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 (Ilford gives 2 minutes for Multigrade RC)
• Processes faster overall
• Less expensive
• Easier to handle wet
• Glossy surface is naturally high-gloss without special treatment

Disadvantages:

• Less proven than fiber for very long-term (archival) storage
• Some find the surface "plasticky"
• Toning response can differ from fiber papers (RC papers do tone; Ilford lists selenium and sulphide toning for Multigrade RC)
• 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:

• The archival standard when properly processed and stored
• 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 (about 60 minutes, or about 20 after a washing aid)
• 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 carry a blend of emulsion components: a high-contrast one sensitive to blue light and a low-contrast one sensitive to green light. Filtration controls which component does most of the work.

How it works:

• Yellow filtration (passes green) → favours the low-contrast component → soft print
• Magenta filtration (passes blue) → favours the high-contrast component → 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.

Medium weight: Standard for most RC papers (e.g. Multigrade RC Deluxe, 190 g/m² base).

Double weight: Standard for heavier RC papers such as Multigrade RC Portfolio, and for fiber papers (e.g. Multigrade FB Classic, 255 g/m² base). Sturdy, handles well.

Fiber papers are almost all double weight, with a substantial feel.

Heavy weight / Art paper: Thicker papers with textured surfaces, such as Multigrade Art 300 (290 g/m²). 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 — Same emulsion as RC Deluxe on a heavier double-weight base. Glossy and pearl surfaces.

FB Papers:

• Multigrade FB Classic — Neutral-tone image on a white base, traditional fiber paper. Tones well; Ilford notes the glossy version responds better than the matt.
• Multigrade FB Classic Matt — Matt (5K) surface version of FB Classic.
• Multigrade FB Warmtone and FB Cooltone — Warm-black and cool-black fiber papers; Warmtone is especially suited to toning.
• Multigrade Art 300 — Heavyweight (290 g/m²) textured fine-art base rather than baryta. Suits toning and hand-colouring.
• Ilfobrom Galerie FB — Graded fiber paper, now discontinued.

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: Warm-tone (chlorobromide) variable-contrast fiber paper on a 280 g/m² baryta base. Premium product for exhibition work. Responds well to toning. Prestige RC1: Variable-contrast RC paper.

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

Adox

German company reviving classic emulsions.

MCC 110/112: Variable-contrast fiber paper with a classic emulsion. ADOX paused production in 2022, though some stock is still sold. MCP 310/312: Variable-contrast RC paper, also paused. 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: Budget variable-contrast RC paper in glossy and fine lustre. Kentmere does not currently offer a fiber 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: Ilford asks for a cool, dry place in the original packaging, avoiding high temperature and 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, Ilford says Multigrade RC keeps in excellent condition for up to 2 years. Older paper often still works. 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). Sold in 89mm (3½in) and 152mm (6in) squares, plus a below-lens kit with mounted filters and a holder.

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, because the paper's speed changes with the filter. Ilford publishes ISO(P) speeds with Multigrade filters, one figure for filters 00 to 3 and another for filters 4 and 5:

The old "double the exposure at grades 4 and 5" rule therefore applies to the older Multigrade IV and Warmtone papers but not to the current Multigrade RC Deluxe. Half grades are not tabulated; our printing calculator treats 3½ with the first figure and 4½ with the second. Figures are for Ilford Multigrade filters; colour-head settings differ. In practice, you'll still make test strips when you change 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.

Sources

• MULTIGRADE RC papers technical information, Ilford/Harman
• MULTIGRADE FB Classic technical information, Ilford/Harman
• ILFORD Photo product availability list (March 2024), Ilford/Harman
• MULTIGRADE filter kits, Ilford/Harman
• Processing and finishing ILFORD fibre base papers (fact sheet)
• MCC and MCP production situation, ADOX
• Prestige Variable CB, Bergger