Adox MCC 110 -"I've found a new baby"

[Greg Y]

I picked up a bunch of paper at Glazer's when I was in Seattle in the fall. My test prints are still wet but boy Adox MCC110 is a winner. Reminds me of the first time I printed on Forte.
My stocks of Forte polywarmtone & Fortezo are almost gone....I think i'll be doing a lot of printing on Adox MCC 110 :)

[Renato Tonelli]

What developer are you using? Toner?

I like the paper a lot but haven't had success with Selenium beyond Dmax. I am happy with it nonetheless.

[Greg Y]

Renato, My test prints were in LDP. My final prints will be in Ansco 130 &/or Amidol. I'll have to see with the toner....but I love the contrast, I won't need much toning with the negs I have

[Andrew O'Neill]

I tested this paper back when it was in it's protype stages, and found it to be all round nice paper. I haven't used it since and that was a few years ago. Maybe I should pick up a box.

[Renato Tonelli]

:)

I am using the same developers. Happy printing...

[turtle]

Its a beautiful paper, but if the additional warmth of MGWT is aceptable, I find that paper slightly nicer. Greater top end contrast with MGWT compared to the two boxes of MCC 20x16 I have used. Not so much an issue with landscapes, but it is with 35mm where lighting can be so varied on one roll and developed equally.

[Greg Y]

Turtle, I'll have to print a bunch more negatives on the Adox. But I've used lots of Forte Polywarmtone & Fortezo, and without exception, it was always been difficult for me to get as good a print with Ilford MGWT. All stained (PMK, & later Pyrocat HD/glycol) negs printed easier with better highlight separation on Forte, and I've got many landscape & mountain photographs with lots of clouds & snow. I had some early Bergger VCCB that was also terrific...but those papers are history now. I've only got a few boxes of Forte left, so now I'm running through Adox & Slavich...seeing what's a good match to my negatives & printing style.

[Roger Cole]

I use MCC 110 and MGWT as my two main papers for display prints, depending on whether I want warm or neutral. For the MCC 110 I develop in LPD (normal dilution, 1+4 from liquid concentrate or 1+2 from the powder mixed stock) and tone in KRST 1+19 for four minutes. I get an increase in D-Max and a slight cooling effect. Starting at about 5 minutes I get an unpleasant (to me) purple cast I dislike, so I stop at 4. I'd like to be able to cool it off slightly more, but I still love the paper. I may try stronger LPD or another developer. For the MGWT I have been developing in Ilford WT (again, may experiment with that) and toning in brown toner mixed 1/8th strength, 1/8 oz per quart of water. This gives excellent control, from 20 seconds for a subtle brown in place of the vague green, up to a full brown/sepia (I can always mix stronger if needed.)

[turtle]

Greg,

Absolutely. We all end up with different film curves, have different enlargers etc. I have 100 sheets of 20x16 Oriental Seagul Warmtone (goodness knows who made it but I dont think it was them) and if I ever have trouble with printing highlights and a warm paper suits, I grab this paper and I get amazing mid tones and easily held highlights. I found the same with Fortezo and PWT too, but alas....

MGWT (and MGIV) seem to provide super highlight separation, but I do sometimes flash these papers to bring them within reach, assuming I am largely determining contrast for mid-tones and separation throughout the rest of the scale. The shadow separation on MGWT is unreal and comes into its own with very thin negs. My issues is that it is not what I have in mind for landscapes really and I will be trying to work more with the MCC paper for its more neutral results. In a cool developer the prints come out remarkably neutral and of course the base is bright, but no excessively so. Dektol and Eukobrom are good in this regard. I have also wondered about using gold toner to cool the MGWT to neutral but thats a hell fo an expensive way of achieving neutrality if you have 50 20x16s to make.

[Greg Y]

Roger, Thanks for sharing your toning results. Turtle..I agree completely on the MGWT shadow separation. I have a 5x7 neg of many horseshoes hung on fenceboards in a barn & on MGWT with a little ferrocyanide the separation is incredible. Most of my negatives however, fall on the other range of the tonal spectrum...