Les propos de Tim Rudman dans sa nouvelle news letter que je me permets de citer ici :
The hot news this week has got to be the launch of not one but two new Ilford Multigrade FB papers: Multigrade Classic FB to replace Multigrade IV FB, and Multigrade Cooltone FB.
I should perhaps mention here first that I am completely independent and not associated with Ilford or with any other manufacturer and I give my opinon honestly for whatever it is worth, be it postive or negative.
I feel the need to say this here because I cannot help but wax lyrical about the new MG Classic in particular and I fear that otherwise this description would sound too much like an advertisement!
MG Classic
When I was approached to field test the 'proposed new Multigrade IV replacement' back in 2011, I read the rather general description of the changes to be expected and I just had a feeling that I wasn't going to like it. In fact I really love it and much prefer it to MG IV FB in almost every way.
The testing was 'blind' with no tech data, no speed or contrast figures and no curves. I was apprehensive about the alleged slight contrast increase that was mentioned, after all MG IV was launched with much talk of its improved and forgiving response in the highlight range. Was this now going to be compromised by increased contrast perhaps? In fact MG Classic FB prints superbly at the highlight end. Cumulus and cumulonimbus clouds really gleam in a way they just don't on MG IV. The improved sharpness and Dmax - slight but definite - together with the slight mid and upper value contrast boost gives a print than looks both richer and more luminous than the same negative on MG IV.
I found that shadows can tend to block up slightly more easily at mid and upper contrast filtrations, so a little extra printng care is required here. The image tone is slightly warmer than MG IV and the response to direct toning with selenium and/or gold is beautiful. Selenium initially cools the tone but then at 1+9 or stronger prolonged toning gives a deep rich selenium colour with a wonderful boost to the Dmax to create a depth to drown in with low key prints. Gold toner cools the image as expected and duo-toning with these two can give a rich cold image of great depth.
I reported at the time that "The flashing threshold is almost the same as MG IV, but over-threshold fogging darkens progressivley more than MG IV, giving a clue as to the effect it will have on midtones. Highlight tone is pulled in beautifully at 'max flash' needing about 2/10th of a stop reduction in main exposure. The midtone contrast drops at least a grade. Exposing 1 grade harder gave good midtone separation whilst retaining the benefit at the toe. Shadow separation was well preserved this way too". Now that we have the characteristic curves available to inspect this is well explained by the marked difference between those of MG Classic and those of both MGs IV and WT, particularly with MG Classic's long gentle slopes at the lower grade filtrations - see the tech sheets on the Ilford site ( go to 'more info' then use the dropdown tabs).
Paper speed is the same as MG IV. Air dried glossy gives a comparable finish to MG IV. I haven't seen the matt paper.
The lith printers out there will need to look elsewhere for a new lith holy grail I'm afraid. The Ilford coating process is excellent for producing reliable and consistently good quality control, but does not lend itself easily to products with the characteristics required for the convincing infectious development that is required in lith printing. However, MG Classic can produce very attractive 'second pass' lith prints. The lighter tones develop in a soft gentle warm sandy brown and may be allowed to go on to exhibit the MG WT signature split as the highlights gradually turn cold grey. The 'blacks' remain warm rather than cold in tone, giving a nostalgic look. If deep cold blacks are desired, spare the blacks during the bleach stage or fixate them with a short selenium stage before the pre-bleach wash.
Apart from the expected refusal to lith print, my only slight reservation in fact was the fact that the new paper was slightly warmer than MG IV, placing it a little nearer to MG WT in tone and that there was still no FB version of Multigrade Cooltone. However, as we now know, this has since been addressed.
MG Cooltone
This paper did not become available for testing until quite recently. Again a 'blind' assessment.
Cooltone FB is immediately seen to be a different paper to print with, not just cooler in tone. Firstly, it is a faster emulsion, having a paper speed of P590 against Classic's P500. The second obvious difference is in its contrast characteristics, and again this is now clearly shown in the curves, with the long flatish 00 and 0 slopes of MG Classic replaced by much rounder curves. I initially found this made it rather easy to let darker tones slide over into blocked up black unless contrast vs. exposure was accurately matched, which is not a problem providing care is taken. Split grade printing using just the 00 and 5 filters is a good way to pin this down accurately and although it may appear to be slightly long-winded involving 2 test strip stages, it can sometimes prove to be quicker in the long run.
Flashing is effective - again see the curves, but don't forget the increased paper speed and shorter 'toe', so do a proper flash strip. It maybe my style of printing, but I felt immediately at one with Classic and a little less so with Cooltone. The image tone with MG developer is a cool but not blue black (I did not have time to use it with cool tone developers) and a very pleasing range of colour options from blue-black in gold toner to a warm deep selenium brown is easily available on toning. Response to these toners is positive but, typically for a cooltone paper, slower. Strong selenium pays off handsomely as does plenty of patience in direct gold toner, which may need to be very long after the initial freshness has worn off the toning solution.
The air dried glossy surface is significantly more shiny than that of Classic , IV or WT.
To date, I have not experimented with Cooltone FB in lith or second pass lith.
Many darkroom users have wanted a fibre-based version of Cooltone for a long time and so this will be a welcome addition.
