Originally Posted by
bob carnie
Lets compare two papers.
Ilford Warmtone and Ilford MG4
I use both, and though I have made a few prints in my life , I do not think it is possible to make these two papers look the same.
Historically somewhat nuetral Silver Prints that I am use to seeing in books and exhibitions.
I would use Ilford Warmtone with a slight selenium tone 1:5 for 30-45 seconds.
this gives a slight change to the overall tone of the print, primarly in the low tones, but to my eyes resembles a historically nice silver print.
There is no way in hell I can make the same quality print from the same negative with MG4 using the same formulas. the Warmtone print just has more sparkle, tone, brilliance , vocabulary , whatever you want to use to describe the difference.
Sepia Toned or slight sepia tone prints
now the reverse is true, I would not waste my time with Ilford Warmtone but rather go to MG4 and with bleaching time varied to the amount of warmth I want.
The blacks hold better with MG4 and I will state that no way in hell can one make the same type of sepia print with these two different papers using the same neg.
Multiple , Duo , Tri and Quad toned prints.
-Now all bets are off as both papers can work well and give wonderful results that I can sell to my clients.
Once again there is no way in hell that you can match prints using different paper but with same neg/ formulas.
I have used both these papers extensively and my observations on these two papers come from the darkroom making prints for myself and others, there may be some who can match these papers , but I am skeptical of this.
I do not switch brands very often, I tested extensively years ago when the availability of paper was solid, lately I have stuck with Ilford as there product is consistant and therefore I can envision the final look of a print before I walk in the darkroom and have confidence the paper is fresh, not greyed out, emulsion scratched or many common problems that can occur with suspect paper.
About 7 years ago I questioned my stubborness of the Ilford line and tested.
forte, bergger, oriental, rembrance, kodak , Agfa, and the Ilford papers.
used the same neg/formuals and tried to match the overall look and feel of the scene.
I always gravitated to the Ilford Warmtone and there for stuck with it. Only veering away when multiple toning or sepia was called for.
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