequestering agents are a bit too strong for the
emulsion.
3. Selenium tone. Not for the color, but for the density
increase and longevity. I use a very thin dilution on almost
everything. Doesn't change the color, but the bronzing on RC
prints is reduced.
4. Squeegy the prints.
5. Try Forte papers. The emulsion gives a very nice "glow" to
the high values and the low values are rich. Unfortunately,
there is a *lot* of inconsistancy to Forte papers, so each box
will need exposure/grade calibration.
I like graded papers when you can get a negative to match.
However, that doesn't happen as often as I like. Therefore
variable contrast papers fit my style better--especially since
I've added split-grade printing techniques to my stash of
tricks. But when you do get a good batch of graded papers
(Oriental Seagull is good stuff) the tonal consistancy and
smoothness is obscenely good.
AG
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