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If it is your first time you should take the advice of buying the 8x10 paper and practice. Is it right to assume that you have not printed on fibre before? Processing fibre paper is not rocket science but a whole lot of things can go wrong which could quickly embarrass you down the road.

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If you have any questions, feel free to write directly and If you're used to more conventional papers, and time If your negatives are thin, that might be a problem. It a hard-contrast paper that is difficult to control for softer contrast. That a lot of people have recommended enthusiastically.

The grades are aīit off - the Grade 4 Emaks is really about a Grade 3.5 by myįotokemika also makes a variable-contrast paper called Varykon, I find it prints exceptionally well for my work. Strong blacks, delicate tonal scale in the upper end and midtones. It is a touch cooler than Agfa but still on the warm side of neutral, After Agfa, myįavorite is a graded paper from Fotokemika, Emaks 888: Might consider a graded paper for the project. If your negatives are of a consistent density and contrast, you Have printed on it - it's delicious stuff.) It is spectacular paper, and Adox's reformulation is evenīetter than the original. My paper of choice is Agfa MCC 111, but youĬan't buy the stuff any more - Agfa stopped making it in 2005.Īdox is returning it to market later this year, but it's not out The transitions in the highlights are too harshįor my tastes. Having said that: Some people swear by Ilford papers, I Substitute for seeing and touching them firsthand. You can see the differences for yourself. You already know about - it time permits,īuy a bunch of different papers in 8x10 and try them out, so You'll lose density with a matte surface. If you need really inky blacks, stick with a fiber gloss paper. Jeffrey, it's hard to make a recommendation in a vacuum. I print some of my images using a 'split-tone' approach - possible as I am using a RIP for my printer. Of course - without knowing what 'kind' of images it is impossible to recommend warm or cold or neutral paper - you just have to use your own judgement.=*^) This is a paper that has transformed inkjet pigment printing - beautiful, luscious blacks - and for all purposes indistinguishable from conventional wet darkroom conventional silver gelatin fiber prints. Most of the time I use Harman - which is a re-incarnation of Ilford: I seem to remember Arista - and Ilford of course - but that's because I do use some of Ilford's paper when I print - I only print 'digitally' these days - 'archival pigment' prints: Reading your post again makes me think you're printing these 'conventionally' - wet darkroom? You don't say anything about what kind of printer - or printing outfit - you want to - or have to - use for the prints. The Kentmere stuff is around $120 I think (warm is more) and the Ilford is $150ish while the warm is $208. However, one single entry somewhere says that the Arista on Freestyle's website is actually Ilford.

The Arista is the cheapest (about a buck eight) and I've heard, from discussions that Arista is actually Kentmere. Ilford Multigrade MGIV FB W24K (Warmtone) 16x20/50 sheets Semi-Matte Ilford Multigrade MGIV FB F5K 16x20/50 sheets Matte Kentmere Fineprint VC FB Warm Tone Semi Matte 16x20/50 SheetsĪrista II VC FB 16x20/50 Sheets Finegrain Semi-Matte Kentmere Fineprint VC FB Neutral Tone Semi Matte 16x20/50 Sheets Here are my choices at for 50 sheets, 16x20 b/w, fiber. Which papers should I go for? I need to work fast so I'm inclined to go with variable contrast papers. So, that leads me to the second question. However I don't think I can afford Ilford at this size. they are kind of a cross between Matte and Pearl.

When I do RC I usually go for the recent 'silk' line of Ilford papers. I want really rich blacks in these photos, but with good detail, and I don't mind if the whites aren't perfect white. The negatives, in all honesty, are a bit thin.įirst I would like to know your opinions on gloss, semi-matte and matte. It is an extremely fine grained IR film, with zero anti-halation layer so there's a bit of a glow, like the highspeed Kodak stuff.

The negatives I'm printing from are 4x5 Maco IR820c film. I'd like them to be fiber as they'll be shown in a major group exhibition and I like the look and feel of fiber behind glass. I've never made prints this big and I'm on a seriously tight budget.

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