Photographic Papers

Photographic paper is where your negative becomes a print. Choosing the right paper affects the look, feel, and longevity of your work. Understanding paper types helps you match materials to your vision.

This guide covers paper bases, contrast systems, surfaces, and the papers available today.

Paper Types Overview

The fundamental choice is between two paper bases.

Resin-Coated (RC) Paper

RC paper has a polyethylene coating on both sides, creating a water-resistant sandwich around the paper base.

Advantages:

• Dries flat without curling
• Washes quickly (5 minutes)
• Processes faster overall
• Less expensive
• Easier to handle wet
• Glossy surface is naturally high-gloss without special treatment

Disadvantages:

• Maximum archival life ~75-100 years (vs 200+ for fiber)
• Some find the surface "plasticky"
• Cannot be selenium or gold toned (the resin, not silver, determines surface)
• Less "depth" in blacks according to many printers

Best for: Learning, proofing, general work, quick turnaround, most day-to-day printing.

Fiber-Based (FB) Paper

Traditional paper where the emulsion is coated directly on a baryta (barium sulfate) layer over paper fibers.

Advantages:

• Superior archival permanence (200+ years properly processed)
• Richer, deeper blacks with more perceived "depth"
• Responds well to toning
• Surface has a more organic, tactile quality
• Museum and exhibition standard

Disadvantages:

• Curls significantly when wet and during drying
• Requires extended washing (30-60 minutes or washing aids)
• Takes hours to dry
• Must be flattened after drying
• More expensive
• Requires more careful handling

Best for: Exhibition prints, archival work, portfolio pieces, any print intended to last.

Contrast Control

Photographic papers come in two contrast systems.

Graded Papers

Graded papers have a single, fixed contrast level manufactured into the emulsion. You buy each grade separately.

Typical grades:

• Grade 0 — Very soft (lowest contrast)
• Grade 1 — Soft
• Grade 2 — Normal (designed for "properly" exposed and developed negatives)
• Grade 3 — Hard
• Grade 4 — Very hard
• Grade 5 — Extra hard (highest contrast)

Using graded papers:

• Match paper grade to negative contrast
• High contrast negative → low grade paper
• Low contrast negative → high grade paper
• Less flexibility than multigrade, but some printers prefer the "look"

Graded papers are becoming rare. Most current papers are variable contrast.

Variable Contrast (VC) / Multigrade Papers

These papers contain two emulsion layers—one sensitive to blue-green light (high contrast), one to yellow/green (low contrast). Filtration controls which layer responds.

How it works:

• Yellow filtration → activates low-contrast layer → soft print
• Magenta filtration → activates high-contrast layer → hard print
• No filtration → middle contrast

Filter systems:

• Ilford Multigrade filters: The standard. Sets of filters (00 through 5) that sit under the lens
• Colour head settings: Use magenta/yellow dials. No filters needed
• LED colour heads: Some newer LED systems have dedicated multigrade channels

Advantages:

• One box of paper serves all contrast needs
• Can split-grade print (different contrast in shadows vs highlights)
• More flexibility during printing
• Only practical option since most graded papers are discontinued

Surface Finishes

Paper surface affects how a print looks and feels.

Glossy

High sheen surface with maximum black density and apparent sharpness.

• Maximum tonal range visible
• Shows fingerprints and scratches easily
• Reflects light at certain angles (glare)
• RC glossy dries naturally shiny
• FB glossy traditionally required ferrotyping (drying on chrome plate) for full gloss—modern glossy FB papers don't require this

Pearl / Semi-Matte

Slight texture with reduced glare. The most popular surface.

• Good balance of depth and practical handling
• Hides fingerprints and minor surface damage
• Easier to view under variable lighting
• Works well framed under glass

Matte

No sheen, with a textured or smooth non-reflective surface.

• No glare under any lighting
• Slightly reduced maximum black
• Painterly quality
• Easier to retouch (pencils and spotting work well)
• Often preferred for certain fine art work

Textured Surfaces

Some papers have embossed surfaces: canvas, tapestry, silk, stipple.

• Used for specific aesthetic effects
• Less common today
• Reduce apparent sharpness

Paper Base Tints

The paper base colour affects the overall warmth or coolness of the print.

Neutral / Bright White

Pure white base without tint.

• Clean, modern look
• Maximum separation between highlight tones
• Common in most RC papers
• Can appear "cold" to some eyes

Warm Tone

Cream or ivory tint in the paper base.

• Traditional, classic appearance
• Complements warm-toned developers
• Often combined with warm-tone emulsions
• Popular for portraits and fine art

Cool Tone

Slightly blue-white tint.

• Can add "snap" to prints
• Complements selenium toning
• Less common in current papers

Paper Base Weight

Papers come in different thicknesses:

Single weight: Thin, flexible. Rarely seen now except for contact printing papers.

Double weight: Standard thickness for RC papers. Sturdy, handles well.

Fiber weight: The standard FB paper thickness. Substantial feel.

Heavy weight / Art paper: Thicker FB papers with textured surfaces, often 200-300 gsm. Premium products for exhibition work.

Current Paper Manufacturers

Ilford

The dominant player in B&W paper. UK company, well-distributed globally.

RC Papers:

• Multigrade RC Deluxe — The workhorse. Available in glossy, pearl, satin. Excellent value, very consistent. The default recommendation for most printers.
• Multigrade RC Portfolio — Warmer tone base, textured surfaces available. Good for portraits.

FB Papers:

• Multigrade FB Classic — Warm tone base, traditional fiber paper. Responds beautifully to toning.
• Multigrade FB Matt — Matte surface fiber paper.
• Multigrade Art 300 — Heavy cotton rag paper, textured. Fine art printing.
• Galerie FB — Premium fiber paper, but discontinued or very limited availability.

Foma (Fomabrom, Fomaspeed)

Czech manufacturer. Budget-friendly, decent quality.

Fomaspeed: RC paper, variable contrast. Good value for learning. Fomabrom: FB paper, variable contrast. Affordable fiber option.

Foma papers are softer in maximum black than Ilford but offer excellent value for high-volume printing or learning.

Bergger

French company focusing on fine art papers.

Prestige Variable CB: Cotton base FB paper. Premium product for exhibition work. Responds well to toning. Prestige Variable RC: RC equivalent.

Bergger papers are expensive but beautifully made for those who want something different from Ilford.

Adox

German company reviving classic emulsions.

MCC 110: Fiber paper with a classic, creamy emulsion. Graded or variable contrast versions. MCP 310 RC: RC paper. Lupex: Contact printing paper—very slow, designed for contact printing from large negatives. Not for enlarging.

Slavich

Russian manufacturer. Variable availability outside Russia.

Unibrom: Graded fiber paper, available in different grades. Classic Eastern European emulsion character.

Kentmere (Harman / Ilford)

Budget brand owned by Harman (same company as Ilford). More affordable papers with slightly lower performance than Ilford.

Kentmere VC Select RC: Budget RC paper. Kentmere VC Select FB: Budget FB paper.

Good for learning or high-volume work where ultimate quality isn't required.

Oriental Seagull

Japanese paper, once highly regarded. Availability has decreased significantly. If you find it, it's worth trying.

Freestyle Photo Brand

Private label papers sold by Freestyle Photo. Often rebranded from various sources. Quality varies. Can be good value.

Paper Sizes

Standard sizes in inches (imperial system still dominates darkroom):

Roll paper: For very large or mural prints. Available from some manufacturers.

Paper Storage

Photographic paper is light-sensitive and degrades with heat, humidity, and chemical contamination.

Storage Guidelines

Keep sealed: Open only one package at a time. Return unused sheets to the bag and seal.

Cool and dry: Ideally store below 21°C (70°F) and under 50% humidity. A dedicated drawer or cupboard away from chemicals is sufficient.

Avoid chemical fumes: Keep paper away from all chemistry, including fixer fumes which can fog paper.

Use oldest first: Rotate stock—use older packages before newer ones.

Refrigeration: Possible but risks condensation damage. Only worthwhile for long-term bulk storage. Allow paper to reach room temperature before opening.

Shelf Life

Properly stored, unexposed paper lasts several years. Signs of aging:

• Fogging: Paper develops overall grey tone, especially in highlights
• Contrast loss: Paper becomes flat
• Base staining: Yellow or brown tint in base

Old paper can still be used—you may just need to adjust contrast or accept the aged character.

Choosing Your First Paper

For Learning

Recommended: Ilford Multigrade RC Deluxe, Pearl surface, 8×10 size.

Why:

• Consistent and predictable
• Fast processing and drying
• Affordable
• Universal availability
• Excellent documentation from Ilford
• Works with any enlarger and any developer

Buy a 25-sheet box to start. That's enough for several printing sessions while you learn.

For Serious Work

Recommended: Ilford Multigrade FB Classic, Glossy or Matte surface.

Why:

• Archival permanence
• Beautiful tonal range
• Excellent toning response
• The benchmark fiber paper

Paper and Developer Matching

Neutral developers (Ilford Multigrade, Kodak Dektol) give neutral to slightly cold tones.

Warm-tone developers (Ilford Warmtone, Ethol LPD diluted) give warmer brown-black tones.

Warm paper + warm developer = maximum warmth. Neutral paper + neutral developer = clean, neutral black.

You can also affect tone through:

• Development time (longer = warmer on some papers)
• Dilution (more dilute = warmer)
• Temperature (warmer = warmer tones)
• Toning (selenium cools, sepia warms)

Multigrade Filter Sets

If you don't have a colour head, you'll need a multigrade filter set.

Under-Lens Filters

Ilford Multigrade: The standard. Set of 12 filters (grades 00, 0, ½, 1, 1½, 2, 2½, 3, 3½, 4, 4½, 5). Come in 75mm squares or 150mm.

Kodak Polycontrast: Discontinued but still available used.

Below-the-lens holders: Attach to the lens board, hold the filter in place.

Drawer filters: Some enlargers have a filter drawer above the lens.

Above-Lens Filtration

Colour printing heads and some dedicated multigrade heads put filtration above the negative. This is optically cleaner (filters aren't in the focused light path) but requires a compatible enlarger.

Exposure Compensation

Different contrast grades require different exposures:

Ilford publishes exact factors for their filters. In practice, you'll make test strips for each contrast grade.

Summary

• RC paper processes quickly and is ideal for learning; fiber paper is archival and preferred for exhibition
• Variable contrast (multigrade) paper with filters offers maximum flexibility
• Pearl/semi-matte surface balances tonal range with practical handling
• Ilford Multigrade RC Deluxe is the default starting paper
• Store paper sealed, cool, and away from chemical fumes
• Match paper choice, developer, and toning to achieve your desired image tone

Paper choice matters, but technique matters more. Master one paper before exploring others—learn how it responds to exposure, development, and toning, then expand your options once you're confident.