Ilford classic cooltone information for uneven development / defects

[mikew]

Hi everyone,

A few months ago I purchased several rolls (50" and 56") of Ilford's Classic and Cooltone papers. My practice revolves around large silver gelatin prints ranging from 30x40 to 52X70 inches (image size). During my testing of these papers I experienced some wicked mottling / uneven development. Several samples of the defected prints along with unprocessed paper were sent to Harman and it was concluded by them that the Classic and Cooltone emulsions are not as "robust" (their word) as MGIV or warm tone (I had no problems with Ilford's warm tone paper processed under the exact same conditions).

It appears that if the uptake of the developer into the emulsion isn't quick and even, those lagging areas won't catch up to the rest of the print. Interestingly, these defects tend to not show up on cut paper, mostly roll paper. After conducting their testing, Harman suggested that a 2 minute pre-soak would mitigate this issue. For my own work I found that a 10 to 15 minute pre-soak eliminated any unevenness. A stronger developer also helped.

Both papers are really great, I'm printing my editions on Classic paper right now in fact, but there is a processing consideration to take into consideration when using the Classic and/or Cooltone roll papers.

I thought that I would post this note for anyone who might encounter processing problems and to save them the testing and stress.

Best,

Mike

[Andrew O'Neill]

Thanks Mike!

[mikew]

No problem. Hope it helps.

[Liquid Artist]

Mike,
I've never presoaked paper, so I want to clarify the process.

Do we just soak it in water, for 2 minutes or so before the development bath and that's it?

If that is it, I've had some uneven development with extremely old paper it may also help with.

[mikew]

Mike,
I've never presoaked paper, so I want to clarify the process.

Do we just soak it in water, for 2 minutes or so before the development bath and that's it?

If that is it, I've had some uneven development with extremely old paper it may also help with.


That's exactly it.

For my own work I found that a 10 minute pre-wet in 20C water with rocking every minute or so followed by a 20 to 30 second drain did the trick with a 30x40 inch sheet of paper. The only draw backs - beyond extending the overall processing time of a given print - is that you introduce more water into your developer....and you might have to adjust your safelights - I turned mine down.

If you're experiencing uneven development with other paper and all this doesn't work, you could also try increasing the temperature of your pre-soak - same logic as with film.

Mike

[Drew Wiley]

Cooltone is a tad more fussy in technique. You want the dev to cover the entire sheet relatively quickly.

[bob carnie]

I have been using Classic 42inch rolls with no issues, works exactly like Warmtone 50 inch rolls and the older MG4 50 inch rollsand as well Art 300 50 inch rolls.. I am making 30 x40 murals all the time. curious problem I would say.

[Drew Wiley]

I even lost a couple of 16x20 Cooltone prints yesterday to a bit of dev uneveness. I would not classify this as a serious issue at all, just something to be aware of; and I wasn't paying quite enough attention. It also seems a bit sensitive to pressure on the emulsion, so I've learned to be careful to handle it only at the extreme edges, outside the image per se. Don't get me wrong - it's as robust as a bulldozer compared to something like Cibachrome, where a single fingerprint or kink mark could ruin the whole thing. But it's not as forgiving as something like MGIV, so maybe a bit more problematic in the hands of students, or me too when I'm not thinking! Still, I am quite pleased with this paper. It gives a consistent rather neutral rich black - not a blue-black - along with excellent gradation. I've been gettting exceptional prints with it. But if I were trying to handle it in big rolls, I'd hope it would be on a day when the arthritis in my fingers isn't acting up!

[bob carnie]

Hey Drew -- I am handling all the Ilford product line in fibre base murals... I do not see this handling problem.. I found the new classic to be very forgiving... one thing is that it emerged real fast and held density... but its really a nice neutral paper. I prefer Warmtone and Art 300. but for bleach sepia prints the Classic is a winner.

I cannot talk about the Cooltone paper as I have never used it and probably won't knowing my bent for warmer emulsions.


I even lost a couple of 16x20 Cooltone prints yesterday to a bit of dev uneveness. I would not classify this as a serious issue at all, just something to be aware of; and I wasn't paying quite enough attention. It also seems a bit sensitive to pressure on the emulsion, so I've learned to be careful to handle it only at the extreme edges, outside the image per se. Don't get me wrong - it's as robust as a bulldozer compared to something like Cibachrome, where a single fingerprint or kink mark could ruin the whole thing. But it's not as forgiving as something like MGIV, so maybe a bit more problematic in the hands of students, or me too when I'm not thinking! Still, I am quite pleased with this paper. It gives a consistent rather neutral rich black - not a blue-black - along with excellent gradation. I've been gettting exceptional prints with it. But if I were trying to handle it in big rolls, I'd hope it would be on a day when the arthritis in my fingers isn't acting up!

[Drew Wiley]

Well I tend to jump right from Cooltone to Warmtone, depending on the subject matter, so haven't even had time to test Classic yet. The MG Cool and MGWT are
quite different in surface characteristics. I haven't done much with "neutral" tone papers since Polygrade V disappeared, although Kentmere Fineprint was marketed
in that category, but really seemed more like a predecessor to the current Cooltone. I still have some on hand.

[mikew]

I even lost a couple of 16x20 Cooltone prints yesterday to a bit of dev uneveness. I would not classify this as a serious issue at all, just something to be aware of; and I wasn't paying quite enough attention. It also seems a bit sensitive to pressure on the emulsion, so I've learned to be careful to handle it only at the extreme edges, outside the image per se. Don't get me wrong - it's as robust as a bulldozer compared to something like Cibachrome, where a single fingerprint or kink mark could ruin the whole thing. But it's not as forgiving as something like MGIV, so maybe a bit more problematic in the hands of students, or me too when I'm not thinking! Still, I am quite pleased with this paper. It gives a consistent rather neutral rich black - not a blue-black - along with excellent gradation. I've been gettting exceptional prints with it. But if I were trying to handle it in big rolls, I'd hope it would be on a day when the arthritis in my fingers isn't acting up!

Cooltone is definitely the more problematic of the two. I've also seen finger print marks.

[mikew]

Hey Drew -- I am handling all the Ilford product line in fibre base murals... I do not see this handling problem.. I found the new classic to be very forgiving... one thing is that it emerged real fast and held density... but its really a nice neutral paper. I prefer Warmtone and Art 300. but for bleach sepia prints the Classic is a winner.

I cannot talk about the Cooltone paper as I have never used it and probably won't knowing my bent for warmer emulsions.

Hi Bob. The issue is relative to the mechanics of your process and the subject matter you're printing so it's not surprising that you haven't experienced any defects. That's great to know.

And couldn't agree more that the Classic paper is wonderful for all kinds of sulphide toning.