Ulophot
6-Aug-2021, 11:01
I usually print on Ilford Warmtone FB, contacts on gloss, prints on semi-matte. I ordered for testing a package of 8x10 Fomabrom Variant III (neutral tone, variable contrast) matt surface fiber and 2 5x7 packages of Fomatone MG Classic fiber (warm-tone VC), one gloss, the other matt. I use Eco Pro print developer, which favors warm-tone papers.
Summary:
The glossy surface is a near match for Ilford's; both a bit smoother and shinier than 1990's Ilford gloss. I prefer the old style, but it's a moot point for me.
Fomatome Fine Grain (see note, below) surface gives me an excellent complement to Ilford WT, providing a warmer print with good tonal separation, and my near-ideal for a surface. Varnishing (see below) enhances the lower vales and renders a surface with slightly more luster than Ilford semi-matte varnished.
I did not have Ilford Classic on hand to compare with Fomabrom. The latter's neural tonal rendering appears close to Foma's Warmtone, though the Warmtone mare have a longer shoulder yielding a bit more separation in low values; just an initial impression.
Foma's matte surface is not to my liking; in the batch I have, the texture of the surface is visible to the extent of interfering with the image tones, even when varnished, as opposed to Ilford's very smooth matte and semi-matte.
Notes
After making a first round of prints and studying the dry results, I saw that the allegedly matt contents of my Fomatone 5x7 was actually a luster-surface paper, rather similar to Kodak's old E surface, definitely more lustrous than Ilford semi-matte. My guess is that a packaging error was made and that this is actually Foma's Fine Grain surface.
Foma's matt surface exhibits, in the package I have, at least, subtle but visible slightly wavy striations running parallel to the long edge of the 5x7. These show in the dry print in dark-toned areas.
I have not yet heard back from Foma on these two issues; will post when I do, and also after seeing how these papers tone in selenium.
There is a clear but subtle difference in the base emulsion tone of the three papers when compared in natural light. Variant's is a neutral, bright white; Ilford WT's slightly off-white; Foma Classic's a warm white. The latter's tone appears more yellow coming out of the fix than when washed and dried.
The image tone range follows, with Variant neutral, Warmtone moderately warm, and Classic warmer, reminiscent of Agfa's Insignia of yore. As with Ilford, the gloss surface gives the appearance of slightly greater warmth to Classic, and the apparent three-dimensionality of the image is comparatively greater when shown side by side with the luster or semi-matte.
Summary:
The glossy surface is a near match for Ilford's; both a bit smoother and shinier than 1990's Ilford gloss. I prefer the old style, but it's a moot point for me.
Fomatome Fine Grain (see note, below) surface gives me an excellent complement to Ilford WT, providing a warmer print with good tonal separation, and my near-ideal for a surface. Varnishing (see below) enhances the lower vales and renders a surface with slightly more luster than Ilford semi-matte varnished.
I did not have Ilford Classic on hand to compare with Fomabrom. The latter's neural tonal rendering appears close to Foma's Warmtone, though the Warmtone mare have a longer shoulder yielding a bit more separation in low values; just an initial impression.
Foma's matte surface is not to my liking; in the batch I have, the texture of the surface is visible to the extent of interfering with the image tones, even when varnished, as opposed to Ilford's very smooth matte and semi-matte.
Notes
After making a first round of prints and studying the dry results, I saw that the allegedly matt contents of my Fomatone 5x7 was actually a luster-surface paper, rather similar to Kodak's old E surface, definitely more lustrous than Ilford semi-matte. My guess is that a packaging error was made and that this is actually Foma's Fine Grain surface.
Foma's matt surface exhibits, in the package I have, at least, subtle but visible slightly wavy striations running parallel to the long edge of the 5x7. These show in the dry print in dark-toned areas.
I have not yet heard back from Foma on these two issues; will post when I do, and also after seeing how these papers tone in selenium.
There is a clear but subtle difference in the base emulsion tone of the three papers when compared in natural light. Variant's is a neutral, bright white; Ilford WT's slightly off-white; Foma Classic's a warm white. The latter's tone appears more yellow coming out of the fix than when washed and dried.
The image tone range follows, with Variant neutral, Warmtone moderately warm, and Classic warmer, reminiscent of Agfa's Insignia of yore. As with Ilford, the gloss surface gives the appearance of slightly greater warmth to Classic, and the apparent three-dimensionality of the image is comparatively greater when shown side by side with the luster or semi-matte.