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  #11  
Old 8th March 2022, 08:27 AM
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David Lingham David Lingham is offline
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Quote:
Originally Posted by Bob View Post
Lovely atmospheric (in some cases literally - you can see it!) images as usual David.

Not generally a fan of matt papers as I have never been happy with the contrast loss for landscapes, but I have not seen Art 300 in-the-flesh so it's difficult for me to visualize the actual prints but I'm sure your selection of negatives and printing takes advantage of what the paper has to offer.

I can feel a trip to Dartmoor coming on...
Thank you Bob. I was persuaded to try Art 300, and I'm not totally sold on it. It's a very tactile paper that has to be viewed in the hand, it's no good for scanning at all.

Dartmoor sounds a good idea, it's been a while.
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  #12  
Old 8th March 2022, 08:56 AM
Lostlabours Lostlabours is offline
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A trip to Dartmoor sounds good, and a chance to see those prints.

As an aside, I picked up two BLP Almanacs on Sunday 1911 & 1915 both in remarkably good condition, also very reasonably priced. They usually sell for over 5x the price I paid

The Kentmere advert in the 1911 copy lists Art Bromide paper, the precursor to Ilford's Art 300.

Ian
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  #13  
Old 8th March 2022, 09:43 AM
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Quote:
Originally Posted by David Lingham View Post
Thank you Bob. I was persuaded to try Art 300, and I'm not totally sold on it. It's a very tactile paper that has to be viewed in the hand, it's no good for scanning at all.

Dartmoor sounds a good idea, it's been a while.

David,

I found with Art 300 it best to stick to Ilford's recommended washing times / routine to get the best out of it. Best not to put it in the print washer and forget about it for a while, which I normally do!

Neil.
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  #14  
Old 8th March 2022, 10:54 AM
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B&W Neil B&W Neil is offline
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Here are Ilford's recs for Fixing / Washing ART 300.

Note short fix and wash times / methods.

I wasn't getting the best from ART 300 until I changed to Ilford's recommendations - made a big difference when I did.


Optimum permanence sequence for ART 300


Fixation ILFORD RAPID FIXER (1+4) 1min

or

HYPAM (1+4) 1min
intermittent agitation

First wash Fresh, running water 5min
Washing aid ILFORD WASHAID (1+4) 10min
intermittent agitation

Final wash Fresh, running water 5min
Optimum permanence sequence
with selenium toner

Fixing ILFORD RAPID FIXER (1+4) 1min
or
HYPAM (1+4) 1min
intermittent agitation

Toning Selenium toner diluted with * min
working strength ILFORD
WASHAID instead of water,
intermittent agitation

Rinse ILFORD WASHAID (1+4) 10min
intermittent agitation
Final wash Fresh, running water 20min

* Tone the print for the appropriate time to achieve
the depth of colour needed.
For optimum permanence with other toners offering
a protective effect, for example, sulphide (sepia),
polysulphide and some metal replacement toners
(gold and platinum), use the optimum permanence
sequence above and then tone the print as desired.
Note Other metal replacement toners such as blue
(iron) and red (copper) toner may not give extra
protection as the image might fade. Dye toners do
not give extra protection
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  #15  
Old 8th March 2022, 11:35 AM
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David Lingham David Lingham is offline
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Quote:
Originally Posted by B&W Neil View Post
Here are Ilford's recs for Fixing / Washing ART 300.

Note short fix and wash times / methods.

I wasn't getting the best from ART 300 until I changed to Ilford's recommendations - made a big difference when I did.


Optimum permanence sequence for ART 300


Fixation ILFORD RAPID FIXER (1+4) 1min

or

HYPAM (1+4) 1min
intermittent agitation

First wash Fresh, running water 5min
Washing aid ILFORD WASHAID (1+4) 10min
intermittent agitation

Final wash Fresh, running water 5min
Optimum permanence sequence
with selenium toner

Fixing ILFORD RAPID FIXER (1+4) 1min
or
HYPAM (1+4) 1min
intermittent agitation

Toning Selenium toner diluted with * min
working strength ILFORD
WASHAID instead of water,
intermittent agitation

Rinse ILFORD WASHAID (1+4) 10min
intermittent agitation
Final wash Fresh, running water 20min

* Tone the print for the appropriate time to achieve
the depth of colour needed.
For optimum permanence with other toners offering
a protective effect, for example, sulphide (sepia),
polysulphide and some metal replacement toners
(gold and platinum), use the optimum permanence
sequence above and then tone the print as desired.
Note Other metal replacement toners such as blue
(iron) and red (copper) toner may not give extra
protection as the image might fade. Dye toners do
not give extra protection
Thanks Neil. I pretty much use the Ilford regime but without the washaid. After reading a thread on Photorio I incorporate an extended citric acid stop bath (60-90secs) and a final 40min wash. I haven't had any trouble with staining not even when I've later toned the prints. I'm just a bit underwhelmed with the paper itself.
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  #16  
Old 8th March 2022, 01:00 PM
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I got some postcards on that paper from exchanges. Very heavy paper with an "interesting" surface. No much risk of finger prints.

I thing it suits well postcards: Thick and some kind of marble surface. I don't think it is a good exhibition paper. In my exhibition prints I want to show the subtleties of my print and not an artificial surface.

For postcards one may think about paying the price. I find it very expensive. Of course, a very special paper with (I think) low production rates has to be expansive.
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  #17  
Old 8th March 2022, 01:51 PM
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David,
I share your mixed feelings about Art300.
My own photography is very prosaic- no pinhole, no Holga. I use mostly MF or LF with slow films, and most of my images depend on, or at least contain, a lot of fine detail. The texture of Art300 overwhelms much of that. It seems to me better suited to images that are rich in mood and atmosphere, and which are less representational.
If I did any nude or portrait work I think it would be a useful paper to have available, but I think it's telling that I bought a box a couple of years ago and haven't finished it.

Art 300:
http://www.film-and-darkroom-user.or...70/ppuser/2109

Ilford MG RC:
http://www.film-and-darkroom-user.or...71/ppuser/2109
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  #18  
Old 8th March 2022, 04:28 PM
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> and most of my images depend on, or at least contain, a lot of fine detail. The texture of Art300 overwhelms much of that.

Dear Colin, that is an improtant point! My photographs are similar respectively I have s similar photographic intention.
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  #19  
Old 8th March 2022, 04:39 PM
Richard Gould Richard Gould is offline
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I lke art 300 for the right subject, Portraits, still life, the type of work where fine detail is not there, also, sometimes in retro style landscape it works well, I use it sometimes, but, like Skelum, I have just started a box that I have had for a couple of years, and it will last me a while, I use more MG classic or MGRC,
Richard
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  #20  
Old 9th March 2022, 09:38 AM
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I definitely found that simple subjects work better on ART300. The last image I made on it that ended up as a a keeper was a single Silver Birch with an attractive peeling bark. I haven't made another Art300 keeper since! My problem I'm sure :-)

Neil.
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