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> Multigrade 4 and 5 comparisons |
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#41
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Hello Mike, I once printed the same negative on Fotospeed Oyster, Adox and MG1V pearl, then sepia toned the prints with the same mix of sepia toner. Al three came out with slightly different colours, but the Ilford MG1V had the same strength of colour.
One of the attractions of sepia toning is that it seems to darken the shadows, and increase contrast and depth. This happened with MG 1V just as it did with the other papers. I often sepia tone so the print just has a hint of colour in the highlights, and MG1V responds nicely to this minimal treatment too.... Alan |
#42
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I have just posted some of my Sepia toning experiments with the MG5 and although sepia toning does not scan and show up well, at least for me, hopefully it will give some idea of how it tones
Richard
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#43
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MG5 and XP2
I have just made 2 prints from an XP2 negative onto MG5 and this I think is probably the only XP2 negative that I have been able to print successfully onto B&W paper. I used to print it onto RA4 with a modicum of successes.
When I have tried before I used to have to use a Grade 3.5 filter but with MG5 it was a straight print with no filtration at all. Once it has dried properly I will scan it an upload. All the tones are there, not compressed as they would have been with a hard filter. Another improvement over MG4 |
#44
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Print from XP2 onto Multigrade 5
As per my last post, this is the print from XP2 onto MG5.
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#45
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But, I had the total opposite experience to you and my negs printed beautifully on grade 2-ish, I believe. The full range of tones were in the prints and the hardest bit was trying to focus the negatives, which had no grain to focus on, but gave beautiful grain-less prints, including some 16 x 12's made from 35mm negatives. I almost became a convert, but the experience overall was too expensive for me. I also like to develop my own films and have never got into C41 processing, although I have read the film can be developed in b/w chemicals, but does one get the same result / tonal range, if this is done? Terry S |
#46
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Dev C41 in mono Chemicals
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#47
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I have to agree with Terry in my (limited) experience. I used XP2 (processed by Boots IIRC) a few times in 35mm about 10 years ago and found it very easy to print with a wide tonal range with little or no effort on my part - I am guessing it has the usual colour negatives' wide exposure latitude? I keep meaning to try it in 120 to see how far you can blow it up.
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#48
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Not used XP2 but I have used other chromogenic films from Kodak and Fuji and processed them in normal black and white chemicals such as ID11 and Hypam. They seem to print OK.
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#49
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I've always wondered how the above works though? My thinking is that 'normal' b/w films have silver in them and the chemicals work on that. But XP2 etc. is dye based and usually goes through C41 chemicals. So how can one set of chemicals that usually work on silver also work on dye based films??? Anyone with a simple and understandable explanation are most welcome to comment and help me understand. Terry S |
#50
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Chromogenic films are silver based ( aren't all films?); the development prepares the film to have the colour dyes replace the silver as the process proceeds.
I have always found that XP2 is less contrasty and does require a higher grade filter. That softening of contrast would makes it the perfect film for Harry Burton to take to the Egyptian dessert to photograph Howard Carter's dig.
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