Silverprint 2002

SILVERPRINT CATALOGUE
www.silverprint.co.uk 2002 LATE EXTRA FINANCIAL TIMES ISSUE
CAN SILVER HALIDE TIME TO PUT THE PROTECT & SURVIVE

PAPER PRICES DROP LIGHT OUT IN THE Digital (& analogue!) storage
STILL FURTHER? DARKROOM? and presentation
RC Black and white materi- Rumours of death greatly Pages 36 - 43
als enter a new phase as
exaggerated
commodity products
Pages 1, 4 Darkroom section 45 - 59
You’ve never had Dat ol’ Black Magic Ultra Colour

it so good - film As well as our own
UK made emulsion,
prices revised we are bringing in the
MACO Black Magic
downwards range of emulsions,
which include an extra
One of the fascinating aspects of the new cen- hard emulsion, as well
tury is the way that virtually all commodities as a variable contrast
(except houses) keep on getting cheaper. Film version which is used
is no exception, but prices are so volatile we are with normal yellow
no longer printing prices of the main packings, and magenta VC fil-
but will post them on our website. Hence we will ters. See page 32.
be able to pass on deals without having to tie
prices down for 6 months at a time. The website
list will normally show a single price, and a dis-
count for the outer , usually 10 or 20 films. Colour paper There were few new films displayed at
Photokina in Cologne, but both Agfa and Kodak
prices hit the deck brought out very high spec product ULTRA is a
100 ISO material, replacing the
Epson 2100 - true 50 ISO film that was discontin-
monochrome at last? ued a year ago. Ultra is aimed

largely at the consumer mar-
ket, and is not in 120 format,
which seems like a serious
ommision. Kodak, however have come out with
Portra UC (ultra color) which is extremely fine
grain 400 ISO, and is available in both 120 and
35mm. There are differences - the Kodak Ultra is
designed to plug a gap in the Portra range, and
the saturation is pitched the same notch higher
as the difference between NC and VC. On the
other hand the Agfa Ultra is the same maverick
In line with other wholesale suppliers we have film as before, and if looking for highly souped-up
brought colour papers from Fuji and Kodak down colour is probably the first choice.
to an all time low, and are now offering 4 0 % dis-
This really is the one that tackles black and white count off catalogue prices on sheet packings.
seriously. The Canon 9000 was a tough act to fol- Clearance lines - all
low, but Epson don t let the grass grow under their
feet. The Epson 2100 replaces the 2000P, and is Clock this... fresh & long date
particularly good at handling monochrome, having E100VS 5x7 10 sheets - 80 boxes
The darkroom clock
not only a mid-gray ink, but a choice of black inks only @ 10.00 + VAT each - fresh
has gradually become
for glossy or matt papers. Inks are the latest refrigerated stock dated 03 / 2004
an endangered
UltraChrome set, giving a lightfastness rating of up EDUPE 5x7 10 sheets - 80 boxes
species, as old stal-
to 80 years. We have been impressed by the duplicating film @ 10.00 + VAT each
warts such as the
monochrome rendition, resulting in a photogravure-
Smiths machines
like result when used with an art paper such as Ektachrome EL 135-36 - single rolls 3.00 + VAT, packs
have disappeared.
Hahnemuhle German Etching . Reviews suggest a of 10 rolls 25.00 +VAT
The German made
small degree of colour metamerism when viewing,
Hanhart timer fits the
although this does not appear to be a serious prob- Ektachrome 64T 5x4 10sh @ 8.00 + VAT / box
bill, having a large
lem. In the US, the printer is sold as the 2200, pre- Ektachrome 64T 5x4 50sh @ 30.00 + VAT / box
face 6 in diameter,
sumably because of the mains voltage difference.
luminous sweep hands, and only two controls,
The principal problem is simply obtaining a 2100 - Kodak Portra Rolls, 4 x 174 metres, glossy. Fresh paper, 94 rolls
start/stop and zeroise. Battery powered, by one
at the time of going to press the machine was available @ £15.00 + VAT each, or reasonable offer for the whole
AA battery. The price is a reasonable £50 + VAT -
marginally less available than hens teeth. consignment.
discount for quantity. See p. 55
SILVERPRINT
● Our aim is to offer photogra-
SOUTHWARK
WATERLOO ROAD
phers maximum choice in materi-
BLACKFRIARs ROAD
als. We stock all the major manu- WATERLOO
facturers ranges along with some THE CUT
special imports and other rare or
unusual products. This includes film
WEB
OLD
stock, printing paper, processing VIC
BER
chemistry (including raw chemi-
cals) and storage/presentation
X
VALEN
STR
materials. We are happy to advise TINE P
LA
CE
where possible, and everyone
EET
from the new beginner to the pro-
fessional should find plenty of
interest in our extensive range. We Silverprint - X marks the spot
are now keeping a wide range of
inkjet materials, concentrating
particularly on art papers.
Visiting
● Opening hours are from 9.30 AM
to 5.30 PM, on weekdays only (not
Saturdays) with no lunch closing.
We are located a little south of
Blackfriars Bridge, not very far from
the South Bank Arts complex, and
next door to the specialist black
and white laboratory Downtown
Darkroom. The map opposite
should help, the location being on
the crosswires.
● If coming by tube, Waterloo is

close and has the most connec-
tions. Take the Northern or Mail
Bakerloo line to Waterloo. On leav-
ing the station take signs for the ● Most items can be mail ● Ordering within the UK ● Scottish Highlands & Islands,
Old Vic Theatre, which is at the ordered, (order form on back All inland UK orders and those Northern Ireland, Channel Isles,
intersection of Waterloo Road and page) but please check with us from the EU must legally carry Isle of Man & Scillies
The Cut. To the left of the theatre, if the item is particularly bulky, or VAT at the standard rate, but Although for a long time we
and next to the theatre box-office possibly hazardous in transit. orders from outside the EU, maintained the same price for
is Webber Street. Valentine Place is Items we are unable to ship out- including the Channel Isles can North Scotland deliveries as the
on the left along Webber Street side London are marked with use non-VAT prices. rest of the UK, we are now
more or less opposite a pub called the symbol ▼ We have a minimum order being charged by our carriers
‘The Stage Door’. We are the first value of £25.00 inc. VAT, except £19.40 per delivery and cannot
Mail orders can be placed in
building on the left in Valentine absorb it any longer. We are
writing, accompanied by sup- single bottles of Silverprint
Place from this point. therefore adjusting prices for
porting cheque or credit card Emulsion (£18.75), which are
The new station ‘Southwark’ is the shipping to the highlands and
number. Alternatively credit, sent carriage free. Otherwise islands of Scotland, and
nearest, and is the most conve- debit or Switch card holders please add carriage charge if
nient if travelling via the Jubilee Northern Ireland, shown as
can order by phone or fax. applicable; tinted areas on the map.
line. From Southwark station walk Assuming goods ordered are
south (away from Blackfriars available from stock an order Orders up to £100 (inc VAT) £6.00
Bridge) for about 200 yards - will normally be processed with- £100 upwards - FREE OF CHARGE
Valentine Place is a right turn with in a week of receipt. If material
the ‘Computacentre’ building on 24 hour priority service - £9.50
is needed urgently please con-
the corner - we are the last build- tact us by phone to check
ing in the street on the right. These charges apply within the
stock, and if appropriate a prior- UK only - if you are outside the
ity service can be arranged, at UK we will quote for carriage.
● By car it is best to approach Orders up to £100 (inc VAT) £20.00
extra cost, see next column. We have a minimum order
from Blackfriars Road; travelling While we make all efforts to £100 to £200 order - £10.00
south from the river, Valentine value for shipment outside the
ensure accuracy of prices and UK of £100, and are unable to £200 upwards - FREE OF CHARGE
Place is the third street on the information of products herein,
right after ‘The Cut’ shopping include raw chemicals in
prices fluctuate and we reserve ✈ We have included a ‘phone’
street. Parking outside is on single overseas shipments.
the right to amend prices and symbol against some products,
yellow lines, and there is usually For UK deliveries we normally where supply is now erratic - if
specifications during the life of use Parceline, who we have
space in the street. We now have the catalogue. E&OE this is shown please check stock
closed circuit TV cameras installed found to be the most efficient before ordering.
outside, and monitors in the shop; carrier for home deliveries. ✖ If a particular paper
● All products in the catalogue Signature is required on delivery,
keep an eye on them and you type/size combination is not
show both Net (on the left) and and if a delivery cannot be
would be unlucky to get a ticket. VAT inclusive (on the right) manufactured it is marked with
effected, a card requesting
prices. a ✖ symbol. Others which are in
● If you have to travel far to
arrangement of an alternative
manufacture but have not
delivery time is left at the
reach us, please ring to check been allocated a stock code
address.
stock, and we will then reserve the by ourselves are marked ‘ - ’.
items.
Silverprint, 12 Valentine Place, London SE1 8QH
tel 020 7620 0844 fax 020 7620 0129
website: http://www.silverprint.co.uk
e-mail: sales@silverprint.co.uk
FORTE PAPERS 1
The Hungarian manufacturer Forte are one of the last manufacturers to FORTE POLYGRADE FB
maintain a full range of traditionally formulated fibre-base papers. At the
same time they actively research new products, which has resulted in the A fibre-based variable contrast paper at the opposite end of
innovative warm-tone VC fibre paper ‘Polywarmtone’. the spectrum from Polywarmtone, and capable of exceptional-
ly cool blue black tones if developed in a cold-working devel-
FORTE POLYWARMTONE FB oper such as Tetenal Eukobrom.Coverseley it will give very
A variable contrast paper with a richly warm tone and an off- rich tones when processed in a warm working dev. such as
white base. The range of grades possible is not as wide as, Agfa Neutol WA. The finishes are glossy and semi-matt.
say, Ilford Multigrade, but depending upon enlarger and pro- Glossy S/Matt Net +VAT
cessing can extend from about G1 to G4. It’s about a stop 8x10 25 27 998 27 985 12.10 14.21
slower than Multigrade. The base employed is the 300g 8x10 100 27 961 27 973 41.58 48.86
‘museum weight’- most other papers use 240g ‘double 9.5x12 50 17 473 31 982 31.75 37.31
weight’. This results in a robust print with a ‘quality’ feel.
12x16 10 7 539 23 415 13.61 15.99
Polywarmtone is an exceptionally malleable material with all the qualities of 12x16 50 7 541 23 427 51.40 60.39
traditional chloro-bromide papers and can be developed to give a very
warm colour using a warm developer such as Kodak D163 or Agfa Neutol 16x20 10 7 600 23 441 21.17 24.87
WA, especially if it is substantially over-exposed and the development cur- 16x20 50 7 625 ✖ 78.60 92.36
tailed. Conversely it can be overdeveloped to give a cooler image, and to 20x24 10 9 259 28 167 30.93 36.35
increase the contrast. As might be expected it tones extremely well and
20 x 10m 16 033 28 531 39.29 46.17
fast, giving a very good split tone in selenium. Available in semi-matt and
40 x 10m 938 30 528 78.60 92.36
gloss surfaces with the former comparable to a cross between the surfaces
of Oriental Portrait and Kodak Ektalure. We carry sizes from 5x7" upwards, FORTE BROMOFORT FB
as well as rolls.
A neutral to cold fixed grade paper with a bright white base,
Glossy S/Matt Net +VAT
available in glossy and dead matt surfaces. The latter gives a
5x7 100 23 478 23 509 19.52 22.94
very attractive result if lith developed, and is being used by
8x10 25 57 815 28 459 12.10 14.22 many as a replacement for Oriental ‘Seagull’ for continuous
8x10 100 30 497 1 684 41.58 48.86 tone lith printing. The image is capable of further enhance
9.5x12 50 11 882 6 166 31.75 37.31 ment with gold toning.
Glossy Matt Net +VAT
12x16 10 85 433 25 728 13.61 15.99
9.5x12 50 ✖ 17 461 33.76 39.67
12x16 50 79 244 16 544 51.40 60.40
12x16 10 7 566 7 593 14.68 17.25
16x20 10 6 213 27 450 21.17 24.87 12x16 50 7 580 7 676 55.77 65.52
16x20 50 76 286 48 451 78.60 92.36 16x20 10 7 649 7 688 22.02 25.87
16x20 50 7 652 7 708 80.70 94.83
20x24 10 16 569 4 168 30.93 36.34
40 x 10m ✖ 16 058 76.31 89.67
20 x 10metres. 15 668 41 638 39.29 46.17
40 x 10 metres 86 786 1 562 78.60 92.36 FORTE POLYGRADE RC
FORTE POLYWARMTONE 17 NATURAL Resin-coated VC paper at special prices, in glossy or
semi-matt. This is the equivalent emulsion to that used on
An important new enlarging paper from Forte, this uses the Polygrade FB, yielding a clean neutral to blue/black image. As
same high quality warm-tone emulsion as standard polywarm with the FB equivalent, it will give beautifully rich tones when
tone, but is coated onto a specially warm tinted base, and has processed in a warm working developer such as Agfa Neutol
an ‘off-gloss’ finish, which we are terming ‘Natural’. The paper WA, or the Forte warm-working print dev.
is visually similar to the long discontinued Oriental ‘Portrait’,
(although much faster, for those that remember it!) It should
8x10 100 16 352 21 722 22.00 25.85
also prove a good replacement for Kodak Ektalure, now stocks 9.5x12 50 22 500 22 513 16.50 19.39
of that are virtually gone. 12x16 10 22 537 22 549 6.60 7.76
Code Net +VAT
8x10 25 33 549 13.31 15.64 FORTE POLYWARMTONE RC
8x10 100 33 564 45.74 53.74
Resin coated warm-tone VC paper, emulsion the same as the
9.5x12 50 33 588 34.93 41.04 FB equivalent. This, as far as we know, is the only RC paper
12x16 10 33 611 14.97 17.59
with a genuine traditional chlorobromide emulsion, giving
12x16 50 33 635 56.54 66.43
superb warm tones, and responding well to toners such as
selenium. Surfaces are normal RC glossy and semi-matt.
16x20 10 33 647 23.29 27.37
16x20 50 33 650 86.46 101.59
20x24 10 33 564 34.02 39.97
8x10 100 2 561 2 573 22.00 25.85
9.5x12 50 2 585 2 598 16.50 19.39
FORTE FORTEZO MUSEUM 12x16 10 22 552 22 564 6.60 7.76
A warm-toned graded paper comparable to the old (blue label,

for those that remember it) Agfa Record Rapid. Fortezo is the
tradi-tional warm-tone graded FB paper that has been pro- Special prices on the Hungarian-
duced by Forte for many years, and is possibly the last repre- made Forte neutral/cooltone RC
sentative of its type in full production, in a full range of grades, paper ‘Polygrade, in the main sizes
worldwide. It split-tones very precisely and is available in a 8x10”. 9.5 x 12” and 12x16”. This is
glossy surface. The base is the heavy 300g ‘Museum’ weight. an ongoing price, not a short term
Paper sizes are from 8x10" up to 20x24”. offer, and will continue for at least
this year.
Grade 2 Grade 3 Grade 4 Net +VAT
8x10 100 8 648 6 567 46 866 46.97 55.19
All paper is fresh stock, newly
imported.
9.5x12 50 9 966 68 768 47 742 33.76 39.67 Surfaces are glossy and semi-matt.
12x16 10 36 160 20 483 20 496 14.68 17.25
12x16 50 60 340 43 372 43 384 55.77 65.53 8x10” 100sh, 15.00 + VAT = £17.63
16x20 10 22 089 60 604 60 617 22.02 25.87
16x20 50 76 208 25 865 60 629 80.70 94.82 9.5x12” 50sh, 11.00 + VAT = £12.93
20x24 10 2 534 2 546 2 559 33.01 38.79
12x16” 50sh, 18.50 + VAT = £21.74
KENTMERE PAPERS 2
[Kentmere Art Deluxe continued]
KENTMERE RC ART Code Net +VAT
The resin-coated version of Document Art FB, with similar sur 8x10 100 g2 22 014 40.97 48.14
face. Fibre-based Document Art is the better choice if hand- 8x10 100 g3 51 823 40.97 48.14
colouring. Paper sizes stocked from 6.5x8.5” to 16x20". 12x16 50 g2 77 611 50.19 58.97
12x16 50 g3 2 366 50.19 58.97
40 x 10m g2 95 863 77.19 90.70
Grade 2 Grade 3 Net +VAT

6.5x8.5 100 74 712 38 946 25.05 29.43
KENTMERE FINEPRINT FBVC WARM
8x10 25 1 051 1 063 10.50 12.34
Fibre based double weight paper with warm ivory base tint
100 68 743 93 716 35.09 41.23 and VC emulsion. The surface is a textured matt, similar to
Agfa’s 118 ‘Classic’ surface. It uses a pigmented emulsion and
9.5x12 50 13 964 45 661 25.90 30.43 base to give a warmer finish than the standard Fineprint.
12x16 10 1 453 1 508 11.34 13.32
50 8 299 36 801 42.98 50.50
16x20 10 19 845 19 858 17.99 21.14 Code Net +VAT

50 51 570 46 802 69.50 81.66 5x7 25 7 833 4.13 4.85
5x7 100 10 883 13.18 15.49
KENTONA FB GLOSSY 6.5x8.5 100 14 987 20.58 24.18
Traditional chloro-bromide fibre-based paper on double weight
8x10 25 78 272 8.63 10.14
base, yielding warm tones, especially in a developer suited to
8x10 100 79 159 28.10 33.02
this such as Agfa Neutol WA. This is relatively hard, and
somewhere between 2 & 3 on the Ilford scale. Warm tones 9.5X12 10 65 137 4.78 5.62
are obtained, which can be controlled by choice of developer, 9.5x12 50 3 120 20.72 24.35
and the paper responds well to toning. It will also react to give 12x16 10 3 132 9.07 10.66
coloured effects with dilute Lith. developer. Surfaces are 12x16 50 84 921 34.12 40.09
glossy and glossy stipple, although a fine grain matt finish may be pro-
16x20 10 94 463 14.35 16.86
duced. Paper sizes from 5x7" to 20x24". Available also in a useful budget- 16x20 50 94 436 52.14 61.26
priced 20"x10m roll, also 40" x 10m.
20x24 10 8 333 21.28 25.00
Code Net +VAT
20x24 50 91 977 78.31 92.01
5x7 100 2 5 595 14.33 16.84
6.5x8.5 100 2 68 508 22.29 26.19 KENTMERE FINEPRINT FBVC

8x10 25 2 42 649 9.35 10.99 Variable contrast, fibre-based paper in double-weight, yielding
8x10 100 2 14 282 30.45 35.78 neutral to cold results with standard print developers.
A4 25 2 55 428 11.22 13.18 Surfaces: glossy or fine-grain matt. Fibre based cold-tone VC
A4 100 2 1 991 37.39 43.93 paper, glossy or fine grain matt surfaces.
9.5x12 10 2 12 206 4.96 5.82
9.5x12 50 2 88 261 22.53 26.47
Glossy FG Matt Net +VAT
12x16 10 2 40 725 9.82 11.54
5x7 25 54 482 19 929 4.13 4.85
12x16 50 2 76 345 37.02 43.50
5x7 100 2 008 19 931 13.18 15.49
16x20 10 2 36 963 14.87 17.47
6.5x8.5 100 48 962 3 157 20.58 24.18
16x20 50 2 93 924 54.03 63.49
8x10 25 65 589 19 956 8.63 10.14
20x24 10 2 11 831 23.06 27.10
8x10 100 1 658 16 376 28.10 33.02
20x24 50 2 72 934 86.73 101.91
9.5x12 50 1 660 19 968 20.72 24.35
ROLL 20 x10m. 2 16 848 27.70 32.55
ROLL 40 x10m. 2 5 096 55.36 65.05 12x16 10 45 992 12 064 9.07 10.66
12x16 50 1 697 19 970 34.12 40.09
KENTMERE ART CLASSIC 16x20 10 34 673 16 391 14.35 16.86
Unusual and unique chlorobromide paper on a heavy triple- 16x20 50 45 732 19 982 52.14 61.26
weight ivory base. Unique art surface with delicate texture and 20x24 10 54 372 19 995 21.28 25.00
sheen. Difficult to describe, come & look at the samples! 20x24 50 35 729 20 042 78.31 92.01
Should appeal to anyone using Document Art, as it has some
characteristics in common, but the greater warmth, richness KENTMERE VC SELECT
and surface sheen offer other possibilities. It will also react to
Good quality graded RC paper at a budget price. Available in
‘Lith.’ development. In grade 2 only, which is hard for its grade
the usual glossy surface, but also in Satin surface, which is
number. Warm chloro-bromide paper, double weight, with ivory base and
slightly smoother than Ilford’s Pearl. More unusual is the stip-
unique art surface. It has a delicate texture and sheen.
ple, which is the only resin coated stipple surface generally
Code Net +VAT
available in the UK. Paper sizes in all surfaces from 4x6" to
8x10 10 g2 3 007 5.81 6.83
12x16". Available in glossy and satin and fine-lustre, in a wide
8x10 50 g2 77 650 22.26 26.16
range of sizes and packings. Paper sizes in all surfaces from
9.5x12 10 g2 3 010 9.13 10.73 4x6" to 12x16". British made RC variable contrast paper, using the Ilford
9.5x12 50 g2 6 677 31.59 37.12 Multigrade filter system. Special prices on 3 main sizes.
12x16 10 g2 33 980 13.57 15.94
Glossy Satin F. Lustre Net +VAT
12x16 50 g2 47 951 51.94 61.03
4x6 100 3 022 3 034 3 059 8.06 9.47
16x20 10 g2 94 061 21.48 25.24 5x7 100 50 045 796 18 154 11.31 13.29
16x20 50 g2 57 672 83.99 98.69 6.5x8.5 100 50 006 50 019 50 021 17.55 20.62
20x24 10 g2 93 620 34.96 41.08 8x10 25 55 588 47 657 50 058 7.29 8.57
20x24 50 g2 60 974 131.11 154.05 8x10 100 48 216 21 152 50 084 29.38 34.52
20 x 10m g2 28 906 40.72 47.85 17.62 20.70
42 x 10m g2 2 889 77.56 91.13 9.5x12 50 26 558 12 000 50 097 21.63 25.41
12.97 15.23
KENTMERE ART DELUXE
12x16 10 19 541 9 136 50 104 7.89 9.27
On medium-weight fibre base, similar surface characteristics to Art Classic, 12x16 50 43 274 41 787 50 129 35.61 41.84
but is coated with a neutral-tone bromide emulsion, and is supercoated. 21.36 25.09
Available in grades 2 & 3. Similar surface to Document Art, but on a heav-
16x20 10 19 236 19 897 19 904 12.47 14.65
ier double-weight fibre base. Available in grades 2 & 3.
KENTMERE PAPERS, ORIENTAL PAPERS 3
16x20 50 258 19 688 19 917 46.79 54.98 KENTMERE DOCUMENT ART
An unusual fibre-based single weight bromide paper. The
KENTMERE VC ELITE emulsion is coated directly onto the base stock with no inter
Paper sizes in all surfaces from 4x6" to 12x16". Available in mediary baryta layer, resulting in a very rough matt with a
glossy and satin and fine-lustre, in a wide range of sizes and slight tweed texture, which will easily accept retouching such
packings. Paper sizes in all surfaces from 4x6" to 12x16". as hand colouring and crayoning. As there is no supercoating,
British made RC variable contrast paper, using the Ilford the paper can be used for bromoil work. In grades 2 and 3.
Multigrade filter system. Resin coated variable contrast Grade 2 Grade 3 Net +VAT
paper, in Glossy, Satin (semi-matt), and Fine Lustre (similar to 6.5x8.5 100 82 682 35 660 21.81 25.63
Ilford Pearl.) 8x10 25 37 793 24 633 9.07 10.66
Glossy Satin F. Lustre Net +VAT 8x10 100 85 790 24 489 30.61 35.97
4x6 100 - - - 8.06 9.47
9.5x12 10 2 987 2 990 6.30 7.40
5x7 100 - - - 11.31 13.29 9.5x12 50 50 033 54 896 22.59 26.54
6.5x8.5 100 - - - 17.55 20.62 12x16 10 22 733 42 420 9.81 11.53

12x16 50 35 795 74 335 37.50 44.06
8x10 25 - - - 7.29 8.57
8x10 100 - - - 24.23 28.47 16x20 10 20 398 49 131 15.51 18.22
16x20 50 10 176 72 337 60.63 71.24
9.5x12 50 - - - 17.89 21.02
20x24 50 95 571 46 547 94.65 111.21
12x16 10 - - - 7.89 9.27
12x16 50 - - - 29.56 34.73 20 x 10m 51 835 78 803 28.00 32.90
20 x 30m 5 899 37 436 79.70 93.65
16x20 10 - - - 12.47 14.65
16x20 50 - - - 46.79 54.98 40 Inch x 10m. 21 093 36 877 55.99 65.79
40 Inch x 30m. 427 53 723 154.40 181.42
KENTMERE BROMIDE

6.5x8.5 100 - - - 22.29 26.19 ORIENTAL PAPERS
8x10 25 - - - 9.35 10.99
8x10 100 - - - 30.55 35.78 This legendary paper has once again become in short supply,
largely due to the increasingly poor ratio of the yen to the
9.5x12 10 - - - 5.32 6.25
pound. As at the time of writing the existing UK importers
9.5x12 50 - - - 22.53 26.47
have just dropped the range. Some stock is available, but
12x16 10 - - - 9.82 11.54 please check before ordering or making a journey. Seagull
12x16 50 - - - 37.02 43.50 comprises two types, the original graded paper termed ‘G’,
16x20 10 - - - 14.87 17.47 imported in 3 grades, and ‘VC’ the variable contrast equiva-
16x20 50 - - - 54.03 63.49 lent. Both are on the same high quality double weight glossy base, and
offer a similar neutral image colour. Seagull is particularly good for ‘lith’
20x24 50 - - - 86.73 101.91
work, and is one of the most consistent, versatile and high quality papers
20 x 10m - - - 27.70 32.55 available worldwide.
20 x 30m - - - 79.70 93.65
SEAGULL G
40 x 10m - 55.36 65.05
40 x 30m - - - 160.70 188.82
BI OR
8x10 20sh 71 727 66 109 63 692 15.95 18.74

TY
ART BROMOIL 8x10 100sh 69 295 62 387 98 708 52.95 62.22

LA F
White double weight matt surface, coated with neutral bromide

LI
9.5x12 50sh 28 972 28 997 29 004 36.95 45.77

AI CK
emulsion. Non-supercoated, making it suitable for bromoil

11x14 25sh 53 067 33 357 26 741 26.95 31.67
work, but is also excellent used in straight printing for its ‘nat-
AV HE
ural’ matt finish. 12x16 50sh 90 552 19 263 8 675 64.95 76.32
16x20 50sh 72 349 42 637 29 689 109.95 129.19

C
20x24 10sh 93 559 94 715 39 504 43.95 51.64

Code Net +VAT
8x10 50 25 644 22.26 26.16 SEAGULL VC
Code Net +VAT
9.5x12 50 29 484 31.50 37.12
BI OR
8x10 20sh 73 543 15.95 18.74

TY
12x16 10 16 851 13.57 15.94 8x10 100sh 93 023 51.95 61.04

12x16 50 23 512 51.94 61.03
LA F
9.5x12 50sh 28 615 37.95 44.59

LI
16x20 10 23 536 21.48 25.24

AI CK
11x14 25sh 77 804 25.95 30.49

16x20 50 23 548 83.99 98.69
12x16 50sh 75 359 61.95 72.79
AV E
20 inch x 10m 23 673 40.72 47.85

H
16x20 50sh 11 706 102.95 120.97

C
KENTMERE PROJECTION DOCUMENT 20x24 10sh 63 252 36.95 43.42
RC orthochromatic paper, matt surface and lightweight base.
Code Net +VAT

9.5x12 50 g3 11 902 26.95 31.67
12x16 50 g2 13 342 44.72 52.55
12x16 50 g3 4 973 44.72 52.55
ILFORD PAPERS 4
ILFORD MULTIGRADE IV RC ILFORD RC COOLTONE
Leading make of resin coated VC paper, high speed, neutral A new RC paper from Ilford, designed to give bright neutral to
tone, with premium weight base. Choice of 3 surfaces, glossy, cold tones with dish development. The base is also slightly
pearl and satin. Various other rolls available apart from those whiter than standard Multigrade 1V.
listed, please check with us. Special discounts on the sizes shown below, which we are
stocking.
Glossy Pearl Satin Net +VAT
Glossy Pearl Net +VAT
3.5x5 100 15 007 17 179 7 165 6.90 8.11
5x7 100 29 787 29 567 15.56 18.28
3.5x5.5 100 5 253 74 861 7 177 7.36 8.65
10.89 12.80
4x6 100 12 551 5 77 7 189 9.22 10.83
8x10 25 29 579 29 581 10.17 11.95
5x7 25 78 049 5 529 634 3.88 4.56
7.12 8.37
5x7 100 55 053 55 222 415 15.56 18.28
8x10 100 29 497 29 555 33.14 38.94
10.89 12.80
23.20 27.26
6x8 250 81 801 - ✖ 40.13 47.15
A4 100 30 614 29 807 41.60 48.88
6.5x8.5 100 25 671 2 838 51 568 19.34 22.72
29.12 34.22
8x10 25. 9 902 80 477 45 685 8.14 9.56
8x10 50 14 728 10 979 ✖- 13.26 15.58 9.5x12 10 - - 5.78 6.79
4.62 5.43
8x10 100 38 300 58 948 93 282 33.14 38.04
9.5x12 50 29 528 29 516 24.39 28.66
23.20 27.26
17.07 20.06
A4 100 3 572 68 586 - 33.28 39.10
11x14 10 - - 8.87 10.42
9.5x12 10 47 231 73 253 ✖ 4.62 5.43
- - 7.10 8.34
9.5x12 50 4 499 57 489 48 558 24.39 28.55 11x14 50 - - 33.89 39.82
17.07 20.06 - - 23.72 27.87
11x14 50 7 209 219 ✖ 27.11 31.85 12x16 10 - - 10.63 12.49

12x16 10 61 694 85 640 68 815 8.50 9.99 7.44 8.74
12x16 50 - - 40.16 47.19
12x16 50 11 285 5 752 2 378 40.16 47.19
28.11 33.03
28.11 33.03
16x20 10 - - 16.90 19.86
16x20 10 10 360 19 290 97 460 13.52 15.89
11.83 13.90
16x20 50 95 985 12 108 83 239 61.36 72.10
16x20 50 - - 61.36 72.10
42.95 50.47
42.95 50.47
20x24 10 98 691 13 220 4 450 20.09 23.61 20x24 10 - - 25.11 29.50
20x24 50 37 451 53 263 56 610 73.54 86.41 17.58 20.66
ROLL 20 x 10 metres 82 267 58 598 ✖ 28.55 33.55 20x24 50 - - 91.93 108.02
ROLL 24 x 30 metres - - ✖ 97.44 97.44 64.35 75.61
ROLL 30 x 30 metres ✖ - ✖ 121.65 142.94
ROLL 42 x 10 metres 83 642 24 009 7 248 60.04 70.55
W
ROLL 42 x 30 metres - - - 170.42 200.24

E
ROLL 50 x 10 metres ✖ - ✖ 71.66 84.20

N
ROLL 56 x 10 metres ✖ ✖ 7 263 79.90 93.88

ILFORD MERIT MULTIGRADE RC
A new budget priced Multigrade, identical to Multigrade IV, the
ILFORD RC WARMTONE only exception being a slightly higher chemical smell in the
Premium quality warmtone resin-coated paper in glossy unprocessed state. Ilford are selling this as a ‘B’ grade quality
or pearl, giving a warm black image tone on a warm white at a significantly lower price than standard Multigrade VI.
base. Especially suitable for toning. Base weight is 190 gsm.
8x10 50 36 158 36 145 8.51 10.00
9.5x12 50 31 566 31 541 12.77 15.00
12x16 50 76 093 62 556 19.57 23.00
5x7 25 24 841 25 035 5.21 6.12
5x7 100 24 854 25 062 16.72 19.65
13.38 15.72
6.5x8.5 100 24 866 25 074 25.97 30.51

8x10 25 24 878 25 086 10.91 12.82
8x10 100 24 913 25 099 35.58 41.81
28.46 33.44
A4 100 25 197 25 217 44.67 52.49

9.5x12 10 24 900 25 119 6.22 7.31
9.5x12 50 24 937 25 121 26.19 30.77
20.95 24.62
12x16 10 24 949 25 133 11.42 13.42

12x16 50 24 952 25 145 43.13 50.68
34.50 40.54
16x20 10 24 964 25 158 18.16 21.34

16x20 50 24 976 25 160 65.89 77.42
20x24 10 24 991 25 172 26.97 31.69
20x24 50 25 008 25 184 98.72 116.00
4 x 500 (10.2 x 152m) -- ✖ 88.67 104.19

5 x 250 (12.7 x 76m) -- ✖ 58.30 68.50
ILFORD PAPERS 5
ILFOSPEED GLOSSY RC ILFORD MULTIGRADE IV FB FIBRE
Graded RC paper with neutral image tone. Surfaces are Heavy double-weight, fibre-based paper, recently increased in
glossy, pearl and semi-matt, although the range in pearl and base gsm, to 225 gsm. Neutral to slightly warm emulsion.
semi-matt is limited. Please check for full availability. As grad- High maximum density, with a unique third emulsion compo
ed RC paper usage is now well on the wane, we tend to stock nent which gives excellent highlight detail. Surfaces are 1K
particular sizes and grades for specific customers - this (gloss) and 5K (matt).Available in sheets in a wide range of
includes most of the most popular sizes, but please check sizes, as well as rolls.
availability before making a journey! Glossy Matt Net +VAT
Net +VAT 3.5x5 100 54 417 54 818 9.64 11.33
5x7 100 0,1,2,3,4 18.98 22.30 3.5x5.5 100 6 180 ✖ 10.68 12.55
6.5x8.5 100 1,2,3,4,5 29.58 34.76 4x6 100 - ✖ 12.01 14.11
8x10 25 1,2,3,4,5 12.45 14.63 5x7 25 - ✖ 5.38 6.32

8x10 100 1,2,3,4,5 40.41 47.48 5x7 100 1 492 99 078 17.92 21.06
14.34 16.85
A4 100 1,2,3,4,5 50.83 59.73
6.5x8.5 100 86 359 ✖ 27.99 32.89
9.5x12 50 1,2,3,4,5 29.77 34.98
7x9.5 25 - - 9.71 11.41
12x16 10 2,3 13.02 15.30
12x16 50 1,2,3,4,5 49.01 57.59 8x10 25 70 683 28 238 11.73 13.78
8x10 100 35 717 29 421 38.19 44.87
16x20 10 2,3 20.66 24.28
30.55 35.90
16x20 50 1,2,3,4,5 74.95 88.07
9.5x12 10 64 251 90 371 6.50 7.64
20x24 50 1,2,3,4 112.26 131.91
9.5x12 50 31 287 28 351 28.15 33.08
22.52 26.46
ILFORD MULTIGRADE PORTFOLIO
11x14 10 10 482 22 978 9.87 11.60
Variable contrast paper, with the same emulsion as the stan
11x14 50 10 188 12 610 37.16 43.66
dard Multigrade IV, but using an extra heavy 250 gsm base.
The postcard sizes are back-marked with a postcard design. 12x16 10 72 863 76 384 12.32 14.48
12x16 50 8 612 48 463 46.35 54.46
At one time no self-respecting manufacturer was without their
37.08 43.57
range of postcard marked papers, and after many years
Ilford have resurrected the tradition. 16x20 10 77 479 57 729 19.50 22.91
16x20 50 84 312 15 451 70.83 83.23
POSTCARD Code Net +VAT 56.66 66.58
10 x 15cm 25 (glossy) 1009 4.45 5.22 20x24 10 39 459 31 786 28.91 33.97
10 x 15cm 25 (pearl) 52 102 4.45 5.22 20x24 50 32 176 12 219 106.41 125.03
10 x 15cm 100 (glossy) 15 545 14.89 17.50
10 x 15cm 100 (pearl) 15 558 14.89 17.50 ROLL 42 inch x 30 metres. 50 391 73 666 208.06 244.47
ROLL 50 inch x 10 metres 4 045 ✖ 79.45 93.35
8x10 25 (glossy / pearl) - 12.70 14.92
8x10 100 (glossy / pearl) - 41.42 48.67
ILFORD MULTIGRADE FB WARMTONE
9.5x12 50 (glossy / pearl) - 30.50 35.84
A premium quality fibre-based variable contrast with a warm
11x14 10 (glossy / pearl) - 10.58 12.43 white base, and warm working emulsion, particularly suitable
12x16 10 (glossy / pearl) - 13.30 15.63 for toning. Surfaces are 1K (glossy) and 24K (semi-matt), and
12x16 50 (glossy / pearl) - 50.19 58.97 the base is doiuble weight. An alternative to Forte
16x20 10 (glossy / pearl) - 21.13 24.83
Polywarmtone, and somewhat faster, although slower to tone.

ILFOBROM GALERIE FB 5x7 100 20 055 22 588 18.44 21.67
The product of combining Ilfords longtime favourite ‘Ilfobrom’ 8x10 25 20 067 22 591 12.62 14.83
with the original Galerie from the 1970’s. Double weight neu- 8x10 100 20 079 22 608 42.05 49.41
tral to warm bromo-chloride paper in a range of 4 contrast
9.5x12 10 20 114 22 623 7.16 8.41
grades. Surfaces are glossy and matt. 9.5x12 50 20 126 22 635 29.84 35.06
11x14 10 20 138 22 647 9.71 11.41

11x14 50 20 140 22 662 40.50 47.59
GLOSSY Grade 1 Grade 2 Grade 3 Grade 4 Net +VAT
12x16 10 20 153 22 674 12.11 14.23
8x10 25 ✖ 50 170 72 131 16 863 12.71 14.93
12x16 50 20 165 22 686 50.49 59.35
8x10 100 29 790 24 782 97 905 37 739 41.38 48.62
16x20 10 20 177 22 706 20.19 23.72
9.5x12 50 ✖ 19 310 14 086 60 216 30.61 35.97
16x20 50 20 189 22 699 84.11 98.83
11x14 50 ✖ 32 690 86 307 ✖ 44.50 52.29
20x24 10 20 192 22 719 30.33 35.64
12x16 10 ✖ 92 379 46 717 39 529 13.34 15.67 20x24 50 20 209 22 721 126.36 148.47
12x16 50 ✖ 35 087 85 751 19 420 50.29 59.09
16x20 10 ✖ 95 254 6 542 18 484 20.19 23.72
20x24 10 ✖ 685 ✖ ✖ 31.31 36.79
MATT
8x10 25 ✖ 2 671 2 683 ✖ 12.71 14.93
8x10 100 ✖ 2 696 2 716 ✖ 41.38 48.62
9.5x12 50 ✖ ✖ 2 767 ✖ 30.61 35.97
12x16 10 ✖ 2 826 2 865 ✖ 13.34 15.67

12x16 50 ✖ 2 877 ✖ ✖ 50.29 59.09
20x24 10 ✖ ✖ 2 975 ✖ 31.31 36.79

KODAK, FOTOSPEED, AGFA PAPERS 6
FOTOSPEED TAPESTRY
KODAK PAPERS Heavy triple weight warm-tone fibre-base paper, similar to
Kentmere Art Classic, but with a more pronounced texture.
POLYMAX FINE ART
An Eastman Kodak cold-tone VC paper, in the tradition of cold
tone papers such as Kodak ‘Elite’. Capable of excellent
results, expect it to yield blue-black images. A good choice if
Ansel Adams is your inspiration. Glossy, for reasons unknown, Code Net +VAT
is coded ‘F’, while semi-matt is ‘N’. 8x10 10 22 026 6.74 7.92
9.5x12 50 22 038 39.76 46.72
12x16 10 22 040 17.01 19.99
Glossy F S/Matt N Net +VAT
12x16 50 22 053 65.67 77.16
8x10 100 78 977 ✖ 37.06 43.55
16x20 10 22 109 26.81 31.50
12x16 25 53 287 64 786 22.38 26.30 16x20 50 - 108.16 127.09
16x20 10 74 614 ✖ 15.89 18.67
16x20 50 45 368 36 889 75.82 89.09
20x24 10 64 578 34 219 23.58 27.71 AGFA BLACK & WHITE PAPERS
40 x 30 28 811 ✖ 43.89 51.57
AGFA CLASSIC MCC FB
POLYMAX FINE ART C Agfa’s answer to everything in fibre-base, this is a fibre-based
New variety, a double weight VC fibre-base paper with cream base and lus- doubleweight variable contrast paper, that replaced the
tre finish. previous family of Record Rapid and Portriga Rapid. Mid-
warm colour, about intermediate between Ilford MGFB stan
Code Net +VAT
dard & MG Warmtone. GLOSSY is the most popular finish,
8x10 25 27 777 10.45 12.28
while FILIGRAN MATT is the alternative, the same surface
11x14 50 27 836 34.26 40.26 used on the original Portriga-Rapid warm tone graded paper.
16x20 50 28 639 72.02 84.62 Glossy F.Matt Net +VAT
5x7 100 1 107 ✖ 17.37 20.41
20x24 10 4 714 24.30 28.55
8x10 25 1 134 3 196 11.82 13.89
8x10 100 1 146 4 583 39.59 46.52
POLYMAX 11 RC PAPER
9.5x12 50 1 159 4 616 28.41 33.38
Fast variable contrast black & white paper on RC base. A wide contrast
12x16 50 1 173 1 731 46.79 54.98
range, with neutral black image colour.
Size Sheets Glossy F Lustre E S/Matt N Net +VAT 16x20 10. 1 205 14 062 18.78 22.07
5x7 100 11 455 45 493 91 732 9.81 11.53 16X20 50 4 391 4 388 68.21 80.15
8 x 10 100 3 908 45 512 87 417 20.85 24.50 20x24 10 1 218 12 395 29.18 34.29
9.5 x 12 100 87 844 45 524 87 857 30.74 36.12 127cm (50 ) x 30.5m roll 19 833 11 915 354.05 416.01
12 x 16 50 81 145 45 536 26 780 25.29 29.72
16 x 20 50 41 530 45 548 45 480 38.67 45.44 AGFA MULTICONTRAST PREMIUM

Resin-coated VC cold-tone paper, GLOSSY or SEMI-MATT
finish. The speed is quite high, and care should be taken not
FOTOSPEED PAPERS to introduce safelight fog with excessive handling in the dark
room.
FOTOSPEED PREMIUM VC
FB double weight VC paper with clean neutral tones, glossy
3.5x5 100 8 125 ✖ 7.56 8.88
surface.
3.5x5.5 100 26 670 ✖ 8.68 10.19
4x6 100 26 825 ✖ 10.91 12.81
5x7 100 65 319 95 168 14.75 17.33

5x7 250 19 016 ✖ 34.26 40.26
Code Net +VAT 23.98 28.18
8x10 25 21 015 11.25 13.22
6x8 100 64 287 ✖ 18.60 21.86
8x10 100 21 027 37.65 44.24
6x8 500 26 891 ✖ 72.91 85.66
9.5x12 50 21 041 27.20 31.96
12x16 10 21 066 11.95 14.04 6.5x8.5 100 35 704 95 667 22.92 26.93
12x16 50 21 078 44.95 52.82
8x10 25 63 127 57 827 9.63 11.32
16x20 10 21 100 18.15 21.33
8x10 100 91 025 51 179 31.38 36.87
16x20 50 21 113 67.95 79.84
25.10 29.49
20x24 10 21 125 28.16 33.09
8x10 250 2 464 19 625 72.93 85.69
51.05 59.98
FOTOSPEED FB LITH A4 100 92 012 14 948 39.41 46.31
Previously known as ‘Process Lith’ , ‘Sterling Lith’, and 9.5x12 50 1 355 74 790 23.09 27.13
Fotospeed Lith, Exposure and processing are when using 18.47 21.70
other papers for half-tone lith, ie overexposure in the enlarger,
10x10 100 68 880 49 241 40.61 47.72
followed by extended development in very dilute lith develop
er. 12x16 10 75 079 86 539 10.09 11.86
12x16 50 84 238 16 887 38.04 44.70
30.43 35.76
Code Net +VAT
8x10 10 --- 6.27 7.37 16x20 10 29 885 92 988 16.02 18.82
12 x16 10 15 923 15.81 18.58 16x20 50 35 802 23 744 58.23 68.42
12x16 25 27 391 24.10 28.32 20x24 50 96 764 81 892 87.08 102.32
12x16 50 90 357 62.40 73.32
16x20 10 93 853 23.87 28.05
16x20 25 27 408 37.70 44.30
16x20 50 31 931 97.45 114.50
SPECIALIST B&W PAPERS / COLOUR PAPERS 7
SPECIALIST B&W PAPERS COLOUR PAPERS
CENTENNIAL PRINTING-OUT PAPER ILFOCHROME CLASSIC PAPER
A traditional POP (printing out paper) which produces a The Ilfochrome Classic system is a quick and easy way to
strong image purely by the action of light. Very slow, UV or make high quality colour enlargements direct from slides and
sunlight must be used, which requires contact printing to a transparencies. Ilfochrome is available on a polyester base
same size negative. The colour on first exposure is aubergine with a mirror like high-gloss finish in three different contrasts.
purple, which turns to amber when fixed in sodium thiosul- It is available on an R.C. base in either an ordinary glossy fin
phate. If the original colour and tonal range is required, the ish, or in pearl. Both only in medium contrast. Ilfochrome
print can be gold toned before fixing. Classic Reversal Print Material, process in P30/P30P chemi-
Code Net +VAT cals. A very important further attribute is that there is no mass-produced
8x10 50sh 4 532 30.00 35.25 colour print material that remotely approaches the permanence of
9.5x12 25sh 30 957 23.30 27.38 Ilfochrome polyester-based prints. Accelerated ageing tests suggest that no
12x16 10sh 4 628 15.50 18.21 noticeable fading or staining will occur over a period of 500 years in dark
storage.
BERGGER PRESTIGE FINE ART
CLM.1K, GLOSSY Full contrast, polyester base, high gloss surface
Very unusual material, the result of taking a hotpressed cotton CLM.1K CF.1K Net +VAT
fibre artists paper, and coating it with a good quality silver rich 8x10 25 63 724 ✖ 26.76 33.75
emulsion. The result could be possibly achieved by coating an 8x10 100 65 250 - 104.51 131.82
art paper oneself with emulsion such as our SE1, but in prac- A4 100 - - 126.41 148.53
tice it would be very difficult to achieve consistency. The 10x12 50 - - 78.52 92.26
machine coating used on this paper produces a result that is 12x16 10 10 648 ✖ 26.37 33.26
frequently compared to platinum prints. The 100% cotton base gives a 12x16 50 - - 125.48 147.44
slightly warm natural white which complements the emulsion which is slight- 16x20 10 67 879 ✖ 43.67 55.42
ly on the warm side of neutral. 16x20 50 10 844 - 209.02 245.60
20x24 25 - - 157.01 184.49
Code Net +VAT
11x14 10sh 35 342 24.35 28.61 CPM RC BASE [ Glossy=CPM.1M Pearl=CPM.44M ]
16x20 10sh 27 168 50.00 58.75 Glossy Pearl Net +VAT
20x24 10sh 35 367 75.00 88.13 8x10 25 15 519 10 577 20.42 23.99
8x10 100 38 973 21 687 66.23 77.82
FOTOLINEN A4 100 - ✖ 80.12 94.14
10x12 50 8 137 23 076 49.76 58.47
Emulsion coated linen witha normal contrast (grade 3). 12x16 10 71 643 10 663 20.13 23.65
Expose and process as standard FB papers. Washing should 12x16 50 1 232 75 931 79.53 93.45
be as for FB papers, and after drying it can be smoothed by 16x20 10 30 579 - 33.55 39.42
using a cool iron (wool setting) on the non emulsion side. 16x20 50 5 194 - 132.48 155.66
20x24 25 - - 99.52 116.94
Code Net +VAT ILFOCOLOR RA4 PAPER

- 8x10 10 15 255 17.01 19.99 Ilford Polyester High Gloss RA4 Paper is an ultra high gloss
- 12x16 10 15 338 40.84 47.99 colour negative printing paper. It is coated on a tough poly-
- 120cm x 2.5m roll 25 912 93.27 109.59
ester base, giving a finish identical to glossy Ilfochrome and
has very good sharpness and extra bright highlights,
MACO STRUCTURALUX
whilst maintaining excellent shadow detail. Paper sizes
Similar to the Fotospeed product, but directly imported, result- from 8x10" to 20x24". Resin coated Ilfocolor is a conventional
ing in a lower price. A B&W photographic emulsion coated colour neg. paper, available in glossy and semi-matt.
linen material, of enlarging speed, which is processed through
normal black and white chemistry. Has anti-wrinkle properties, ILFOCOLOR POLYESTER HIGH GLOSS RA4 PAPER (IL2000.1K)
and can be stitched and worked like any fabric after process - Code Net +VAT
ing. Rolls 105cm wide (41.5”) by 2.5m, 10m or 30m are avail 8x10 100 77 014 46.80 54.99
able as a special order. 10x12 50 77 001 36.90 43.35
12x16 10 1 988 12.58 14.78
Code Net +VAT
12x16 50 77 038 56.07 65.88
Structuralux 8x10 10sh 20 649 12.00 14.10
16x20 50 77 040 94.50 111.03
Structuralux 9.5x12 10sh 33 513 16.40 19.27
20x24 25 77 053 73.80 86.71
Structuralux 12x16 10sh 33 525 28.00 32.90
MACO AG ILFOCOLOR RESIN COATED GLOSSY RA4 PAPER (IPRA.1M-S)

5x7 100 - 14.37 16.88
Expo AG uses a conventional black and white emulsion on a
10x8 100 34 329 32.79 38.52
silver tinted resin-coated base. Line or continuous tones are
A4 100 - 39.67 46.61
possible, and toners can be used to further alter the image. 10x12 50 23 064 24.64 28.95
12x16 50 64 580 39.38 46.27
ILFOCOLOR RESIN COATED SEMI-MATT RA4 PAPER (IPRA.24M-S)

10x8 100 - 32.79 38.52
Code Net +VAT 10x12 50 23 064 24.64 28.95
Expo AG 8x10 10sh 25 341 8.00 9.40 12x16 50 64 580 39.38 46.27
Expo AG 12x16 10sh 25 437 19.50 22.91 16x20 50 - 65.61 77.09
Expo AG 16x20 10sh 25 393 33.00 38.78 20x24 25 - 49.27 57.89
COLOUR RA4 PAPERS 8
Colour negative papers, like colour negative films, have evolved rapidly KODAK PORTRA ENDURA PAPER
over recent years. All modern papers are resin-coated, and are now princi-
pally of one type; ‘RA’ (Rapid Access) and use incorporated developing Completing the set of Kodak RA4 papers is Portra, a lower contrast materi-
agents to allow very fast processing, (dry to dry in 4 minutes in some con- al, which at present tends to get little use in the UK, but is popular in the
tinuous processors). Benefits of the RA system are improved image stabili- USA. Available in Glossy (F) and Lustre (E).
ty, reduced water usage, lower effluent levels, no tar build-up in processors, F E Net +VAT
and easier chemical mixing. Agfa, Fuji, Konica, and Tetenal are all now 8x10 100 - 40 018 20.91 24.56
marketing their own RA compatible materials alongside Kodak’s. Not only 11x14 50 - 40 044 21.10 24.79
do we carry a wide stock of these papers but, unlike many suppliers, we 16x20 50 ✖ 40 057 43.12 50.66
keep them constantly chilled in a special cold room. 20x24 50 ✖ 40 069 62.35 73.26
Colour papers do not vary in choice to anything like the gamut available in
black and white. In essence two main choices exist - surface type and con- KODAK ULTRA ENDURA PAPER
trast level - and in both these respects the options are few. Paper surfaces Ultra has reciprocity characteristics suited to longer exposure
available are high-gloss, gloss, semi-matt, and lustre. Lustre has a slightly times, and also features somewhat higher contrast, (mainly in
more textured surface than semi-matt. Contrast levels vary from the slightly the shadows). It is therefore especially suited to large prints
higher-contrast materials like Kodak Ultra II or Ilford Polyester High Gloss, (or small prints from dim light sources). Kodak claim that when
(both particularly intended for display or exhibition work), to medium level the effect of increased flare on shadow areas is taken into
contrast materials like Kodak Supra, Fuji FA4MP and Agfa Signum (for account an Ultra print at a long exposure will be essentially
more general use), and lower contrast papers such as Portra etc. which are the same as a short exposure Supra print. Available in sheet
suggested by the manufacturers for portraiture. In practice the latter catego- sizes from 8x10" to 20x24", and a wide range of roll sizes. Surfaces are
ry are hardly used in the UK, being formulated largely for the pastel shades glossy (F) and semi-matt (N)RA-4 Process, higher contrast & reciprocity
favoured by the American social photography market. characteristics balanced for longer exposure. Available in F - Glossy & N -
Permanence has long been an issue for colour materials and not one the Semi-matt. The Lustre (E) surface is only available in wide rolls.
manufacturers now ignore (though some have required a little prompting).
F N Net +VAT
Whilst none would go so far as to claim their product will have the proven 8x10 100 62 083 42 275 20.79 24.42
permanence of a correctly processed black and white fibre print, all insist 9.5x12 100 13 012 10 916 29.51 34.67
that their print materials will last a reasonable length of time. (So long as 12x16 50 22 650 46 075 24.96 29.32
sensible precautions are adhered to - limited exposure to sunlight, 16x20 50 18 555 ✖ 41.58 48.85
formaldehyde etc.). However for maximum permanence in standard com- 20x24 50 11 151 ✖ 62.47 73.40
mercial print materials Ilfochrome is the best current choice. It should also
be noted that permanence is a function of paper and chemistry employed
and some ‘convenience’ kits, which don’t use standard developing agents, FUJICOLOUR SFA 4MP NEG PAPER
jeopardise dye permanence. Fuji’s latest version of a paper that has achieved outstanding
results in independent artificial ageing tests. A rich, colourful,
AGFACOLOR SIGNUM !! NEGATIVE PAPER general purpose material, with a smooth gradation appropriate
to portraiture. Colour balance neutrality is maintained from
Signum is an RA4 process (Agfa equivalent AP94) colour RC
highlights to shadows. Available in glossy sheets (from 5x7" to
paper offering high quality at a competitive price. In its most
20x24") and rolls (4" x 84m, 4" x 175m, 5" x 175m, 8" x 84m),
recent formulation it is supposed to be particularly robust, with
& matt & lustre sheets from 8x10" to 20x24".
a high resistance to mechanical damage whether wet or dry.
Agfa claim it to be the sharpest paper on the market. Surfaces Glossy S/Matt Lustre Net +VAT
are glossy (310) and semi-matt (312). Paper sizes from 5x7" 5x7 100 15 617 ✖ 22 369 8.88 10.43
6.5x8.5 100 15 682 ✖ 15 950 13.68 16.07
to 20x24" and rolls from 4" to 24"
8x10 10 17 277 ✖ ✖ 2.97 3.48
310 312 Net +VAT 8x10 100 15 766 15 849 15 947 19.74 23.19
5x7 100 4 679 4 740 13.85 16.27 10x12 50 15 778 15 852 15 999 14.88 17.48
8x10 25 4 809 ✖ 7.31 8.59 12x16 10 21 482 21 526 ✖ 7.14 8.38
8x10 100 4 812 4 836 29.25 34.37 12x16 50 15 837 15 864 15 935 23.76 27.91
9.5x12 50 4 863 4 875 21.48 25.24 16x20 50 15 118 15 876 21 384 39.42 46.31
12x16 50 4 887 4 890 35.50 41.71 20x24 50 20 287 20 290 21 869 59.34 69.72
16x20 50 4 910 4 922 58.58 68.83
20x24 50 4 934 4 946 87.84 103.21 4 x 175m roll 15 888 ✖ ✖ 49.56 58.23
5 x 175m roll 15 908 ✖ ✖ 61.68 72.47
AGFACOLOR PORTRAIT NEGATIVE PAPER 5 x 83m roll 15 059 ✖ ✖ 29.52 34.68
8 x 84m roll 20 307 ✖ ✖ 47.16 55.41
Portrait has lower contrast and reduced saturation compared to Agfa
Signum. Available in Lustre as well as Glossy and Semi-matt. TETENAL COLORTEC RA4 PROFESSIONAL NEG PAPER
319 310 312 Net +VAT A good general purpose material. Tetenal offer Colortec in
5x7 100 - ✖ ✖ 13.85 16.27 smaller packs as well as boxes. Surfaces are glossy (310)
8x10 100 - 4 812 4 836 29.25 34.37
and semi-matt (312). Paper sizes from 8x10" to 24x36".
9.5x12 50 ✖ 4 863 4 875 21.48 25.24
12x16 50 - 4 887 4 890 35.50 41.71
16x20 50 - 4 910 4 922 58.58 68.83
20x24 50 - 4 934 4 946 87.84 103.21
KODAK SUPRA PAPER 8x10 30 35 198 35 269 8.19 9.62
8x10 100 - - 24.48 28.76
Medium contrast paper designed for general use, Ektacolor 9.5x12 20 28 654 - 7.29 8.57
Supra offers high colour saturation and good highlight detail, 9.5x12 50 3 169 10 624 16.74 19.67
combined with excellent speed, a neutral upper scale and 12x16 20 35 205 35 271 12.29 14.44
enhanced D-min. It has minimal latent image keeping 12X16 50 56 685 15 061 28.35 33.31
changes, and reciprocity characteristics optimised for short 16x20 20 35 220 35 296 20.34 23.90
exposures. Available in sheet sizes from 5x7" to 20x24" and 20x28 20 35 244 35 303 35.60 41.83
rolls. Surfaces are glossy (F), Lustre-Lux (E) - (like Ilford 24x36 20 - - 56.21 66.05
Pearl)- and semi-matt (N).Colour negative paper compatible with the RA4
process. Available in E - LUSTRE, F - GLOSSY and N - SEMI-MATT TETENAL COLORTEC RA4 PORTRAIT PAPER
F E N Net +VAT Softer and lower saturation than standard RA4 papers, the detailed shadow
5x7 100 12 123 12 245 ✖ 9.98 11.72 and highlight redition being particularly good for skin tones.
8x10 100 25 256 10 431 21 470 20.91 24.56
Net +VAT
9.5x12 100 56 622 3 923 84 390 27.61 32.44
9.5x12 50 19.35 22.74
11x14 100 22 234 22 222 ✖ 36.87 43.32
12x16 20 13.14 15.44
12x16 50 49 411 70 133 20 275 25.36 29.79
12x16 50 32.72 38.45
16x20 50 53 251 23 174 56 575 40.67 47.78
16x20 20 23.27 27.34
20x24 50 12 135 12 233 12 162 62.35 73.26
20x28 20 38.25 44.94
INKJET PAPERS 9
FORTE INKJET PAPERS ILFORD GALERIE INKJET PAPERS
Forte Special Matt uses a photographic fibre base with a The new sheet inkjet papers from Ilford, ‘instant drying’, a
unique smooth dead matt finish, and is available in 2 weights. heavy photo weight and available in a choice of two gloss and
The general feel is that of a conventional dead matt FB paper, two pearl surfaces.
such as Ilford Multigrade FB Matt. Below that are listed the
two new Forte heavy weight papers.
Net +VAT
Net +VAT
FORTE SPECIAL MATT 230 gsm
34 395 Galerie Inkjet Smooth Gloss A4 25sh 8.14 9.56
35 051 5x8 100sh 18.35 21.56 34 402 Galerie Inkjet Classic Pearl A4 25sh 8.14 9.56
- Galerie Inkjet Smooth Pearl A4 25sh 8.14 9.56
26 409 A4 20sh 8.75 9.81
- Galerie Inkjet Classic Gloss A4 25sh 8.14 9.56
36 522 A4 50sh 17.50 20.56
36 327 Galerie Inkjet Smooth Gloss A3 25sh 16.28 19.13
26 412 A3 20sh 16.70 19.62
36 341 Galerie Inkjet Classic Pearl A3 25sh 16.28 19.13
36 534 A3 50sh 33.40 39.25
- Galerie Inkjet Smooth Pearl A3 25sh 16.28 19.13
--- A3+ 20sh 21.21 24.92 - Galerie Inkjet Smooth Gloss A3 25sh 16.28 19.13
26 424 A2 20sh 33.40 39.25
--- Galerie Inkjet Smooth Gloss A3+ 25sh 28.04 32.95
31 527 36 x 15m Roll 87.22 102.48
--- Galerie Inkjet Classic Pearl A3+ 25sh 28.04 32.95
--- 44 x 15m Roll 106.64 125.30
--- Galerie Inkjet Smooth Pearl A3+ 25sh 28.04 32.95
--- Galerie Inkjet Smooth Gloss A3+ 25sh 28.04 32.95
W
E
AGFA INKJET PAPERS

N
FORTE PRO PHOTO GLOSSY 270 gsm Agfa’s Photo Glossy is a standard ‘RC feel’ product, although
35 619 A4 20 sh 9.05 10.63 quite warm in colour compared to other photo. glossies on this
35 621 A4 50 sh 18.10 21.27 page such as Ilford. The ‘2 in 1’ is unusual, offering a similar
35 731 A3 20 sh 22.65 26.61 high gloss on one side and a satin finish on the other. Paper
35 770 A3 50 sh 45.30 53.23 weight of this is 195 gsm.
‘High Quality’ paper is 120 gsm and has a smooth matt finish
--- A3+ 30 sh 37.01 43.49
to the printing side.
--- A2 20 sh 51.40 60.40 Net +VAT
AGFAJET PHOTO GLOSSY PAPER
W
28 886 A4 20sh 7.65 8.99

E
--- Panoramic 14.85 x35.55cm 24 + 3sh 11.06 13.00

N
--- Panoramic 21 x 59.4cm 10 + 2sh 12.76 14.99

FORTE PRO PHOTO SEMI-MATT 270 gsm 57 009 A3 20sh 14.46 16.99
35 633 A4 20 sh 9.05 10.63
PHOTO PAPER 2 in 1 GLOSSY & SATIN
35 645 A4 50 sh 18.10 21.27
29 542 A4 20sh 7.65 8.99
35 658 A3 20 sh 22.65 26.61 29 653 A4 50sh 13.61 15.99
35 684 A3 50 sh 45.30 53.23 29 665 A3 20sh 21.27 24.99
36 585 A3+ 30 sh 37.01 43.49 29 626 A3+ 20sh 25.52 29.99
--- A2 20 sh 51.40 60.40 AGFAJET HIGH QUALITY PAPER 120 gsm Smooth Matt
--- A4 100sh 8.50 9.99
--- A3 50sh 17.04 20.02
KENTMERE INK JET PAPERS STARTER PACK
K.Tapestry, has a similar finish to ‘Document Art’, and 29 692 Mixed Assortment 5 Photo Gloss 4x6 + 5 2in 1 A4 + 20sh HQ A4 5.95 6.99
K.Classic, which has a surface close to ‘Art Classic’. Both are
in a heavy 240 gsm weight. K.ProJet is a 160 gsm material
with a smooth matt finish, giving photo realistic images with SOMERSET ENHANCED INKJET PAPER
good definition and accurate colour rendition. K.CrystalJet is Made by St Cuthberts mill, Somerset Enhanced is a 225gsm
instant drying, waterproof, and compatible with dye and mould made, 100% cotton, acid free paper, this is pigment
pigment inks. coated on one side to 5 gsm for inkjet use. This results in an
Net +VAT art surface delivering an exceptionally good maximum density
K.CRYSTALJET 180gsm White Glossy, photo base with delicacy of separation in higher tones. Roll sizes are
--- A4 25 sh 7.80 9.17 available to order. There are three finishes; Velvet has slightly more texture,
--- A4 50 sh 17.55 20.62 while Satin is the ‘hot pressed’ equivalent with a smoother surface. The
--- A3 25 sh 15.60 18.33 new ‘Textured’ surface has a natural wire embossing. For reasons best
--- A3 50 sh 35.10 41.24 known to themselves, St Cuthberts have discontinued A3 size - we can get
--- A2 25 sh 31.20 36.66 this cut specially, but a minimum quantity may apply, and the paper will not
--- A2 50 sh 70.20 82.48 be supplied in ‘official’ packaging.
K.PROJET 160gsm White Glossy, cast coated Net +VAT
SOMERSET VELVET
--- A4 25 sh 6.66 7.83
--- A4 50 sh 12.93 15.19 3 475 A4 25sh 12.13 14.25
--- A3 25 sh 13.33 15.66 35 489 A3+ 25sh 25.22 29.63
--- A3 50 sh 25.85 30.37 93 119 A2 25sh 44.47 52.25
--- A2 25 sh 26.65 31.31 30 846 10m x 33cm roll 34.00 39.95
--- A2 50 sh 51.71 60.76
SOMERSET SATIN
K.TAPESTRY (textured art surface ) 31 079 A4 25sh 12.13 14.25
23 233 A4 25 sh 18.97 22.29 32 663 A3+ 25sh 25.22 29.63
23 245 A3 25 sh 37.95 44.59 31 385 A2 25sh 44.47 52.25
--- A2 25 sh 75.89 89.17
SOMERSET TEXTURED
K.CLASSIC (smooth art surface) --- A4 25sh 12.13 14.25
28 103 A4 25 sh 18.97 22.29 --- A2 25sh 44.47 52.25
28 096 A3 25 sh 37.95 44.59
BOCKINGFORD DOUBLE SIDED
--- A2 25 sh 75.89 89.17
36 781 A4 20sh 10.67 12.53
36 791 A3+ 20sh 22.18 26.06
INKJET PAPERS 10
TETENAL SPECTRA JET PAPERS DUO PRINT PAPER 130gsm
Tetenal, as a major wholesaler, are able to source excellent Matt, double sided inkjet paper - a baryta coated paper, mak -
materials from all areas of the market, and offer one of the ing it highly absorbent and very cheap to produce. Unbeatable
widest ranges of inkjet materials. Consequently they have value for money, although friction between adjacent sheets
papers ranging from ‘DUO’, a baryta paper offering excellent may tend to cause feed problems with some printers.
quality while being cheap enough for proofing, to the
High Gloss 240 gsm material.
Net +VAT
Net +VAT
29 944 A4 200sh 17.00 19.98
GLOSSY PAPER 160g 28 960 A3 100sh 20.00 23.50
59 216 A4 20sh 7.00 8.22 29 932 A3+ 100sh 25.00 29.38
66 784 A4 50sh 15.75 18.50 29 971 A2 100sh 40.00 47.00
1 743 A3 20sh 15.00 16.62
37 754 A3+ 20sh 16.50 19.38
PERFECT PRINT PAPER 120 gsm
HIGH GLOSS PAPER 264 gsm Matt, single sided inkjet paper. The Perfect Print Paper 120 g
as well as the double sided Duo Print Paper 130 g are matte
The High Glossy Paper Special 264 g is the premium paper of coated materials and lend themselves especially to high
the SpectraJet line, whose distinctive features are its heavy quality text or graphics, but also photo-realistic printing. An
weight and the special PE (polyethylene) coating as well as its ultra-white material, which can absorb a high amount of ink
intense white base and brilliant colour reproduction, giving the and dries very quickly. Excellent value for money.
paper a look and feel that makes it virtually undistinguishable
Net +VAT
from photographic paper. With ultra-fine cavity technology, ink
37 837 A4 200sh 15.50 18.21
is accepted quickly and evenly, but water is rejected. After
37 852 A3 100sh 16.50 19.38
only a few seconds, the paper is smear proof. ICC profiles are also avail-
37 864 A3+ 100sh 19.75 23.20
able for this paper for selected printers. 37 911 A2 100sh 32.50 38.18
Net +VAT
28 921 A4 10sh 8.30 9.75
AQUERELLE PAPER 230 gsm
30 166 A4 20sh 13.00 15.28
28 933 A4 50sh 27.50 32.31 Aquarell Paper 230 g is a deckle-edged art paper, designed
30 141 A3 10sh 14.00 16.45 for outputing photo-realistic images. A special ink jet coating
37 475 A3+ 10sh 16.50 19.39 preserves the look and feel of the materials' as an art paper.
37 487 A3+ 50sh 66.50 78.14 Gives a strong colour rendering, high colour differentiation and
30 031 A2 10sh 30.70 36.07 high definition.
W
Net +VA
E
37 947 A4 10sh 10.00 11.75

N
37 950 A3 10sh 20.00 23.50

PREMIUM FINE ART GLOSSY PAPER 290 gsm 37 962 A3+ 10sh 22.00 25.85
A new paper, and one of the heaviest in manufacture, the 290 37 999 A2 10sh 39.00 45.83
gsm is at the heavy end of commercial glossy inkjet papers.
Water and smudge resistant, high dot sharpness. CANVAS TEXTILE
A 350 gsm coated cotton canvas, excellent colour brightness
and resolution.
Net +VAT
- A4 10sh 8.00 9.40
34 732 A4 20sh 15.00 17.62
35 048 A4 50sh 31.50 37.01 Net +VAT
34 744 A3 10sh 16.00 18.80 38 006 A4 10sh 26.50 31.14
37 448 A3+ 10sh 19.00 22.32 38 019 A3 10sh 55.00 64.63
38 021 A3+ 10sh 60.00 70.50
38 033 A2 10sh 95.00 111.63
PORTRAIT PAPER 240 gsm
The Portrait Paper 240 g is especially designed for the render CREATIVE SET
ing of high-quality portraits as well as for professional proofs. Consisting of 2 sheets of each of mould-made ink jet paper and inkjet can-
Its matte surface and the excellent white base, achieved vas materials.
through a special PE support material, make it difficult to dis Net +VAT
tinguish it from a conventional portrait photo. In addition, the - Creative Set 4sh 7.00 8.23
material is water-repellant and smear-proof. For the Portrait
Paper, ICC profiles are available. TEST SET
Net +VAT
A mixed range of 8 sheets of Tetenal photo quality inkjet papers in a sam-
37 490 A4 20sh 13.00 15.28
ple set. Each includes: 2 x High Glossy Paper 264gsm, 2 x Portrait Paper
37 506 A4 50sh 27.50 32.31
240 gsm, 2 x High Glossy paper DC 210 gsm, 2 x Glossy Paper 160 gsm.
37 519 A3 20sh 28.00 32.90
37 521 A3+ 20sh 33.00 38.78 Net +VAT
37 533 A2 20sh 56.00 65.80 29 957 Test Set 8sh 2.50 2.94
HIGH GLOSS PAPER DC 210g FERRANIA OPTIJET INKJET PAPERS

The new High Glossy Paper DC 210 g is printable on both Professional glossy is a 260 gram heavyweight paper with the
sides. With glossy front and matte back, this water-resistant look and feel of a glossy RC conventional print, using microp-
paper is very versatile and can be employed for a variety of orous technology. Instant drying, and water resistant, it is an
purposes. alternative to, for example, ICI OLMEC 264 gsm glossy paper.
Net +VAT 37 392 PREMIUM PHOTO PAPER A6 25sh 3.82 4.49

37 778 A4 20sh 10.00 11.50 37 424 PREMIUM PHOTO PAPER A4 20sh 8.08 9.50
37 813 A3+ 20sh 24.00 28.20 --- PREMIUM PHOTO PAPER A3+ 50sh 42.54 49.98
37 409 PROF. GLOSSY PHOTO A4 15sh 8.08 9.50

38 060 PROF.GLOSSY PHOTO A3 15sh 16.16 18.99
38 072 PROF. GLOSSY PHOTO A3+ 50sh 76.57 89.97
INKJET PAPERS 11
EPSON INKJET PAPERS LYSON INKJET PAPERS
A major brand leader in papers, unsurprisingly, as Epson is Drawn from the Hahnemuhle range, the Lyson branded
the dominant supplier of desktop inkjet printers. The media papers when used with the Lyson long-life inksets offer an
are excellent at ink reception, although for ‘fine art’ photo archivally evaluated option in inkjet printing.
graphic work heavier weights and a greater choice of surfaces
from other manufacturers may be preferable.
Net +VAT
Net +VAT
STANDARD FINE ART PAPER 310 gsm
EPSON PLAIN PAPER
31 153 Standard Fine Art Paper A4 / 20 20.50 24.09
31 821 Epson Plain Paper SO41214 A4 / 250 2.80 3.29
31 165 Standard Fine Art Paper A4 / 50 41.00 48.18
EPSON PHOTO PAPER 31 209 Standard Fine Art Paper A3 / 20 41.00 48.18
31 943 Epson Photo Paper SO41134 Photo 4x6 4.55 5.35 31 192 Standard Fine Art Paper A3 / 50 82.00 96.35
30 689 Epson Photo Paper SO41140 A4 / 20 6.58 7.73 35 134 Standard Fine Art Paper A3+ / 50 119.00 139.82
31 042 Epson Photo Paper SO41142 A3 18.28 21.48 31 515 Standard Fine Art Paper A2 / 20 82.00 96.35
33 978 Epson Photo Paper SO41143 Super A3 / 20 20.43 24.00 32 869 Standard Fine Art Paper A2 / 50 164.00 192.70
EPSON PHOTO QUALITY INKJET PAPER [for 720DPI] SOFT FINE ART PAPER 285 gsm
28 265 Photo Quality Inkjet Paper SO41061 A4 / 100 7.98 9.38 21 248 Soft Fine Art Paper A4 / 20 20.10 23.61
34 370 Photo Quality Inkjet Paper SO41069 Super A3 / 100 33.00 38.77 31 290 Soft Fine Art Paper A3 / 20 40.20 47.23
- Soft Fine Art Paper A2 / 20 80.40 94.47
EPSON PHOTO QUALITY GLOSSY PAPER - Soft Fine Art Paper A2 / 50 160.80 188.94
28 277 Photo Quality Glossy Paper SO41126 A4 5.91 6.94
ROUGH FINE ART PAPER 210 gsm
30 712 Photo Quality Glossy Paper SO41125 A3 16.32 19.18
33 978 Photo Quality Glossy Paper SO41143 Super A3 / 100 21.22 24.93 32 710 Rough Fine Art Paper A4 / 20 18.50 21.74
- Photo Quality Glossy Paper SO41123 A2 35.54 41.76 33 927 Rough Fine Art Paper A4 / 50 37.00 43.48
32 722 Rough Fine Art Paper A3 / 20 37.00 43.48
EPSON GLOSSY PAPER - PHOTO WEIGHT - Rough Fine Art Paper A3 / 50 74.00 86.95
- Glossy Paper - Photo Weight SO41349 A4 / 20 8.31 9.76 - Rough Fine Art Paper A2 / 20 74.00 86.95
32 501 Glossy Paper - Photo Weight SO41350 A3 / 20 22.81 26.80 - Rough Fine Art Paper A2 / 50 148.00 173.90
32 514 Glossy Paper - Photo Weight SO41347 Super A3 / 20 27.95 32.84
PROFESSIONAL PHOTO GLOSS 265 gsm
EPSON PREMIUM GLOSSY PHOTO PAPER - Professional Photo Gloss A4 / 20 13.95 16.39
31 055 Premium Glossy Photo Paper SO41287 A4 / 20 9.67 11.36 - Professional Photo Gloss A4 / 50 29.95 35.19
31 067 Premium Glossy Photo Paper SO41315 A3 / 20 24.41 28.68 - Professional Photo Gloss A3 / 30 39.95 46.94
31 968 Premium Glossy Photo Paper SO41316 Super A3 29.90 35.13 - Professional Photo Gloss A2 / 30 79.95 93.94
EPSON PREMIUM SEMIGLOSS PHOTO PAPER LUSTRE 265 gsm

32 470 Premium Semigloss Paper SO41332 A4 / 20 10.03 11.78 - Lustre A4 / 20 13.95 16.39
32 482 Premium Semigloss Paper SO41334 A3 / 20 25.09 29.49 - Lustre A4 / 50 29.95 35.19
32 553 Premium Semigloss Paper SO41328 Super A3 / 20 28.98 34.05 - Lustre A3 / 30 39.95 46.94
- Lustre A2 / 30 79.95 93.94
EPSON MATTE PAPER - HEAVYWEIGHT
MATT 265 gsm
30 807 Matte Paper - Heavyweight SO41256 A4 / 50 7.99 9.39
30 810 Matte Paper - Heavyweight SO41261 A3 / 50 19.64 23.08 - Matt A4 / 200 28.95 34.02
30 665 Matte Paper - Heavyweight SO41264 Super A3 / 50 24.45 28.73 - Matt A3 / 200 57.95 68.09
- Matt A3+ / 200 65.95 77.49
EPSON ARCHIVAL MATTE PAPER
100% COTTON RAG PAPER 300 gsm
32 468 Archival Matte Paper SO41342 A4 9.34 10.97
34 478 Archival Matte Paper SO41 344 A3 22.95 26.97 34 088 100% Cotton Rag A4 / 20 20.50 24.09
32 526 Archival Matte Paper SO41340 Super A3 / 50 28.57 33.57 - 100% Cotton Rag A4 / 50 41.00 48.18
34 091 100% Cotton Rag A3 / 20 41.00 48.18
EPSON WATERCOLOR PAPER - RADIANT WHITE - 100% Cotton Rag A3 / 50 82.00 96.35
32 648 Watercolor Paper S041352 Super A3 / 20 16.69 19.61 - 100% Cotton Rag A2 / 20 82.00 96.35
- 100% Cotton Rag A2 / 50 164.00 192.70
EPSON PHOTO QUALITY INKJET CARD
32 078 Photo Quality Glossy Card S041054 A6 6.06 7.12
- Photo Quality Glossy Card S041122 8x10 / 30 10.94 12.85 ICI OLMEC INKJET PAPERS
EPSON COLORLIFE PHOTO PAPER OLMEC is a division of ICI, and for many years has produced
specialised papers for graphic arts proofing purposes. This
Swiss made Epson paper product, offering fade resistance and 245 gsm. experience has now been turned to inkjet applications, and
The surface is a smooth satin. Opacity 99%: ISO brightness 94%: thickness resulted in a range of professional inkjet papers of unsur-
0.253mm. passed quality. The Glossy ‘Optimum’ 260g paper is certainly
35 146 Epson Colorlife S041560 A4 / 20 12.17 14.30 the most photo-realistic paper we have seen, by comparison
36 671 Epson Colorlife - A3+ / 20 38.34 45.05 with a glossy RC silver emulsion paper. The slightly textured
DOUBLE SIDED MATTE satin paper is now available in the same heavy weight.
35 547 Double Sided Matte SO41569 A4 / 50 11.18 13.14 Net +VAT
GLOSSY 260gsm
EPSON PROFESSIONAL GLOSSY PAPER
29 043 A4 20sh 9.36 11.00
34 659 Epson Professional Glossy S041457 A3+ / 20 42.47 49.90
29 386 A4 50sh 18.48 21.71
MISCELLANEOUS SPECIAL MEDIA 29 070 A3 30sh 26.62 31.27
29 374 A3+ 30sh 39.57 46.49
33 040 Greetings Cards S041149 10 8.38 9.85
29 362 A2 30sh 53.17 62.47
--- Greetings Cards SO41148 5x8 / 10 --- ---
31 929 Photo Quality Card S041121 5x8 / 30 4.78 5.62 SATIN 260gsm
33 038 Inkjet Notes + env s S041147 A6 / 20 6.71 7.88 57 122 A4 20sh 9.36 11.00
32 093 Photo Stickers S041176 5 3.95 4.64 79 220 A4 50sh 18.48 21.71
35 159 Photo Canvas SO41177 4.30 5.05 95 789 A3 30sh 26.62 31.27
--- Photo Canvas Roll SO41132 --- --- 31 970 A2 30sh 53.17 62.47
34 718 Overhead Transparency SO41063 28.91 33.97
--- Self Adhesive Sheets SO41106 --- --- GLOSSY DOUBLE SIDED
--- Epson Cleaning Sheets SO41183 --- --- 34 757 A4 20sh 13.35 15.68
--- Iron-On Labels SO41154 --- --- 37 183 A4 50sh 28.00 32.90
--- Glossy Film SO41071 A4 / 15 --- --- 34 769 A3 30sh 40.23 47.27
--- Glossy Film SO41073 A3 / 10 --- ---
INKJET PAPERS 12
Duplex PORTRAIT CLASSIC 320 gsm
PERMAJET INKJET PAPERS Double sided, smooth mould-made 100% cotton rag
--- Duplex Portrait Classic A4 / 20 22.09 25.95
PermaJet is a joint venture between Fotospeed and Nova,
and has resulted in a range falling into two areas, Instant Dry
paper, and Art papes (the Classic range). The Instant dry
papers feature a UV filtering supercoat which gives improved --- Duplex Portrait Classic A3+ / 20 68.04 79.95
colour stability. --- Duplex Portrait Classic A3+ / 50 153.15 179.95
Net +VAT --- Duplex Portrait Classic A2 / 20 88.47 103.95
TEST PACKS
MATT PLUS 245 gsm
33 344 2 sheets of 10 Permajet media A4 / 20 12.72 14.94
33 674 Matt Plus A4 / 25 7.62 8.95
33 733 2 sheets of 10 Permajet media A3 / 20 25.49 29.95
--- Matt Plus A4 / 50 15.28 17.95
ARTIST CLASSIC 210 gsm --- Matt Plus A4 / 100 29.74 34.95
33 686 Matt Plus A3 / 25 15.28 17.95
Mould-made textured art paper with an off-white base, 50% cotton rag
33 706 Matt Plus A3 / 50 30.60 35.95
34 076 Artist Classic 50112 A4 / 20 16.13 18.95
--- Matt Plus A3 / 100 56.13 65.95
--- Artist Classic A4 / 50 34.00 39.95
33 719 Matt Plus A3+ / 25 25.49 29.95
33 396 Artist Classic 50122 A3 / 20 32.30 37.95
--- Matt Plus A3+ / 50 49.32 57.95
--- Artist Classic A3 / 50 68.04 79.95
--- Matt Plus A3+ / 100 93.57 109.95
--- Artist Classic A3+ / 20 51.02 59.95
33 721 Matt Plus A2 / 20 34.00 39.95
--- Artist Classic A3+ / 50 115.70 135.95
--- Matt Plus 24 Roll / 20m 46.77 54.95
--- Artist Classic 50142 A2 / 20 63.79 74.95
--- Matt Plus 36 Roll / 20m 70.60 82.95
--- Artist Classic 24 Roll / 12m 74.00 76.95
--- Matt Plus 44 Roll / 20m 85.06 99.95
--- Artist Classic 36 Roll / 12m 102.09 119.95
--- Artist Classic 44 Roll / 12m 136.13 159.95 BELGIAN LINEN
MUSEUM CLASSIC 310 gsm Warm tone heavyweight 100% cotton ‘linen’ fabric, inkjet prepared on one
side
Smooth white mould-made art paper, inkjet coated one side. The most pop-
--- Belgian Linen A4 / 10 20.38 23.95
ular paper in the range alongside Portrait Classic
--- Belgian Linen A3 / 10 39.96 46.95
33 383 Museum Classic 50212 A4 / 20 20.38 23.95
--- Belgian Linen A3+ / 10 62.09 72.95
--- Museum Classic A4 / 50 39.96 46.95
--- Belgian Linen A2 / 10 80.81 94.95
33 428 Museum Classic 50222 A3 / 20 40.81 47.95
--- Belgian Linen 36 Roll / 10m 204.21 239.95
--- Museum Classic A3 / 50 79.96 93.95
--- Museum Classic A3+ / 20 59.53 69.95 INSTANT DRY 271 gsm GLOSS
--- Museum Classic A3+ / 50 134.43 157.95 High gloss surface, instant dry and water resistant. UV protection micropore
--- Museum Classic 50242 A2 / 20 81.66 95.95 supercoat
--- Museum Classic 24 Roll / 12m 76.55 89.95
33 298 Instant Dry 271 Gloss A4 / 25 11.02 12.95
--- Instant Dry 271 Gloss A4 / 50 21.23 24.95
PARCHMENT CLASSIC 285 gsm 33 455 Instant Dry 271 Gloss A3 / 25 22.09 25.95
Highly calendered art paper, white surface --- Instant Dry 271 Gloss A3 / 50 42.51 49.95
33 318 Parchment Classic A4 / 20 20.38 23.95
--- Instant Dry 271 Gloss A3+ / 25 29.74 34.95
--- Parchment Classic A4 / 50 36.55 42.95
--- Instant Dry 271 Gloss A3+ / 50 55.28 64.95
33 416 Parchment Classic A3 / 20 39.96 46.95
--- Parchment Classic A3+ / 20 62.09 72.95
--- Instant Dry 271 Gloss 24 Roll / 20m 85.06 99.95
--- Parchment Classic A3+ / 50 62.09 72.95
--- Parchment Classic 24 Roll / 12m 74.00 86.95
--- Parchment Classic 36 Roll / 12m 102.09 119.95
--- Parchment Classic 44 Roll / 12m 136.13 159.95 INSTANT DRY 271 gsm OYSTER
Semi-matt/lustre surface, instant dry and water resistant. UV protection
PAPYRUS CLASSIC 300 gsm
micropore supercoat
White art paper with pronounced texture
--- Instant Dry 271 Oyster A4 / 25 11.02 12.95
33 065 Papyrus Classic A4 / 20 22.09 25.95 --- Instant Dry 271 Oyster A4 / 50 21.23 24.95
--- Papyrus Classic A4 / 50 42.51 49.95 --- Instant Dry 271 Oyster A4 / 100 39.96 46.95
33 467 Papyrus Classic A3 / 20 44.21 51.95 --- Instant Dry 271 Oyster A3 / 25 22.09 25.95
--- Papyrus Classic A3 / 50 85.06 99.95 --- Instant Dry 271 Oyster A3 / 50 42.51 49.95
--- Papyrus Classic A3+ / 20 68.04 79.95 --- Instant Dry 271 Gloss A3 / 100 82.51 96.95
--- Papyrus Classic A2 / 20 88.47 103.95 --- Instant Dry 271 Oyster A3+ / 25 29.74 34.95
--- Papyrus Classic 24 Roll / 12m 91.02 106.95 --- Instant Dry 271 Oyster A3+ / 50 55.28 64.95
--- Papyrus Classic 36 Roll / 12m 136.13 159.95 --- Instant Dry 271 Oyster A2 / 25 51.02 59.95
--- Papyrus Classic 44 Roll / 12m 170.17 199.95 --- Instant Dry 271 Oyster A2 / 50 97.83 114.95
--- Instant Dry 271 Oyster 24 Roll / 20m 85.06 99.95
PORTRAIT CLASSIC 300 gsm
--- Instant Dry 271 Oyster 36 Roll / 20m 127.62 149.95
Slightly warmer than Museum Classic, same smooth art finish, one of the --- Instant Dry 271 Oyster 44 Roll / 20m 157.40 184.95
most popular papers in the range --- Instant Dry 271 Oyster 50 Roll / 20m 178.68 209.95
--- Portrait Classic A4 / 20 22.09 25.95
DOUBLE SIDED LUSTRE 285gsm
--- Portrait Classic A4 / 50 42.51 49.95
--- Portrait Classic A3 / 20 44.21 51.95 Water resistant, instant dry double sided lustre finish paper with UV protect-
--- Portrait Classic A3 / 50 85.06 99.95 ed micropore supercoats both sides.
--- Portrait Classic A3+ / 20 68.04 79.95 --- Double sided Lustre 285 A4 / 25 21.23 24.95
--- Portrait Classic A3+ / 50 153.15 179.95 --- Double sided Lustre 285 A4 / 50 40.81 47.95
--- Portrait Classic A2 / 20 88.47 103.95 --- Double sided Lustre 285 A3 / 25 42.51 49.95
--- Portrait Classic 24 Roll / 12m 91.02 106.95 --- Double sided Lustre 285 A3 / 50 84.21 98.95
--- Portrait Classic 36 Roll / 12m 136.13 159.95
--- Portrait Classic 44 Roll / 12m 170.17 199.95
OHP FILM
Totally clear film with high capacity ink receiving layer, can be used to make
enlarged negatives for contact prints.
--- OHP Film - 100 micron A4 / 10 14.43 16.95
--- OHP Film - 100 micron A3 / 10 28.89 33.95
INKJET PAPERS 13
TORCHON
HAHNEMUHLE INKJET PAPERS 31 637 Torchon A4 / 20 16.20 19.04
34 563 Torchon A4 / 50 32.40 38.07
A range of art inkjet papers that, as in so many papers of this 37545 Torchon A3 / 20 32.40 38.07
genre, has its origin in papers that have been in production for 34 587 Torchon A3 / 50 64.80 76.14
many years. In this case, over 400 years! Designed for critical 37 560 Torchon A3+ / 50 --- ---
users, the Hahnemuhle papers work equally well with both --- Torchon A2 / 50 --- ---
dye and pigmented base inks on a wide variety of printers,
WILLIAM TURNER
providing a colour intensity and crispness not possible with
non coated art papers. 37 597 William Turner A4 / 20 18.00 21.15
36 604 William Turner A4 / 50 36.00 42.30
Net +VAT
37 617 William Turner A3 / 20 36.00 42.30
GERMAN ETCHING 310 gsm 37 682 William Turner A3 / 50 72.00 84.60
31 625 German Etching A4 / 20 18.00 21.15 --- William Turner A3+ / 50 --- ---
34 509 German Etching A4 / 50 36.00 42.30 --- William Turner A2 / 50 --- ---
31 750 German Etching A3 / 20 36.00 42.30
ALBRECHT DURER
34 493 German Etching A3 / 50 72.00 84.60
31 625 German Etching A3+ / 20 51.55 60.57 31 613 Albrecht Durer A4 / 20 14.10 16.57
35 036 German Etching A3+ / 50 107.40 126.20 34 524 Albrecht Durer A4 / 50 28.20 33.14
37 255 German Etching A2 / 50 133.85 157.27 --- Albrecht Durer A3 / 20 28.20 33.14
34 512 Albrecht Durer A3 / 50 56.40 66.27
PHOTO RAG 188 gsm --- Albrecht Durer A3+ / 50 --- ---
34 634 Photo Rag A4 / 50 26.10 30.67 --- Albrecht Durer A2 / 50 104.00 122.20
34 607 Photo Rag A3 / 50 52.70 61.92
35 110 Photo Rag A3+ / 50 80.50 94.59
PHOTO RAG 308gsm CANON INKJET PAPERS

--- Photo Rag A4 / 20 18.00 21.15
34 634 Photo Rag A4 / 50 36.00 42.30 --- Photo Paper Pro A4 7.50 8.81
--- Photo Rag A3 / 20 36.00 42.30 --- Photo Paper Pro A3 15.00 17.63
34 607 Photo Rag A3 / 50 72.00 84.60 --- Photo Paper Pro A3+ 18.95 22.27
35 110 Photo Rag A3+ / 50 115.74 136.00 --- Photo Paper Pro 4x6 20sh 6.35 7.46
--- Photo Rag A2 / 50 144.00 169.20
--- Photo Rag 61cm x 12m Roll 63.20 74.26
PHOTO RAG DUO (DOUBLE SIDED) 196 gsm

EPSON INKJET INKS
35 173 Photo Rag DS A4 / 20 14.10 16.57 Epson have devised a frustratingly random
35 185 Photo Rag DS A3 / 20 28.45 33.43 coding system for a set of consumables that is
35 330 Photo Rag DS A3+ / 20 43.50 51.11 rather hard to get ones head round anyway.
PHOTO RAG DUO (DOUBLE SIDED) 316 gsm Consequently we list both our own (to the left)
35 173 Photo Rag DS A4 / 20 20.04 23.55
and Epsons (to the right) - please use both.
35 185 Photo Rag DS A3 / 20 40.33 47.39
35 330 Photo Rag DS A3+ / 50 60.20 70.74 Net +VAT
EPSON BLACK INK CARTRIDGES
BUGRA - Natural White 140 gsm- Mould Made
30 787 Stylus Color 440/460/640660/670/Photo 750/Photo 1200 S020187 15.53 18.25
31 676 Bugra Natural White A4 / 20 12.00 14.10
29 460 Stylus Color 440/460/640660/670/Photo 750/Photo 1200 TWIN S020208 26.41 31.03
- Bugra Natural White A4 / 50 26.00 30.55
29 406 Stylus Color 400/500/600/Photo/Photo 700/Photo EX S020093 14.52 17.06
31 904 Stylus Color 740/760/860/1160/Stylus Scan 2000/2500 S020189 17.73 20.83
33 804 Stylus Color 800/850/1520 S020108 17.20 20.21
BUGRA - German Antique 140 gsm- Mould Made 34 331 Stylus Color 3000 / 5000 S020118 39.79 46.75
31 028 T007 Stylus Photo 870/875/DCB T007401 15.11 17.75
- Bugra German Antique A4 / 20 12.00 14.10
37 294 T007 Stylus Photo 870/875/DCB TWINPACK --- 25.69 30.19
32 286 T015 Stylus Photo 2000P T015401 22.01 25.86
33 993 T017 Stylus Color 680 T017401 21.01 24 69
35 438 T019 Stylus Color 880 T019401 21.01 24.69
BUGRA - Aquamarine 140 gsm- Mould Made --- T026 810 TO26 18.65 21.91
- Bugra Aquamarine A4 / 20 12.00 14.10 --- T040 C62 T040 22.71 26.68
- Bugra Aquamarine A4 / 50 26.00 30.55
BUGRA - Mint 140 gsm- Mould Made

- Bugra Mint A4 / 20 12.00 14.10
- Bugra Mint A4 / 50 26.00 30.55
- Bugra Mint A3 / 20 22.00 25.85 EPSON COLOUR INK CARTRIDGES
- Bugra Mint A3 / 50 54.00 63.45 31 897 Stylus Colour 440/460/640/660/670/740/760/860/1160/Stylus Scan 2000/2500 S020191 17.73 20.83
BUGRA - Aquamarine 140 gsm- Mould Made 29 399 Stylus Photo 700 / Photo EX S020110 12.57 14.77
31 094 Stylus Photo 750 / Photo 750 Millenium S020193 12.57 14.77
33 772 Stylus Color 400/600/800/850/1520 S020089 17.73 20.83
30 677 T001 Stylus Photo 1200 T001011 18.83 22.13
31 114 T008 Colour Cartridge for Stylus Photo 870/875DC T008401 12.24 14.38
31 016 T009 Colour Cartridge for Stylus Photo 1270 T009401 17.09 20.08
ALLEGRETTO 160 gsm- Natural White Watercolour 32 495 T016 Colour Cartridge for Stylus Photo 2000P T016401 25.45 29.90
- Allegretto A4 / 20 16.00 18.80 3 4000 T018 Colour Cartridge for Stylus 680 T018401 17.48 20.54
- Allegretto A4 / 50 37.00 43.48 35 401 T020 Stylus Color 880 T020401 17.48 20.54
- Allegretto A3 / 20 31.00 36.43 36 605 T027 810 T026 15.11 17.75
- Allegretto A3 / 50 75.00 88.13 --- T041 C62 T041 18.91 22.22
ARKONA 335 gsm- Natural White Mould Made EPSON 2100 INK CARTRIDGES
36 696 PHOTO BLACK T0341 8.80 10.34
31 649 Arkona A4 / 20 20.00 23.50
36 730 CYAN T0342 10.36 12.17
- Arkona A4 / 50 47.00 55.23
36 755 MAGENTA T0343 10.36 12.17
- Arkona A3 / 20 39.00 45.83
36 779 YELLOW T0344 10.36 12.17
32 417 Arkona A3+ / 20 70.00 82.25
36 742 LIGHT CYAN T0345 10.36 12.17
- Arkona A3 / 50 96.00 112.80
36 767 LIGHT MAGENTA T0346 10.36 12.17
36 728 LIGHT BLACK T0347 10.36 12.17
36 703 MATTE BLACK T0348 8.80 10.34
INKJET PRINTERS 14
CANON INKJET INKS EPSON STYLUS PHOTO 1290
The current budget
photo quality A3+
printer from Epson. It
improves on its pre-
decessor, the 1270,
by doubling the reso-
lution, now an amaz-
ing 2880 x 720 dpi.
The printer embodies
the Epson Variable
Sized Droplet technol-
Perhaps the first desktop inkjet dye system that offers an even handed ogy, which enables
approach, only pay for the dyes you use! Compatible with the new Canon production of 8 ink
A3+ S9000 as well as the Canon A4 S800. dot sizes, including
Net +VAT the minute and virtu-
--- Canon BCI-6Y Yellow Ink Tank 7.45 8.75
ally invisible four
--- Canon BCI-6C Cyan Ink Tank 7.45 8.75
picolitre dot.
--- Canon BCI-6PC Photo Cyan Ink Tank 7.45 8.75
--- Canon BCI-6M Magenta Ink Tank 7.45 8.75 The ink system is the
--- Canon BCI-6PM Photo Magenta Ink Tank 7.45 8.75 usual Epson arrange-
--- Canon BCI-6BK Black Ink Tank 7.45 8.75 ment, a black cartridge used in conjunction with a single 5-colour cartridge,
containing cyan, light cyan, magenta, light magenta and yellow.
Borderless prints can be produced up to A3.
FERRANIA INKJET INKS The ‘Intellidge’ cartridges feature an integral IC chip which stores accurate
information about the ink available - part used cartridges can now be
High quality replacement cartridges for the Epson branded removed and finished at a later date.
products, which on our own tests have been problem free and Cartridge life: The black cartridge (T007) will print approxi-
virtually identical in colour values to Epson. mately 540 A4 text pages
The colour ink cartridge (T009) will print approxi
mately 330 pages at 25%(5% for each colour).
Net +VAT Resolution: 2880 x 720 dpi
--- Ferrania Optijet T007 Clone Cartridge 8.50 9.99 Print Speed: Mono text 2.9 pages/minute
--- Ferrania Optijet T008 Clone Cartridge 10.20 11.99 Photo A4 up to 0.3 page/minute
--- Ferrania Optijet T009 Clone Cartridge 12.76 14.99
Interface: USB and Parralel
No. of print nozzles: 288
Dimensions: (W) 609 x (D) 311 x (H) 175 mm
CANON S9000
It’s been a while com- --- Epson Stylus 1290 WEBSITE / CALL
ing, but Canon’s
answer to Epsons vir-
tual domination of the
photo inkjet market is
EPSON STYLUS PHOTO 2100
out in February. The 2100 introduces
Capable of handling a new approach
up to A3+ paper of all from Epson which is
types, this is the large particularly beneficial
format version of the to those producing
A4 format Canon monochrome
S800, which has been images. The head
out for some months. contains two black
If it performs and han- inks which can be
dles like the S800 it interchanged for dif-
should prove excellent ferent printing media
- we have been using types. The standard
an S800 for doing all ‘Photo Black’ is suit-
our inkjet paper tests, able for all materials
and found it hard to including glossy,
fault. A very large plus is that the six inks are supplied as separate car- while the ‘Matte
tridges, thus avoiding the waste of the Epson system. If you are producing Black’ cartridge pro-
a run of prints with a dominant colour bias, you will only need to replace duces superior out-
those cartridges , or ‘tanks’ that empty first. The printer driver software mon- put on art papers. Further enhancements include an additional light black
itors the state of the ink supply, and gives early warning when replacement cartridge as standard, which acts to improve gradation in both colour and
is needed. For archival work, Lyson supply compatible cartridges. The car- monochrome images, widening the colour gamut to improve greyscale and
tridge life is also excellent, all giving a quoted life of 270 A4 pages with 5% colour tonal gradations.
coverage. Very quiet operation. Very high resolution. Will produce border-
less prints up to A3. One interesting pointer to the specification and quality The seven cartridges contain individual inks, similarly to the Canon 9000,
is that it employs no less than 5 motors for line feed, carriage movement, so inks need only be replaced when completely exhausted. In addition the
sheet feed, maintenance and paper discharge. cartridges contain resealable valves, so can be removed and stored before
Resolution: 2400 x 1200 dpi being fully exhausted. Continuous media printing and finishing is possible
Print Speed: Mono Text A4 - up to 6 pages/minute with the use of the standard roll paper holder and auto cutter, whilst a
Photo A4 - up to 1 page/minute in high res. simultaneous paper load feature allows easy switching between cut sheet
Interface: USB only. and roll media. There is also a facility for printing directly onto CD faces.
No. of print nozzles: 3072 Resolution is the highest so far achieved in photo-realistic inkjets, 2880 x
Dimensions: (W) 573 x (D) 334 x (H) 196 mm 1440 dpi.
36 437 CANON S9000 PRINTER WEBSITE / CALL --- EPSON STYLUS PHOTO 2100 WEBSITE / CALL
DIGITAL 15
Lyson Small Gamut Inksets
LYSON LONG LIFE INKSETS The latest product from Lyson is the ‘Small Gamut’ inkset,
which uses a replacement for the colour cartridge with differ-
Fotonic Colour Cartridges ent hues of neutral colour dyes in each channel. Small levels
of magenta, yellow and cyan dyes are used in combination
Lyson is an independent inkjet cartridge manufacturer offering
with monochrome inks to yield a wide range of colour control.
replacement cartridges for most Epson printers. Colour accu -
By using simple colour adjustments in the image creation soft
racy and permanence are very high for this type of print repro-
ware, a full range of toning effects can be achieved. The
duction, and print life expectancy comparable with chro-
image can be printed in many different shades, such as warm tone sepia, in
mogenic colour prints if a suitable print media is used. The
true neutral black, in selenium colour, or colour can be adjusted in specific
Lyson papers, page 11 are Lysons recommended media for
areas. At the time of writing, only one Small Gamut cartridge is available,
high permanence; all aging tests by Lyson have been based
for Epson 740 series, but cartridges for other Epson models are due to
on combinations of these papers with Lyson inksets.
become available during 2002.
Lyson Quad-Black Inksets Cleaning Cartridges
Apart from permanence, another innovation from Lyson is
Cleaning cartridges are available for most models, enabling a
control of black and white printing by the use of special car-
thorough clearout of the printer when changing between
tridges (Quad & Hex Black Inksets) which replace the normal
inksets. It is preferable, though, to keep separate dedicated
colour cartridge. These allow an additional four or six chan-
printers for colour and monochrome work.
nels of archival ink.As each channel can be set to varying
densities (100% black, dark grey, mid grey, light grey etc.) a
much wider tonal range can be reproduced, without the colour
casts found with a standard colour cartridge. As well as neutral cartridges,
Neutral Warm (sepia) and Cool (selenium) sets are available. Indoor display
life of 100 years is now specified
LYSON PROFESSIONAL LONG-LIFE INSERS FOR EPSON PRINTERS with 4 CHANNEL INKSETS
Epson Stylus Fotonic Colour Small Gamut Quad-Black Neutral Quad-Black Warm Quad Black Cool Cleaning Cartridges
Color Printer Black Slot Colour Slot Colour Slot Black Slot Colour Slot Black Slot Colour Slot Black Slot Colour Slot Black Slot Colour Slot
3000 45.00 52.88 45.00 52.88 53.00 62.28 45.00 52.88 45.00 52.88 45.00 52.88 45.00 52.88 45.00 52.88 45.00 13.00 15.28 13.00 15.28
--- QT7NK
740/760/800
850/860 15.95 18.74 19.95 23.44 22.00 25.85 15.95 18.74 19.95 23.44 15.95 18.74 19.95 23.44 15.95 18.74 19.95 21.09 10.95 12.87 16.50 19.39
1160/1520/900 32746 8EFK 32 734 8EFT 10 609 E8SGT 32 707 Q8NK 10 589 Q8NT 20 346 Q8WK 11 001 Q8WT 20 652 Q8CK 9 151 Q8CT 8 955 8ECK 32 798 8ECT
900 18.95 22.27 23.95 28.14 10.95 12.87 14.95 17.57
LYSON PROFESSIONAL LONG-LIFE INKSETS FOR EPSON PRINTERS with 6 CHANNEL INKSETS
Epson Stylus Fotonic Colour Small Gamut Hex-Black Neutral Hex Black Warm Hex Black Cool Cleaning Cartridges
Color Printer Black Slot Colour Slot Colour Slot Black Slot Colour Slot Black Slot Colour Slot Black Slot Colour Slot Black Slot Colour Slot
9000/7000/7500 45.00 52.88 45.00 52.88 53.00 62.28 45.00 52.88 45.00 52.88 23.95 28.14 23.95 28.14
--- ---
5000/5500 45.00 52.88 45.00 52.88 18.00 21.15 18.00 21.15
EX/700/750 17.95 21.09 16.95 19.92 TBA 16.95 19.92 17.95 21.09 16.95 19.92 17.95 21.09 16.95 19.92 17.95 19.92 9.50 11.16 15.50 18.21
30 885 EPHFK 29 638 EPHFT 32 191 QPHNK 35 394 QPHNT 34 454 QPHWK 10 039 QPHWT 8 883 QPHCK 30 530 QPHCT 30 905 EPHCK 11 442EPHCT
1200 17.95 21.09 19.95 23.44 22.00 25.85 16.95 19.92 19.95 21.09 16.95 19.92 19.95 23.44 16.95 19.92 19.95 21.09 9.50 11.16 15.50 18.21
30 885 EPHFK 30 859 E12FT 32 191 QPHNK 32 208 Q12NT 34 454 QPHWK 34 441 Q12WT 8 83 QPHCK 23 466 Q12CT 30 905 EPHCK 30 918 E12CT
790/870/875/890 16.95 19.92 16.95 19.92 20.00 23.50 17.95 21.09 16.95 19.92 9.50 11.16 14.50 17.04
33 902 ET7FK 34 415 ET8FT 34 150 QT7NK 34 427 QT8NT
1270/1290/2000P 16.95 19.92 19.95 23.44 22.00 25.85 17.95 21.09 19.95 21.09 9.50 11.16 14.50 17.04
33 902 ET7FK 33 895 ET9FT 34 150 QT7NK 34 174 QT9NT
LYSON PROFESSIONAL LONG-LIFE INKETS FOR CANON PRINTERS with 6 CHANNEL INKSETS
Canon Printer Fotonic Colour Small Gamut Hex-Black Neutral

Models Blk Cartridge Col Cartridge Col Cartridge Blk Cartridge Col Cartridge
6000/6100/6500 7.95 9.34 7.95 9.34 7.95 9.34 7.95 9.34 7.95 9.34
8200/S800/S6300
Lyson Inks Selection Chart (above) Lyson User Guide Video

This is a rather dense format, but contains everything needed to locate a Approximately 40 minutes. Topics covered: Fotonic Colour
particular Lyson cartridge for a printer. Available cartridges show prices, the Inksets - Benefits n Quad-Black & Hex Black Inksets -
left hand price being Net, the right hand one in bold being price including Benefits n Small Gamut Tonetable n Black & White Inksets -
VAT. Below this are order codes. Benefits n Changing over to Lyson n Inksets Colour
The 5 digit number is our own order code; the 5 letter code to the right of Accuracy n Setting Photoshop for ICC Profiles, PC & Mac n
this is the significant part of Lysons own code - quoting both codes ties the Opening Images n Printing with ICC Profiles, PC & Mac n
product down quite firmly. Cartridges showing our own order codes are well Quad-Black techniques for 4 and 6 channel printers n
stocked, others may need to be ordered in. Printguard media protection n Inkjet Printing Tips
--- Lyson User Guide Video 9.95 11.69
Lyson Printguard
A polymer resin coat laquer, Printguard waterproofs, protects and greatly
enhances fade resistance in inkjet prints of all types and inksets. Supplied
Lyson Chip Reprogrammer
in a 400ml aerosol. For use with replacement cartridges for Epson 870, 875, 890, 1270, 1290
and 2000P printers.
Printguard 400ml Aerosol 7.95 9.34
33 915 Lyson Chip Reprogrammer 18.00 21.15
ILFORD, AGFA, MACO B&W CAMERA FILMS 16
Ilford HP5 Plus
Ilford Films Fast 400 ISO black and white film,
Agfa B&W Films
building on the long pedigree of
Ilford Delta Professional 100 & 400 Agfapan APX100
HP5, HP4, and (within living memo-
Both films rely on new crystal tech ry) HP3. Fine grain, good edge con- Both the APX films employ similar
nology that Ilford have developed. trast and sharpness, and increased grain structure, have the same
Delta 400 uses an entirely new form flexibility in processing. Push-processing can development characteristics, and
of silver grain structure to produce a allow considerably higher effective speeds. can be processed for the same
400 ISO film with grain size more Extended development, e.g. in Microphen, can times. In 35mm, 120 and 5x4"
typical of 100 ISO. Delta 100 employs the same allow meter settings of up to ISO 3200. Robust in sheets, very popular in 120 format.
technology to achieve comparable gains for a processing, HP5 Plus will give excellent results
medium speed emulsion. Delta is for the photog- 29 996 APX 100 135-24 2.49 2.93
under most conditions, and will also tolerate pro-
58 270 APX 100 135-36 2.92 3.43
rapher wanting film with exceptionally fine grain, cessing conditions that are less than ideal.
49 021 APX 100 35mm 30m 27.37 32.15
sharpness and tonal smoothness, which is
93 948 HP5+ 135-24 WEBSITE 29 861 APX 100 120 1.88 2.20
straightforward to expose and process, and can
47 671 HP5+ 135-36 WEBSITE 32 820 APX 100 5x4 25sh 11.97 14.06
be developed in ordinary monochrome chemicals.
38 117 HP5+ 135-35 / 3 pack ** SPECIAL ** 5.00 5.88
Processing is completely conventional, and all
47 683 HP5+ 135-36 / 5 pack WEBSITE Agfapan APX400
dev. types from high acutance to fine grain can be 59 144 HP5+ 120 WEBSITE
used. Not recommended for pushing to high 92 854 HP5+ 120 / 5 pack WEBSITE APX400 is a conventional grain
speeds, where HP5 rather than Delta 400 is still --- HP5+ 220 / 5 pack 25.14 29.54 structure 400 ISO film, which has
preferable. Total process time is similar to con- 92 949 HP5+ bulk 35mm 17m 15.58 18.30 more in common with some of the
ventional films, with reduced development time 17 568 HP5+ bulk 35mm 30m 26.22 30.80 older discontinued high speed films,
but extended fixing time. Delta 400 has recently 95 848 HP5+ sheet 5x4" 25sh 11.92 14.00 such as Ilford HP4. Not a particularly
been enhanced - the film now carries a NEU 59 255 HP5+ sheet 4.75x6.5" 25sh (1/2 plate) 17.14 20.13 good film for pushing, but yields fine-grain, well
NOUVEAU NEW flash. 3 294 HP5+ sheet 5x7" 25sh 19.22 22.58 graded negatives at normal ratings. Available in
7 140 HP5+ sheet 8x10" 25sh 40.13 47.15 35mm and 120 formats.
68 756 Delta 100 135-24 WEBSITE
78 150 Delta 100 135-36 WEBSITE
Ilford Pan-F Plus 66 261 APX400 135-36 2.59 3.04
16 462 Delta 100 135-36 / 5 Pack WEBSITE 11 014 APX400 35mm x 30m 27.37 32.15
2 133 Delta 100 120 WEBSITE Slow (ISO 50) very fine grain 83 278 APX400 120 1.67 1.96
659 Delta 100 120 / 5 Pack WEBSITE panchromatic film, with the new
3 242 Delta 100 bulk 35mm 30m 29.48 34.64 ‘Plus’ emulsion. Ideal when Agfa Scala
2 106 Delta 100 sheet 5x4" 25sh 13.40 15.75
there is plenty of light, and large
3 267 Delta 100 sheet 5x4" 100sh 50.92 59.83
grain-free enlargements are required. Medium speed (200 ISO) direct
3 279 Delta 100 sheet 8x10" 25sh 45.13 53.03
Available in 35mm, cassettes and bulk rolls, and reversal B&W film, producing very
in 120 format. sharp. fine grain transparencies with
46 952 Delta 400 135-24 WEBSITE a slightly warm black colour. Can be
37 974 Delta 400 135-36 WEBSITE 91 052 Pan F+ 135-36 WEBSITE pushed up to two stops. Processing
5 906 Delta 400 135-36 / 5 pack WEBSITE 71 436 Pan F+ 120 WEBSITE at Joes’ Basement, or with standard black and
3 301 Delta 400 120 WEBSITE 81 393 Pan F+ bulk 35mm 17m 17.51 20.57 white transparency chemistry. This is sold pre-
3 338 Delta 400 120 / 5 pack WEBSITE 81 378 Pan F+ bulk 35mm 30m 29.50 34.66 packed in kits such as Speedibrews’ Celer-
3 340 Delta 400 bulk 35mm 30m 29.48 34.64
Reverser or Tetenal Reversal. Available excluding
Ilford XP2 Super processing in all formats and process-paid in
Ilford Delta 3200
An exceptionally fine grained black 35mm.
This latest ultra high speed film com-
and white 400 ISO film that is 3 825 Scala 135-36 5.87 6.90
pletes Ilfords range. Unusually it is
processed in standard colour nega- 13 599 Scala 135-36/5 pack 30.52 35.86
offered in 120 format, making it fea-
tive chemistry (C41). Has now been 7 995 Scala 135-36 (Process Paid) 11.34 13.32
sible to use medium format cameras
through several cycles of improve- 3 837 Scala 120 3.97 4.66
in available-light situations.
ments to make it sharper and to give full quality in 13 606 Scala 120 5 pack 20.64 24.25
26 519 Delta 3200 135-36 WEBSITE C-41 without special modifications. Can yield a 7 858 Scala 5x4" 10sh 22.10 25.97
26 864 Delta 3200 120 WEBSITE neutral image when printed onto colour paper (so 3 849 Scala Mailer 4.95 5.82
long as the filtration is set properly - something
Ilford FP4 Plus even some one-hour labs will now do). Available
in all the main formats.
For high quality work, FP4 Plus HP5 Camera & Film
offers all the benefits of its prede- 69 380 XP2 135-24 WEBSITE
cessor, together with finer grain, 72 922 XP2 135-36 WEBSITE Ilford have made a few
faster processing, and greater 15 780 XP2 120 WEBSITE firsts in their time, and
sharpness. Still rated at ISO 125, 15 793 XP2 120 / 5 Pack WEBSITE the first recyclable black
FP4 Plus is made with a balanced layer assembly 73 238 XP2 35mm 17m 17.77 20.87 and white ‘film+camera’
which gives improved exposure latitude and tonal 73 226 XP2 bulk 35mm 30m 26.92 31.63 has to be worth a men
range, with better manufacturing consistency from tion. The film is HP5 in
batch to batch. It will produce good results from a SFX200 Infrared Film 24 exposures, in a well
wide range of developers and can be printed in a packaged camera incorporating flash. Ideal for
Specialist black and white camera
great variety of ways. In this respect it offers more carrying as a spare, using in teaching situations,
film with extended red sensitivity for
flexibility than tabular grain films like Delta and or at all times when a serious camera is in dan-
special effects. For maximum IR
T- Max. ger.
effect, use a deep red filter such as
28 945 FP4+ 135-24 WEBSITE Wratten 25, or the SFX filter sold by 21 137 HP5 135-24 + Mailer 8.50 9.99
18 445 FP4+ 135-36 WEBSITE Ilford. This has a 50% transmittance at 715mm,
18 458 FP4+ 135-36 / 5 pack WEBSITE and should give the most IR effect with SFX200.
38 202 FP4+ 135-36 x 3 pack ** SPECIAL ** 5.00 5.88 The filters are designed to be placed into stan- While
L
5 886 FP4+ 120 WEBSITE dard gel filter holders, and a Cokin mounted filter
stocks
IA
6 709 FP4+ 120 / 5 pack WEBSITE is available.

91 304 FP4+ 220 / 5 pack WEBSITE
1 645 SFX200 135-36 4.91 5.76 last
C
96 945 FP4+ 35mm 17m 15.58 18.30

17 531 FP4+ 35mm 30m 26.22 30.80 23 661 SFX200 120 2.61 3.06
E
13 296 FP4+ 5x4 25sh 11.92 14.00 - SFX Filter A size 58mm sq. 3.26 3.83
SP
20 334 FP4+ 5x4 100sh 45.26 53.18 26 682 SFX Filter P size, 75mm sq. 2.57 3.02
- SFX Filter P size, Cokin gel filter holder 6.95 8.17
62 336
3 230
FP4+ 4.75x6.5 25sh (1/2 plate)
FP4+ 5x7 25sh
17.14
19.22
20.13
22.58
FP4 & HP5
91 828 FP4+ 8x10 25sh 40.13 47.15 Triple packs
4 998 FP4+ 35mm Control Strips 33.89 39.82
@ 5.88
KODAK, FUJI, FORTE, BERGGER B&W CAMERA FILMS 17
Kodak TMax P3200
Kodak B&W FIlm Fuji B&W Film
The ultimate in speed with existing
Kodak Tri-X technologies, not produced in 120 Neopan 100
as apparently cosmic radiation
Very popular 400 ISO film, basically would fog it without the protection of A special import from the USA, this
unchanged for decades. The classic a metal cassette! 35mm format only, 100 ISO version of Neopan is not
photojournalists’ film. Enormously relatively fine grain considering the phenomenal normally sold in the UK, for reasons
flexible in processing. Prints with a speed, with the grain having a very sharp, attrac- unknown. The fine grain, latitude
distinc tive punchy snappiness. It tive character. Can be pushed to 50,000 ISO (try and Fuji quality one would expect.
was feared some time ago that it would be setting that on your meter). Only in 35mm 135-36 at present.
dropped in favour of the TMax 400, but it seems
quite secure now. Available in all common for- 646 P3200 135-36 WEBSITE - Neopan 100 135-36 2.98 3.50
mats, including, as our own special import, 8x10".

Sharp, tight grain structure, good film for pushing T400 CN Neopan 400
to a reasonable level. Kodak waited a long time before A versatile 400 ISO film with fine
32 027 Tri X 135-24 WEBSITE launching their chromogenic mono grain, high resolution, wide expo-
2 618 Tri X 135-36 WEBSITE chrome film, but when it came it sure latitude and excellent shadow
26 353 Tri X 135-36 / 5 pack WEBSITE proved a serious rival for XP2. The to highlight detail. Push-processing
45 258 Tri X 120 / 5 pack WEBSITE only film of its type in sheet, as Ilford is possible up to 6400 ISO, while
4 006 Tri X 220 / 5 pack 20.81 24.45 have now discontinued XP2 in 5x4”. retaining good quality. Popular for its combination
57 342 Tri X bulk 35mm 100ft 26.84 31.53 of fine-grain and snappy Tri-X-style tonal quality,
21 979 135-36 3.23 3.80
59 409 Tri X sheet 5x4" 50sh 29.86 35.09 but contrast and highlight compression can be
21 967 120 1.97 2.31
*** SPECIAL IMPORT *** problematic if over-exposed and/or developed.
28 194 5x4 25sh 13.70 16.10
31 373 Tri X sheet 8x10 50sh 99.50 116.91
48 852 Neopan 400 135-36 2.66 3.13
Kodak Plus-X Portra 400BW 7 346 Neopan 400 135-24 2.27 2.67
17 504 Neopan 400 135-36 x 20 52.12 61.24
Medium speed (125 ISO), fine grain Uses the standard C41 colour nega-
87 896 Neopan 400 35mm x 30m. 24.66 28.98
conventional film, available in all tive process to produce a mono-
86 385 Neopan 400 120 single 1.74 2.04
standard formats, including 8x10’’. chrome image in dyes. Grain is
97 555 Neopan 400 120 / 5 pack 8.74 10.27
The film has been basically extremely fine for the film
unchanged for many years, and speed. This new chromogenic black
Neopan 1600
remains the mainstay of many professionals, par- and white film from Kodak is
ticularly in 120 format. designed to complement the colour Very fast 35mm black & white film
Portra films, in that the same print channel can featuring relatively fine grain and
52 555 Plus X 135-36 WEBSITE be used when printing onto colour paper, and will excellent sharpness. It has the
31 956 Plus X 120 / 5 pack WEBSITE yield a well balanced neutral image. T400CN is same rapid processing time as
94 098 Plus X bulk 35mm 100ft 26.84 31.54 the better choice when printing onto traditional Neopan 400, so both types
61 851 Plus X sheet 5x4" 25sh 13.00 15.28
black and white papers. can be processed together.
20 322 Plus X sheet 8x10 25sh 52.63 61.84
*** HALF PRICE ON 35mm 5 pack WHILE STOCKS LAST*** 34 965 Neopan 1600 135-36 3.39 3.98
70 522 Neopan 1600 135-36 x 20 62.38 73.30
Kodak TMax 100 26 629 Portra 400 BW 135-36 / 5 pack WEBSITE 16 170 Neopan 1600 35mm x 30m 31.30 36.78
3 780 Portra 400 BW 120 / 5 pack WEBSITE
New generation 'T-Grain' technolo
gy, yielding very fine grain relative to Neopan 100 ACROS
film speed. This is done using a tab This is a new medium speed film
ular grain structure, and a high Forte B&W Film from Fuji, launched in the USA in
degree of sensitisation. This requires 2001, and not intended to be distrib-
more attention to the fixing stage, to remove all A range of budget price films import- uted in Europe. It promises, accord-
sensitising dye. Approximately double normal fixed from Forte in Hungary in a range ing to Fuji’s website, the “world’s
ing time must be used, and the fixer will exhaust of speeds, in both 120 and 35mm highest standard in grain quality, rich gradation
more quickly. TMax fixer is an extra rapid formula formats. and outstanding sharpness”. The technical data
designed to complement the TMax series of films. quotes 200 lines/mm resolution on a test chart of
1000:1 contrast, using Microfine developer.
25 573 TMax 100 135-36 WEBSITE 20 970 Fortepan 100 135-36 1.65 1.94
96 752 TMax 100 135-36 / 5 pack WEBSITE 20 806 Fortepan 100 120 1.19 1.40
From our own tests it certainly appears to be on
21 734 TMax 100 120 single WEBSITE 32 319 Fortepan 200 135-36 1.65 1.94
the cutting edge as regards resolution, with
61 571 TMax 100 120 / 5 pack WEBSITE 32 321 Fortepan 200 120 1.19 1.40 exceptionally smooth grain.
97 029 TMax 100 bulk 35mm 100ft 27.36 32.15 5 737 Fortepan 200 4x5 25sh 9.87 11.60
34 783 Fuji ACROS 120 2.25 2.64
28 375 TMax 100 sheet 5x4" 25sh 13.47 15.83 25 840 Fortepan 200 8x10 25sh 30.00 35.25
31 858 Fuji ACROS 135-36 3.43 4.03
46 937 TMax 100 sheet 5x4" 100sh 51.73 60.78 20 750 Fortepan 400 135-36 1.65 1.94
67 427 TMax 100 sheet 8x10" 25sh 44.57 52.37 20 664 Fortepan 400 120 1.19 1.40
60 183
7 471
Fortepan 400 4x5 25sh
Fortepan 400 8x10 25sh
9.87
30.00
11.60
35.25
Bergger Films
Kodak TMax 400 BPF 200 is a 200 ASA/ISO camera
Remarks as TMax 100. TMax devel- film in sheet form, which we are
oper recommended for maximum
speed. * SPECIAL * able to supply in small packs in a
variety of sizes unavailable from
other manufacturers. Other sizes
that can be obtained include
While 16x20” and 20x24”.
27 616 TMax 400 135-36 WEBSITE
51 997 TMax 400 135-36 / 5 pack WEBSITE stocks 27 131 Bergger 200 5x4 25sh 10.00 11.75
21 746
3 813
TMax
TMax
400
400
120
120 / 5 pack
WEBSITE
WEBSITE
last 29 225 Bergger 200 5x7 25sh 15.00 17.62
29 905 Bergger 200 8x10 25sh 35.00 41.13
97 579 TMax 400 bulk 35mm 100ft 27.36 32.15 21 247 Bergger 200 11x14 10sh 32.00 37.60
97 347 TMax 400 sheet 5x4" 50sh 32.17 37.80
68 009 TMax 400 sheet 8x10" 25sh 45.59 53.57
W
E
N
LIMITED STOCK OF FRESH 5 Now in 35mm and 120 formats.
PACKS of PORTRA 400 BW@

35 492 Bergger 200 135-36 2.05 2.41
xx.xx 35 508 Bergger 200 120 1.65 1.94
SPECIALIST MONOCHROME FILMS 18
Bergger BPFB - 18 Ilford SFX 200
Infra-red Films This is not sensitised to the same
Blue sensitive continuous tone film
on 180 micron polyester base and Films with enhanced red sensitivity can be used high level as the Kodak infra-red
anti-halation backing. Wide expo to produce a variety of pleasing effects. In particu- emulsion but is easier to use and
sure latitude with medium gradation. lar, if the effect on the film of red and infra-red process to achieve consistent
radiation is increased by filtration, substantially results. But although it is a film
different tonal values can be achieved. This is designed for traffic surveillance work, it’s extend-
35 535 4x5 50 sh 14.00 16.45 most marked with healthy vegetation which ed red sensitivity means that if it is used with a
35 523 5x7 50 sh 24.00 28.20 reflects a high proportion of infra-red. deep red filter it will give an appreciable ‘infra-red’
35 511 8x10 50 sh 56.00 65.80 effect. Available in 35mm cassettes, and bulk
21 250 12x16 25 sh 60.00 70.50 One misconception that is sometimes held is that
rolls.
infra-red films achieve their effect by recording
infra-red emissions. But by far the most photo- 1 645 SFX 135-36 4.91 5.77
Macolith Grafik-Film 684
23 661 SFX 120 2.61 3.07
graphically significant source of infra-red is reflec-
Also sometimes labelled as ‘Geniusfilm’ this is a
tion of the suns’ rays. Interesting infra-red effects
lith-type sheet film, orthochromatic so requiring a MACO IR820C
occur because subjects such as vegetation reflect
red safelight.
infra-red radiation to a different degree than they A new infrared film on the market,
20 457 Macolith 8x10 10sh 10.50 12.34 do the visible spectrum. this is available in all standard
34 297 Macolith 9.5x12 5sh 8.50 9.99 for mats, now being the only infra-red
Another misconception sometimes held is that
96 595 Macolith 12x16 5sh 13.45 15.80 film available in 5x4” sheet, as well
infra-red films are only sensitive to infra-red. In
as bigger sheet formats.
Ilford Ortho Film fact they are like normal panchromatic films
except that they have extended red sensitivity to
Behaviour like FP4 without red sen longer electromagnetic wavelengths. Stronger or 15 157 MACO IR820C 135-36 4.10 4.82
sitisation. Relatively high sensitivity weaker infra-red effects are achieved by using fil- 75 995 MACO IR820C 120 4.20 4.94
for camera use, and normal con- ters to suppress the visible spectrum relative to 10 592 MACO IR820C 5x4 / 25sh 29.69 34.89
trast. Available only in sheet sizes. the infra-red. The most pronounced effects are --- MACO IR820C 8x10 / 25sh * 78.69 92.46
Useful where response to red is not achieved by using a filter such as a Wratten 87 or --- MACO IR820C 11x14 / 25sh * 149.38 175.52
* SPECIAL ORDER
required, and development by 88, B+W RG665 or equivalent that cut off all visi-
inspection in red safelighting is need- ble light.
ed. If photographing to reproduce a ‘vintage’ look MACO IR760C
it may be useful, as its response is closer to old All such filters lower the amount of light reaching
Less extreme sensitisation than the
blue sensitive films than modern panchromatic the film and this must be compensated for.
820 MACO product, and a lower
materials. However photographic meters are not designed
price, in 35mm format only.
for infra-red sensitivity and so exposure is gener-
84 083 Ilford Ortho Film 5x4 25sh 13.63 16.02 ally a matter of trial and error. Wide bracketing is
10 319 Ilford Ortho Film 8x10 25sh 46.08 54.14 the best insurance.
12 607 Ilford Ortho Film 10x12 25sh 68.28 80.23 --- MACO IR760C 135-36 2.63 3.09
--- MACO IR760C 120 5.00 5.88
Konica 750nm 120 Infra-red Film --- MACO IR760C 5x4 / 25sh 35.00 41.13
Kodak Technical Pan
Unlike the Kodak IR film, this film is
Panchromatic film with exceptionally not made primarily for scientific pur-
high resolution and fine grain. Very poses, so is not infra-red sensitised
high contrast with standard process over such an extreme range. This
ing, but can be processed in soft
working developer such as Kodak
makes it more suitable for general pictorial work,
as it has much simpler handling characteristics. It
GET YOUR BABY
Technidol or Tetenal Neofin Doku for continuous
tone results, (see Low Contrast film developers).
can be loaded in daylight, and processed as nor-
mal. As it is only made once a year, and supplied
ROLLEI BOUNCING
Available in 35mm, 120, and 5x4" formats.
However, as format size increases the difficulties
with a relatively short sell-by date, all-year round
availability is not possible. The years’ supply is
AGAIN!
of attaining an evenly developed neg. multiply. normally available from April, and we would antic-
ipate stock until about the end of the year. Any Once again a colour film is
80 440 Technical Pan 135-36 5.09 5.98
stock remaining after February will be outdated
36
55
074
481
Technical Pan 35mm x 150’
Technical Pan 120
55.76
4.28
65.52
5.03
and we normally sell it at a discount. Please available in 127 format -
check stock if ordering in the latter half of the
35 426 Technical Pan 5x4" 50sh. 46.18 54.26
year. A 35mm format, 24 exposure cassette pack-
Kodak Fine-Grain Release Positive ing is also available. MACOCHROME UCR100
73 390 750nm 120 Infra-Red Film 5.67 6.66 uses a quality E6 processable
As the name suggests, this is a fine-
grain, high resolution, fairly slow
74 528 750nm 135-24 Infra-Red Film 4.28 5.02
colour reversal film, an ongoing
blue-sensitive film, intended for pro supply of fresh film.
Kodak High Speed Infra-Red
ducing black and white motion pic-
ture prints. It is equally suitable for High speed, moderately high con- Check your lab can handle it -
producing black and white transparencies from trast, infra-red sensitive black and
white film with many creative appli-
for user processing the Paterson
standard negatives, by copying in the camera or
by contact printing. Standard print developer cations. Normally used with either a spiral still accepts the format, as
should produce suitable contrast from a normal deep red (Wratten 25) or completely
visually opaque (Wratten 87 series) filter. Great
well as JOBO.
negative.
care must be taken in using it to prevent fogging, £4.00 + VAT per roll,
80 756 Fine Grain Release Pos. 35mm x 100’ 20.70 24.32 prior to exposure, and during processing. A stain-
less steel processing tank is recommended.
10% discount for 10
Kodalith Ortho Type 3 29 433 HIE 135-36 8.52 10.01
Orthochromatic sheet film on 127 BLACK & WHITE
polyester base giving
extremely high contrast when
processed in Lith. developers. MACO UP100+ is now also
Conventional developers allow it to available in 127 format
be used as a line or continuous tone film.
52 905 Kodalith Ortho 35mm x 100’ 28.37 33.33
12 757 Kodalith Ortho 5x4" 100sh 33.54 39.41 £2.20 + VAT per roll
66 870 Kodalith Ortho 8x10" 100sh 118.16 138.84
10% discount for 10
MACO B&W, FUJI, AGFA COLOUR TRANSPARENCY FILMS 19
RTP (64T)
MACO Films Fuji Transparency A tungsten-balanced colour reversal
ORT 25 material balanced to 3100°,
Velvia RVP standard E6 processing. Reciprocity
The speed is slow, around the 10
ISO mark, and contrast is high. A The 50 ISO Velvia uses recently failure characteristics are particularly
useful film for line copying, developed emulsion technology in a good when used with long exposure
especially as the film can be devel- 17 layer reversal colour film, giving times. Excellent sharpness, detail rendition and
oped by inspection under red safelighting. unrivalled clarity and resolution, with tonal fidelity, combined with accurate colour satu-
Another option is to use it like Kodak Technical extraordinary saturation. Pushes well ration make this film very suitable for copying,
Pan for pictorial work, using a low contrast devel- up to about two thirds of a stop. Many regard its and camera use.
oper to produce exceptionally fine grain and high true speed as slightly slower than claimed. It
8 773 RTP 135-36 WEBSITE
sharpness. As well as the roll formats it is obtain- should be used with caution with skin tones - the
97 178 RTP 120 WEBSITE
able in 5x4” and 8x10” formats. high colour saturation can amplify any bias in skin
47 476 RTP 120 / 5 pack WEBSITE
cast considerably, and a better choice in this situ-
23 439 RTP 5x4" 10 sh WEBSITE
26 521 ORT 25 135-36 4.90 5.76 ation is possibly Provia or Astia. 12 590 RTP 5x4" QUICKLOAD 20 sh WEBSITE
--- ORT 25 135-36 x 10 46.50 54.64
36 657 Velvia 135-36 WEBSITE 28 862 RTP 8x10" 10 sh WEBSITE
11 479 ORT 25 120 4.75 5.58
--- ORT 25 12 x 10 45.00 52.88 36 669 Velvia 136-36 / 5 pack WEBSITE
69 106 Velvia bulk 35mm 30m WEBSITE CDU Duplicating Film
PO 100 82 301 Velvia 120 WEBSITE
Recently reformulated to improve its already
A 100 ISO ortho material with very 82 314 Velvia 120 / 5 pack WEBSITE
exceptional batch to batch consistency, and to
high resolution, around double that 87 759 Velvia 5x4" 10sh. WEBSITE
hold colour saturation and contrast more accu-
of an equivalent speed panchromatic 12 052 Velvia 5x4 50sh WEBSITE
rately from original to dupe. A tungsten balanced
emulsion. Gradation is normal. The reversal film, specifically designed for producing
35mm uses a clear acetate base, while the 120 ASTIA (RAP)
high quality duplicate transparencies.
format uses polyester base with an antihalation A Fuji transparency film designed Characteristics include rich colour saturation,
backing. The clear 35mm base makes it an for a completely neutral balance, tonal fidelity and sharpness, making CDU ideal
excellent film for reversal processing. that will handle flesh tones particu- for photo-mechanical reproduction. Processing is
--- PO 100 135-36 2.70 3.17
larly well. Very true-to-life colour standard CR-56 (E6) chemistry.
--- PO 100 135-36 x 10 2.50 2.94 fidelity, with smooth and realistic ren-
14 990 CDU 5x4 50 sh 57.45 67.50
--- PO 100 120 2.10 2.47 dering of delicate hues. Good pushing and pulling
--- PO 100 120 x 10 19.40 22.80 capability. Minimal colour shift due to variations in
UP 25+
colour temperature, outstanding reciprocity char-
acteristics, good multiple exposure performance,
Agfa Transparency
UP25 is a panchromatic ISO 25 film and enhanced storage characteristics.
in 35mm and 120 formats, which is a Agfachrome RSX II 50, 100, & 200
close replacement for Agfapan 25, 21 306 ASTIA RAP 135-36 WEBSITE
The RSX range of films are matched for neutral
21 319 ASTIA RAP 135-36 / 5 pack WEBSITE
discontinued some years ago. colour balance and high colour saturation. They
21 773 ASTIA RAP 120 WEBSITE
38 227 UP25+ 135-36 2.30 2.70 21 345 ASTIA RAP 120 / 5 pack WEBSITE
have a unique colour quality distinguishing them
--- UP25+ 135-36 x 10 21.00 24.67 21 360 ASTIA RAP 5x4 10 sh WEBSITE from Fuji and Kodak materials.
38 156 UP25+ 120 1.50 1.76
--- UP25+ 120 x 10 13.80 16.22 Provia 100F (RDPIII) RSX II 100
Fuji’s answer to Kodak 100VS, a Medium speed transparency film ‘for
UP 100+
superbly saturated vivid new film, challenging applications’ say Agfa,
A panchromatic 100 ISO films in
excellent sharpness, which unoffi- meaning it is the preferred film in
35mm, 120 and a wide variety of
cially is tipped as the answer to the the range for fashion, advertising
sheet formats, including 5x4”, 8x10”,
same firms 100D, deleted a few and portraiture. A full range of for-
10x12”, 11x14”, 12x16” up to 20x24”
years ago to much chagrin. Good pushing capa- mats, including 35mm & 120, with 5x4” and 10x8”
in packs of 10. Also available to special order in
bility, 2 stops push is hardly noticeable. sheet formats. RSX 100 was voted European
wide rolls. Also, Baby Rollei owners note, in 127
Colour Slide Film of the Year 95/96 by the EISA
format. 19 114 Provia RDP111 135-36 WEBSITE Photo Awards Panel.
38 170 UP100+ 135-36 x 1 1.70 2.00 29 763 Provia RDP111 135-36 / 5 pack WEBSITE
29 898 Provia RDP111 120 WEBSITE 30 971 RSX11 100 135-36 4.91 5.77
- UP100+ 135-36 x 10 16.56 19.46
30 017 Provia RDP111 120 / 5 pack WEBSITE 71 837 RSX11 100 120 2.82 3.31
- UP100+ 127 2.20 2.59
75 917 Provia RDP111 5x4" 10 sh WEBSITE 7 860 RSX11 100 120 / 5 pack 14.09 16.56
38 239 UP100+ 120 x 1 1.25 1.47
1 866 Provia RDP111 5x4 50 sh WEBSITE 79 976 RSX11 100 5x4 10 sh 15.13 17.78
- UP100+ 120 x 10 11.30 13.28
96 517 RSX11 100 10x8 10sh 57.14 67.14
- UP100+ 5x4 10sh 3.50 4.11
PROVIA 400F
UP 400+ RSX II 50
RHP is a flexible high speed (ISO
A panchromatic 400 ISO film based Slow, ultra-sharp & fine grain film,
400) daylight colour reversal materi-
on cubic grain technology. most suited to still life and where
al especially suited to low light situa-
tions. Reciprocity and push-pro extreme enlargement is required.
cessing characteristics are excellent, Formats catered to are 35mm and
38 182 UP400+ 135-36 x 1 1.70 2.00
and make RHP an ideal material for a wide range 120 with sheet film in 5x4”.
- UP400+ 135-36 x 10 16.56 19.46
of photographic uses. 93 669 RSX 50 135-36 4.74 5.57
Cube 400 1 756 Provia PH 135-36 WEBSITE
28 179 RSX 50 120 2.71 3.18
Designed for exceptionally high 1 893 Provia PH 120 WEBSITE
sharpness. Unusual film construc- 1 900 Provia PH 120 / 5 pack WEBSITE RSX II 200
tion, in that the antihalation coating is The fastest film in the range now,
on the front, rather than the reverse PROVIA 1600 (RSP) suitable for subjects where speed is
of the base, and the emulsion coating is 10 of the essence, as where move
microns. The base is 100 micron light blue tinted This is an ultra high speed (1600
ISO) daylight colour reversal film ment is involved, and some compro-
polyester. Best results are obtained using the mise of quality is acceptable. In roll
dedicated LP-CUBE XS developer. giving a speed of ISO 1600 when
push-processed in E6 chemistry. formats 35mm and 120 only.
- UP100+ 135-36 x 1 2.70 3.17 RSP is suitable for a wide range of 64 471 RSX 200 135-36 5.38 6.32
- UP100+ 135-36 x 10 25.00 29.38 adverse lighting situations and combines good 59 545 RSX 200 120 3.08 3.62
- UP100+ 120 x 1 2.60 3.06 colour saturation for its speed, with relatively fine
- UP100+ 120 x 10 23.80 27.97 grain. Available only in 35mm.
54 274 Provia PS 135-36 WEBSITE
KODAK COLOUR TRANSPARENCY FILMS 20
Ektachrome 64, 100 (EPR, EPN) Ektachrome E200 Ektachrome Infrared Film
Closely matched films which can be Reversal film with similar character- Colour transparency film that pro-
push-processed with minimal loss of istics to EPN. Pushes well. Available duces modified colours, with sub-
quality. Normal colour saturation. in all formats and therefore the jects reflecting much infra-red radia-
The films of choice for accurate fastest available sheet transparency tion appearing red/magenta, e.g.
colour rendition. EPN in particular, film. foliage. To get a good colour differen-
has a sharp infra-red cut-off and hence will be tiation some form of filtration is necessary, and
60 007 E200 135-36 / 5 pack WEBSITE
much less likely to record anomalous reflections the usual starting point is to use a deep yellow fil-
63 807 E200 135-36 WEBSITE
that diverge from visual perception. Standard E6 - E200 35mm x 100ft 70.68 83.05
ter (Wratten 12).
process, available in all formats inc. sheets. 16 946 E200 120 / 5 Pack WEBSITE 15 813 Ektachrome Infrared Film (IE) 9.47 11.13
17 020 E200 120 WEBSITE
EKTACHROME 64 PROFESSIONAL
Ektachrome Slide Duplicating Films
96 850 EPR 135-36 / 5pack WEBSITE Ektachrome EPL 120
92 645 EPR 120 / 5pack WEBSITE When making transparency duplicates, unless
80 782 EPR 6117 5x4 /10 WEBSITE The older generation 400 ISO high speed daylight you are making a quantity of copies, and have a
film in the Kodak range. Particularly good for range of correction filters available to fine-tune
EKTACHROME 100 PROFESSIONAL
cross processing. the colour balance, it is probably better to dupli-
98 649 EPN 135-36 / 5 pack WEBSITE
3 864 EPN 120 / 5 pack WEBSITE 62 142 EPL 135-36 / 5 WEBSITE cate onto a normal camera film. These specialist
83 726 EPN 7058 5x4 / 10 WEBSITE 68 198 EPL 120 / 5 pack WEBSITE duplication films, require several ‘setting-up’ tests
with adjustments of filtration to obtain best results.
Ektachrome 100 PLUS (EPP) Ektachrome P800/1600X (EPH) 32 538 EDUPE 5044 135-36 4.50 5.28
A 100 ISO medium speed film with Designed specifically for push processing with 28 128 EDUPE 7044 5x4 10sh 12.10 14.21
minimum loss of quality, this daylight-balanced - EDUPE 7044 5x4 50sh 58.56 68.80
extended colour saturation. Less
colour reversal film needs a 1 stop push for 800 52 EDUPE 5044 35mm x 100 34.49 40.53
technically accurate than standard
Ektachrome, but a favourite choice ISO, 2 stops for 1600 ISO. 35mm format only.
for ‘larger than life’ images in edito- 24 925 EPH 135-36/5 Pack 42.49 49.90
rial work, advertising etc. Saturation between
EPN and EP100 SW. Kodak anticipate that they
Ektachrome 64T Tungsten (EPY)
may withdraw this film if demand for it falls off as
photographers switch to EP100 SW. Standard E6 A tungsten balanced 64 ISO film,
process, available in all formats, inc. sheets. which has replaced the older 50T,
with improved reciprocity character-
65 928 EPP 135-36 / 5 pack WEBSITE istics for speed consistency and
4 961 EPP 35mm x 100 68.24 80.18
colour balance in the 1/10 to 100
40 582 EPP 120 / 5 pack WEBSITE
second range, and little loss of speed when
83 726 EPP 6105 5x4" 10sh WEBSITE
exposed over times longer than 5 seconds. All
2 425 EPP 6105 5x4 50sh WEBSITE
standard formats including sheets, standard E6
8 208 EPP 6105 8x10 10sh WEBSITE
process.
Ektachrome E100 S 67 304 EPY 135-36 / 5 pack WEBSITE
33 320 EPY 135-36 WEBSITE
Kodak’s new most richly saturated
12 659 EPY 120 / 5 pack WEBSITE
film, with a neutral colour balance.
82 279 EPY 6118 5x4" 10sh 16.64 19.55
Excellent for advertising and general
*** SPECIAL PRICE WHILE STOCKS LAST ***
commercial work where strong --- EPY 6118 5x4 50 sh 40.00 47.00
vibrant colour is required. Very fine
grain, high sharpness, good gray scale balance.
Ektachrome 160T Tungsten (EPT)
12 439 E100S 135-36 WEBSITE A fast tungsten film, pushable one
12 427 E100S 135-36 / 5 pack WEBSITE
stop to 320 ISO with minimal loss of
12 454 E100S 120 / 5 pack WEBSITE
quality, higher with some loss.
12 478 E100S 5x4" 10sh WEBSITE
35mm and 120 formats.
18 497 E100S 35mm x 100 67.59 79.42
*** SPECIAL PRICE WHILE STOCKS LAST ***
--- E100S 5x7 10 sh 15.00 17.63
Ektachrome E100 SW 83 836 135-36 / 5 pack WEBSITE

Same basis as E100S but with a 79 257 120 / 5 pack WEBSITE
warmer balance roughly equal to 19 028 35mm x 100 72.80 85.54
adding an 81A filter.
Ektachrome 320T Tungsten (EPJ)
Latest generation tungsten balanced
film, using ‘T’ grain technology, and
12509 E100SW 135-36 WEBSITE producing high speed combined with
12466 E100SW 135-36 / 5 pack WEBSITE excellent sharpness and fine grain.
12415 E100SW 120 / 5 pack WEBSITE
16 789 E100SW 5x4 / 10sh WEBSITE
1 511 EPJ 135-36 / 5 pack WEBSITE

Ektachrome E100VS 1 489 EPJ 135-36 WEBSITE
The latest in the professional ‘S’ 19 030 EPJ 35mm x 100 72.08 84.69
range, offering similar features and
performance to 100S, but with extra
vivid, saturated colour. Good push
ing capability, excep tionally sharp.
27 520 E100VS 135-36 / 5 pack WEBSITE

27 934 E100VS 135-36 WEBSITE
27 603 E100VS 120 / 5 pack WEBSITE
28 253 E100VS 5x4 10sh WEBSITE
KODAK, FUJI, AGFA, COLOUR NEGATIVE FILMS 21
SUPERIA 100, 200, 400, 800 ISO
Kodak Negative Fuji Colour Negative State of the art colour negative film
for everyday use, featuring fine
PORTRA PROFESSIONAL FILMS NPS 160S grain, high sharpness and resolu-
The PORTRA range of films tight Daylight balanced 160 ISO colour tion, together with full colour satura-
ens up the rather sprawling diversity negative film, with more muted con tion. More contrasty and saturated
of professional colour negative films trast and saturation, suited to social than NPS or NPH. More contrasty than Reala.
that Kodak have hitherto offered. photography. However, is also use
23 304 Superia 100 135-36 WEBSITE
There are two speeds, 160 and 400 fully employed by those who, buck-
23 659 Superia 100 120 WEBSITE
ISO, with two levels of saturation in each speed, ing the trend towards exaggerated colour, prefer a
and utilising ‘Unified Emulsion Technology’ to more subdued and natural look. Employs ‘Fourth-
maintain the same characteristics throught the Layer Technology’ to more accurately mimic 23 646 Superia 400 120 WEBSITE
range. colour responses of the human eye. Accordingly, 20 995 Superia 800 135-36 WEBSITE
where other films typically make fluorescent light 1 198 Press 800 135-36 / 5 pack WEBSITE
26 911 PORTRA 160NC 135-36 / 5 pack WEBSITE
appear strongly green, NPS offers greater neu- 15 314 Press 800 135-36 / 20 pack WEBSITE
26 908 PORTRA 160NC 135-36 WEBSITE
26 923 PORTRA 160NC 120 / 5 pack WEBSITE
trality and therefore reproduces subjects in a
26 935 PORTRA 160NC 5x4 10sh WEBSITE
manner more akin to our perception of them.
26 974 PORTRA 160VC 135-36 / 5 pack WEBSITE 74

69
154
366
NPS
NPS
135-36
120
WEBSITE
WEBSITE
Agfa Colour Negative
26 962 PORTRA 160VC 135-36 WEBSITE
26 999 PORTRA 160VC 120 / 5 pack WEBSITE 70 011 NPS 120 / 5 pack WEBSITE
27 006 PORTRA 160VC 5x4 10 sh WEBSITE 12 803 NPS 220 / 5 pack WEBSITE AGFA PORTRAIT 160
51 459 NPS 5x4" 10sh WEBSITE Restrained colour saturation, gentle
27 021 PORTRA 400NC 135-36 / 5 pack WEBSITE 31 554 NPS 8x10" 10sh WEBSITE
27 019 PORTRA 400NC 135-36 WEBSITE
colours, and outstanding skin tone
27 033 PORTRA 400NC 120 / 5 pack WEBSITE
saturation.
28 083 PORTRA 400NC 5x4 10sh WEBSITE
NPL 160L
Tungsten balanced film equivalent
27 058 PORTRA 400VC 135-36 / 5 pack WEBSITE
to NPS, roll and sheet formats only. 73 167 Portrait 160 135-36 3.15 3.70
27 045 PORTRA 400VC 135-36 WEBSITE
45 803 Portrait 160 120 2.04 2.40
27 060 PORTRA 400VC 120 / 5 pack WEBSITE
17 265 Portrait 160 120 / 5 pack 10.00 11.75
27 959 PORTRA 400VC 220 / 5 pack WEBSITE
31 735 PORTRA 800 135-36 / 5 pack WEBSITE 44 001 NPL 120 WEBSITE
OPTIMA II 100 200 & 400
31 723 PORTRA 800 120 / 5 pack WEBSITE 13 NPL 120 / 5 pack WEBSITE High but natural colour saturation,
2 050 NPL 5x4" 10sh WEBSITE the choice for average subjects
PORTRA 100T 57 048 NPL 8x10" 10sh WEBSITE under normal contrast lighting.
Replacing VPL, this has improved General purpose, versatile film.
reciprocity characteristics, grain & NPC 160
sharpness, with good contrast and A new higher contrast professional
colour, and is tungsten balanced for colour negative film. 47 618 Optima 100 135-36 3.17 3.72
3200°K. Recommended exposure 51 788 Optima 100 120 2.35 2.76
range between 1/10,000 sec. and 10 seconds is 992 Optima 100 120 / 5 pack 10.00 11.75
8 002 Optima 100 5x4" 12.63 14.84
100 ISO, and between 10 secs and 120 seconds
37 629 Optima 200 135-36 3.35 3.94
is 50 ISO.
33 481 NPC 135-36 WEBSITE 3 617 Optima 200 120 2.13 2.50
30 567 PORTRA 100T 135-36 WEBSITE - NPC 120 WEBSITE 90 344 Optima 400 135-36 3.46 4.07
19 094 PORTRA 100T 120 / 5 Pack WEBSITE 33 494 NPC 120/5 Pack WEBSITE 10 211 Optima 400 120 2.20 2.59
32 274 PORTRA 100T 5x4 10 sh WEBSITE - NPC 5x4" 10sh WEBSITE
ULTRA 100
PORTRA ULTRA COLOR REALA New formulation of the original high
New high saturation and ultra fine Exceptionally sharp and fine grained saturation colour negative film, and
grain colour negative film which film of slightly lower contrast. with a higher 100 ISO speed - unfor
promises to open new horizons in Incorporates ‘Fourth-Layer tunately 120 format has not
film-based image capture, perform Technology’ (see NPS 160). Higher materialised yet. Claimed as the
ing akin to transparency film in satu- colour saturation than NPS, highest saturation material in the world! Special
ration and granularity. lower contrast than Superia 100. price to launch the new film.
--- PORTRA ULTRA COLOR 400 135-36 WEBSITE 51 886 Reala 135-36 / 5 pack WEBSITE --- Ultra 100 135-36 2.13 2.50
--- PORTRA ULTRA COLOR 400 120 WEBSITE 5 181 Reala 135-36 WEBSITE
34 992 Reala 120 x 5 WEBSITE
ROYAL 85 070 Reala 120 WEBSITE Konica Colour Neg
Successor to Kodak Ektar, offering Now the only 50 ISO colour nega -
exceptionally fine grain with high NPH 400 & NHG800
tive film in production. since Kodak
colour accuracy, 35mm formats only. Exhibits similar characteristics to and Agfa discontinued their prod-
NPS but with higher speeds. ucts. Very fine grain, and particularly
Excellent professional available light accurate in blue values.
--- ROYAL 100 135-36 WEBSITE materials that push exceptionally
--- ROYAL 200 135-36 WEBSITE well. 26 778 Konica Impressa 50 135-36 3.40 3.99
--- ROYAL 400 135-36 WEBSITE 13 438 Konica Impressa 50 120 2.39 2.81
87 164 NPH 400 135-36 WEBSITE
5 277 NPH 400 135-36 / 5 pack WEBSITE
SUPRA 100, 400 & 800 95 447 NPH 400 120 / 5 pack WEBSITE
C IA L
Matched set of daylight films aimed
at reportage use, and the 400 ISO
21 648 NHG11 800 120 / 5 pack WEBSITE
S P E ULTRA 100
films are unique among colour neg. SUPERIA 1600 LAUNCH
films in being pushable up to 2 Ultra high speed available-light
stops without curves crossing. material, an enhancement of the
Similarly, the 1600 ISO film can be pushed to ‘Super G’ material.
6400 ISO with minimal loss of quality.
16 450 PJ100 135-36 / 5 Pack WEBSITE
4 408 PJ400 135-36 / 5 Pack WEBSITE 30 029 GRF1600 SG135-24 WEBSITE
989 PJ800 135-36 / 5 Pack WEBSITE 52 712 GRF1600 SG135-36 WEBSITE
£2.50 / roll inc. VAT
INSTANT PRINT MATERIALS 22
Polaroid Colour Print Instant Film
All these types are suitable for image transfer Polaroid SX70
techniques, offering a way of producing unique
colour prints on a paper base of your choice, This is the original encapsulated instant print
while doing your bit to rescue Polaroid by con- material that was launched in 1973, incorporating
suming vast quantities of film packs. 10 prints and integral battery.
15 046 SX70 Single 11.49 13.50
Type 669 54 164 SX70 Twinpack 18.71 21.98
Cartridges of 10 exposures, for
medium format cameras fitted Polaroid 600+
with adaptor backs, available in Encapsulated instant print
the usual glossy, and also in material evolved from the original
Silk. Supplied as twinpacks. Type slower SX70 material.
Polaroid Black & White 669 is more stable to variations in
processing temperature than the
newer Pro films. Particularly good
POLAPAN PRO 100
for image transfer.
Clean neutral black and white,
33 148 Type 669 Twinpack 20 sh 23.10 27.14
normal contrast, no coating
required. Packs of 10 exposures 70 327 600+ Single 9.36 11.00
for medium format cameras with Polacolor 679 70 315 600+ Twinpack 18.71 21.98
adaptor backs, 3.25x4.25" paper Cartridges of 10 exposures for

size -supplied as twinpacks (2x10 medium format, supplied only in Polaroid Image Film
shots). twinpacks. Higher colour satura More recent amateur material
tion and contrast than 669, this is based on the original ‘SX’
now the preferred film. technology, yielding rectangular
33 163 Polapan Pro 100 Med Format Twinpack 18.70 21.97 prints.
19 943 Polapan Pro 100 5x4 20sh 34.10 40.07
POLAPAN PRO 400 89 368 Image Film Single 9.78 11.49

17 570 Polacolor 679 Twinpack 20 sh 22.00 25.85
942 Image Film Twinpack 19.56 22.98
ISO 400. Black and white. Single-sheets for 5x4"
Polaroid backs: requires coating. Polacolor 100
20 310 Polapan Pro 400 Type 672 20.35 23.91 Single packets of 5x4" format for Fuji Instant Materials
42 554 Polapan Pro 400 5x4" 20sh 34.10 40.07 exposure in the Polaroid 545
holder. Bright, saturated colour. Fuji FP100B
Types 665 & 55
Very high quality instant black
Type 665 and 55 incorporate re-usable negatives and white material, officially rated
that, if properly processed, will print well in an at 100 IS0 but some users regard
enlarger using normal black and white paper. its true speed to be closer to 160
771 Polacolor 100 5x4" 20 sh 57.20 67.21 ISO Our own tests suggest that
Both films are approximately 50 ISO but will yield
better negatives if the Polaroid print is slightly although the official speed rating
light. The negatives, when stripped from the posi- Polacolor 59 is correct the higher contrast and
tive prints after processing, need a bath of 18% The older Polaroid 5x4” material, much deeper blacks take a while
sodium sulphite to remove excess processing preferred by some for its more to get used to when assessing exposure.
slime. A short subsequent bath of plain Hypo muted colour pallette.It is also 3 203 FP 100B 3.25x4.35 10sh 8.96 10.53
(sodium thiosulphate) is also useful. (To make the more suitable for Polaroid transfer
sodium sulphite bath, get a 500g pack of sodium printing. Fujichrome FP-100C
sulphite from us, dissolve in 2.5 litres of water.
This gives a concentration slightly more than An instant 100 ISO colour print
18%, but it’s close enough since the process is material in the same pack
not critical.) 62 032 Polacolor Type 59 5x4 20 sh 57.20 67.21 dimensions as the medium format
Polaroid materials. The pack con-
TYPE 665 Polacolor 64T tains 10 shots, and the material
Single packs containing 8 features high colour saturation
exposures, for medium format Tungsten-balanced equivalent of the 669/679
material, in medium and 5x4” formats. and fidelity. Polaroid patents
cameras when fitted with adaptor mean that it can only be sold for
backs. 33 151 Polacolor 64T Twinpack 23.10 27.14 the pack film holders rather than as individual
33 207 Polacolor 64T 5x4 20 sh 57.20 67.21 sheets. Can be used for “Polaroid Transfer” work,
but is very sensitive to light at the processing
Type 88 stage, requiring this to be done in virtual dark-
The same emulsion type as 669 ness.
but for use in the Polaroid 80 58 632 FP 100C 3.25x4.25 10sh 10.63 12.49
85 763 Type 665 medium format 8sh 11.88 13.96
back, giving square prints. 58 644 FP 100C 5x4 10sh 25.70 30.20
TYPE 55
packs contain single sheets for Fuji Instax
5x4" Polaroid backs (545 holder).
Fuji’s answer to SX70, an encap-
40 253 Type 88 Medium Format 10sh 9.30 10.93 sulated system delivering instant
pictures 6.2 x 9.9cm, with no
peeling. The ‘Instax Mini’ is also
available, delivering credit card
size prints.
93 295 Type 55 medium format 5x4" 37.62 44.20
28 142 Instax Twinpack, 20 sh 14.45 16.98

28 434 Instax Mini, 10 sh 5.94 6.98
- Instax Mini Twinpack, 20sh 11.88 13.96
PRINT DEVELOPERS / LITH DEVELOPERS 23
Agfa Neutol Print Developers Ilford Multigrade Developer Tetenal Dokulith
There are now 2 types, WA(rm), Designed specifically for VC emul- Not a genuine Lith. developer but designed to
NE(utral), which can be used to sions, and should help to achieve give the highest possible contrast and the cold-
control print image colour. The first the highest contrast from these. est blueblacks in a conventional style paper
choice has to be the paper type Supplied as liquid concentrate, developer. Also for processing line film to high
however, and this decides the gen- diluting 1+9. contrast.
eral appearance of the print. The
30 861 Dokulith 1l. 6.15 7.23
developer selected is then fine tun-
ing this. Neutol WA is particularly 186 Multigrade Developer 1l. 5.63 6.62
suitable for the warmest image
Tetenal Eukoton
▼23382 Multigrade Developer 5l. 11.73 13.78
colour on chloro-bromides such as Forte Instant developer for R.C. materials. Full devel-
Museum or Forte Polywarm-tone VC. Liquids K odak Dektol liquid opment in three seconds!
dilute between 1+7 and 1+15, powder packings
Neutral to cold working paper 55 305 Eukoton 1l. 3.25 3.82
between 1+1 and 1+3. The cold-working devel-
developer, recommended by Kodak
oper previously in the range, ‘Neutol BL’ was dis-
for virtually everything. Liquid is the Forte Print Developers
continued some time ago, and substitutes are
best value, diluting 1+9. Powder
Tetenal Eukobrom and Dokumol, or possibly look Designed as a matched set of print
packings dilute 1+2. Kodak
at the Forte developers. developers for control of image
Polymax is a re-named Dektol in a
‘Neutol Plus’ is a new general purpose developer colour, these occupy the same
small packaging.
in the range, which uses iso-ascorbic acid rather territory as the Agfa Neutol set
than hydroquinone as a developing agent. The before ‘Neutol BL’ was discontinued. Supplied as
brown colour of it is normal, not a sign of oxida- 1 litre liquids diluting 1+9, they are simply called
▼35697 Dektol 5l. liquid 12.50 14.69
tion. Image colour is neutral/cold. Fortespeed Cold, Neutral & Warm-tone paper
81 086 Polymax (Dektol) 500ml liquid 3.82 4.49
developers.
58 121 Neutol NE Liquid 1.25l. conc. 4.95 5.82
▼66 151 Neutol NE Liquid 5l. conc 17.12 20.12 K odak Dektol pow der 30 873 Forte Warm-tone Paper Developer 1l. 4.83 5.68
69 062 Neutol WA Liquid 1.25l. conc. 4.95 5.82 30 920 Forte Neutral-tone Paper Developer 1l. 4.83 5.68
USA manufactured powder print
▼33 261 Neutol WA Liquid 5l. conc 17.12 20.12 30 932 Forte Cold-tone Paper Developer 1l. 4.83 5.68
71 255 Neutol NE Powder 5l. 7.11 8.35
developer, the original formula as
6 640 Neutol WA Powder 5l. 7.11 8.35
used by Ansel Adams! Makes 3.8
litres of stock, which is then used Lith Developers
Agfa Adaptol at 1+2 dilution.
Designed to give very high contrast, with total
A soft-working print developer, elimination of half tones when used with lith films
which used on its own works about 36 243 Kodak Dektol 3.8l. stock 14.25 16.74 and papers. They will also produce warm
a grade softer than a standard print coloured half tones with some materials if the
developer. It can be used either on dev. process is slowed down with extra dilution
Tetenal Centrabro m S
its own, in a two-bath system, or or the addition of potassium bromide or sodium
even mixed with a standard devel Soft-working print developer in convenient liquid
sulphite. Lith. developers are normally supplied
oper to produce intermediate levels form, diluting 1+9 for use with fibre-based
as A and B solutions which keep well until
of contrast. Image colour with chloro-bromide papers. Higher concentration is recommended
mixed, but have a life of only a few hours as
papers is warm. Supplied as powder to make 5 for RC paper, presumably to ‘swamp’ the effect
working solution. We stock Kodalith, and
litres working solution. It is not normally diluted of any incorporated developing agents in the
Champion Novolith products. The ‘Speedilitho’
further. paper. Not quite as warm as Adaptol.
product by Speedibrews is a one shot prepara-
Now discontinued, existing stock only, but we 40 595 Centrabrom 250ml 2.85 3.35 tion suitable for films.
should have enough to last the next year or two. 74 736 Centrabrom 1l. 6.60 7.76
▼24 704 Centrabrom 5l. 24.75 29.08
98 140 Adaptol 5l. 7.11 8.35
Speedibrews Lithoprint
Agfa Multicontrast Developer Tetenal Variospeed W Formulated specifically for continu
Agfa equivalent of the Ilford Multigrade develop- Developer designed for R.C. materials to give ous tone colour effects with papers,
er. Machine dilution 1 + 4, dish 1 +6. rapid build-up of the image. The ‘W’ type is this is supplied as packs of powder
designed as a warm tone developer, performing concentrate to make 1l. stock solu
58 963 Multicontrast Developer 1l. 5.94 6.98 tion. This is diluted to approximate-
similarly to Agfa Neutol WA.
▼71 022 Multicontrast Developer 5l. 9.93 11.67 ly 1+9 for use.
23 803 Variospeed W 100ml 1.60 1.88
Ilford PQ Universal 23 816 Variospeed W 250ml 2.50 2.94 21 262 Speedibrews Lithoprint 6.22 7.31
23 828 Variospeed W 1l. 6.20 7.29
Neutral tone universal print developer supplied
▼23 830 Variospeed W 5l. 23.55 27.67 Champion Novolith
as liquid, good consistency through working life.
Dilution is 1+9 from the stock solution. Popular professional lith dev., in 5 litre packing.
Tetenal Eukobro m
25 295 PQ Universal 1l. 5.33 6.26 ▼21 039 Novolith 2 x 5l liquid to make 40l. 48.07 56.48
Cold-working liquid print developer,
▼61 352 PQ Universal 5l. 11.18 13.14
giving cold tones on bromide
paper, and relatively neutral tones Fotospeed Lith Developer
Ilford Bro m o p h e n on chloro-bromide papers. Yields Smallest pack of liquid lith
A powdered equivalent of PQ an especially pleasing blue-black developer generally available.
Universal, with high capacity and colour with Forte Polygrade. Supplied as liquid
consistency. Dilution for normal concentrate diluting 1+9, and also in powder.
work is 1 + 3 from the stock solu 7 385 Fotospeed Lith Developer 11.55 13.57
68 893 Eukobrom 100ml 1.60 1.88
tion. Ilfords recommended develop
8 149 Eukobrom 250ml 2.50 2.94
er for their new Multigrade Warmtone FB. Forte Lith Developer
11 403 Eukobrom 1l. 6.20 7.29
60 409 Bromophen 1l. powder 2.76 3.24 ▼25 669 Eukobrom 5l. 23.55 27.67
73 155 Bromophen 5l. powder 5.55 6.52 8 734 Eukobrom powder to make 5l 5.15 6.05 NEW
Ilfospeed Developer Tetenal Dokumol
Formulated to give extra fast image build-up with More contrasty and colder developer still than
resin coated papers. Not well suited to other pur- Eukobrom.
poses. Supplied as liquid conc. diluting 1+9. 92 453 Dokumol 100ml 1.85 2.17 A new professional pack of lith developer, with
83 325 Ilfospeed Developer 1l. 5.63 6.62 57 394 Dokumol 1l. 6.60 7.76 similar characteristics to Kodalith developer.
▼96 627 Ilfospeed Developer 5l. 11.73 13.78 ▼12 304 Dokumol 5l. 24.65 28.96
--- Forte Lith Developer 2 x 1 litre stock 15.00 17.63
STOPBATHS, ANCILLARY TREATMENTS 24
Stopbaths Hardeners Ancillary Products
Most commercially available stop If in doubt, don’t. Hardening, whether applying to Drysonal
baths are based on acetic acid, film or paper is a solution which has a tanning
some with an indicator added, to effect on gelatin, limiting the subsequent uptake If you really need to dry a film in a minute or two
show the point at which the pH of water and making the material less liable to this is the answer. Virtually pure ethyl alcohol
becomes too high for the bath to mechanical damage. This can be necessary (not as good as it sounds, it’s denatured to pre-
do its job. Indicating agents are when for example, heat drying glossy FB prints, vent drinking) in which the film is bathed, after
expensive, adding to the cost of or processing film in tropical conditions.It is not which it dries rapidly in warm air. Inflammable
the product, and if you are produc- usually necessary in room temperature opera- 59 085 Tetenal Drysonal 6.15 7.23
ing a lot of work it may be worth tions in the UK, and will make fixing significantly
getting in plain acetic acid in bulk, less efficient. Protectan
and a pack of pH papers. A few
people suffer respiratory problems due to dark- Ilford Hypam Hardener Unique Tetenal product, an inert gas supplied in
room work, traceable to the stopbath. If this is an aerosol, which when dispensed into an
Convenient packages of concentrated hardening opened bottle of solution displaces air, prevent-
the case, another weak organic acid which will agent, for addition to fixer, supplied with good
work equally well, and has no vapour problem is ing oxidation.
instructions. Hardeners are not for use in all situ-
citric acid. Tetenal supply several packings of ations, but may be found essential if hot-drying 53 177 Protectan Spray 400ml 5.70 6.70
odourless stop-bath. fibre-base prints, and where excessive emulsion
swelling is to be avoided, eg in use of liquid Glanzol
K odak Max-Stop emulsion. The last of the glazing solutions - a Tetenal prod-
1 litre packing of 22% acetic acid, incorporating uct designed for treating glossy fibre base
38 887 Ilford Hypam Hardener 1l. 4.23 4.97
indicator, and giving a 1+15 working strength. papers that are to be given a high glaze on a
26 643 Kodak Max-Stop 1l. 3.24 3.81 Agfa Aditan flat-bed or rotary glazer. The solution encour-
Agfa’s fixer hardening agent, recommended for ages clean separation and prevents pits on the
Ilford Ilfostop addition to Agefix. Non-existent instructions, use surface.
Available as 500 ml and 5 litre packs, and incor- between 1+40 and 1+80. Supplied as a 1 litre 123 Glanzol 1l. 12.35 14.51
porates an indicator. Dilution of 1+39 for use. concentrate.
63 859 Agfa Aditan 1l. 4.70 5.52
Antistatic Spray
20 578 Ilfostop Stopbath 500m 2.86 3.36
▼71 340 Ilfostop Stopbath 5l. 19.05 22.38 Aerosol product produced by Tetenal, can be
Other Hardeners Stocke d used for removal and prevention of static elec-
Tetenal Indicet tricity on metal, glass and plastics on film and
Kodak Professional Repro Fixer Part B 5.29 6.22 machinery.
This is excellent value if you need an indicator
24 051 Fotospeed RH100 Hardener 500ml 2.85 3.34
stopbath. A 1 litre pack of approximately 70% Tetenal Hardening Solution 1l. 4.35 5.11
19 578 Tetenal Antistatic Spray 400ml 4.95 5.82
acetic acid, incorporating indicator, used at 1+39.
Anti Newton Spray
24 379 Indicit Stopbath 100ml 2.80 3.29
24 367 Indicet Stopbath 1l. 6.75 7.93
Cleaners For eliminating Newtons rings when using film in
glass enlarger carriers, on scanner plates, etc. In
Acetic Acid Speedibrews Speedicleaner a 200ml aerosol can, The film is sprayed at a
distance of about a foot, dried for a minute, and
The most economical route but with no indicator Speedicleaner Kit contains 2 packs
can then be immediately used.
care should be taken to ensure that the bath of solids each of which makes a
does not become exhausted.’Glacial’ acetic acid 500ml stock solution to be com 46 782 Tetenal Anti-Newton Spray 4.50 5.29
is sometimes specified in formulae, this being bined and diluted 1+4 when need
the highest concentration; this freezes solid at ed. This working solution can be Film Cleaner Aerosol
16° C, however, so more dilute forms are gener- used in two ways: either to clean
Tetenal product, 400ml aerosol, sprayed from a
ally supplied. silver and silver stains from photographic equip-
distance of about 12”, followed by rubbing the
ment, or to remove unwanted silver and stains
▼867350 Agfa - 60% Acetic Acid, 5l. 8.79 10.33 film with a suitable cleaning cloth, recommended
from prints very much like a ‘Farmers’ solution.
59 475 Champion 80% Acetic Acid 1l. 3.47 4.08 being Tetenal cleaning cloth no. 101313.
Speedicleaner will also bleach many colour dyes
29 323 Tetenal 60% Acetic Acid 1l. 4.00 4.70
in colour slides. Experimental effects can be 27 129 Tetenal Film Cleaner Aerosol 400ml 4.95 5.82
obtained on otherwise reject slides. May work as
Citric Acid a total bleach for underexposed trannies. Film Cleaner Spray
This mild acid is completely odourless in solution
21 707 Speedicleaner Kit 500ml 1.39 1.63 Hand primed film cleaner spray, otherwise same
and can be used as a substitute for proprietary
specification as the aerosol, applied to the film
acetic acid stopbaths if the odour is irritating. Agfa Algezid II with a cleaning cloth (Tetenal product no.
Use at a rate of approximately 20g per litre of
According to Agfa, the most effective algae killer 101313 is recommended). 500ml container,
water.
known.Supplied as a 1 litre liquid diluting at the requiring a nozzle which is purchased as a sepa-
97 971 Citric Acid 500g 6.06 7.12 rate of 2ml per 10 litres water. rate item, Tetenel product 2245.
82 059 Algezid 5l 25.30 29.73 90 175 Tetenal Film Cleaner Spray 500ml 4.60 5.41
Tetenal Odourless Stopbath 40 680 Tetenal Spray Nozzle 2.05 2.41
A prepared package of odourless stop, available Ilfo clean

in 250ml and 5 litres. Colourlab Cleaner
Developer tank & equipment clean-
er, supplied as two separate Alkaline cleaner for removing developer stains,
73 749 Tetenal Odourless Stopbath 250ml. 2.40 2.82
solutions. The first part, Ilfoclean1 tar or similar deposits. Requires Tetenal spray
17 363 Tetenal Odourless Stopbath 1litre 7.95 9.34
▼14 184 Tetenal Odourless Stopbath 5l. 29.80 35.02 removes the deposit, and the nozzle, product no 2245.
second part, Ilfoclean 2 neutralises --- Tetenal Colourlab Cleaner 5.15 6.05
Other Stopbaths Stocke d and deactivates any remaining cleaner, and pre- 40 680 Tetenal Spray Nozzle 2.05 2.41
vents the fogging of processed film.
24 075 Fotospeed SB40 Indicator Stop 250ml 2.30 2.71 27 411 Ilfoclean 2 x 1 concentrate. 8.71 10.23
24 087 Fotospeed SB40 Indicator Stop 500ml 2.85 3.34
24 090 Fotospeed SB40 Indicator Stop 1 l.\ 5.33 6.26
Tetenal Processor Cleaner
24 107 Fotospeed SB50 Indicator Stop 1l. 5.79 6.80 Designed for removal of calcium residues build-
▼24 110 Fotospeed SB50 Indicator Stop 5l. 18.95 22.27 ing up in processing machines. A 1kg pack mak-
ing 38 litres working solution.
15 629 Tetenal Photo Tank Cleaner 11.55 13.57
FIXERS, HYPO CLEARING 25
Basically, thereb are just two types. Anything K odak MAX-FIX Fixer & Replenisher Tetenal Fixing Salt
that comes supplied as a liquid is almost certain-
ly going to be a fast-acting ammonium thiosul- Laboratory non-hardening fixer packing, with a A package of powder acidified sodium thiosul-
phate fixer, which will completely fix most materi- supplementary very rigorous hardener (Part B). phate fixer, without hardeners.
als in about two minutes. This is suitable for ▼18 996 Max-Fix Fixer & Replenisher 5l. 19.84 23.31 673 Tetenal Fixing Salt 3.15 3.70
practically all film and paper materials, as long --- Kodak Pro. Fixer Part B 1.12l. 5.83 6.85
as care is taken that the recommended fixing Sodium Thiosulphate (Hypo)
time is not exceeded, as rapid fixers will dissolve T-Max Fixer The raw fixing salt, recommended for various
metallic silver given time, bleaching the image. processes, particularly as the final bath in a 2-
Some applications where this type of fixer is not Concentrated & high capacity rapid fixer, primari-
ly recommended for fixing T-Max film, as it is for- bath fixing system prior to toning. The chemical
suitable are papers with very finely divided silver we normally stock is the more pure anhydrous
grains. This includes Printing-Out Paper, and mulated to remove the high concentration of
magenta dye in T-Max emulsions. form, which carries dissolves giving a solution of
even perhaps papers such as Polywarmtone, approximately double the strength of the crys-
when they are being processed to give the 4 349 T-Max Fixer 200ml (to make 2 x 1l.) 6.09 7.16 tals. A recipe may require conversion of the
warmest possible image. Papers when ‘lithed’ 1 770 T-Max Fixer 1l. (to make 5l.) 9.36 11.00 required weight, as many formulae specify crys-
such as Oriental Seagull may also be bleached talline.
by rapid fixer, taking out some of the colour. In K odak Unifix liquid About 5% by weight of sodium or potassium
these cases you use an original sodium thiosul- metabisulphite should be added if making sodi-
5 litre concentrate of acid-harden -
phate based fixers, which are usually supplied um thiosulphate up as a standard fixer, which
ing rapid fixer, recommended for
as powders. The two here are Ilfofix 11, and stabilises it and adds acidity.
film and paper. Dilution 1+4 for
Tetenal Fixing Salt. Plain hypo (sodium thiosul-
film, 1+9 for paper. Tough bottle 32 299 Sodium Thiosulphate 500g. 3.02 3.55
phate) can also be used, but for normal work
with well formed handle, suitable
should have some sodium metabisulphite added.
for re-use, if that makes any differ- Ilford Paper Fixer
The next complication is hardening, an additive ence.
Rapid ammonium thiosulphate fixer concentrate
being placed in the fixer to achieve this.
for use with papers, dilution 1 + 9.
Hardening of an emulsion to reduce its take-up
of water is sometimes beneficial if it is going to ▼89 509 Kodak Unifix 5l. Liquid 18.35 21.56 5 850 Ilford Paper Fixer 1l. 5.32 6.25
be subject to stress, such as running paper ▼32054 Ilford Paper Fixer 5l. 16.00 18.80
round a heated dryer. On the whole hardening is Agfa FX Universal
better avoided, as washing will be more efficient. Designed as a neutral pH ammonium thiosul- Ilford 2000 Fixer
Most rapid fixers do not include hardener, but it phate fixer for film fixing, this can also be used Designed for replenished machine processing.
is supplied as a separate additive, to be included as a neutral fixer in paper applications, eg where
if desired. Kodak include hardening agent as a neutral fixer is required prior to toning. Slightly
▼7 469 Ilford 2000 Fixer 5l. 15.55 18.27
standard in all packings of Unifix. lower concentration, this should be used at 1 + 7
with paper, to equate to 1 + 9 with Agefix or Other Fixers Stocke d
Agfa Agefix Hypam. Supplied as liquid.
Rapid non-hardening ammonium ▼73 764 FX Universal 5l. 6.87 8.07
based fixer, an alternative to the
Ilford product and of about the Champion BW Fixer
same strength. If you need a 1 litre Liquid concentrate, particularly good value in the
pack this is good value as you’re 20 litre size (definitely not for mail order).
paying less for packaging (as long
as you don’t need much in the way ▼2 062 BW Fixer 5l. 13.44 15.79 29 859 Acufix 300ml 2.97 3.49
of instructions). Supplied as liquid, ▼7 081 BW Fixer 20l. 46.77 54.95 32 443 Acufix 600ml 4.25 4.99
55 112 Acufix1200ml 7.23 8.49
diluting 1+9 for paper.
Ilford Ilfofix 2
90 993 Agfa Agefix 1l. 4.67 5.49 23 989 Fotospeed FX20 Rapid 250ml 2.29 2.69
▼74 419 Agfa Agefix 5l. 16.11 18.93 Acid non hardening sodium thiosul 24 012 Fotospeed FX20 Rapid 500ml 3.38 3.97
phate (slow) fixer, recommended 24 024 Fotospeed FX20 Rapid 1l. 4.97 5.84
Agfa Multicontrast Fixer for film, but can be used with paper
at a suggested 1+1 dilution from 24 036 Fotospeed FX30 Odourless 1l 5.49 6.45
Rapid ammonium based fixer formulated for normal strength. Supplied as pow- 24 048 Fotospeed FX30 Odourless 5l. 18.45 21.68
both Dish and Machine processing of black and der to make 1 or 2.5 litres.
white paper. Has special buffering to cope with
high levels of developer carry-over. Can also be 35 414 Ilfofix 2 1l. 2.50 2.94
used for film processing. 13 414 Ilfofix 2 5l. 5.04 5.92 Hypo Clearing
▼1 586 Agfa Multicontrast Fixer 5l. 13.05 15.33 Tetenal Superfix A cheap, quick and effective treat
An economical liquid rapid fixer in concentrate ment, this is to be recommended
Ilford Hypam when producing high quality per
form, dilutions ! + 4..
Ilfords’ standard rapid fixer, does manent prints on fibre-base paper.
not include hardener, which can be 135 Superfix 250ml 2.25 2.64 Assists in washing out fixer and its
added as Ilford Rapid Hardener. 95 738 Superfix 1l 5.40 6.35 products by ion exchange, and can
▼67 478 Superfix 5l 15.25 17.92
Dilution for paper 1+ 9, for film achieve a lower thiosulphate level
64 Superfix Odourless 1l 5.70 6.70
1+4. The 1 litre size has been re- than washing on its own can man
▼26 715 Superfix Odourless 5l. 18.60 21.86
named ‘Ilford Rapid Fixer’, which is age. It also considerably improves
rather too easy to confuse with the washing efficiency when using cold
hardener, now termed ‘Hypam Hardener’.
K odak Sodium Fixer Pow der water. Applied as a bath after fixing and before
USA manufactured sodium thiosul- washing. A pre-rinse prior to hypo clearing will
20 860 Ilford Hypam 1l. 5.92 6.96
phate fixer, supplied in powder extend the life of the bath.
▼7 664 Ilford Hypam 5l. 16.66 19.58
form, diluted 1+1 for use with both The Kodak powder packing has always been the
films and papers. This replaces the best value, making 3.8 litres of stock, diluting
K odak Polymax Fixer previous French made sodium fixer 1+4. Liquid concentrates are more expensive but
Small packing of rapid, hardening, which was supplied in cans, and convenient.
ammonium thiosulphate fixer, contained hardener. A suitable fixer
55 285 Ilford Galerie Washaid 1l. 4.89 5.76
recommended by Kodak for films & for processes where a rapid fixer may bleach the
86 055 Kodak Hypo Clearing Agent 19l. 3.91 4.59
papers. Dilution 1+9 for paper, 1+4 image, such as lith printing or making salt prints
95 033 Tetenal Lavaquick 1l. 6.70 7.87
for film. and Van Dyke prints. 24 134 Fotospeed Washaid 1l. 4.17 4.90
72 907 Kodak Sodium Fixer 3.8l. 12.52 14.71
2 315 Polymax Fixer 500ml 5.48 6.44

WETTING AGENTS, POST TREATMENT, CLEANING / TONING 26
R25 Silver Eradicator
W etting A gents This product is based on a formula which Kodak
Toning - Introduction
Detergent agents necessary to ensure even dis- no longer supply themselves. Designed to Chemical toning of photographic images is virtu-
persal of water over the materials surface prior remove black marks from graphic films and ally as old as the process itself, and used initially
to drying, to prevent scum stains and physical papers, it is an extremely strong silver bleach, to permanise the image - however the aesthetic
distortion. There are some alternatives: which may be useful in normal work when the improvement often achieved is the main reason
slight residual image left by Farmers Reducer is for using most toners now. Effects achieved
K odak PhotoFlo not desired. range enormously, from the subtle purity of the
Widely available and used in most 56 343 Speedibrews R25 Silver Reducer 6.80 7.99
gently selenium toned fine print, to the garish
professional darkrooms, this is effects that can be produced with chromogenic
extremely concentrated (1+600). Speedibrews Liquid Lightening toners. Some toners enhance stability, others
No longer available in larger packs, may compromise it, but always with the final
so pricey if quantities are needed. A small package of liquid iodine reducer, useful (well crafted, hopefully) print further chemical
where complete reduction down to base density processes will be used on the traditional silver
is required, as in tidying up any black marks on composition to produce a unique piece of photo-
a print margin, etc. graphic art. And this will probably have more
1 244 Liquid Lightening 2.50 2.94 intrinsic value than a result achieved by blindly
playing with the palletes in Photoshop!
56 720 Kodak Photoflo 50ml 7.17 8.42
Although not yet published at the
90 662 Kodak Photoflo 500ml 9.86 11.59 Intensification time of going to press, the new
book on toning from Tim Rudman
Ilford Ilfotol Usually the last act of desperation with underex- will be published by the end of
Good instructions, good value in posed and/or underdeveloped film. Bear in mind 2002, and this promises to be the
the small packings. that it is not really possible to bring out detail definitive book on the subject, hav-
that isn’t there in the first place - all you can do ing taken him years of preparation. In print at
is make what is there more printable, and bring it present, ‘Silver Gelatin’ contains much toning
within range of a hard printing paper. It is best to information, as well as examples.
check whether it is possible to print on the
hardest paper, before resorting to chemical treat-
ment. Staining and matting are a possible side- Selenium Toners
effect of the treatment, and it is essential that the
18 004 Ilfotol 250ml 2.03 2.39 material has been scrupulously washed, and that K odak Rapid Selenium Toner
73 018 Ilfotol 1l. 6.73 7.91 all dishes, mixers etc. are very clean.
Probably the most useful of all
types of toner, and has a variety of
Agfa Agep o n Chromium intensifier
effects, depending on paper type
Concentrated wetting agent (1+200 Intensification method for silver and dilution. The image will be
dilution) supplied as 1 litre pack monochrome film, based on potas intensified, extending the tonal
ings. sium dichromate. The film is range, while also being protected
bleached, and then redeveloped in against atmospheric oxidation.
print developer to produce a more Changes in image colour depend
printable negative. Supplied as on the type of paper being used,
powders to make 250ml. chloro-bromide papers being affect
43 609 Speedibrews Chromium Intensifier 2.08 2.44
ed the most, bromide papers the least. With
56 480 Agfa Agepon Wetting Agent 1l. 6.48 7.61 chloro-bromide papers the shift is towards a
Speedintense heavy purple-brown. Other papers with a lower
Mirasol 2000 Anti-Static chloride content, such as Bromofort, will tend to
Somewhat greater increase in give a more pure purple colour as well as
Contains an anti-static agent, and has enhanced
printing density than achievable exhibiting an intensifying effect. ‘Split-toning’ is
anti-bacterial activity. Treatment using this agent
with Chromium Intensifier. This possible with chloro-bromide papers - the deep-
will reduce static attraction of dust to the film and
works by converting the image sil est shadows alter in colour while higher tones
protect against fungal and bacterial action.
ver into a red-coloured compound are unchanged. Currently Forte Museum is the
20 723 Mirasol 2000 Anti-Static 250 ml 2.95 3.47 which prints with greater density to best for this technique. Resin-coated papers will
90 298 Mirasol 2000 Antistatic 1l. 7.40 8.70 a blue-sensitive paper. The intensified negative show little visible change, but the treatment is
may not be completely permanent, and may still recommended for maximum permanence.
need later treatment. Selenium toner is a single bath which does not
Other Wetting Agents Stocke d
13 257 Speedintense 500ml 1.96 2.30 use bleaching. There is some risk of staining if
24 122 Fotospeed Super Rinse Aid 3.12 3.67 prints are not thoroughly washed, Hypo-Clearing
Selenium Toner Agent is therefore recommended. Dilution is
Not marketed specifically as an intensifier, but between 1+3 and 1+20 depending upon paper
R educers will have an intensifying effect on negatives, just type and effect required. Selenium toner is toxic,
as it does on prints. This is not a dramatic so good ventilation and gloves are mandatory.
Speedibrews Farm e rs Reducer increase, and is more likely to be of the order of 93 256 Kodak Selenium Toner (987ml) 18.74 22.02
1/2 grade increase. Grain may be made slightly
Supplied as a pack to make 4 batches of 50ml, finer. See ‘Selenium Toning’, next column.
suitable for applications involving bleaching a Fotospeed Selenium Toner
small amount of material, such as a few frames Other Intensifiers Stocke d A single solution toner, and has generally similar
of film. properties to the Kodak product, but being slow-
er is regarded as more controllable in some
61 450 Farmers Reducer 4 x 50ml 1.70 2.00 24 159 Fotospeed CI10 Chrom. Intensifier 3.46 4.07
applications. Dilution range 1+3 to 1+12.
Tetenal Farm e rs Reducer 83 072 Fotospeed Selenium Toner 250ml 6.75 7.93
Supplied as pack of 12 sachets, each of which 84 446 Fotospeed Selenium Toner 500ml 9.60 11.28
dissolve to make 500ml working solution. 1 048 Fotospeed Selenium Toner 1 litre 14.22 16.71
44 298 Tet Farmers Reducer (sachets) 10.35 12.16 M AC O Selenium Toner

ALTERNATIVE PRODUCT STOCKED
Similar in action to the Kodak product, and made
24 146 Fotospeed FR10 Farmers 4 x 250ml 3.10 3.65 to a high purity using analytical grade selenium
salts.
--- MACO Selenium Toner 1l. 12.43 14.61
TONERS 27
Copper Toners Blue Toners S epia Toners
Controllable, changing initially from a warm Commercially made blue toners fall into two Two distinct types, those based on thiourea (old
colour quite close to selenium, through to a basic types; those based on ammonium ferric name is thiocarbamide), which are odourless,
heavier copper/reddish colour, which can take up citrate, and those that use a mix of other iron and those based on sodium sulphide which have
to 20 minutes. Permanence is not to be regard- salts to achieve the same effect. In all cases the the ‘bad-egg’ smell. Most commercial toners are
ed as archival in the same sense as selenium same Prussian blue dye compound is formed, odourless, except Tetenal Sulphide toner.
toned fine prints, but will be probably much bet- although you may prefer the action of one make Bleaching is used prior to toning. Sulphide ton-
ter than the average inkjet print. over another after testing different types. If a ing can give richer tones, but thiourea toners are
particularly subtle blue is required, possibly look more controllable in image colour, and some are
Speedibrews Copper Toner at gold toning (without initial sepia). Otherwise, if supplied with additives for this purpose. All
Supplied as powders to mix to a you are mixing blue toner from recipe, the sub- improve permanence.
single working solution. Consistent stitution of a mild acid (such as tartaric acid) for
capacity is the equivalent of about hydrochloric acid may have the desired effect. Speedisepia
5 low-key 8x10" prints per litre. Thiourea toner supplied as powders to make
taken to finality. Capacity is many Speedibrews Blue Toner equal quantities of bleach and toner. Each litre of
more for ‘warm’ effect. A powder packing. Particular care should be fresh toner will process the equivalent of about 5
taken to follow the directions with this toner. 8x10’’ prints with absolute consistency, and up to
40 116 Speedibrews Copper Toner 1l. 2.34 2.75
People have had problems that are usually 25 prints if colour variations are acceptable, and
13 770 Speedibrews Copper Toner 5l 7.23 8.50
traceable to sloppy processing. Supplied as timing allowance is made.
powder to make 1 and 5 litres working solution.
Fotospeed Copper Toner 1 952 Speedisepia 1l. 2.34 2.75
29 291 Speedibrews Blue Toner 1l. 2.34 2.75 43 818 Speedisepia 5l. 7.23 8.50
Supplied as liquid to make a single working solu-
97 127 Speedibrews Blue Toner 5l. 7.23 8.50
tion.
Speedibrews Yellow Toner
81 476 Fotospeed Copper Toner 150ml 8.00 9.39 Speedibrews Porcelain Blue Thiourea based toner tuned to produce maxi-
60 061 Fotospeed Copper Toner 500ml 15.11 17.75
New formulation, a 2-part blue toner yielding a mum warmth of colour, which will be yellowish
restrained pastel blue. This is a new type of with most papers. Supplied as powder to make
Tetenal Copper Toner
toner and adds a new hue to the monochrome equal quantities of bleach and toner. Each litre of
Relatively new product, supplied as powders workers armoury. The separate bleach stage fresh toner will process the equivalent of about 5
making one litre working solution. gives much more control than the traditional sin- 8"x10" prints with absolute consistency, and up
gle bath brews. Each litre of freshly mixed to 25 prints if colour variations are acceptable,
7 515 Tetenal Copper Toner 1l. 6.95 8.17
bleach and toner processes at least the equiva- and timing allowance is made.
lent of 12 low key or 20 high key A4 prints.
76 592 Yellow Toner 1l. 2.34 2.75
Porcelain blue prints are more light stable than
Gre e n Toners those made with conventional Prussian Blue ton-
74 530 Yellow Toner 5l. 7.23 8.50
ers. The kit is packed as powders.

Speedibrews EverGreen Toner Fotospeed Sepia Toner
12 088 Porcelain Blue Toner 1l. 2.98 3.50
A newly reworked green toner, Supplied as liquid with additive for control of
27 104 Porcelain Blue Toner 5l. 9.80 11.52
replacing the complex two bath image colour.
green toners, and eliminating toxic Speedibrews Prussian Blue 31 845 Fotospeed Sepia Toner 1.5l. 8.00 9.39
components. Like sepia toning, 12 111 Fotospeed Sepia Toner 5l. 15.11 17.75
there is now a bleaching stage Prussian blue is the same dye compound as
followed by the green toning bath. produced by conventional blue toners, but this
Tetenal Triponal Toner
It is worth testing different papers kit for the first time offers a separate bleaching
stage, giving considerably more control over the Thiourea based component is supplied as pow-
with this toner, as some are little affected. In
result. Supplied as powders to make one litre of der, the bleach and image control additives are
general, traditional fibre-based chloro-bromide
bleach and toner. liquid.
papers, monochrome negatives and slides work
best. EVERGREEN complements Speedibrews 31 691 Prussian Blue 1l. 2.98 3.50 43 321 Triponal Toner 1l. 7.95 9.34
SIENNA and CHESTNUT toners (see under --- Prussian Blue 5l. 9.80 11.52
Sepia) which use a similar acid toning solution. Tetenal Sulphide Toner
They can be used in any order, and repeated in Tetenal Professional Blue Toner Small pack of the smelly sulphide type, supplied
some cases. Each litre pack will tone the equiva-
Supplied as 3 separate liquid parts, as glass bottles of concentrates. If larger quanti-
lent of about 12 low key or 20 high key 8x10"
and as it contains oxalic acid is ties are required, this is a simple formula to
prints.
highly toxic by ingestion - probably make up from raw chemicals.
17 167 Speedibrews Ever Green Toner 1l. 2.98 3.50 not a good choice if working in a
52 689 Tetenal Sulphide Toner 1 litre 4.35 5.11
45 744 Speedibrews Ever Green Toner 5l. 9.80 11.52 college / school environment. Produces
very saturated blue tones, and can often be
Fotospeed Green Toner GT20 Speedibrews Chestnut Toner
used at a weaker dilution than specified for more
subtle effects. Ignore the directions on the pack A new toner based on a Copper 11 salt system,
Supplied as liquid concentrates,diluting 1+4 for
stating it is suitable only for RC papers - well this is a 2 part bleach and tone kit, supplied as
use, colour can be varied from yellow to green
washed FB papers will be fine. Supplied as con- powders. Complementary to the Speedibrews
by adjustment of the mixture.
centrates to make 1l. working solution. ‘Prussian Blue’, and can be used in conjunction
27 170 Fotospeed Green Toner 150ml 8.00 9.39 with that and Speedibrews ‘Sienna’ for split ton-
8 211 Fotospeed Green Toner 500ml 15.11 17.75 71 267 Tetenal Blue Toner 1l. 9.10 10.69 ing effects.
Fotospeed Blue Toner 31 664 Speedibrews Chestnut Toner 1l. 2.98 3.50
Speedibrews Cyan Toner
- Speedibrews Chestnut Toner 5l. 9.80 11.52
Two bath toner, supplied as powder. The cyan Similar product to the Tetenal toner, but in a
hue obtained is dependant on the type of paper, wider variety of packings. Again, a 3 part set of Speedibrews Sienna Toner
and in general, fibre-based chloro-bromide liquids, one part containing oxalic acid.
A new toner, SIENNA offers a new brown hue
papers, monochrome negatives and slides will 13 991 Fotospeed Blue Toner 150ml (1.2l.) 8.00 9.39 and is a safe and effective substitute for conven-
be most suitable. Each 1l. pack will fully tone 49 388 Fotospeed Blue Toner 500ml (4l.) 15.11 17.75 tional sepia, offering the same degree of con-
about the equivalent of 12 8x10" prints.
trol.Separate bleach and toning baths are used.
21 538 Speedibrews Cyan Toner 1l. 2.98 3.50 With the same chemical structure as
21 054 Speedibrews Cyan Toner 5l. 9.80 11.52 Speedibrews ‘Prussian Blue’ and ‘Chestnut’, it
can be used in combination with them for split
effects. Supplied as powders.
31 708 Speedibrews Sienna Toner 1l. 2.98 3.50
- Speedibrews Sienna Toner 1l. 9.80 11.52
TONERS 28
P allette Toner
Brown Toners Specialist Toners A Fotospeed product, comprising
Also a valuable protective agent for archival four toners that can be used in
FSA Universal combination with each other to give
treatment, and can be used as an option to sele-
nium toner for this purpose. Polysulphide The FSA stands for ‘Formamidine a wide variety of effects. Each
toners convert silver to silver sulphide very fast, Sulphinic Acid’, hence the abbre- colour is supplied as a concentrate diluting 1 + 9
in tests Viradon has converted 65-75% of the sil- viation, while the Universal indi- with water, and Activator is added to the working
ver image within 30 seconds. This is not depen- cates that it will work effectively on solution at the rate of 25ml per litre. The intensi-
dent on density, so will not ‘split’ like selenium. any type of photographic material. fier can be added to blue and red toner solutions
The protective mechanism is present, even if the Unlike most toners, which for a to increase saturation. Additionally, and not sup-
stage of colour shift is not reached, and a time of colour operate by converting the plied in the kit, table salt and sodium thiosul-
one minute in Viradon at 1+50 can be consid- silver into another compound, with FSA the silver phate are required. Within each colour there are
ered a satisfactory permanising treatment. The is retained, but in a highly divided form which many hues obtainable, adjusted by altering ton-
colour change is related to the paper type; an gives rise to a variety of colour effects. The ing time and toner combinations. Three toners
inherently warm chloro-bromide type will tend to colour is influenced mainly by the composition of can be used as primary colourants, the prints
shift the most, and the colour change on bro- bleach used, and the Speedibrews Red / Orange being placed in the toners for varying times, cre-
mide & RC papers is likely to be weak. One suc- kits include ferricyanide bleach with potassium ating a colour mix in the final print. Washing
cessful combination is with Ilford fibre-base bromide which will tend to give a rich chestnut between consecutive toners is essential. The
warm-tone, which changes relatively quickly with brown. Two new kits, the FSA COLD and FSA working solutions can be rebottled for further
brown toning, as opposed to its relatively slow SEPIA include different bleaches, producing use, apart from the blue, which will last for one
reaction with selenium toning. colour variations. One unusual aspect of the session only. All the toners and additives are
toner is that it actually intensifies the image- available separately.
Agfa Viradon there is no need to overprint as with standard
23 855 Pallette Kit 2.5l 25.49 29.95
sepia toners. Stability is not a principal feature -
Single solution brown toner based the finely divided silver is more reactive than a
24 063 Pallette 2.5l Red 6.55 7.70
on potassium sulphide, which does normally processed print, and some protection is
24 173 Pallette 2.5l Blue 6.55 7.70
not use bleaching. The toner works 24 198 Pallette 2.5l Titanium Yellow 6.55 7.70
called for, eg use of Agfa ‘Sistan’. 24 205 Pallette 2.5l Vanadium Yellow 6.55 7.70
progressively, gradually converting
the image into silver sulphide. 3 487 FSA Universal 1l. (COLD) 5.00 5.88 24 218 Pallette Toner 2.5l Activator 6.55 7.70
24 220 Pallette Toner 2.5l Intensifier 6.55 7.70
Consequently the image will 3 506 FSA Universal 5l. (COLD) 15.00 17.63
remain a more restrained ‘dark - FSA Universal 1l. (RED/ORANGE) 5.00 5.88
chocolate’ brown, rather than the - FSA Universal 5l. (RED/ORANGE) 15.00 17.63
more ginger tones that a bleach &
tone sepia toner may produce. Supplied as a
- FSA Universal 1l. (SEPIA) 5.00 5.88 I m age Stabilisation
- FSA Universal 5l. (SEPIA) 15.00 17.63
125ml bottle of liquid concentrate, Viradon Apart from the use of Gold, Selenium and
dilutes 1+50. Polysulphide toners, various compounds can be
Tetenal Multitoner
79 146 Agfa Viradon 125ml 2.86 6.73
used which do not change the colour of the
This is a chromogenic toner, which image in any way, principally based on thiourea.
produces a coloured image by Only one is marketed in the UK;
Gold Toners colour development. Single and
multiple toning can be carried out. Agfa Sistan
Tetenal Gold Toner In addition to this kit a standard Available in a 500ml bottle of stock
colour developer is required, such as the Tetenal solution, and used at high dilution.
Does not give a gold Mono PK RA4 Developer. A bleach-fix bath may
colour, but deposits The principal action is one of stabil-
also be required for some of the possible effects. ising migratory silver ions, minimis-
gold metal onto the Contents of the Multitoner package;
silver of the image. ing the movement of silver which
Bleach bath: bag with powder to mix 1 litre of normally results in tarnishing of the
With an otherwise working solution. Only applied for the indirect
untoned print this will print in normal ageing.
toning of developed B/W materials.
produce a subtle Toner solutions: colour formers for yellow, 21 208 Agfa Sistan 500ml 3.74 4.39
enhancement as with magenta and cyan, 100ml of each, which will
selenium toner, but to a bluish hue. Permanence mix at least 1 litre of each colour. These colour
will also be improved, although selenium has the coupler concentrates are also available sepa-
edge on it in this respect. Improperly processed rately. Total capacity of the kit as supplied is 1.5
prints are very likely to show stains after a few sq. metres, which equates to about 30 8x10’’
years storage. On a print that has been previ- prints.
ously sepia toned, a range of colours from an
orangey gold to a pink or rusty-red colour will be 8 078 Tetenal Multitoner kit 23.85 28.02
produced. This will depend upon paper and
developer combination but also whether the Bleach Etch Chemistry
sepia tone was more yellow or brown. A more This is a process for graphic images, using high
yellowy sepia will tend to gold tone in a more contrast RC paper, in which areas of emulsion
orangey or golden yellow fashion and a more with high silver density are physically removed
brown sepia will tend towards red. down to the base. If the print is then dyed in a
Gold toning is also an intrinsic part of silver- water based dye, this dye will only be accepted
based alternative processes, and has always by the ‘highlights’. The result is a reversed
been used with printing-out paper (POP), as well image, with white on a coloured background.
as salt printing and kallitype to strengthen and Generally used commercially for making display
permanise the image. There is no way around posters etc, but could have other interesting ‘cre-
the expense - even mixing it from formula uses ative’ possibilities.
1 gram of gold salt per litre, and will probably be 11 089 Bleach Etch for 4 litres wkg soln. 15.78 18.54
less stable and with a lower yield than the pre-
pared toners. These are supplied as a one litre Tetenal Fotografik Kit
working solution, which contains approximately
The Fotografik posterisation kit
0.5g of gold. With care to avoid contamination
yields unusual ‘creative’ effects by
this can be used repeatedly until exhausted. The
softening and removal of gelatin in
rate of exhaustion will depend largely on the
certain areas, producing pseudo-
degree of density of the print, a low key print
solarisation effects. High contrast
locking up considerably more gold metal.
resin coated paper is specified.
6 178 Tetenal Gold Toner 1litre. 20.95 24.62
68 220 Fotografik Kit 11.90 13.98
4 544 Fotospeed AU20 Gold Toner 1litre. 20.42 23.99
FILM DEVELOPERS 29
Agfa Rodinal Ilford LC 2 9 Speedibrews Celer Stellar
A long-running favourite since Concentrated fine grain liquid one- Unusual developer, originally
1891, based on Para-amidophenol. shot developer used at 1+29. designed to produce highest possi
Highly concentrated, very sharp Active, will give bright results with ble emulsion speed, while main
working, useful properties in standard development, take care taining fine grain, and without
matching negative to subject con not to overdo it. Ideal if processing developing excessive contrast.
trast. Most suitable for slow and films only occasionally, as it has Alteration of apparent film speed is
medium speed films. Dilution 1:10 better than normal keeping proper- made by changing development
to 1:100. Higher dilutions are used ties, and will last longer in a half full bottle than dilution, not time. Celer-Stellar gives negatives
for specialist applications – details on request. other developers. with a low gamma, which accommodate a wide
exposure range. Particularly recommended for
71 365 Rodinal 125ml 2.49 2.93 81 380 LC29 250ml concentrate 4.60 5.41
use at high dilutions for pictorial work with
20 858 Rodinal 500ml 6.47 7.60
Technical Pan, where it is very economical, and
Ilford ILFOT E C D D X should yield higher sharpness than other low-
Agfa Studional Ilfords new technology developer, equating to contrast developers.
Concentrated fine grain developer TMax dev, and designed to complement the
91 480 Celer-Stellar 500ml 1.70 2.00
designed for deep tank use at a Delta films. High film speed and sharpness.
36 047 Celer-Stellar 2.5l. 3.50 4.11
dilution of 1+15, but can also be Dilution of 1+4 for most applications.
5 473 Celer-Stellar 5 x 300ml (1 shot) 2.81 3.30
used at higher dilution as a one-
28 312 ILFOTEC DDX 1l. 8.90 10.45
shot developer at 1+30.
Celer Mono *NEW P RO D U C T *
K odak HC110 A new negative developer from
7 030 Agfa Studional 8.73 10.26 Fine grain, sharp working formula Speedibrews in the same family as
supplied as syrupy liquid concen- Celer Stellar and 422, designed to
Ilford ID11 trate. Good enough for Ansel produce negatives like the old M&B
Adams! A developer using several Promicrol, good density but
Classic fine grain formula. Supplied
‘designer’ chemicals patented by relatively low contrast, ideal for
as metol-based powder formula in
Kodak, allowing a ‘D76’ type devel scanning.
two sachets. Gives full emulsion
oper to be packed into a high con
speed, and fine grain. 27 097 Celer Mono 600ml 4.04 4.75
centration. The 1l. highly concen-
2 437 ID11 1l. 2.76 3.24 trated form is the best buy, diluting 1+31 Speedibrews 422
4 681 ID11 2.5l. 4.05 4.76 for dilution B, the dilution used for most camera A modified form of Celer-Stellar,
85 689 ID11 5l. 5.55 6.52 film applications. The 500ml bottle dilutes 1+9 specifically designed for working in
10 8839 ID11 10l. 10.99 12.91 for dilution B, get this if you are testing it, or only low light, where reciprocity failure is
60 793 ID11 13.5l. (3 gallons) 14.09 16.56 processing a few films.
98 968 ID11 Rep. 2.5l. 4.05 4.32
likely to be a problem. It gives low
28 776 HC110 500ml (1+9) 7.58 8.91 contrast negatives, counteracting
Ilford Perc eptol 96 654 HC110 1l. (1+31) 15.30 17.98 the high contrast usually encoun
49 973 HC110 Replenisher 500ml 6.00 7.05 tered in these conditions, produc-
Ultra fine grain formula, supplied as ing negatives with a high optical density making
powder. Exceptionally fine grain K odak D76 printing on standard grade papers relatively
and high sharpness, with some easy.
penalty in terms of emulsion speed. Powder fine grain formula generally
Very good combination with the new Fuji similar to Ilford ID11, but now 59 668 Speedibrews 422 Developer 500ml 2.50 2.94
ACROS, which has been likened to results from reformulated to a single powder
Tetenal Ultrafin
the old Agfa APX25. using Phenidone, needing hot mix
ing. Previously French made in Highly concentrated fine grain developer with
24 465 Perceptol 1l. 2.76 3.24 tins, now a USA packing in foil high acutance and sharpness. Used between
sachets. 1+10 and 1+30 depending upon film & subject
Ilford Microphen contrast.
21 857 D76 3.8l. 4.45 5.22
Long established high speed for 31 774 D76 Replenisher 5l. 10.21 12.00 94 365 Ultrafin 100ml 2.75 3.23
mula based on Phenidone, giving 95 714 Ultrafin 250ml 4.75 5.58
approximately 50% increase in K odak XTO L 64 322 Ultrafin 1 litre 7.40 8.70
effective film speed without special
processing. Supplied as powder, A new powder film developer from Tetenal Ultrafin Plus
same range of sizes as ID11 Kodak uses ascorbic acid, and is New developer from Tetenal designed on the
aimed as a substitute and same lines as TMax developer.
5 071 Microphen 1l. 2.76 3.24 enhancement of D76, providing
33 939 Microphen 2.5l. 4.05 4.76 higher speed and finer grain. This 64 165 Ultrafin Plus Developer 200ml 3.95 4.64
41 386 Microphen 10l. 10.99 12.91 should produce a 10% larger 54 785 Ultrafin Plus Developer 1l 11.15 13.10
image for a given granularity with a 1/3 increase Tetenal Neofin Blue & Re d
Ilford Ilfosol-S in speed. The powder mixes very easily, far
more so than D76. The litre size is now deleted. High acutance, compensating one-
One-shot fine grain liquid concen-
shot developer, useful when work
trated developer, used at a dilution 18 944 XTOL 5l. pdr 5.72 6.72 ing with extended subject bright
of 1+ 9. Not, perhaps the sharpest 6 347 XTOL 50l. 45.74 53.74 ness range. Designed for slow &
of developers, but a convenient liq-
medium speed film. Neofin Red is
uid substitute for ID11 or D76. K odak TMax Developer a modified version of Neofin Blue for high speed
New liquid concentrate developer films.
designed to give TMax films a 5 568 Neofin Blue (5x300-700ml) 4.35 5.11
42 405 Ilfosol-S 250ml conc. 2.00 2.35
shove at the bottom of the curve 5 582 Neofin Red (5x300-700ml) 4.35 5.11
where they need it most. Useful
Ilfotec HC (High Concentration) Promicrol
fine grain developer for general
Highly concentrated, fine-grain, liq- purpose work with all films, and for New replacement for the famous
uid developer. Like HC110 , it uses speed increasing with extended old fine grain high speed formula
various designer chemicals to get a development. A replenishable form discontinued in the eighties. A cult
very high concentration in a small of this developer is also available, developer in its time, it will be inter
package. Very suitable for press- in 5 and 25 litre working solution quantities. esting to see if this new slant on
type applications where full speed the old name can achieve the
and fine grain are required. 96 057 TMax Developer 1l. 3.64 4.28
6 419 TMax Developer 5l. 10.29 12.09 same reputation.
73 130 Ilfotec HC 1l. 13.42 15.77 ▼41 969 TMax RS Developer & Rep. 25l. 65.24 76.66
xxx Promicrol 1l. 4.96 5.83
1 937 TMax RS Developer Rep. 5l. 16.51 19.40
SPECIALISED FILM DEVELOPERS 30
2 B ath D evelopers L ow-Contrast D evs High Activity Devs
Not to be confused with 2-bath print develop- Designed for use with the very fine grain and Celer Finish
ment, these can also be termed ‘divided devel- resolution, but inherently high contrast document
opers’, as they are basically a conventional fine films, including Technical Pan and Agfaortho, Unusual rapid-access developer designed to
grain developer separated into two components, when using them for pictorial purposes. Many produce an image on film in the shortest possi-
one containing the developing agents, and the other standard developers will work in this situa- ble time, originally developed for racecourse
other part the activator. The film is immersed in tion if sufficiently diluted, inc. Rodinal. photo-finish recording.
the dev. agent bath for a certain time, and then 43 538 Celer Finish 5.51 6.47
moved into the activator bath. Usually the same Te chnidol
time is used for both baths.
Supplied as small bottles of liquid
Advantages;
concentrate. Extremely fine grain & High Contrast Devs
high resolution, maximum emulsion
1 very high compensating effect, useful in condi- speed. Designed for use with
tions of very high subject contrast. It is not possi- Technical Pan in all formats, when Tetenal Dokulith
ble to overdevelop- the highlight development used for pictorial work. Not a true lith developer, but a very
shuts off as the developing agent exhausts, 50 117 Technidol 4 x 600ml 8.18 9.61
high contrast developer in liquid
while the shadows are continuing to build in den- form. Useful to have around to
sity. Neofin Doku inject a bit of whelly when, for
2 effectively a high film speed - Tetenal claim a example processing copy
2-stop increase, but it is best to base speed on Not precisely the same formulation negatives or internegatives, and a
your own tests in your own conditions. as Technidol. Development times conventional developer like PQ is
3 as very little is taken out of the baths, they can are supplied for both Technical not quite reaching the contrast
be used over an extended period with high Pan. Each bottle can be required.
throughput. used to process 1 or 2 35mm or
120 films depending on dilution & timing 30 861 Dokulith 1l. 5.55 6.52
4 there is considerable tolerance to temperature
and agitation variations, as the negative is 62 348 Neofin Doku 5x300ml. ampoules 6.75 7.93 Speedilitho
always being developed ‘to finality’.
Pack designed for small scale procesing of lith
Celer Stellar & 422 film, supplied as 2 tubs of powder making 1 litre
Tetenal Emofin
These Speedibrews developers are of working solution.
Available in powder and liquid packings of the
eminently suitable for Technical
same composition, and with instructions that 89 992 Speedilitho 1l. 3.55 4.17
Pan, when correctly diluted, and
comprehensively cover the use of the developer
are likely to yield slightly higher
with virtually every film on the market.
contrast, but greater sharpness M o n o b ath D evs
82 424 Emofin Liquid 1+1 litres wkg soln. 7.55 8.87 than Technidol. A large part of the
43 501 Emofin powder 1+1 litres wkg soln. 5.55 6.52 instructions included apply to this Incorporate both developer & fixing agent, which
film. See standard film developers for more act simultaneously to rapidly process film. Most
R esofine 2B details useful, probably, in a teaching situation, when a
A 2 bath developer designed by Ron Spillman, result is needed quickly. In this situation, it can
91 480 Celer Stellar 500ml 1.70 2.00
and now produced by Speedibrews in a 1 litre 36 047 Celer Stellar 2.5l 3.50 4.11
even be used ‘in-cassette’, immersing the entire
powder packing. High capacity. 59 668 Speedibrew 422 2.50 2.94 film and cassette into the solution, and agitating
by rotating the inner spool (short lengths of film,
12 720 Resofine 2B 2 x 1l 6.26 7.36 max. 20 exposures). Tolerance to temperature
LP-DOCUFINE LC
variation is good. The drawbacks; relatively high
Produced by MACO, for pictorial grain, and no control over contrast, which will
contrast with high contrast film
B&W Reversal such as ORT 25 and Technical
always be at a fixed level for a particular type of
film.
Involves the same sequence of steps as colour Pan.Yield is 20 films per 1 litre
bottle. 8 360 Tetenal Monotenal, 250ml 4.50 5.29
film reversal processing, producing a negative,
and then bleaching, fogging & re-developing to
invert the image. The process is best suited to
slow and medium speed films, preferably with a - LP-DOCUFINE 6.75 7.93
clear base, with minimal antihalation dye. A new

film designed for this purpose is MACO PO 100
W
Pyro Developer PMK
W
(page 19). Alternatively, Agfa Scala is now a well

E
N
E
established reversal film, with processing sup-

N
plied by Joes Basement (see page 16), and in A small revival is under way for a
35mm, 120 and 5x4” formats. developing technique that goes
back to the dawn of photography,
Speedibrews Celer-Reverser and was used extensively by lumi-
naries such as Edward Weston.
Uses combined bleach-fix to
The main feature of pyrogallol
W
reduce number of chemical baths

development is that as well as the
W
to 4, all solutions are supplied, and

N
E
silver image a ‘stain’ image of dye is also pro-

are in powder form. Will process 4
N
duced in proportion to the silver. This backs up

135-36 films in the 500ml kit. Good
the silver component, and normally produces a
instructions. Timings supplied for a wide range of
negative with more definite and easily separated
films, including Kodak TMax P3200.
highlight values, with mid-tones showing excel-
3 118 Celer-Reverser Kit, 600ml 5.11 6.00 lent separation and clarity. The technique is suit-
able for sheet and roll formats. The ‘PMK’ formu- LP-CUBE DEVELO P E R
K odak T-Max 100 Reversal Kit la was devised by Gordon Hutchings, and is fully
Particularly recommended for T-Max 100 and described in his ‘Book of Pyro’. Yields very fine grain with high image sharpness
Technical Pan, this reversal kit will produce The compounded developer we have is and excellent gradation, without loss of film
reversal black and white images without re-expo- produced by Speedibrews with notes written by speed. LP-CUBE XS is designed to complement
sure. Contains First Developer, Bleach, Clearing Richard Ingle. We also stock pyrogallol as a raw MACO CUBE 400 film, but also suitable for con-
Bath and Redeveloper. Does not include fixer, chemical. ventional film. The optimum processing tempera-
any standard product is suitable. 49 701 PMK Pyro Dev for 10l. 7.95 9.34 ture is 24° C.
36 990 TMax Reversal Kit 37.84 44.46 --- LP-CUBE XS 250ml 3.60 4.23
--- LP-CUBE XS 1 litre 10.28 12.08
E6, RA4, C41, ILFOCHROME CHEMISTRY 31
Tetenal Colortec RA4 Tetenal Colortec C41
E 6 Chemistry Popular RA4 chemistry kits formu- Several options exist in Tetenals
Modern enhancement of the original Kodak E2, lated to allow processing over a C41 kits; the ‘Rapid’ 500ml and 3 x
and later E3 and E4 processes, which use a sin- wide temperature range down to 1l. kits are finely divided powder
gle colour developer to colour couple all emul- 20° C., and are all odourless. The based. The Colortec Rapid 5 litre
sion layers simultaneously. The newer E6 first 2 in the list are designed for kit has equal size liquids for simplif-
process in its standard form uses the highest amateur use, and suitable for dish ied mixing.Separate colour devel-
possible temperature to shorten processing processing at room temperatures. The 2.5 and 5 oper, bleach fix and stabiliser are
times, and the reversal bath incorporates a fog- litre Professional kits have a capacity of 3.5-4 available in lab sizes. The 13.5 litre kit has sepa-
ging agent – the older processes required a fog- square metres per litre when replenished. rate bleach and fixing baths, and is designed for
ging exposure to white light. The original specifi- Working solution has very good keeping proper- replenished machine processing.
cation of the process includes First Developer, ties. The Rapid Professional kit is made up to
27 532 COLORTEC C41 Neg Kit Rapid 500ml 7.15 8.40
Reversal Bath, Colour Developer, Conditioner, either 8 litres as replenisher, or 11.4 litres as
27 544 COLORTEC C41 Neg Kit Rapid 3 x 1l. 32.75 38.48
Bleach, Fix, and Stabiliser. There are consider- working solution, and is designed to operate
able variations on the standard E6 process, between 32-38° C. Rapid development can be 27 557 COLORTEC C41 Neg Kit Rapid liq 5l. 35.40 41.59
using short-cuts to reduce the number of baths, completed in a time of 28 seconds. - C.TEC C41 Colour Developer 15l. 26.85 31.54
but the highest quality and permanence of result 27 474 Colortec RA4 1 litre 11.95 14.04
- COLORTEC C41 MULTI (C41/E6) Blix 41.40 48.64
will be obtained with the full number of baths. 27 447 Colortec RA4 2.5 litre 15.95 18.74
- C.TEC C41 MULTI (C41/E6) Stabiliser 5.75 6.75
There are several other manufacturers codes for 27 569 COLORTEC C41 Negative Kit (3 bath) 69.55 81.72
27 462 Colortec RA4 Pro.Kit RT 2.5 litre 19.95 23.44
the process, notably Agfa AP44 and Fuji CR56.
27 423 Colortec RA4 Pro Kit RT 5 litre 27.95 32.84
Agfa Process 70
Tetenal Colortec E6 3-Bath Kits 27 486 Colortec RA4 Pro Print Kit Rapid 8l. 44.00 51.70
C41 compatible range of chemistry, featuring
Simplified version of the original separate bleach and fix steps. The small
process. The 500ml kit has capaci Speedibrew s R A 4
Hobbykit includes 500ml of all solutions. Bulk
ty of 6 135-36 films and includes 3 A powder RA4 kit designed for good storage and packs for laboratory use also available.
baths plus stabilising bath all sup convenient mixing. Refill packs of chemistry util-
plied as liquid. There is a popular ising the original bottles are also available. 74 905 Process 70 500ml kit 9.58 11.26
5 litre version of this 3 bath 31 496 Process 70 Colour Developer 5 l. 10.53 12.37
7 711 Speedibrews RA4 Kit for 5 litres 13.48 15.84 37 098 Process 70 Bleach Starter 5 l. 18.00 21.15
process, with a capacity of 60
- Speedibrews RA4 Dev 5 litres 7.48 8.79 ▼1 220 Process 70 Fixer 5 l. 10.11 11.88
films. Bulk 15l. packs of all solutions available.
- Speedibrews RA4 BLIX 5 litres 7.48 8.79 ▼33 234 Process 70 CD-R 2 x 25 l. 56.80 66.74
43 857 Tetenal Colortec E6 500ml kit 8.65 10.16 - Speedibrews RA4 Stop 5 litres 2.13 2.50 ▼54 540 Process 70 BL-R 40l 128.98 151.55
68 355 Tetenal Colortec E6 5l. kit 44.00 51 .70 ▼18 638 Process 70 BL-J 6 x 50 l. 132.33 155.49
1 220 Process 70 FI 100 l. 10.51 12.35
Tetenal Colortec E-6 6 Bath Kit C41 Chemistry
A 5 litre kit containing the full 6 bath E6 process.
Supplied as liquid, so it is possible to mix smaller Speedibrews Speedi-41
Ilfo chrome Chemistry
quantities. Speedi-41 is a new concept in colour negative Process P-30 is designed to
62 945 Tetenal E6 kit 5l. 47.55 55.87 processing. The minimum detection level built process all ILFOCHROME
into the film by its maker is not changed by CLAS SIC materials, and is a
Agfa Process 44 much, but Speedi-41 does improve the colour 3-bath process comprising a devel-
densities generated by a considerable amount. oper, bleach and fixing bath. the materials can
E6 compatible chemistry, available in large be processed at temperatures varying from 20 to
This improves the printability and appears to
range of professional packings, and one small 30° C, with a corresponding time adjustment,
give a speed increase. The kit can also be used
packing for lower throughput. The Hobbykit is althought the recommended processing temper-
with any reversal film to produce a high speed
entirely liquid, and contains 5 baths, including ature is 24° C. Process 3 is the laboratory equiv-
negative film without the orange mask.
stabiliser. alent, a replenishable chemistry system supplied
38 505 Speedi 41 Kit 6.15 7.23
11 207 Agfa Process 44 Hobbykit (0.5 litre) 14.53 17.07 in large laboratory packs.
Celer 41 Kit 12 147 Ilfochrome P-30 Kit 2l. 15.80 18.57
RA4 Print Chemistry The Celer 41 Kit is a C-41 kit for colour negative
processing using a ‘Blix’ (combined bleach-fix) Fotospeed Colour Chem.
for speed and economy. Conventional in compo-
Agfa Process 94 sition and use, all baths are supplied as pow-
- 3 Bath E6 Process Kit 11.46 13.47
RA4 Compatible chemistry. Agfa ders, giving long shelf life and safe transporta-
primarily supply laboratory and tion. Four 36 exposure films should be regarded - CKRA4 RA4 Kit 35¡ C 2.5l. 15.11 17.75
minilab packs, but include one as the limit for the 600ml kit. Twice as many (or - CKRA4/RT mono RA4 room temp 1l. 11.06 13.00
small user pack, illustrated here, the equivalent of 4 120 films) can be processed - CKRA4/RT mono RA4 room temp 3l 17.01 19.99
the AP94 5 litre kit. in the 1 litre kit. Developer and bleach-fix are - CKR3/RT makes CKRA4/RT into R3 1l. 7.45 8.75
available as separate packs. - CKR3/RT makes CKRA4/RT into R3 3l. 16.13 18.95
14 963 AP94 Process Kit 5l. 22.78 25.73
19 418 Speedi Celer 41 Kit 600ml 7.50 8.81 - PKC41 C41 Neg Process Kit 900ml 8.88 10.43
▼12 796 AP94 Colour Dev. Starter 100l 14.85 17.45 - Speedi Celer 41 Dev 3.92 4.61 - PKC41 C41 Neg Process Kit 3l. 21.95 25.79
▼17 390 AP94 Pro XA Colour Dev Rep 4x10l 44.57 52.37 - Speedi Celer 41 BLIX 3.92 4.61
▼20 359 AP94 Pro XA Stopbath/Blix 4x10l. 75.21 88.37 - CPS100 Colour Print Brightener 1l. 8.47 9.95
▼15 392 AP94 Colour Dev Rep RT 2x20l. 35.01 41.14 ▼ CPS100 Colour Print Brightener 5l. 33.87 39.80
K odak Flexicolor (C41) - CKFP Univ. Colour Chem. Kit 2.5l. 20.80 24.44
▼17 407 AP94 BX-MR Blix Rep RT 2x20l. 41.50 48.76
▼20 361 AP94BX Blix Anti Oxidant Additive 5l. 19.41 22.81 Apart from lab. size packs of C41, Kodak pro-
duce smaller packs of concentrates to make 1
Champion Mydoprint US gallon working solutions. These are suitable
for small tank use, and also unusual in that sep-
Professional RA4 chemistry produced in labora-
arate bleach and fix steps are provided, which
tory scale packages, excellent capacity and sta-
should yield the highest colour quality.
bility. Tends to be the first choice when buying
paper and chemistry independently, ie when not - Flexicolor Developer 3.8 litres 6.23 7.32
locked into a package deal from a photo paper 34 273 Flexicolor Developer 20l. 32.04 37.65
manufacturer. - Flexicolor Bleach 111 3.8 litres x 2 31.29 36.77
34 260 Flexicolor Bleach 11 A 20l. 20.42 23.99
20 593 Mydoprint RA Starter 1l. 9.96 11.70 34 304 Flexicolor Bleach 11 B 20l. 48.74 57.27
▼20 600 Mydoprint RA Prof. Rep. 6 x 10l. 61.30 72.02 29 640 Flexicolor Bleach 111 Regen. 20l. 12.74 14.97
▼28 752 Mydoprint RA BLIX for 50l 53.55 62.92 - Flexicolor Fixer & Rep 3.8 litres 2.47 2.90
20 613 Mydoprint RA BLIX Additive 1l. 6.98 8.20 26 118 Flexicolor Stabiliser & Rep 3.8 litres 2.84 3.34
ALTERNATIVE PROCESSES 32
Light Star Pin-Register Frames Bromoil Video
Useful if not essential whenever it is required to The roots of the process can be traced back to the early
precisely register a piece of film with the paper 1800’s, but it was not until the early 20’th century that the
upon which it is being printed. The punch hole technique was perfected, reaching its zenith of popularity in
diameter and spacing is that of the a standard 4- the 1920’s and 1930’s. The late Norman Gryspeerdt made
hole stationary paper punch. As these vary slight- bromoil pictures for over 50 years, and was one of the most
ly from one punch to another, the pins are set to a significant exponents of this technique world wide.In this video
specific punch which is supplied mounted onto he describes and demonstrates the technique, so that by
the frame. The accurately turned pins are set into a water-proof and easily following the various steps the photographer will quickly obtain
cleaned plastic coated wooden base, and after the film and paper are seat- a working knowledge of the process and be ready to commence making
ed they are brought into full contact by covering with the supplied glass. pictures. Available in VHS, duration approx. 70 mins. Not in NTSC format.
The smallest format supplied is 12x12”, where contact is maintained by 4 21 883 Gryspeerdt Bromoil Video 16.96 19.93
clips, placed at each corner. The larger format advanced frames (as picture)
use an ingenious pressure system to maintain register across the larger for- Fotospeed Alternative Process Kits
mat. Fotospeed produce an excellent set of 3 kits intr-
20 917 Precision Register Frame 12x12 54.00 63.45 oducing the alternative processes. Two are
75 821 Precision Register Frame A3 90.00 105.75 based on Mike wares chemistry, the silver
1 426 Precision Register Frame 16x20 150.00 176.25 Argyrotype, and the new version of Cyanotype.
A bromoil kit is now available in the range. Refill
Register Pins packs of chemistry and inks are available.
If you want to produce your own pin-register sys
tem, these precision turned brass pins can be
9 430 Argyrotype Kit 34.00 39.95
purchased separately, either in disc form, for
16 532 Argyrotype Sensitiser 50ml [included in kit] 18.68 21.95
mounting onto a flat surface, or as pegs for fit
ting into a drilled surface. These are the correct 15 670 New Cyanotype Kit 28.00 32.90
diameter for any standard 2 or 4 hole stationery 75 872 New Cyanotype Sensitiser [included in kit] 11.02 12.95
punch. Bear in mind that these punches vary in --- Gum Bichromate Kit 34.03 39.98
spacing slightly from unit to unit, so always purchase the punch first, and 23 842 Bromoil Kit 34.00 39.95
set the pin spacing to this specific punch. 27 694 Black Ink 30ml 4.00 4.70
27 701 Yellow Ink 30ml 4.00 4.70
14 912 Set of 2 Register Pins 7.50 8.81
27 726 Magenta Ink 30ml 4.00 4.70
27 738 Cyan Ink 30ml 4.00 4.70
Bromoil Brushes
27 740 Bromoil Chemical Pack 4 l. 8.50 9.99
These are British made to original specifications,
and are produced in 2 qualities. Both are avail SE1 Emulsion
able in a range of 5 sizes.
SE1 Emulsion is made for us by one of the main
These are basic quality, ie without copper wire photographic manufacturers in this country, this
tying, set in plain metal ferrule. is a normal contrast bromide emulsion which is
versatile and easy to use. Contrast: reasonably
hard grade 2. The high silver content allows a
12 816 No 2 Bromoil Brush 2.98 3.50 certain degree of dilution with water in many
22 442 No 6 Bromoil Brush 3.39 3.98 cases. If applying to a transparent medium use
22 479 No 8 Bromoil Brush 4.32 5.08 full strength, but on opaque surfaces such as
22 481 No 10 Bromoil Brush 5.40 6.35 paper do tests using 1 + 1 and 1 + 2 dilutions
22 494 No 12 Bromoil Brush 6.35 7.46 with water. SE1’s substantial concentration of
high bloom gelatin yields good adhesion to many
Coating Rods surfaces, often without subbing beforehand.
The preferable alternative when using some sen Processing is as for normal paper- the emulsion
sitisers, particularly platinum and palladium, is quite robust, and does not usually need hard-
where a substantial amount of very expensive ening, or the use of slow fixing agents. The image colour is neutral to slight-
sensitiser can be left unrecoverable in the brush. ly warm-black, and it reacts well to toners of all types including selenium,
A syringe is used to lay a line of sensitiser onto even lith. development. A separate subbing solution is available for optional
the paper, and the rod is then touched down use when coating smooth surfaces such as glass. Please note we always
onto the paper at this point. It can then be drawn cold store emulsion- avoid buying it from any outlet that does not fridge it.
down the paper, pulling with it the reservoir of The book ‘Silver Gelatin’, is now reprinted by Aurum Press and in stock
liquid. The amount of sensitiser should be calculated to be absorbed after again. This book goes through the use of emulsion in great detail, with
about 5 passes, and the result will be a carefully metered application of interviews and portfolios from users of the material.
sensitiser over the selected area. However, the only choice over coating 67 607 240ml SE1 15.32 18.00
width is the width of the rod, and for this reason several are offered.. All 50 890 1 litre SE1 45.00 52.88
are made from thick gauge glass tubing, turned at the end to provide han- 61 630 5 litre SE1 160.00 188.00
dles.
15 560 Subbing / Hardening Solution, powders to make 1l. 2.00 2.35
13 697 11 Coating Rod 8.51 10.00
13 660 8 Coating Rod 7.35 8.64 Black Magic Emulsions
13 658 4 Coating Rod 6.63 7.79
Made by the Hamburg based MACO company, this
Jiaban Brushes range introduces some new variations into emul-
sion usage. Black Magic VC allows contrast con-
These Chinese made goats hair brushes are trol, using normal Multigrade yellow and magenta
ideal for use with most alternative processes filters. Black Magic Hard is an extra high contrast
because a) they contain no metal parts and b) emulsion, particularly useful with large works. A
are very inexpensive. Especially suitable for standard contrast emulsion is also
applying liquid emulsions. However in some available. Also in the range are photographic
cases, particularly platinum/palladium processes, gelatin for use as subbing agent, and a hardening
the use of a coating rod may be preferable, as a additive.
brush retains a significant amount of the significantly expensive sensitiser
--- Black Magic Normal 500ml 21.50 25.26
34 575 Jiaban Brush 2 2.50 2.94
--- Black Magic Hard 500ml 21.50 25.26
30 516 Jiaban Brush 2.5 3.50 4.11
--- Black Magic VC 500ml 21.50 25.26
45 233 Jiaban Brush 3 4.00 4.70
--- Black Magic Photo Gelatin 250g 10.75 12.63
18 790 Jiaban Brush 4.5 5.00 5.88
--- Black Magic Hardening Additive 1l. 10.75 12.63
RAW CHEMICALS 33
The listing on this page contains ITEM QTY CODE NET +VAT
most of the raw chemicals
used in commonly used formulae. Kodalk - see Sodium metaborate
Some chemicals not listed are Magnesium sulphate 500g 27 156 3.41 4.01
possibly stocked or can be
Metol 25g 94 389 2.37 2.78
ordered. Some toxic chemicals,
Metol 100g 98 593 7.86 9.24
(such as mercury salts) we are
unable to supply, or any chemical Oxalic acid 100g 84 434 6.01 7.06
interpreted as being used for ille- Phenidone 25g 24 185 3.52 4.14
gal activity (such as drug refining). Phenidone 100g 23 219 11.76 13.82
Some chemicals cannot be sent Phenylenediamine 25g 98 030 5.88 6.91
outside the UK without special & Potassium aluminium sulphate 500g 1 414 4.05 4.76
expensive packaging and shipping. Potassium bromide 100g 76 526 1.80 2.11
Potassium bromide 500g 65 636 7.66 9.00
Potassium carbonate 500g 4 603 3.06 3.59
Potassium citrate 100g 76 027 3.94 4.63
Potassium citrate 500g 2 779 16.42 19.29
ITEM QTY CODE NET +VAT
Potassium dichromate 100g 46 854 2.36 2.77
Potassium dichromate 500g 56 783 9.80 11.52
Acacia (gum arabic) 100g 16 117 4.50 5.29
Potassium ferricyanide 100g 48 183 2.59 3.04
Amidol (diaminophenol dihydrochloride) 25g 85 249 10.50 12.34
Potassium ferricyanide 500g 23 480 10.93 12.84
p-Aminophenol 25g 23 108 2.62 3.08
Potassium ferrocyanide 100g 59 656 6.73 7.91
Ammonium alum 100g 56 123 2.67 3.14
Potassium hydroxide 500g 22 993 6.95 8.17
Ammonium alum 500g 16 131 11.51 13.53
Potassium iodide 25g 57 401 2.08 2.44
Ammonium bromide 100g 65 663 3.23 3.80
Potassium iodide 100g 75 361 7.02 8.25
Ammonium carbonate 100g 2 605 4.20 4.94
Potassium metabisulphite 500g 21 080 3.14 3.69
Ammonium carbonate 500g 54 871 18.18 21.36
Potassium nitrate 25g 36 023 1.35 1.59
Ammonium citrate 100g 67 108 7.48 8.79
Potassium oxalate 100g 29 056 8.11 9.53
Ammonium chloride 100g 20 541 1.27 1.49
Potassium permanganate 100g 2 632 2.70 3.17
Ammonium chloride 500g 16 300 5.23 6.14
Potassium sulphide 100g 91 575 6.82 8.01
Ammonium dichromate 25g 38 215 1.90 2.23
Potassium thiocyanate 100g 29 082 4.61 5.42
Pyrocatechol 25g 94 793 1.97 2.24
Pyrogallic acid - see Gallic acid
Ammonium ferric citrate (green) 25g 71 888 2.12 2.49
Pyrogallol. 50g 79 795 15.74 18.50
Ammonium ferric citrate (green) 100g 86 140 7.27 8.54
Ammonium ferric citrate (green) 500g 86 126 31.18 36.64 Silver nitrate 25g 27 681 8.80 10.34
Ammonium oxalate monohydrate 100g 47 062 7.98 9.38 Silver nitrate 100g 60 169 30.75 36.13
Ammonium persulphate 100g 56 356 2.25 2.64 Sodium acetate 500g 20 688 12.10 14.22
Ammonium persulphate 500g 43 916 9.72 11.42 Sodium bisulphite - see Sodium metabisulphite
Ammonium iron 111 oxalate trihydrate 25g I89 769 2.50 2.94 Sodium bromide 25g 23 000 1.32 1.55
Ammonium thiocyanate 25g 20 747 1.97 2.31 Sodium bromide 100g 36 295 2.93 3.44
Ammonium thiocyanate 100g 8 041 6.23 7.32 Sodium carbonate(anhydrous) 500g 56 965 2.77 3.25
Ammonium thiosulphate. 500g 27 655 4.81 5.65 Sodium chloride 100g 20 405 2.49 2.93
L-Ascorbic acid 25g 56 926 3.23 3.79 Sodium citrate 100g 12 575 3.94 4.63
Sodium hydroxide 100g 37 326 1.28 1.50
p-Benzoquinone 25g 34 610 4.02 4.72 Sodium hydroxide 500g 65 321 4.80 5.64
Benzotriazole 25g 27 215 5.23 6.14 Sodium iso-ascorbate 25g 30 056 3.20 3.76
Boric acid 100g 2 023 1.44 1.69 Sodium metabisulphite 500g 5 641 3.16 3.71
Boric acid 500g 21 785 6.25 7.34 Sodium metaborate (Kodalk) 100g 97 017 1.86 2.18
Sodium metaborate 500g 55 817 7.94 9.33
Calgon 500g 53 578 4.83 5.68 di-basic Sodium phosphate 100g 33 332 5.41 6.36
CD1 (Colour developing agent no.1) 25g 73 641 4.08 4.79 Sodium potassium tartrate 100g 3 521 8.03 9.44
CD3 (Colour developing agent no. 3) 25g 5 179 2.98 3.50 Sodium sulphate 500g 77 234 5.43 6.38
CD4 (CIolour Developing Agent no. 4) 25g 46 296 4.63 5.44 Sodium sulphide (flake) 100g 58 380 1.68 1.97
Chlorohydroquinone 25g 74 472 5.25 6.17 Sodium sulphide (flake) 500g 47 452 7.02 8.25
Chrome alum 100g 13 453 3.18 3.74 Sodium sulphite (anhydrous) 500g 87 869 2.51 2.95
Chrome alum 500g 82 490 10.87 12.69 Sodium tetraborate (Borax) 500g 82 702 3.25 3.82
Citrazinic acid 10g 11 980 3.36 3.95 Sodium thiocyanate 100g 37 670 3.10 3.64
Citric acid 100g 20 539 1.48 1.74 Sodium thiocyanate 500g 10 137 12.93 15.19
Citric acid 500g 97 971 5.95 6.99 Sodium thiosulphate 500g 32 299 3.02 3.55
Cupric bromide 50g 31 502 8.86 10.41 Strontium chloride 100g 48 105 5.46 6.42
Cupric chloride 100g 46 660 4.71 5.54 Succinic acid 100g 24 893 4.95 5.82
Cupric sulphate 100g 33 175 4.25 4.99 Sulphamic acid 100g 26 849 2.90 3.41
Cupric sulphate 500g 46 697 14.76 17.34 Tartaric acid 100g 91 757 3.82 4.49
Thiourea (thiocarbamide) 100g 69 598 2.33 2.74
EDTA acid 100g 76 039 4.16 4.89 Thiourea 500g 99 223 10.03 11.79
EDTA (tetra sodium) 100g 4 851 5.18 6.09 TWEEN 20 25ml 13 878 1.34 1.57
EDTA (NaFe) 100g 7 251 1.86 2.19
EDTA (di-potassium) 100g 6 503 11.20 13.16
LIQUID CHEMICALS
EDTA (di-sodium) 100g 55 109 8.13 9.55
EDTA (di-sodium) 500g 87 805 34.69 40.76
Ferric ammonium sulphate 100g 87 930 4.28 5.03 AMMONIA 10% 500ml 26 120 2.16 2.54
Ferric chloride 100g 76 137 1.96 2.30 GOLD CHLORIDE 2% solution 50ml 50 168 30.00 35.25
Ferric nitrate nonahydrate 100g 7 578 7.14 8.39 HYDROCHLORIC ACID 10%. 500ml 92 535 2.77 3.25
Ferrous sulphate 100g 54 306 5.08 5.97 SULPHURIC ACID 10% 500ml 90 416 2.33 2.75
Formamidinesulphinic acid 100g 3 519 13.70 16.10 HYDROGEN PEROXIDE 500ml 2 270 2.07 2.43
FORMALDEHYDE 40% soln 500ml 29 264 3.81 4.48
Gallic acid 100g 87 592 9.75 11.46 ACETIC ACID 1 litre & 5 litre see packings listed under Champion & Agfa
Gelatin 100g 58 671 2.33 2.74
Gelatin 500g 11 187 10.73 12.61 WE AIM TO KEEP THE ABOVE PACKINGS IN STOCK, BUT IF YOU NEED SEVERAL ITEMS TO
Gold chloride 2% solution 50ml 50 168 33.00 38.78 PREPARE A FORMULA, PARTICULARLY THE MORE OBSCURE ONES, IT MAY BE ADVISABLE
TO RING TO CHECK STOCK. WE ONLY SELL CHEMICALS FOR USE IN PHOTOGRAPHIC APPLICA-
Hydroquinone 25g 74 677 1.28 1.50 TIONS. TO PURCHASE RAW CHEMICALS OVER THE COUNTER YOU MAY BE ASKED TO COMPLETE A
Hydroquinone 100g 34 480 3.30 3.88 WRITTEN ORDER, WITH SIGNATURE AND ADDRESS. IF ORDERING BY MAIL, PLEASE SIGN THE BOX
Hydroquinone 500g 10 514 14.09 16.49 ON THE ORDER FORM RELATING TO RAW CHEMICALS.
Iodine 25g 14 378 4.08 4.79

FINISHING 34
Maped Matt-Cutting System Tacking Irons and Dry Mounting Tissue
Mains voltage tacking irons, with a choice of
sceptre or round tip. For most work we recom
mend the sceptre, easier to use and clean.
The mount tissue we stock as standard is
UNIMOUNT. The stocked selection is shown
below, many other roll and sheet sizes are avail
able to order, including an archival mount tissue
that can be removed by re-heating. Silicon release paper as a cover for the
work being mounted is really only necessary if there is an excess of tissue
showing around the print. Preferably, use a sheet of thin high quality board
which has been well dried in the mount press beforehand.
A well designed small-scale matt-cutting system designed along the princi- 30 070 Tacking Iron (sceptre tip) 38.00 44.65
ples of a full scale matt-cutting machine, and producing true 45° bevels. It is 20 554 Tacking Iron (sceptre tip) 38.00 44.65
capable of producing results indistinguishable from the best professionally 7 774 Tacking Iron Stand 16.30 19.15
cut matts, and we have found no better unit than this. The Profila ruler con-
tains a channel along its length, into which the lugs on the Maped cutter 61 170 Dry Mounting Tissue 8 x 10 / 100sh 14.75 17.33
locate. The board to be cut is first marked up with image size, and then cut- 3 670 Dry Mounting Tissue 10 x 12 / 100sh 19.60 23.03
ting guide lines 2.5cm inside this. These lines provide locations for the edge 47 121 Dry Mounting Tissue 11 x 14 / 100sh 25.95 30.49
2 035 Dry Mounting Tissue 12 x 16 / 100sh 31.15 36.60
of the ruler, and starting and stopping points for the cutting head. No great
90 001 Dry Mounting Tissue 16 x 20 / 100sh 55.55 65.27
force is needed to operate the cutting head, and cutting is preferably done
50 642 Dry Mounting Tissue 24 x 82 53.75 63.16
with a series of cuts, sinking gradually deeper. If cutting is inadvertently
made too shallow, the original cut can be easily re-located and finished off.
40 277 Silicon Release Paper 24 x 32 15.20 17.86
If the board has been properly marked, the centre of the matt should fall out
with no over-cutting. A 90° cutter for vertical matts is also available. The
Kaiser Proficut Safety Paper Trimmers
rulers bought as separate units are heavy duty with 2 rubber strips for good
grip, as well as a steel surface for cutting with a knife. The lighter weight 3 sizes of budget single bar trimmers, with
rule sold in the budget package with both 45 & 90° cutters has only one self sharpening circular blade;
rubber grip, and no cutting edge. Profi Cut 1 - cutting length 360mm (14.2”)
Profi Cut 2 - cutting length 460mm (18.1”)
67 744 Maped 45¡ (inc. 4 blades) 20.42 23.99 Profi Cut 3 - cutting length 720mm (28.3”)
68 599 Maped 90¡ (inc 4 blades) 20.42 23.99
73 899 Maped 45¡ & 90¡ Mat-cutters 30.17 35.45
36 838 Maped 45 + 90¡ cutters + 60 cm rule. 42.13 49.50
--- Profi Cut 1 (Kaiser Code 4112) 76.50 89.90
35 381 Spare 45¡ Blades x 10 7.65 8.98
28 788 Spare 90¡ Blades x 10 7.65 8.98
Maped Rulers
Kaiser Safety Trimmer
These offer a choice of 3 types of aluminium
rule. The Profila is the original rule, designed for Paper trimmer with self sharpening
use in cutting, measuring, or with the Maped 45° rotating circular blade in a closed plastic
and 90° mattcutters. The base has two anti-slip housing. Automatic paper grip, plastic
rubber tracks, and carries 2 slots for the mattcut- guide bar, transparent paper holding strip.
ters. A steel rod embedded in one side acts as wear resistant cutting edge. Base plate with cm scale & size markings.
--- Kaiser Safety Trimmer Mini-Cut (9.1 ) 19.29 22.67
The Quadra also has two rubber grips, and the mattcutter slot, but also has
34 111 Kaiser Safety Trimmer Hobby Cut 1 (12.6 ) 23.49 27.60
a highly raised profile. This acts as a handle, or guard when cutting with a 34 147 Kaiser Safety Trimmer Hobby Cut 2 (18.1 ) 32.71 38.43
knife. There is a steel cutting edge.
150 PROFILA RULE 40cm 16.55 19.45 Cutting Matts
98 003 PROFILA RULE 50cm 21.02 24.70
Choice of green opaque or clear for use
50 518 PROFILA RULE 60cm 22.97 26.99
on light boxes. These are for use with ver
14 853 PROFILA RULE 80cm 26.81 31.50
tical cutting as with a scalpel - not to be
97 276 PROFILA RULE 100cm 33.62 39.50
used with 45° mattcutters, which will cut
58 889 QUADRA RULE 60cm 28.21 33.15
chunks out of the surface. When used in
60 144 QUADRA RULE 80cm 34.13 40.10 vertical cutting, the surface reforms to
18 252 QUADRA RULE 100cm 39.42 46.31 ‘heal’ the cut.
Rotatrim Cutters
Original and best, very heavy duty rotary cutters 12 049 9 x 12 A4 Green 4.89 5.75
developed from the original design of 1966. Safe 5 116 12 x 18 A3 Green 7.79 9.15
39 615 18 x 25 A2 Green 13.23 15.55
in operation, the Sheffield tungsten steel blades
52 178 25 x 36 A1 Green 25.70 30.20
give precise and consistent cutting results over a
very wide range of materials. The RotaTrim twin
21 358 12 x 18 A3 Clear 21.45 25.20
tube system, supported by metal end castings 69 605 18 x 25 A2 Clear 36.51 42.90
ensures high rigidity essential for accurate cut
ting performance. The self sharpening rotary
Falcon Print Positioner
wheel glides positively and easily on nylon bear-
ings. The base-board is wipe-clean honey yellow melamine, and is The re-appearance of an old friend, the
designed to accept the users permanent or semi-permanent grid markings. positioner is invaluable in two ways;
Every machine is backed by the unique RotaTrim 5 year guarantee against 1) as a set square when marking board
faulty workmanship and materials. The ‘M’ series is for general use, and for matt-cutting - being very lightweight it
other models are available for specific applications, including power-driven can be used quickly with no danger of
heavy duty devices and a special model for cutting thick boards such as damaging the board.
foam-cored mounting board. 2) for rapidly positioning prints when dry
mounting. The scales apply their own
86 943 M12 (12 cutting length) 106.00 124.55 ‘upward weighting’ to give the right top and bottom proportions. However it
67 828 M15 (15 cutting length) 118.00 138.65
is brittle as cinder toffee, so not included as a mailable item.
78 356 M17 (17 cutting length) 133.00 156.27
94 294 M24 (24 cutting length) 164.00 192.70 --- Falcon Print Positioner 26.11 30.67
- M30 (30 cutting length) 206.00 242.05
FINISHING / RETOUCHING 35
Draft Clean Pad Spotone Kits SpotPen Handcolouring Pens
Pad containing soft Formulated for hand colouring and
rubber particles, tinting B&W prints, leaving no sur
excellent aid when face residue. The pens have a
cleaning up during broad tip for even and controlled
cutting & framing. A distribution of colour. Three groups
gentler option than an of 8 colours are available, and as a
ordinary rubber. Twist starter pack the Group 1 set is available contain-
the pad lightly to release some powder, then rub it ing the 8 pens + Pre-moistening solution,
gently over the soiled area. With severe soiling, Remover Pen, Blotting cotton, and Sponge.
more pressure can be applied.
28 018 Spotpen Set, Group 1 23.95 28.14
7 735 Draft Clean Pad 3.30 3.88 28 032 Spotpen Set, Group 2 23.95 28.14
28 057 Spotpen Set, Group 3 23.95 28.14
Cotton Gloves 28 791 Spotpen Starter Set 26.50 31.14
Sold by the unidex A very comprehensive retouching system for

black and white prints, available in a 3 and 6 bot- Spotting Pen Sets
trous pair, or in packs
of 20, these are made tle kits, which enable an exact match to be A new method of spotting B&W
of unbleached cotton, produced for any type of paper with any variation prints. Two sets are available for
useful for all opera in processing. Dyes are used which penetrate the black and white work, one for neu
tions involving han emulsion, leaving no surface residue. The 3 bottle tral, and the other for warm-tone
dling film and print kit, contains no.3 (neutral) no.1 (blue-black) and prints. Each kit comprises 10 pens,
materials, particularly no.O (olive). This kit should be suitable for most delivering different densities from
during print mounting untoned papers. The 6 bottle kit contains the the the lightest ‘zone’ to the darkest.
or film editing. same 3 dyes, plus the three brown colours no.2
28 069 Spotpen Set Black & White 23.95 28.14
The more expensive alternative is the extra (selenium), S (sepia), and B (brown). A sponge
28 020 Spotpen Set Warm Black & White 23.95 28.14
white glove in the Kaiser range, which would not for moistening the print prior to retouching, and
look out of place with top hat and tails, or when comprehensive instructions are provided. All the
Masking Film
giving Al Jolson impressions. colours are available as separate bottles
Matt finish low-tack film that substitutes for Mask
69 534 Spotone 3 bottle kit 9.65 11.34
90 481 Unbleached Cotton gloves / pair 0.60 0.70 Strip for many applications. Use for covering large
31 405 Kaiser Deluxe Cotton Gloves / pair 3.82 4.49 91 685 Spotone 6 bottle kit 18.15 21.33
areas, and possibly finish small details around the
39 811 Spotone 0 (single bottle) 4.25 4.99
edge using Mask Strip.
Brushes 61 045 Spotone 1 (single bottle) 4.25 4.99
45 025 Spotone 3 (single bottle) 4.25 4.99 55 318 Masking Film 31cm x 4m. 5.04 5.92
Sable hair, sized from
30 249 Spotone 2 (single bottle) 4.25 4.99
00 (smallest) to 7 77 163 Spotone B (single bottle) 4.25 4.99
(large). For general Fotomask
45 013 Spotone S (single bottle) 4.25 4.99
spotting a small brush A versatile material used to block
is desirable, but with Spotoff Kit areas of emulsion, either during wet
sufficient body to hold processing, such as toning, or
For removing black specks from the print, as well
enough dye and during processes such as hand-
as general reduction work. Supplied in two drop-
remain reasonably firm - a no. 0 or 1 is probably colouring. Applied as a liquid, this
per bottles, one of bleach, one of accelerator
best. Washes of dye will require larger brushes. quickly sets to form a latex
which sets the degree of activity.
rubber film which adheres lightly to the emulsion
37 463 no. 00 Brush 3.46 4.07
26 545 Spotoff Kit 7.20 8.46 surface. After the completion of the process it can
83 313 no. 0 Brush 3.46 4.07
14 393 no. 1 Brush 3.69 4.34
be easily stripped away. Multiple toning effects
Dyene Kit can be performed, and in hand-colouring sharp
99 930 no. 2 Brush 4.23 4.97
36 050 no. 3 Brush 5.30 6.23 3 bottle kit for retouching mono edges maintained on details. The Brush Cleaner
7 153 no. 4 Brush 6.37 7.48 chrome negatives. Contains silver is essential if using brushes to prevent clogging.
53 101 no. 5 Brush 8.17 9.60 black for details, red for broad area
25 050 Fotomask 125ml 9.24 10.85
38 462 no. 6 Brush 9.75 11.46 blocking and a conditioner to make
11 868 Brush Cleaner 125ml 4.97 5.83
7 750 no. 7 Brush 12.04 14.15 hardened emulsions respond well to 16 474 Tetenal Peeling Varnish 6.90 8.11
retouching colours.
Scalpels & blades Liquid Opaque
18 141 Dyene Kit 9.65 11.34
We normally stock Retouch Methods liquid opaque, a dense black
Swan Morton 10A Colour Dye Retouching Kits dye which can be used to completely block areas
(broad) and 11 Comprehensive kits of 12 dyes, first of a negative, such as when spotting pinholes in
(narrow) straight choice if you need a kit for hand lith film, or can be thinned by dilution with water to
edged blades, suitable colouring and colour print retouch make a useful print spotting medium.
for knifing and general ing. All the dyes are also available
retouching work. individually in 250ml bottles. 81 119 Liquid Opaque 4.79 5.63
These fit the No. 3
handle. 39 128 Photo-Technology Dye Kit 17.02 20.00 Light Protecting Varnish
24 440 Fotospeed DY15 Dye Kit 19.57 22.99 Available in matt, semi-matt or glossy, this aerosol
89 894 SM Scalpel Handle No. 3 2.57 3.02
varnish has ultraviolet absorbing properties, use-
73 788 SM Blades No. 10 / 5off .58 .68 Retouch Methods Colour Dye Kit
24 586 SM Blades No. 10 / 100 box 9.68 11.37
ful when used with colour prints to prevent fading
Very comprehensive kit, including 14 concentrat- when displayed in strong light. The varnishes also
36 598 SM Blades No. 11 / 5off .58 .68
24 599 SM Blades No. 11 / 100 box 9.68 11.37
ed dyes in 1 oz. bottles. Suitable for hand colour- physically protect the print, and a varnish can be
ing and retouching all colour papers including used to change the nature of the print surface,
Ilfochrome. converting a glossy print to matt & vice-versa.
Deckle Edge Scissors
This went in the last 3 668 Retouch Methods Colour Kit 48.95 57.52 71 656 Light-Protecting Spray matt 400ml 8.75 10.28
catalogue as a bit of a 56 402 Light Protecting Spray semi-matt 400ml 8.75 10.28
joke, but must be Colour Negative Retouching Kit 50 557 Light Protecting Spray glossy 400ml 8.75 10.28
hitting a chord, as they Produced by Retouch Methods in the USA, con-
keep on selling. tains yellow, magenta, cyan and a dye balanced Colour Print Bleach
Deckle edge scissors for flesh colour when colour negative to positive A Fotospeed product, working on RA4 type chro-
for that authentic printed. mogenic papers, and suplied in 15ml bottles of
1930’s look. working solution.
68 379 Colour Negative Retouching Kit 13.25 15.57
--- Deckle Edge Scissors 4.21 4.95 - Fotospeed Colour Print Bleach 7.11 8.35
ARCHIVAL MOUNTING MATERIALS 36
Pressure Sensitive Linen Tape Self Adhesive Framing/Sealing Tape
Mounting Corners Self-Adhesive’ Linen cloth tape is an Designed specifically to seal corru
extra-strong British linen cloth coat gated board or cardboard to the
Mounting Corners ed with a neutral pH acrylic adhe back of frames. This long-lasting,
For mounting photographs, prints, sive of archival quality. Its high acid free pressure sensitive tape
postcards and documents without thread count and lack of fillers make conforms well to irregular or rough
covering the image area. They are it an excellent choice for numerous surfaces. It adheres to most wood, cardboard,
made from transparent polyester archival hinging requirements. It is well suited for glass, metal and plastics. Its blue/gray colour and
film, and are attached to the mount hinging mats, particularly heavy duty require- foil backing with a permanent inert acrylic adhe-
with backing of archival quality 3M ments. Reversible with alcohol. sive makes this an excellent choice for numerous
415 double adhesive film tape. This sealing requirements. While this adhesive is
3 702 Self Adhesive Linen Tape 1.25 x 33 8.21 9.65
tape is very stable chemically, and extremely long reversible with methylated spirits, it is difficult to
ageing, but will not come into contact with the remove, and should not be applied directly to art-
image being mounted. Whatever type of docu- PVA & EVA Adhesives work. To use: cut to length desired and apply to
ment is being mounted can be easily removed White, neutral pH adhesives, dry clear and flexi- back of frame. Press firmly to assure adhesion to
from the mount, examined, and reinserted in the ble. Fast setting, polyvinyl acetate formula is fast any rough or irregular surface.
mount. The corners are prescored on the fold- setting, remoistenable with water and fully
86 028 Self Adhesive Framing Tape 5.18 6.09
lines for easy folding and quick application. reversible. This adhesive was formulated specifi-
Available in 2 sizes. cally for preservation materials and should not
become brittle with age. Adheres to most sur- Document Repair Tape
50 777 Polyester Corners / 100 5/8 5.56 6.53
faces. A unique combination of a very thin,
strong acid free tissue coated with
30 043 PVA Adhesive 8oz 5.25 6.17
acid-free adhesive. It is non-yellow
Polyester Strips 20 566 Evacon-R Adhesive 8oz 5.25 6.17
ing, reversible, and serves as a self-
Strips of polyester with adhesive adhesive mending tissue. Although
ends used for temporary mounting of Filmoplast-P & P90
permanent, it may still be removed with alcohol
photos or prints for exhibition purpos- Filmoplast tape consists of a pH- without damage to the art work.
es. The adhesive ends make it easy neutral, pressure sensitive adhesive
to attach to backing material. 60 which is soluble in water. Type P is 67 088 Document Repair Tape 1 x 98 6.56 7.71
strips per package. extremely thin and highly transpar

ent when applied. Mounting / Hinging Tissue
This, along with the adhesive characteristics Long fibre acid free tissue backed
108 Polyester Mounting Strips / 60 8.69 10.21 makes it ideal for mending tears and replacing with neutral adhesive, designed to
torn-out pages in books and documents. This act as a flexible strong hinge
Self Adhesive Mylar Mounting Corners tape has a slow tack which will achieve maximum between artwork and support. For a
holding power in 15-20 hours, allowing a degree ‘T’ hinge; cut two hinges and apply
Display and protect photographs,
of removability when first applying it. The adhe- to the back of the artwork, vertically with sticky
prints, post cards and other items
sive is water soluble. P90 is similar, but uses a side up. Center the artwork, cut two more hinges
with University Products exclusive
heavier paper as the base. and apply horizontally over the protruding hinges.
polyester self adhesive mounting
corners. Crystal clear and complete 57 964 Filmoplast P 2cm x 50metres 5.88 6.91 62 069 Mounting / Hinging Tissue 1 x 98 6.56 7.71
ly free of harmful plasticisers, these 45 284 Filmoplast P90 2cm x 50metres 5.88 6.91
are as safe as they are simple to
use. These corners contain a self-adhesive back- Rice & Wheat Starch
ing of non-yellowing acrylics, and are mounted on Rice starch is similar to wheat starch in prepara-
a release liner for easy removal. 240 corners per tion and use, but yields a lighter thinner paste
package. after cooking.
47 295 Wheat Starch 2oz 3.06 3.60
30 484 Polyester Corners / 240 1 3/8 7.29 8.57
43 468 Rice Starch 2oz 3.06 3.60
Transparent Mending Tissue

Archival adhesives For repairing tears in paper, and is
ideally applied from the back.
Acid-Free Paper Tape Similar in nature to Mounting /
A lightweight acid-free paper tape Hinging tissue, but uses shorter
designed with water activated adhe- fibre paper. Can be applied
sive. Can be used for hinging art directly from the box, pulling the release paper as
work onto a matt, and for holding the tissue is unreeled.
down photocorners. With either fold-
53 539 Clear Mending Tissue 1/2 x 50 6.25 7.34
ed or T-hinges, Paper Tape can be used for
quick, additional support. Also works well as a
dust seal for backs of frames. Tape is removable Museum Mounting Kit
by remoistening with water. Various lengths avail- Contains: Japanese hinge paper,
able. pure rice starch adhesive, acid-free
linen cloth tape and full instructions.
89 901 Acid Free Paper Tape 1 x 130 4.38 5.15
Acid-Free Linen Tape

This uses the same moisture acti -
vated pH neutral adhesive as the 40 020 Museum Mounting Kit 8.13 9.55
paper tape, and is made of cambric
quality linen, which is a high quality,
tightly woven material. Acid-Free
Linen Tape may be used for hinging window mats
to backing boards, or to retain Paper Photo
Corners.
48 506 Acid Free Linen Tape 1 x 30 4.73 5.56
70 366 Acid Free Linen Tape 1 x 150 10.95 12.87
STORAGE & MOUNTING 37
Archival Storage Ringbinder Storage Sheet Film Boxes
Two things affecting the black and white photo- Museum Box Cream folding archival
graph in storage, assuming it has been processed board construction,
properly to eliminate residual chemicals are: firstly Absolute archival safety is assured by construc- crimped with metal
airborne contamination, mainly industrial fumes, tion in acid free conservation board which passes edges to form rigid
car exhaust etc. Selenium toning during process- the ANSI PH 1.35 photographic activity test. This boxes with flip-tops.
ing is the best protection here, or use of a treat- box is covered in moisture resistant black library Available in the main
ment such as Agfa ‘Sistan’. The other problem is buckram. sheet film sizes.
chemical action due to impure mounting materials 8 857 Museum Box LMB 1 31.35 36.84 Suitable for use with
that the print is in close contact with e.g. cheap archival paper
mounting boards, non-permanent adhesive tapes envelopes.
etc.. The long term effect of both of these will be
89 284 Sheet Film & Plate Box 5x4 4.14 4.86
various forms of gradual image tarnishing, usually
60 715 Sheet Film & Plate Box 5x7 4.30 5.05
starting at the edge of the print, and accompanied 89 940 Sheet Film & Plate Box 7x9 5.22 6.13
by embrittlement of the paper base. 43 039 Sheet Film & Plate Box 8x10 5.22 6.13
Displaying the print

The authentic ‘archival mat’ consists of a bevel Conservation Board
cut window mat and backing board, made from
Conservation, or preferably Museum Board. Acid- ‘Conservation board’ differs from ‘Museum board’
free tapes can be used over corners made of in that it is made from cellulose originating in
acid-free paper to hold the print in place without wood material, whereas museum board is made
directly attaching it to the mount. There are vari- entirely from cotton fibres. Notwithstanding that,
ous options in this, using archival paper and poly- the high level of preparation in the raw material of
ester. A print matted in this way is well prepared conservation board should ensure that for archive
and protected both for display, or storage as purposes there is little difference. The conserva-
below. tion board we stock is a natural white, high quality
wood free conservation board, cut to the specific
Storing the print photographic sizes. The Museum board, below,
derives its sizes from being cut from the original
Unmounted prints can be held in enclosures cut into 1/4’s or 1/6’ths.
from archival quality paper, or in transparent poly- Collector Box
ester sleeves, which are completely inert, protect 83 241 1650m. 12x16 10 / pack 10.50 12.34
Externally identical to the Museum Box, the 24 988 1650m. 16x20 10 / pack 17.85 20.97
during handling, and prevent surface abrasion
Collector Box combines conventional boxboard 52 399 1650m. 20x24 10 / pack 24.15 28.38
during handling in storage. Prints in window
construction with an inert acid-free barrier paper
mounts, in sleeves, or loose can be stored in a
to prevent acid migration. The covering is identi-
variety of archival quality Print Boxes or Portfolio
Cases.
cal to the Museum box. Museum Board
7 212 Collector LMB2 26.83 31.53 1650 micron Natural White Museum Board
The Timecare System
43 443 1650 m. 1/6 board (15x17 ), 10/pack 16.98 19.95
With this system, there Everyman Box 30 421 1650 m. 1/4 board (22.5x16.5 ),10/pack 25.35 29.79
exists at last a fully The Everyman Box provides an economical 1650 micron TG Off-White Museum Board
integrated archival archive housing for everyone, using boxboard
23 879 1650 m. 1/6 board (15x17 ), 10/pack 19.18 22.54
storage and display lined with pure white paper, and a tough black
65 054 1650 m. 1/4 board (22.5x16.5 ), 10/pack 28.64 33.65
system for photo cloth-textured paper covering which blends indis-
graphic materials. tinguishably with library cloth-covered boxes. The 1100 micron TG Off-White Museum Board
For prints this consists spine is reinforced with black buckram, so from 58 047 1100 m. 1/6 board (15 x 17 ), 10/pack. 11.31 13.29
of ranges of relatively end-on the box matches the Museum and 55 843 1100 m. 1/4 board (22.5x16.5 ), 10/pack 16.88 19.83
cheap die-cut storage Collector exactly.
boxes, and the more elaborate ‘Portfolio’ boxes.
Fitting into these are choices of print storage 1 964 Everyman LMB3 20.94 24.60 Archival Papers
envelope, either clear polyester sleeves, or
We do not profess to be paper merchants, but
pHoton archival paper folders. An equivalent
keep a few specialised papers suitable for alter-
range is available for negative storage, including
native processes. Silver-safe is an unbuffered un-
the 4-hole ringbinder ‘Time Traveller’ boxes,
sized conservation paper most suited to making
which accept any 4-hole punched file sheet,
storage enclosures. Cranes parchment is fully
either ‘AS’ polyester, standard polyester, or pro-
sized, and is a warm cream. Arches Platine is
prietary acetate and glassine types. The compo-
natural white and is particularly suited to iron-
nents of this system are covered in the following
based processes such as platinum. COT 240 is
pages 43 to 46. For negatives there are a number
white, smooth, similar to Arches Platine but cut to
of choices in ringbinder boxes and a wide range
photographic sizes.
of tailor-made album pages and accessories.
769 Silver-Safe acid free cotton fibre paper,
To protect and display a wide variety of docu-
200gsm, 22x17 , 10sh 9.24 10.86
ments and photographic media, the Lilliput sys- 46 087 Cranes Parchment,
tem offers a choice of 15 different archival poly- 300 g 10sh 9.50 11.16
ester Time Traveller album pages, with a range of 3 656 Arches Platine,
transparent mounting inserts, indexing cards, 300 g 10sh 16.00 18.80
mounting corners and markers.All three boxes 3 604 Buxton, handmade paper
contain D’ ringbinders for 4 hole punching. Hand- 10sh 50.00 58.75
made in open-flat ‘Solander’ form, Lilliput boxes COT 240
all have the same external dimensions. CXD Timecare Box 29 503 24x30cm 50sh 19.20 22.56
Different grades of ringbinder box allow selection The most basic box in the range, made from a 29 530 30x40cm 50sh 32.00 37.60
of archival quality and cost to suit users budgets 29 873 50x60cm 25sh 39.80 46.77
single piece of diecut CXD archival folding
and collections. In all cases, they keep the dust boxboard, but with the same 4-hole ringbinder
out! mechanism as all the others. The construction of
the box is similar to the CXD print storage boxes,
but is supplied ready erected.
5 032 Timecare Ringbinder Box 11.30 13.28
ARCHIVE & PORTFOLIO SYSTEMS 38
Polyester Storage Secol A-S File Pages
Polyester is an excellent material for photograph- Made from a special grade of polyester. All 61 195 S7SE (35mm strips) 23.50 27.61
ic storage in many ways; it is acid free, passes pages have outer dimensions of 315 x 260mm 87 687 P20SE (35mm mtd slides) 23.50 27.61
the silver-tarnish test, is inert, brilliantly clear, con- and are 4-hole punched. The spine of all pages 49 313 4SE (120 film strips) 23.50 27.61
tains no plasticisers and will not crack or yellow also allows use as a cabinet hanging file by the 95 679 P4SE (5 x 4 ) 23.50 27.61
with age, and is light and strong. The cautionary insertion of a suspension rod through the bind- 27 714 P1SE (Full page, 8x10 etc) 23.50 27.61
notes are, firstly, that when using polyester for ing edge. Choices are available in direction of 64 762 P2SE (Half page for 5x7 ) 23.50 27.61
negative storage one should avoid careless han- pocket entry, and formats are shown here divid- 64 373 P12SE 23.50 27.61
dling - ‘kinking’ will raise ridges in the surface ed into two groups - those designated ‘SE’ (side
which will not disappear, but remain to abrade the entry) are most suitable for binder filing while the
85 626 P1 23.50 27.61
emulsion surface if the negative is frequently lower group is best suited to hang filing. All 2 948 P2 23.50 27.61
accessed. Secondly, polyester can build up a sig- pocket dimensions are internal, to accept con- 38 280 P4 23.50 27.61
nificant static charge, and to avoid the problem of tents of size stated up to 0.5mm thickness. All 56 219 P20 23.50 27.61
pulling in dust, an enclosed storage box should pages are parked in 50’s. See bottom left for
26 046 S7 23.50 27.61
be used. In the case of punched file sheets, the prices.See diagrams & specifications to the
66 706 S4 23.50 27.61
“Lilliput’’ boxes are ideal. right. Identical to the previously branded ‘Lilliput’ 46 815 P8 23.50 27.61
range, these are 4-hole punched for insertion in 52 225 P12 23.50 27.61
standard files, or for use with the ‘Lilliput’ range
Polyester Sleeves of clamshell boxes. Packs of 50 pages.
Highly transparent
archival print storage
sleeves, At one time
purely the province of
the museum archive,
these versatile sleeves
are now becoming the
most popular method of P1SE P2SE P4SE P20SE
presenting portfolio
images.. They are more Full page size, suitable Two pockets per page, Four pockets per page, Suitable for 35mm trans-
for 9.5x12”, A4 and accepting 5x7” format. suitable for 5x4” film or parencies.
satisfactory than lami-
8x10” prints and sheet postcard sized prints.
nating, as the contents films. Pocket dimensions: Pocket dimensions
can be easily rehoused Pocket dimensions; H 150mm x W 230mm Pocket dimensions: H 65mm x W 43mm
when the sleeve becomes damaged. Welded on H 305mm x W 230mm H 150mm x W 115mm
three sides, with the opening on one short side.
AS200P1SE 27 714 AS201P2SE 67 762 AS202P4SE 95 679 AS205P20SE 87 687
Larger by 1/4” than the print format they contain,
and will fit into the various print boxes and cases.
Sold in 10’s or in bulk packs of 50 incorporating a
discount of 20%.
A tip - when inserting a print you could try first
inserting two ‘shoehorns’, folded pieces of paper
that you put inside the sleeve at each side to act
as guides when the print is inserted. The prints
will slide in easily, then remove the guides.
S7SE S4SE P12SE
30 252 8x10 10 5.36 6.30
7 pockets, designed for 4 pockets, designed to 12 Pockets for 2.25”
30 276 8x10 50 22.35 26.26
strips of 6 frames 35mm accept 4 strips of 4 mounted transparencies
30 445 A4 10 6.20 7.29 negative or transparen- 2.25” square frames on or single 2.25” frames.
91 135 A4 50 24.78 29.12 cy film. 120 film
30 311 9.5x12 10 6.20 7.29 Pocket dimensions: Pocket dimensions: Pocket dimensions:
30 288 9.5x12 50 24.78 29.12
H 42mm x W 230mm H 75mm x W 230mm H 66mm x W 6mm
AS204S7SE 61 195 AS203S4SE 49 313 AS207P12SE 64 373
11 026 10x12 10 6.50 7.63
- 10x12 50 26.00 30.55
30 335 11x14 10 7.77 9.13
30 347 11x14 50 29.60 34.78
30 213 12x16 10 9.87 11.60
30 225 12x16 50 39.48 46.39
30 460 A3 10 12.60 14.81
20 432 A3 50 50.40 59.22 P1 P2 P4 P20
18 056 A3+ 10 14.60 17.15
Full page size, available Two pockets per page, Four pockets per page Suitable for mounted
33 856 A3+ 50 58.40 68.62 for 9.5x12” & A4. taking 5x7” formats. taking 5x4” formats. 35mm transparencies.
30 362 16x20 10 16.38 19.25 Pocket dimensions: Pocket dimensions: Pocket dimensions: Pocket dimensions:
30 374 16x20 50 65.52 76.99 H 305mm x W 230mm H 150mm x W 230mm H 150mm x W113mm H 60mm x W 54mm
26 022 A2 10 20.21 23.75 AS100P1 85 626 AS101P2 2 948 AS102P4 38 280 AS105P20 56 219
47 728 A2 50 80.85 95.00
30 399 20x24 10 24.05 28.26
30 406 20x24 50 96.18 113.01
26 279 A1 10 40.42 47.49
Archival Paper Envelopes

S7 S4 P8 P12
73 277 120 Single strip, 3x4.5 / 100 18.00 21.15 7 Pockets. designed for Four pockets, designed 8 pockets, suitable for 12 pockets, suitable for
37 668 5x4 / 100 16.00 18.80 strips of 6 frames 35mm to take 4 strips of 4 Cartes de Visite. mounted 2.25” trans-
3 281 5x7 / 100 18.75 22.03 negative or transparen- 2.25” square frames on parencies, or single neg
10 687 6.5x8.5 / 100 27.00 31.73 cy film. 120 film. frames.
35 232 8x10 / 100 28.00 32.90
Pocket dimensions: Pocket dimensions: Pocket dimensions: Pocket dimensions:
H 42mm x W 231mm H 75mm x W 30mm H 75mm x W 112mm H 75mm x W 73mm
4 907 11x14 / 100 50.00 58.75
AS104S7 26 046 AS103S4 66 AS106P8 46 815 AS107P12 52 225
ARCHIVE & PORTFOLIO BOX SYSTEMS 39
Portfolio Boxes CXD Diecut Archival Boxes

We have this popular portfolio box made These Conservation-by-Design Premier
in large quantities, which keeps unit Archival Print Storage Boxes are extra-
prices down. The quality and consistency heavy duty die-cut boxes cut from neutral
of the range is superb, and we have had grey Premier Archival Boxboard in the
them produced by the same manufacturer heavier 1300 micron calliper. The boxes
for many years. Ideal for safe storage, or are highly rigid and the “wet” cutting and
for elegant presentation of prints. The scoring produces folds with minimal
one-piece clamshell design allows easy cracking.
accessibility to the contents. Opening out Made from a single piece of folding
into two trays, the spine and top of the boxboard, these are pre-scored and only
box lie flat when completely open, require careful folding to form a clamshell
providing a double size presentation area. Prints can be moved from one storage box. One great advantage of this type of construction is that they
tray to the other, minimising handling and soiling. The internal size has suf- take up virtually no space until assembled, so stock can be laid in for future
ficient clearance to take the Polyester Sleeves which we stock in matching requirements, taking advantage of the lower price on multiples. The interior
sizes. The colour is black. dimensions are approximately 1/4’’ larger than the print format, sufficient to
Now including a new 5x7” size for mini-portfolios, as well as the A3+ inkjet give clearance to a polyester sleeve.
paper size.
33 187 5x7 single 4.22 4.96
For protection in transit, the matching Cordura cases and Transit boxes on
13 795 5x7 per 5 20.08 23.59
page 66 are designed to accept these cases. 13 802 5x7 per 10 38.01 44.66
Base material: Archival Boxboard, double thickness, dimensionally stable
71 010 8x10 single 7.61 8.94
& archival quality. Lining: One layer of archival boxboard, white side out.
13 839 8x10 per 5 36.35 42.71
Cover: Library-quality acrylic impregnated black buckram. Can be sponge
13 841 8x10 per 10 69.25 81.37
cleaned using minimal moisture. The hinge is re-inforced Tyvek.
Adhesives: pH balanced and buffered, very low sulphur content. 31 711 10x12 single 7.61 8.94
13 854 10x12 per 5 36.35 42.71
Internal Dimensions: 3/8” larger than the format size, allowing sufficient
13 866 10x12 per 10 69.25 81.37
clearance for Polyester Sleeves. Internal depth is shown in brackets.
19 860 11x14 single 8.07 9.48
4 227 Portfolio Box 5 x7 ***NEW*** 21.00 24.68 13 880 11x14 per 5 38.47 45.20
7 786 Portfolio Box 8 x 10 (1.5 ) 23.10 27.14 13 893 11x14 per 10 73.32 86.15
10 994 Portfolio Box A4 25.20 29.61 8 321 12x16 single 8.07 9.48
13 900 12x16 per 5 38.47 45.20
77 882 Portfolio Box 9.5 x 12 (2 ) 26.25 30.84
13 925 12x16 per 10 73.32 86.15
30 996 Portfolio Box 9.5 x 12 (1 ) + Slip Case 31.50 37.01
33 092 A3 single 8.27 9.72
14 354 Portfolio Box 11 x 14 (2.25 ) 31.50 37.01
26 463 A3 per 5 39.35 46.24
73 529 Portfolio Box 12 x 16 (2.5 ) 35.70 41.95
26 800 A3 per 10 74.47 87.50
93 840 Portfolio Box 12 x 16 (1.25 ) 35.70 41.95
33 092 A3+ single 9.80 11.52
28 984 Portfolio Box A3 (2.5 ) 38.85 45.65
26 463 A3+ per 5 46.55 54.70
32 175 Portfolio Box A3 (1.25 ) 38.85 45.65
26 800 A3+ per 10 88.20 103.64
43 319 Portfolio Box A3+ (2 ) ***NEW*** 42.00 49.35
86 469 16x20 single 11.64 13.68
33 552 Portfolio Box A2 51.00 59.92 75 346 20x24 single 13.32 15.65
66 513 Portfolio Box 20 x 24 (3 ) 69.30 81.43 13 976 20x24 per 5 63.34 74.42
14 008 20x24 per 10 119.91 140.89
Cordura Bags Transit Cases

Complementing the Portfolio and Tough fibreboard cases designed to act as a
Presenter boxes, these rugged weather shipping case for Portfolio Boxes, although they
proof carrying cases enclose and protect can be used as a budget print presenter in their
the box, making it into a unit which will own right. The two-piece box has reinforced cor-
stand up to the rigours of transporting a ners and the lid is re-inforced with a steel band. A
portfolio. Designed to accept either one placard holder is fitted to the lid. The box is held
full width box, or two half-width boxes. closed with two straps, and two loop straps are fit-
Well padded, with carrying handle and ted for carrying, which will take any weight the
detachable carrying strap. The colour is boxes are likely to encounter- we havn’t managed
black. to break one yet. The lining is glued-in
polyurethane foam, protecting an interior box from
any normal transit shock. The spec. is slightly dif-
ferent for the 10x12” size, which accounts for the
relatively higher price - this was designed primarily as a little portfolio pre-
842 Cordura Carrying Case 11x14 54.54 64.08 senter, and it is fitted with a leather carrying handle.
1 465 Cordura Carrying Case 12x16 62.45 73.38
34 013 Cordura Carrying Case A3 65.00 76.37 17 240 Transit Box 10x12 23.47 27.58
83 447 Cordura Carrying Case 16x20 71.46 83.97 18 594 Transit Box 12x16 (half width) 15.63 18.37
34 037 Cordura Carrying Case A2 76.10 89.41 18 614 Transit Box 12x16 (full width) 16.68 19.60
2 011 Cordura Carrying Case 20x24 88.02 103.42
32 137 Transit Box A3 (full width) 19.43 22.83
18 640 Transit Box 16x20 (half width) 18.90 22.21
18 626 Transit Box 16x20 (full width) 21.00 24.68
21 191 Transit Box 20x24 22.79 26.78
18 665 Transit Box 22x27 25.08 29.47
Portfolios Printibooks
Leather texture
Nubuk texture
The somewhat daft

name belies an excel-
lent portfolio product,
simple but well
designed, a good pre-
sentation as well as
Printibook archivally sound.
texture
The books use a metal
comb ring binding sys-
tem, which is simple to
snap open for exchange
of contents. The system
has a dedicated range
of pages made from
clear archival polyester, the same material as our polyester print sleeves.
An elegant, hardwearing alternative form of presentation for those needing Sleeves are supplied containing heavy duty black paper, and prints are nor-
a bound form of presentation. Hand-made in the UK, the Grosvenor folios mally attached to this backing sheet.
are made to a high specification, but are very economical compared to The outer boards are stiff, with a cleanable black finish. Supplied with 10
other high quality folios. Pages are secured by 4 concealed brass retention sleeves, refill sleeves in packs of 10 are available, and the folio will take a
screws - velcro secured flaps cover maximum of 20 sleeves.
the binding posts in use. The ‘Nubuk’
21 903 Printibook 8x10 16.16 18.99
is similar construction but in a simu-
21 916 Printibook A4 21.27 24.99
lated leather, which is less durable. 21 928 Printibook 9.5x12 21.27 24.99
Accepts all the same range of poly- 21 930 Printibook 11x14 24.67 28.99
ester and polypropylene pages. 264 487 Printibook 12x16 / A3 34.03 39.99
Capacity is up to 25 sleeves. The
internal covering is black buckram, 22 112 Printibook Refill 8x10 7.65 8.99
and includes an internal pocket. 22 136 Printibook Refill A4 8.51 9.99
22 187 Printibook Refill 9.5x12 9.35 10.99
LEATHER PORTFOLIO 22 207 Printibook Refill 11x14 11.06 12.99
32 262 Leather Portfolio A4 76.26 89.60 26 301 Printibook Refill 12x16 / A3 16.10 18.99
5 128 Leather Portfolio 10x12 78.89 92.70
5 103 Leather Portfolio 11x14 87.65 99.99
5 130 Leather Portfolio 12x16 / A3 111.27 126.99
11 053 Leather Portfolio 16x20 144.63 164.99 Aluminium Cases
NUBUK PORTFOLIO One popular size stocked at present, to accept 12x16” or A3
32 624 Nubuk Portfolio A4 34.04 40.00 3 105 Aluminium Case 12x16 55.00 64.63
32 636 Nubuk Portfolio A3 51.06 60.00
Pro-Slide Boxes
SLEEVES for PORTFOLIOS
The sleeves we stock for the portfolio system are in Made by Panodia in 2 sizes, to fit A4 or A3 Pro-Slide Mounts. As they are
crystal clear polyester, the same material as the print lined with black, they offer another option to our standard Portfolio Box.
sleeves supplied for storage in boxes. The sleeves 22 868 Pro-Slide Box A4 35.74 41.99
include a black card insert to stiffen and back the print 4 571 Pro-Slide Box A3 38.29 44.99
- prints are normally attached to this sheet. Sold in
sealed packs of 10.
Display Cases
Going up another notch in terms of rigidity from our standard Portfolio Box,
these cases use a wooden frame to provide extra rigidity, and are secured
POLYESTER PUNCHED SLEEVES with two attache case style clasps.
24 381 Sleeve + blk insert A4 / 10 9.35 10.99
66 608 Display Case 12x16 56.18 66.01
12 783 Sleeve + blk insert 9.5x13 11.91 13.99
25 877 Display Case 16x20 73.78 86.69
5 226 Sleeve + blk insert 11x14 13.61 15.99
28 570 Sleeve + blk insert 12x15.75 (A3) / 10 15.31 17.99
16 168 Sleeve + blk insert 12x17 / 10 20.42 23.99
NEGATIVE & TRANSPARENCY STORAGE 42
SECOL POLYESTER DIVIDED SHEETS
Secol Polyester Film Sleeves Transleeve type construction- completely transparent in packs
Available in two general types, ‘Transleeve’ which is completely transpar- of 100. Colourview also available in some formats, to order.
ent, and ‘Colourview’ which has a transparent front for viewing, and a frost- The most popular sizes are in bold type, and in size and parti-
ed back for diffusion. Both these types are produced in single pockets or tions equate to the standard formats available for film storage
rolls. Of the pockets, the ‘Tecs’ sleeves are particularly useful, accepting from Panodia, Paterson, etc. Overall size of each sheet type is
35mm transparencies in standard mounts, and are excellent protection shown in square brackets.
against careless handling. Single pockets are all in packs 67 771 6 strips 6 frames 35mm [10 x 10 ] 28.37 33.33
of 100. 22 077 6 strips of 6 frames 35 [260 x 275mm] 28.37 33.33
72 117 7 strips of 6 frames 35mm, punched 4 holes [260 x 320mm] 33.40 39.25
Roll sleeves are most useful with strips of negative or transparency, allow-
14 781 3 strips of 4 frames 2.25 punched 2 holes [260 x 222mm] 23.42 27.52
ing one to produce sleeves to the exact length required. They are available
47 840 4 strips of 4 frames 2.25 , punched 4 holes [260 x 295mm] 31.06 36.50
in lengths of 50’, in both Transleeve and Colourview.
80 075 6 strips of 6 frames 35mm [241 x 295mm] 28.37 33.33
9 772 4 strips of 3 frames 2.25 [190 x 310mm] 23.42 27.52
SECOL TRANSLEEVE 21 299 4 strips of 3 frames 70mm [190 x 332mm] 25.00 29.38
Made from ‘O’ type polyester and completely clear with no
colouration. Open on short ends. Packs of 100. Other larger SECOL TRANSLEEVE HANGING FILE
formats available. Transparent, packs of 10. Colourview version also avail-
able. Overall size of sheet shown in square brackets.
66 026 2x2 (35mm TECS) 2.97 3.49 62 375 24 pockets 2 x 2 10sh [247 x 350mm] 5.70 6.69
52 971 2.25x2.25 4.26 5.01 84 752 12 pockets 2.25 x 2.25 10sh [253 x 350mm] 5.70 6.69
22 163 6x7cm 4.87 5.72 94 629 4 pockets 5 x 4 10sh [247 x 272mm] 5.70 6.69
70 951 2.25x3.25 5.68 6.67 28 240 2 pockets 6.5 x 8.5 10sh [247 x 350mm] 5.70 6.69
69 256 2.5x3.5 5.68 6.67 31 224 1 pocket 8 x 10 10sh [247 x 270mm] 5.70 6.69
56 879 3.25x4.25 7.24 8.51 2 703 1 pocket 8.25 x 13.5 10sh [247 x 350mm] 5.70 6.69
9 719 9x12cm 7.24 8.51 37 888 5 strips of 35mm film 10sh [247 x 318mm] 5.70 6.69
14 644 4x5 8.58 10.08
30 898 4.75x6.5 11.91 13.99
11 513 5x7 12.31 14.46 Printfile Polyethylene Storage
38 863 6.5x8.5 18.67 21.94
58 295 8x10 22.80 26.79 Printfile is a quality range of USA made polyeth-
ylene film file sheets in most formats. Archivally
SECOL COLOURVIEW sound, it also has the advantage that it is very
soft, making insertion of film easy, and minimising
Construction as above, transparent front, translucent back,
abrasion. Welded seams ensure long term integri-
most suitable for transparency storage and viewing. Open on
ty. All the sheets we stock are punched for stan-
short ends. Packs of 100. Other larger formats available,
dard UK 4-hole binders. The principal formats are
although for prints they are considerably less robust than our
shown below. As well as a standard format for
normal polyester sleeves sealed on 3 sides (page 35).
120, for strips of 3 square negatives (120-4B),
there is an extra wide sheet (120-4UB) designed
for 6x7” in strips of 3. A white opaque panel at the
87 250 2.25x2.25 5.07 5.96
top allows writing with ball or quick drying spirit
6 579 6x7cm 6.10 7.17
pens. Various 3-hole punched formats are also available to special order.
21 417 2.25x3.25 7.10 8.34
77 187 2.5x3.5 7.10 8.34
48 007 3.25x4.25 9.20 10.81
47 256 9x12cm 9.20 10.81
6 445 4x5 10.70 12.57
35 379 4.75x6.5 14.33 16.84
60 741 5x7 15.29 17.97
92 976 6.5x8.5 21.52 25.29
21 333 8x10 28.21 33.15
120-4UB 120-4B 120-3HB 35-7BXW

TRANSLEEVE & COLOURVIEW SLEEVING in ROLLS
Packs of 1 roll in a 50 foot length. ‘Captive flap’ is a form of
construction where one side is unsealed, but is held closed by
a retaining strip. This allows easy insertion and removal of film,
although the system is slightly less robust than a double sealed
strip.
56 186 Transleeve 35mm 8.46 9.94
74 406 Transleeve 50mm 8.58 10.08
56 199 Transleeve 2.25 9.20 10.81
60 338 Transleeve 70mm 10.89 12.80 45-4B 45-4HB POL 810-1HB 2x220HBF
41 472 Captive Flap Transleeve 35mm 9.34 10.97
84 595 Captive Flap Transleeve 2.25 9.93 11.67
74 709 Captive Flap Transleeve 70mm 12.44 14.62 28 847 120-3HB 120 roll, 3 strips of 4 6x6cm vertical 100 17.16 20.16
67 466 Colourview 35mm 9.82 11.54 4 726 120-4B 120 roll, 4 strips of 3 6x6cm 25 4.30 5.05
38 266 Colourview 50mm 9.82 11.54 75 858 120-4B ; ; 100 17.16 20.16
83 254 Colourview 2.25 10.36 12.17
6 787 Colourview 70mm 12.78 15.02 75 884 120-4UB 120 roll, 4 strips of 4 6x6cm 100 19.30 22.68
48 301 Captive Flap Colourview 35mm 11.03 12.96 75 968 35-7BXW 35mm, 7 strips of 6 frames 100 19.30 22.68
38 325 Captive Flap Colourview 2.25 12.18 14.31
56 174 Captive Flap Colourview 70mm 14.33 16.84 4 738 45-4B 5x4 , 4 sheets / page 25 4.30 5.05
75 982 45-4B ; ; 100 17.16 20.16
29 969 45 4HB-POL 5x4 Polaroid negs, 4 sheets / page 100 18.87 22.17
75 806 810-1HB 8x10 , 1 sheet / page 25 4.30 5.05

25 204 810-1HB ; ; 100 17.16 20.16
3 950 2x2-20HBF 35mm mounted slides, 20 / page 25 10.00 11.75

DIGITAL ARCHIVING / MISCELLANEOUS STORAGE 43
Corrosion Intercept Film Glassine Negative Bags
Digital Archiving An inexpensive film
using ‘Corrosion Glassine is not to be regarded as an
As the average inkjet print is about as archivally
Intercept’ technology, archival material, although it is still
stable as a felt-tip drawing, the original film or
employing active cop- the mainstay of many an old collec
scan is being perceived as more valuable than
per particles in polymer. tion. In its favour, it is soft, so unlike
ever, and archiving digital material is a new area
This acts as a protec- ly to abrade the negative, and the
in museum storage. We are making a start by
tive reactive barrier against corrosive gases, sulphur it contains is reasonably
stocking a number of items geared around
fungi and bacteria. Cut to size, it is a valuable well locked up, so you are unlikely
improving CD permanence, including sleeves and
additional component to include when archiving to see any significant deterioration in silver
boxes.
CD’s in polypropylene envelopes, and should be images over a few decades. On the other hand, if
included in a sealed package when cold storing it gets wet while in contact with with the emulsion
Secol CD Archive
film materials. you have got problems, and it will be very difficult
Size: W 1219mm x L 10 metres to avoid marks even if the film is carefully
W 4’ x L 32.8’ rewashed. See also file sheets.
75 081 35mm 1.75 x 10 1000 21.37 25.11
--- Corrosion Intercept Film 4 x 32.8 60.50 71.09
86 904 120 2.75 x 8 1000 28.67 33.69
63 421 6x6cm 2.75x2.75 1000 11.26 13.23
Archival CD Inserts 88 396 6x9cm 2.75x3.75 1000 12.19 14.32
The standard disc 91 174 10x12.5cm 5x4 1000 17.63 20.72
retaining insert in the 54 589 13x18cm 5x7 1000 26.94 31.65
CD jewel case in many 23 705 15x21cm 6.5x8.5 1000 37.80 44.42
cases can be harmful 63 043 20x25cm 8x10 1000 42.87 50.37
to the CD during long 80 051 24x30cm 10x12 1000 73.10 85.89
53 931 30x40cm 12x16 500 53.13 62.43
term storage.
12 260 40x50cm 16x20 250 46.87 55.07
The Corrosion
A new CD archiving system from the masters of
Intercept replacement
archive, based around specially designed poly- Slide Mounts
CD inserts for jewel
ester sleeves, with integral pocket for index card.
cases work in two ways, firstly by substituting a Gepe dominate the plastic mount
This is then stored in a custom made buckram
benign material for the standard plastic insert that market - listed are the popular
covered flip- top archival box. The big advantage,
may damage the disc through outgassing corro- sizes, others include pin-register
apart from the archival considerations, is that you
sive compounds. Secondly, it is formed from and masked formats for AV
can throw away a considerable number of CD
Corrosion Intercept material, reactive copper in a work. Card mounts are thinner &
jewel cases - the box will hold 50-60 CD’s. The
polymer matrix. This acts as a preferential corro- may be preferred for display. Plastic
box and sleeves are supplied separately. Sleeves
sion site that reacts with and neutralises all corro- is usually preferable for projection.
are in packs of 25.
sive gases in the immediate vicinity. Subsituting a
26 560 Gepe 35mm glassless / 100 (7001) 4.03 4.74
35 122 Secol CD Archive Box 9.80 11.52 CI insert for the standard insert is therefore a
20 236 Gepe 35mm glassless M/Mask / 100 (7011) 5.29 6.22
35 257 Secol CD Sleeves / 25 pack 8.80 10.34 valuable step to build into a CD archive. 21 223 Gepe 35mm glassless M/Mask / 20 (7011) 1.30 1.53
--- Corrosion Intercept CD Insert x 10 10.80 12.69 53 346 Gepe 35mm Anti-Newton glass / 20 3.18 3.74
CXD CD Archive Boxes --- Corrosion Intercept CD Insert x 50 49.50 58.16 65 397 Gepe Mini Mounting Jig 12.64 13.82
Formed from the same --- Corrosion Intercept CD Insert x 250 225.00 264.38 - Gepe Mounting Jig 24.26 28.51
diecut 1300 micron 7 444 Gepe 6x6cm glass / 20 (2601) 7.67 9.01
archival CXD board as 30 458 Gepe 4.5x6cm glass / 20 (2501) 7.67 9.01
our CXD print storage Computer Storage 70 632 Gepe 6x7cm glass / 10 (2701) 7.16 8.41
boxes, this is designed 39 582 Gepe 6x4.5cm glassless / 20 (7030) 3.15 3.70
as an archival enclo- We normally have CD-R and CD- 29 822 Gepe 6x6cm glassless / 20 (7031) 3.15 3.70
sure for CD’s, either in RW discs, reputable brands, 39 906 Gepe 6x7cm glassless / 10 (7032) 3.56 4.18
jewel cases or including Sony & Imation, as well as 26 338 Gepe Superslide 40 x 40 / 20 4.57 5.37
polypropylene sleeves. ZIP discs in Mac & PC format. 7 275 35mm white card / 100 2.87 3.37
Very sturdy, with a dou- 9 318 35mm black card / 100 3.00 3.53
ble thickness inner wall 32 609 ZIP DISC MAC FORMAT 8.60 10.11 5 155 6x4.5cm white card / 100 4.30 5.05
at the front. - ZIP DISC PC FORMAT 8.60 10.11 92 523 6x4.5cm black card / 100 5.00 5.88
64 747 6x6cm black card / 100 5.00 5.88
W 140mm x H 160mm x D 320mm 32 577 CD-R 700 MB x 10 5.00 5.88
74 166 6x6cm white card / 100 5.50 6.46
W 51/2” x H 65/16” x D 125/8” 53 860 CD-R 650 MB x 10 5.00 5.88 26 281 6x7cm white card / 100 6.50 7.64
--- CXD CD Box with D ring x 1 15.96 18.75 30 503 CD-RW 700 MB x 10 7.50 8.81
--- CXD CD Box with D ring x 5 73.15 85.95 Journal Slide Storage
The Journal system features plastic
Polypropylene CD Wallets Miscellaneous Storage cassettes, in either 35mm mounted
Clear polypropylene or 6x6 and 6x7cm roll formats. Ideal
disc wallet with non- Clear Faced Bags for frequent access, as the slides
adhesive flap and top Cheap’n’cheerful, paper back with are completely contained in a
entry. thin clear acetate front, useful for strong transparent holder.
Internal dimensions; presentation at the lowest cost. 551 JOURNAL 24 CASSETTE (35mm) 3.39 3.98
- JOURNAL 24S CASSETTE 3.39 3.98
W 127mm x H 132
3 098 JOURNAL 12 CASSETTE (120) 3.45 4.05
W 5” x H 5 3/16”
10 250 JOURNAL 6x7cm CASSETTE 4.56 5.36
563 JOURNAL BOX 35mm 6.90 8.11
32 773 5x6 500 9.49 11.15
- JOURNAL BOX 66 7.16 8.41
24 795 6x8 500 11.43 13.43
- JOURNAL BOX 67 7.80 9.17
34 622 7.5x10 500 15.14 17.79
- REPORT 24 TRAYS (10) 18.89 22.20
--- Polypropylene CD Wallet x 10 3.00 3.53 61 280 8.5x10.5 500 18.34 21.55
--- Polypropylene CD Wallet x 100 25.00 29.38 60 584 11x13 500 20.56 24.16
11 246 12x17.5 500 29.05 34.13 PVC Ringbinder Files
Standard budget board + plastic 4 hole
Filing Bars ringbinders suitable for all 4-hole punched filing
sheets.
52 638 330mm Black Plastic x 10 2.49 2.93
1438 Black PVC Binder 4.76 5.59
16 388 Metal x 10 2.56 3.01
20 580 Black PVC Binder x 6 pack 25.70 30.19
PRINT, NEG, SLIDE STORAGE, PANODIA SYSTEMS 44
Code Cm Inches Description Pan.ref SP ref Qty Net +VAT Code Cm Inches Description Pan.ref SP ref Qty Net +VAT
SELF ADHESIVE MOUNTS MODUCLAS for SLIDES (4-hole & DIN for ringbinders)
These are card slide mounts in a variety of sizes, all in black, designed for use with the Divided sheets in polypropylene for transparency storage, good archival properties, and available in
PROSLIDE display mounts, or for iinsertion into the MODUCLAS and PANOCLAS filing sheets. a wide range of formats. Multiple punched to fit 3 and 4 ring binders.
Self-adhesive, they only require folding and pressing the two adhesive surfaces together to seal.
OVERALL SIZE 5x5cm - 2x2

MN24x36 24x36mm Black 35mm sgl 050001 15 741 100 5.15 6.05
MN24x36W 24x36mm White 35mm sgl 050201 26 986 100 4.73 5.56 M56 5x5 2x2 Diffused back 010001 47 339 10 7.59 8.92
87 942 100 40.00 47.00
OVERALL SIZE 7x7cm - 2.75x2.75 16 097 SGL 0.50 0.59
MN4.5x6 4.5x6cm 1.75x2.25 Black sgl mt 050301 21 456 100 7.91 9.29 M46 4.5x6 Diffused back 010301 13 134 10 7.74 9.09
MN6x6 6x6cm 2.25x2.25 Black sgl mt 050401 21 896 100 7.91 9.29 M55 5x5 2x2 Diffused back 010501 77 112 10 7.74 9.09
M60 6x6 2.25x2.25 Diffused back 010901 15 695 10 7.74 9.09
OVERALL SIZE 10x10cm - 4x4 M67 6x7 2.25x2.75 Diffused back 011101 98 723 10 7.74 9.09
MNC4.5x6 4.5x6cm 1.75x2.25 Black sgl 052601 12 894 100 19.67 22.01 M78 7x7 2.75x2.75 Diffused back 011301 16 583 10 7.74 9.09
MNC6x6 6x6cm 2.25x2.25 Black sgl 050601I 19 872 100 19.67 22.01 M71 7x10 2.75x4 Diffused back 011501 65 468 10 7.74 9.09
MNC6x7 6x7cm 2.25x2.75 Black sgl 050701 25 838 100 19.67 22.01 M112 10x12.5 4x5 Diffused back 012101 26 656 10 7.74 9.09
MNC6x9 6x9cm 2.25x3.5 Black sgl 050801 32 589 100 19.67 22.01 M115 - - 012901 2 302 10 7.74 9.09
M135 35mm Diffused back 021001 46 841 10 7.74 9.09
OVERALL SIZE 10x12.5cm - 4x5 M138 - 013501 2 295 10 7.74 9.09
MNJ6x6 6x6cm 2.25x2.25 Black sgl 050901 24 731 10 3.25 3.82
MNJ6x7 6x7cm 2.25x2.75 Black sgl 051001 18 347 10 3.25 3.82 MODUCLAS for NEGATIVES (4-hole & DIN for ringbinders)
MNJ6x9 6x9cm 2.25x3.5 Black sgl 051101 14 671 10 3.25 3.82 File sheets in lighter weight material, designed primarily for negative storage. The CEL file sheets
are made from cemented transparent acetate in 35mm and 120 formats, while the lower cost
OVERALL SIZE 13x18cm - 5x7 XTAL indicates glassine, the translucent paper materiall. CEL sheets are useful for contacting, as
MNH6x6 6x6cm 2.25x2.25 Black sgl 051201 23 551 10 3.79 4.45 the thin acetate allows printing without losing detail. Printfile in polyethylene is an alternative. The
MNH6x7 6x7cm 2.25x2.75 Black sgl 051301 26 950 10 3.79 4.45 XTAL45 are glassine 5x4 sheets, accepting 4 5x4 negatives.
MNH6x9 6x9cm 2.25x3.5 Black sgl 052701 39 749 10 3.79 4.45
MNH10x12.5 10x12.5 4x5 Black sgl 051401 98 747 10 3.79 4.45
OVERALL SIZE 24x30cm - 9.5x12

PNL20x25 20x25cm 8x10 Black sgl 052401 35 453 10 9.43 11.08 CEL135 35mm Clear acetate 024201 98 762 25 7.07 8.31
; ; 94 849 100 20.63 24.24
OVERALL SIZE 30x40cm - 12x15.75 ; ; 026401 28 155 500 93.77 110.18
MNF20x25 20x25cm 8x10 Black sgl 052501 56 661 10 17.53 20.60 CEL120 120 Clear acetate 024401 84 410 25 7.07 8.31
; ; 29 846 100 20.63 24.24
; ; 026601 11 163 500 93.77 110.18
NON ADHESIVE MOUNTS WITH ACETATE SLEEVES C45 10x12.5 4x5 Clear acetate 022801 64 688 10 7.07 8.31
Black display mounts for transparencies, cut from thin black card. The slide is usually secured by taping, and after fold- XTAL135 35mm 7x6 strips Glassine 023701 81 669 25 3.36 3.95
ing together the mount is inserted into the accompanying acetate sleeve. Most formats are available in single hole ; ; 14 936 100 6.34 7.45
mounts, packed in 25 s and 35mm and 120 formats have multiple window mounts, packed in 10 s. Bulk packs of the ; ; 024001 12 867 500 29.99 35.24
mounts are available without the acetate sleeves. XTAL136 35mm 10x4 strips Glassine 033701 2 256 25 4.63 5.44
XTAL120 120 Glassine 024101 18 323 25 3.23 3.80
Overall Size 9x12cm - 3.5x4.75 ; ; 17 933 100 6.34 7.45
35mm Black sgl 064001 46 438 25 8.61 10.12 ; ; 024001 45 989 500 29.99 35.24
6x4.5cm Black sgl 064201 31 444 25 8.61 10.12 XTAL45 10x12.5 4x5 Glassine 034501 35 756 25 4.86 5.71
6x6cm Black sgl 064401 77 467 25 8.61 10.12 ; ; 65 871 100 11.28 13.25
6x7cm Black sgl 064601 54 663 25 8.61 10.12 ; ; 034701 87 321 500 53.32 62.65
6x8cm Black sgl 064801 16 518 25 8.61 10.12
6x9cm Black sgl 065001 74 139 25 8.61 10.12
PANOCLAS for SLIDES (hanging cabinet storage)
Overall Size 10x12.5cm - 4x5 Polypropylene divided sheets as the M series, but designed to fit filing cabinets using a fil-
35mm Black sgl 065101 51 130 25 8.87 10.42 ing bar inserted through the top of the sheet. Versions are available with and without dust-
6x4.5cm Black sgl 065201 79 465 25 8.87 10.42 flaps, as well as choice of clear and diffusion backs.
6x6cm Black sgl 065401 15 340 25 8.87 10.42
6x7cm Black sgl 065601 78 940 25 8.87 10.42
6x9cm Black sgl 065901 45 894 25 8.87 10.42
Overall Size 18x24cm - 7x9.5 P56 5x5 2x2 Diffused back 030001 87 319 10 8.02 9.94
10x12.5 4x5 Black sgl 066001 34 646 10 8.30 9.75 P56T 5x5 2x2 Clear 030601 25 464 100 64.83 76.18
13x18 5x7 Black sgl 066201 46 453 10 8.30 9.75 P56B 5x5 2x2 Diffused + Title 032001 41 581 10 8.02 9.94
PAN D/F 5x5 2x2 Diff. + Flap (20sl) 030801 15 656 25 29.22 34.33
Overall Size 20x25cm - 8x10 P66 6x6 2.25x2.25 Diffused back 030701 65 482 10 8.02 9.94
6x6cm 2.25x2.25 Black, 6 holes 067001 74 567 10 8.87 10.42 P77 7x7 2.75x2.75 Diffused back 031201 56 415 10 8.02 9.94
10x12.5 4x5 Black sgl 067201 64 310 10 8.87 10.42 P77T 7x7 2.75x2.75 Clear 031601 26 340 100 64.83 76.18
13x18cm 5x7 Black sgl 067401 38 352 10 8.87 10.42 P71 7x10 2.75x4 Clear 031701 46 839 10 8.02 9.94
PA4 A4 Clear 041001 12 879 100 8.02 9.94
Overall Size 21x29.7cm - 8.25x11.75 (A4) P110 4x4 Clear 040101 65 979 100 8.02 9.94
35mm Black, 24 holes 067801 53 418 10 10.67 12.54 FOOLSCAP SIZE
6x4.5cm Black, 6 holes 068001 54 538 10 10.67 12.54 P45 10x12.5 4x5 Diffused back 040201 56 771 10 8.02 9.94
6x6cm Black, 6 holes 068201 52 983 10 10.67 12.54 FP5x5R 5x5 2x2 Diff. + Flap (24sl) 041601 89 828 10 9.10 10.69
6x7cm Black, 6 holes 068401 44 430 10 10.67 12.54 FP7x7R 7x7 2.75x2.75 Diff. + Flap 041701 94 521 10 9.10 10.69
10x12.5 4x5 Black, 1 hole 068601 4 557 10 10.67 12.54 FP5x5B 5x5 2x2 Diffused + Title 044001 35 988 10 8.29 9.74
NON ADHESIVE MOUNTS WITHOUT ACETATE SLEEVES P135 35mm Clear, 7 frms x 4 041101 34 894 10 8.02 9.94
Overall Size 9x12cm - 3.5x4.75 P120 120 Rollfilm Clear, 4 frms x 3 041401 73 265 10 8.02 9.94
35mm Black sgl 054001 15 436 100 18.01 21.16 P110 10x10 4x4 Clear, 6 pockets 040001 65 979 10 8.02 9.94
6x4.5cm Black sgl 054201 97 640 100 18.01 21.16 PA4 21x30 8.25x11.75 Clear, A4 size 040801 12 879 10 8.02 9.94
6x6cm Black sgl 054401 15 216 100 18.01 21.16
6x7cm Black sgl 054601 18 433 100 18.01 21.16
PROSLIDE TRANSPARENCY DISPLAY
6x8cm Black sgl 054801 21 565 100 18.01 21.16
6x9cm Black sgl 055001 48 935 100 18.01 21.16 Proslide is an elegant method of displaying transparencies, in 2 outer formats, A4 and A3.
Apertures are available for mounted 35mm, 6x6cm, 5x4 and 5x7 in both sizes, and 8x10 in A3.
Overall Size 10x12.5cm - 4x5 Other formats can be accomodated by adapting down with self adhesive black mounts (see top
35mm Black sgl 055101 56 867 100 18.27 21.47 left) of a suitable format. Sold singly, each Proslide comes with its own acetate sleeve.
6x4.5cm Black sgl 055201 48 986 100 18.27 21.47
6x6cm Black sgl 055401 32 456 100 18.27 21.47
6x7cm Black sgl 055601 15 448 100 18.27 21.47
6x9cm Black sgl 055901 36 840 100 18.27 21.47
PAS5x5D 35mm 2x2 A4, 6 mtd trans. 071001 32 896 1 4.64 5.45
Overall Size 13x18cm - 5x7 PAL5x5D 35mm 2x2 A4, 12 mtd trans. 070001 62 678 1 4.64 5.45
10x12.5 4x5 Black sgl 055701 48 741 100 39.58 46.51 PAL7x7D 6X6 A4, 6 trans + mts. 070201 78 548 1 5.69 6.69
PAL10x10D 10x10 A4, 2 ap+6x7mts. 070401 45 610 1 5.69 6.69
Overall Size 20x25cm - 8x10 PAL10x12.5D 10x12.5 4x5 A4, 2 4x5 trans. 070501 14 585 1 4.64 5.45
6x6cm 2.25x2.25 Black, 6 holes 057001 49 851 100 39.58 46.51 PAL13x18D 13x18 5x7 A4 2 ap+2 5x4 mts 070701 37 849 1 5.69 6.69
10x12.5 4x5 Black sgl 057201 13 550 100 39.58 46.51
13x18cm 5x7 Black sgl 057401 13 574 100 39.58 46.51 PAG5x5D 35mm 2x2 A3, 20 mtd trans. 080001 16 571 1 6.98 8.20
PAG7x7D 6x6 A3, 12 trans + mts 080201 76 235 1 8.37 9.83
Overall Size 21x29.7cm - 8.25x11.75 (A4) PAG10x10D 10x10 A3, 6 ap+6x7 mts. 080401 27 628 1 8.37 9.83
35mm Black, 2 holes 057801 79 523 100 49.29 57.92 PAG10x12.5D 10.2x12.5 4x5 A3, 4 4x5 trans. 080501 26 230 1 6.98 8.20
6x4.5cm Black, 6 holes 058001 98 420 100 49.29 57.92 PAG13x18D 13x18 5x7 A3, 4 4x5 + mts. 080701 45 331 1 8.37 9.83
6x6cm Black, 6 holes 058201 46 465 100 49.29 57.92 PAG20x25D 20x24 8x10 A3, 1 8x10 tran. 081001 46 633 1 6.98 8.20
6x7cm Black, 6 holes 058401 44 623 100 49.29 57.92 PAG24x30D 24x30.5 9.5x12 A3 1 8x10 + mt. 080901 15 962 1 8.37 9.83
KAISER ENLARGERS 45
Choice of heads,
standard B&W, VC
or Colour
Formats available
from 35mm through
6x6, 6x7, 6x9cm
Choice of
column height
Various
baseboard
sizes
This is a brief overview of the Kaiser System 5 enlarger range to introduce KAISER ENLARGERS
the main features common to all models. For a full breakdown, please 11 428 VCP 3505 35mm Colour Enlarger 4420 391.49 460.00
request a free copy of the full colour ‘Lab Perspectives’ brochure, or order 11 234 VCP 6005 6x6cm Colour Enlarger 4460 434.04 510.00
the superb 348 page Kaiser Catalogue, £3.00. inc. postage.
11 430 VCP 7005 6x7cm Colour Enlarger 4480 510.64 600.00
Above all the Kaiser System V is modular, even with most components 4 701 VCP 9005 6x9cm Colour Enlarger 4550 544.68 640.00
from the REPRO range and conversion and upgrading is possible through 11 371 VPM 3505 35mm Multigrade Enlarger 4426 374.47 440.00
the full range of 35mm, 6x6, 6x7 and 6x9 formats. Four enlarger heads are 11 383 VPM 6005 6x6cm Multigrade Enlarger 4530 400.00 470.00
available, tungsten or halogen black and white, Multigrade and Colour, the 11 396 VPM 7005 6x7cm Multigrade Enlarger 4471 489.36 575.00
two latter using stepless, fade-free dichroic filters.
11 416 VPM 9005 6x9cm Multigrade Enlarger 4560 527.66 620.00
The various combinations of heads, negative and baseboard sizes and col-
umn heights results in a range of 15 top quality German made enlargers, 11 320 VP 3505 35mm B/W Enlarger. 4425 272.34 320.00
including the autofocus models. 11 332 VP 6005 6x6cm B/W Enlarger 4465 310.64 365.00
One of the most significant features of the basic design is the use of double 11 357 VP 7005 6 x7cm B/W Enlarger 4470 382.98 450.00
condensers in all versions, with the use of a diffuser plate on Multigrade 11 369 VP 9005 6x9cm B/W Enlarger 4540 417.02 490.00
and Colour heads, resulting in an increase in useful light and contrast, but - VPE 6002 6x6cm B&W Autofocus Enlarger 4510 1144.68 1116.00
with the benefits associated with diffuser heads. The enlarger head sits
- VCE 7005 AF 6x7cm Colour Enlarger 4500 1118.30 1320.00
above the condenser housing and can be interchanged quickly by loosen-
- VME 7005 AF 6x7cm Multigrade Autofocus Enlarger 4505 1118.30 1320.00
ing two screws. Many other aspects of the system are interchangeable,
including columns, (a choice of 4 versions up to 1.5m), baseboards, (3 KAISER ENLARGER ACCESSORIES
models up to 60x80cm) and a full range of glass or glassless inserts for the 11 318 Transformer (unstabilised) 4453 63.83 75.00
negative carrier which also features 4 bladed internal masking. Both plain 11 298 Transformer (stabilised) 4451 119.15 140.00
and AN glass inserts are available.
- A/N Glass / Neg. Mask 6 x 7cm Inserts 4432 14.89 17.50
l All major components are manufactured from die-cast magnesium alloy with other components - A/N Glass / Neg. Mask 6 x 6cm Inserts 4434 15.32 18.00
being made from glass-fibre reinforced plastic which is sprayed with an anti-static paint. - A/N Glass / Neg. Mask 35mm Inserts 4435 14.47 17.00
- A/N Glass + Plain Glass Insert 4433 22.98 27.00
l Wall and floor projection for very big enlargements. Tilting head and lens board for distortion cor-
- A/N Glass Inserts 6x7cm [pair] 4487 19.57 23.00
rection. Built-in spirit levels on both lens board and column base.
- A/N Glass + oversize 35mm mask [24.5x36.5mm] 4491 15.74 18.50
l Removable compound negative carrier with full range of glass and glassless inserts available. - Plain Glass insert [pair] 4490 20.43 24.00
Film guide pins for 35mm, 127 & 120 films. 4-blade internal masking interchangeable anti-newton 11 112 Negative Mask 24x36cm 4486 8.84 10.39
glass insert, adjustable masking strips and film holder arms.
11 148 Neg Masks 4.5x6cm [pair] 4431 16.60 19.50
l Internal red filter within the bellows extension. Quick release lens panels. 11 190 Neg Masks 6 x 6cm [pair] 4485 9.36 11.00
l Height adjustment by friction drive hand-crank. 4 694 Neg Masks 6 x 7cm [pair] 4436 9.36 11.00
- Neg Masks 24x36mm [pair] 4486 9.36 11.00
l Extra wide vibration resistant column manufactured from rectangular aluminium tubing with - Neg. Masks 24x36mm oversize [pair] 4491 15.74 18.50
dull black anodised surface, showing cm and inch scales and enlarging scales for 50mm, 80mm and
90mm lenses. - Neg Carrier 24x36 6000 4351 11.91 13.99
- Solid Inserts x 2 [aperture can be self-cut to any size] 4494 15.74 18.50
l Interchangeable pale grey baseboard with adjustable levelling feet.
- Enlarger Column 1m with mount 4473 85.11 100.00
l White light lever on colour and Multigrade heads. Stepless, 2-stop ND filter on colour and - Enlarger Column 1m with mount, Counter balanced 4474 102.13 120.00
Multigrade heads
- Enlarger Column 1.2metre [arm, rack & roll-off spring] 4408 157.45 185.00
l Precise, smooth lens focussing mechanism with extra-fine focus knob on 6x7cm and 6x9cm - Enlarger Column 1.5metre [with mount & winder] 4409 153.19 180.00
models. (N.B. 35mm and 6x6cm models can be upgraded to this feature if required. - Wall Mounting Unit 4412 85.11 100.00
l Choice of stabilised or unstabilised transformers where required. - Fine Drive Knob (1:1 & 1:6) 4422 57.01 66.99
All enlargers have a 3 Year UK guarantee (except lamps & fuses). Although there are standard
- Base Board 45 x 50cm 4472 76.60 90.00
enlarger packages, due to the extensive modularity of the system any particular requirements can be
supplied at the time of purchase, eg taller column or larger baseboard. This is much less expensive - Base Board 50 x 60cm 4413 72.34 85.00
than upgrading in the future. For example a 1.5 metre column will cost an extra £35.89 if ordered - Base Board 60 x 80cm 4414 80.85 95.00
with the enlarger instead of the standard column but would be £139.61 if supplied at a later date. So
Free unstabilised transformer with
at the outset, think carefully about the the range of options, base boards, wall mounts, and various
carrier and head alternatives. ✩ WHILE STOCKS
STOCKS LAST any colour or MG enlarger or half RR
price on a stabilised transformer
✩
MEOPTA ENLARGERS 46
Meopta produce an extensive range of OPEMUS 7
enlargers offering excellent value for money.
--- OPEMUS 7 B&W 6x7cm enlarger 212.77 250.00
Designed and manufactured to high precision --- OPEMUS 7a COLOUR (inc transformer) 297.87 350.00
in the Czech Republic, their robust metal con- --- OPEMUS 7a COLOUR (less transformer) 263.83 310.00
struction and quality finish have made them --- Glassless Insert for Opemus 7, 24 x 36mm 7.66 9.00
widely accepted in situations of heavy use --- Glassless Insert for Opemus 7, 6 x 4.5cm 7.66 9.00
such as community workshops and colleges. --- Glassless Insert for Opemus 7, 6 x 6cm 7.66 9.00
The range runs from the compact but solid --- Glassless Insert for Opemus 7, 6 x 7cm 7.66 9.00
Axomat Standard for beginners to the 6x9cm --- Pair of Glasses (1 antinewton + 1 plain) 16.17 19.00
Magnifax 4. --- Negative Carrier Opemus 7 with glasses (included with enlarger) 45.96 54.00
A full range of accessories is available to Meopta MAGNIFAX

tailor the enlargers to every situation. This
includes VC and colour heads, and precision The MAGNIFAX 4 BLACK & WHITE is built
made metal inserts in all standard formats, to the most heavy duty specification, this is
avoiding dust problems associated with glass Meopta’s top of the range model. It has all
negative carriers. the features of the Opemus 7 Black & White,
plus a taller broader gauge column, large
Miopta AXOMAT 60x60cm baseboard and the ability to handle
negatives up to a full 6x9cm. It is fitted with
The AXOMAT STANDARD is a basic 35mm an oversized three component adjustable
enlarger. In common with all Meopta’s current condenser system.
range it is constructed of tough cast steel, has
smooth twin railed bellows focusing, smooth The MAGNIFAX 4a COLOUR ENLARGER
head elevation by geared crank handle, mag- has the same heavy duty Magnifax chassis
nification scale on column, wall or floor pro- with the addition of a fine focus control, the
jection facility, red swing filter and high quality Meopta Color 3 colour head, and 6x9cm mix-
wooden baseboard. A filter drawer is fitted, ing chamber.
and illumination is via double glass con-
densers
The AXOMAT 5a is a deluxe version of the MAGNIFAX
Standard model, with taller column, larger 19 806 Magnifax 4a B&W 297.87 350.00
baseboard, and extensive lens plane move- 13 122 Magnifax 4a Colour Enlarger (inc. transformer) 357.44 420.00
ments. The metal negative carrier is an 19 786 Magnifax 4a Colour (without transformer) 323.40 380.00
enhanced type with split line focusing aid, and
device for locking it partially ajar to aid nega- Meopta Accessories
tive adjustment.
The AXOMAT 5a COLOUR has the same specification as the Axomat 5
Black & White, but with the Meopta Color 3 colour head. A fine focus con-
trol with 6:1 gearing is also fitted, to aid critical adjustment.
--- AXOMAT 5 Standard 35mm with filter drawer 110.63 130.00
--- AXOMAT 5a Deluxe B&W 35mm 127.65 150.00
--- AXOMATA 5a COLOUR (with transformer) 255.31 300.00
Accessories for OPEMUS 6
--- Glassless Insert for Opemus 6 35mm 7.65 9.00
--- AXOMATA 5a COLOUR (less transformer) 221.27 260.00
--- Glassless Insert for Opemus 6 6 x 6cm 7.65 9.00
--- Negative Carrier Axomat 5 / 5a (included with enlarger) 28.08 33.00
--- Glassless Insert for Opemus 6 6 x 4.5cm 7.65 9.00
--- Negative Carrier Axomat 5 Standard (included with enlarger) 12.76 15.00
16 694 Glassless Insert for Opemus 6 2 x 2 slide 7.65 9.00
--- Glassless Insert for Opemus 6 28 x 28mm 7.65 9.00
Meopta OPEMUS --- Glassless Insert for Opemus 6 18 x 24mm 7.65 9.00
The OPEMUS STANDARD is a basic 6x6cm --- Glassless Insert for Opemus 6 11 x 14mm 7.65 9.00
medium format enlarger in the range. It has a --- Glassless Insert for Opemus 6 13 x 17mm 7.65 9.00
plastic negative carrier with removable 6x6cm --- Glassless Insert for Opemus 6 30 x 30mm 7.65 9.00
glass inserts, light source is via double glass --- Lens Mount for Opemus 6 7.62 8.95
condensers. Inserts can be fitted for smaller --- Opemus 35mm 7.62 8.95
formats. 13 330 Opemus 6x4.5 7.62 8.95
16 679 Opemus 6x6 7.62 8.95
The OPEMUS 6 BLACK & WHITE is a --- Opemus glasses / pair, 1 plain + 1 anti-newton 16.17 19.00
6x6cm medium format version of the deluxe --- Negative Carrier for Opemus 6 with glasses 45.95 54.00
Axomat 5 Black and White enlarger. It comes --- Negative Carrier for Opemus 6 STANDARD 16.17 19.00
with a larger metal negative carrier, fitted with --- Fine Focus Knob 17.02 20.00
removable 6x6cm anti-newton ring glasses, --- Lens Mount for Opemus 39mm 7.65 9.00
and 4 adjustable masking blades. --- Lens Mount for Opemus M42 7.65 9.00
--- Tripod Adaptor for Opemus 6 & Axomat 5 10.21 12.00
The OPEMUS 6a COLOUR ENLARGER is --- Macro Attachment 70, Opemus & Axomat 13.61 16.00
the medium format version of the Axomat 5A --- Macro Attachment 70, Opemus & Axomat 15.31 18.00
enlarger. It has the same metal negative carri-
er as the Opemus 6 Black & White, with a larger mixing chamber fitted in Accessories for MAGNIFAX
the Color 3 head to cover all formats up to 6x6cm. 13 218 Glassless insert for 35mm 7.65 9.00
13 477 Glassless insert for 6x6 7.65 9.00
The OPEMUS 7 BLACK & WHITE is a straightforward upgrade to 6x7cm 13 244 Glassless insert for 6x7 7.65 9.00
of the Opemus 6 equivalent. It has the necessary larger negative carrier, 13 328 Glassless insert 30x30mm 7.65 9.00
bellows extension and condenser system required for the 6x7cm format. 13 232 Glassless insert for 35mm Slide Copying 7.65 9.00
--- Glassless insert 70x70mm 7.65 9.00
The OPEMUS 7a COLOUR ENLARGER is the colour version of the --- Pair of Glasses (1 Antinewton + 1 Plain) 16.17 19.00
Opemus 7, being fitted with the Meopta Color 3 head fitted with the appro- --- Negative Carrier Magnifax 4 51.06 60.00
priate 6x7cm mixing chamber and a fine focus control. --- Fine Focus Knob for Magnifax 17.03 25.00
--- 35mm Condenser for Magnifax B&W 25.53 30.00
OPEMUS 6 --- Lens Mount for Magnifax 4/4A 39mm 7.66 9.00
13 185 Opemus 6 Colour Enlarger (inc.transformer) 272.34 320.00 --- Magnifax Tripod Adaptor 11.06 13.00
--- Opemus 6 Colour (without transformer) 238.30 280.00 --- Flexible Focus Extension Drive 17.02 20.00
--- Opemus 6 Standard, inc. filter drawer 144.68 170.00 --- Flexible Focus Extension Drive + Fine Focus 11.06 13.00
--- Opemus B&W 6x6cm Enlarger 178.72 210.00
DARKROOM EQUIPMENT 47
Meopta Light Sources Durst L1200
Color 3 Colour Head The Durst L1200 is the starting
point in Dursts professional
This versatile dichroic diffusion colour head will fit Laborator range, covering for-
any enlarger in the current Meopta range. When mats up to 5x4”, and providing
replacing the condenser head on an existing black every conceivable option in its
and white model, the relevant mixing chamber is configuration and range of acces-
required to cover the maximum negative format sories. The basic unit can be
used. Stepless filtration of up to 200 (Meopta) units equipped with various lighting
is provided by 3 illuminated dials. A fourth dial pro- systems, depending upon the
vides neutral density adjustment up to 2 stops. The particular application.
light source is a 12v 100w halogen reflector lamp,
which requires a separate 12 volt transformer (sup- The baseboard of the L1200
plied as standard with colour enlargers only). basic unit can cope with enlarge-
ments up to a maximum size of
50 x 70cm. The unit has a stable
profiled column and large rugged
Meograde Variable Contrast Head baseboard. The handgrip has a
Identical in size and specification to the Color 3 twin function, switching between
head, the Meograde head will replace the con- fast and fine adjustment of the
denser head of any current Meopta black & white enlarger head. A counterweight
enlarger. A single filtration dial for contrast grades balances the weight of the head,
0 to 5 (in half grade steps) has the advantage of ensuring effortless movement.
retaining uniform exposure throughout the contrast The hard wearing metal film car-
range of VC black & white papers. rier is equipped with steplessly
adjustable masking strips, register pins and glass plates. The lens is
focussed by a rotating knob, and there is a pull out extension arm for larger
magnifications. The enlarger head can be pivoted steplessly up to 90° for
wall projection. The lens carrier also pivots to permit full image adjustment.
1 With a colour head, as shown above (halogen
Light Mixing Chambers light source and diffuse lighting system). The
L1200 Color uses a 250w halogen light source,
Full range of mixing chambers available as accessories to fit all colour
and steplessly adjustable dichroic Yellow, Magenta
enlarger variations above.
& Cyan filters. A fan is integrated into the lamp-
LIGHT SOURCES & MIXING CHAMBERS house. This is the most popular light source, and is
bundled with the chassis at a special price.
--- Meograde 3 VC Head 115.74 136.00
--- Colour 3 Head 132.77 156.00 2 L1200 BW Enlarger head with 150w opal light
--- Transformer 12v 100w 51.06 60.00 source and condenser lighting system. With a con-
--- Mixing Chamber 35mm 7.62 8.95 denser lighting system and opal lamp.
--- Mixing Chamber 6x6cm 7.62 8.95
3 With a condenser lighting system and point light

source, L1200 Varipoint. This is fitted with a
Quadro Wall Mounting Brackets 100W point source lamp, and will give the sharpest
possible rendition of detail in the negative.
These are a certain way to improve enlarger performance. Suddenly size is
no problem and worrying vibrations disappear. An enlarger which was only
built for 16x12” turns out full frame and selective 20x16” enlargements,
while a quick move to its alternative site over a clear floorspace lets you
make prints over 30” wide and 50” long. Without removing the brackets you 4 L1200 Multigraph, using a microprocessor controlled enlarger head
can even use them to support your enlarger in a horizontal position for (halogen light source and motor controlled filters for VC black and white
mural projection without sacrificing any of the usual control over sizing and papers. This uses a 250W halogen light source with vibration free fan. A
focusing. There is no need to modify the enlarger column because the closed loop light monitoring system allows for variations in mains voltage
brackets simply bolt on and give levelling control at both ends, and lamp fluctuations.
The brackets are extremely strong and will take most medium format and
L1200 Enlarger complete,
35mm baseboard mounted enlargers with columns up to 4” wide. They are
quick to install, easy to level and rock solid in use. So long as you have a inc L1200 Femo Chassis & L1200 Colorkit
good lens (best edge-to-edge sharpness can come from a slightly longer SPECIAL OFFER RUNNING DURING 2001
lens than normal - another reason for wall mounting), you can avoid the COLOUR KIT INC. COLITRA 500 TRANSFORMER 2500.00 2937.50
expense of a professional floor standing enlarger when these brackets can COLOUR KIT INC. COLISTA 500 STAB.TRANSFORMER 2750.00 3231.25
help you to print just as big and just as sharp. ‘L1200 Enlarger Chassis Only
L1200 Femo Chassis (chassis only) 1848.09 2171.51
9 210 Quadro Wall Mounting Bracket set (standard) 53.61 63.00
--- Quadro Wall Mounting Bracket set (for Magnifax) 63.82 75.00 B/W & Colour Light Sources
L1200 BW Kit UK230 1500.00 1762.50
L1200 MULTIGRAPH HEAD inc measuring probe & control unit 2500.00 2937.50
L1200 COLORKIT TRA UK230 2808.51 3300.00
L1200 COLORKIT EST 3200.00 3760.00
Point Light Source Varipoint
L1200 Varipoint 230 (BW Head only) 3900.00 4582.50
FEMOCON 50T 1130.00 1327.75
FEMOCON 80T 930.00 1092.75
FEMOGLA T 285.53 335.50
Transformers / Stabiliser
COLITRA 500 (transformer) 275.00 323.13
COLISTA 500 (stabilised transformer) 600.00 705.00
DURST ENLARGERS 48
M 670 VC
Durst M670 BW / Color / VC Black & white enlarger designed for vari
able contrast papers. The filtration control
on the head allows grades 0 - 5 to be set
without exposure compensation. Includes
VEGABOX 35 and VEGABOX 667 mixing
boxes for lenses 50 - 105mm, UNINEG
universal film carrier with SIVOPAR 35
metal mask, SIXMA 66 mask for 6 x 6cm
format, SIVOGLA anti-newton glass, lens
board SERIOPLA 39 for lenses 50 -
90mm, special vario lamp COLAMP 100
V with transformer COLITRA 305, base-
board 46 x 50cm, and square column with maximum height of 98cm.
Accessories
VEGAKIT B/W (Black & white head for colour models) consisting of B/W
head, DULAMP 150 opal lamp 150W / 240v and SIRIOCON 50 condenser
for 35mm film size.
COLIS 670 TRA (colour conversion kit for M670 B/W enlarger) consisting
of colour head, COLAMP 100S halogen lamp 100W / 12v, TRA 305 trans-
former and VEGABOX 35 mixing box for 35mm film size.
COLIS 670 EST (colour conversion kit with stabilised transformer for M670
BW enlarger). As 670 TRA, but with stabilised transformer.
M670 VC Head conversion kit for M670 B/W enlarger. Consists of variable
contrast head, COLAMP 100S halogen lamp 100W / 12v, TRA 305 trans-
former and VEGABOX 35 mixing box for 35mm film size.
M670 VC Head - head only to convert colour enlarger, so not supplied with
transformer.
Enlargers up to 6x7cm (120 film)

M670 BW (35mm enlarger) UK 230 380.00 446.50
M 670 TRA (multi format & transformer) UK 230 510.00 599.25
M670 COLOR EST (multi format & stabilised transformer) UK 230 550.00 646.25
M670 VC MF (multi format, VC, B&W + transformer) 470.00 552.25
B/W Colour Conversion Kits, Heads
VEGAKIT B/W (B/W head for colour models) 170.00 199.75
COLIS 670 TRA (35mm format, colour head with transformer) UK 230 342.00 401.85
COLIS 670 EST (35mm format, colour head with transformer) UK 230 425.00 499.37
M670 VC HEAD (35mm format with transformer for M670 BW) UK 230 340.00 399.50
M670 VC HEAD (35mm format w/o transformer for M670 BW) UK 230 255.00 299.62
FORMAT CONVERSION KITS
VEGASET 66 (6x6 conversion kit for B/W) 105.00 123.37
Next step up from the Graduate in the Durst range, the M670 series is a VEGASET 67 (6x7 conversion kit for B/W) 100.00 117.50
heavier duty machine with many options in format and accessories. VEGACOLSET 66 (6x6 conversion kit for colour) 75.00 88.12
VEGACOLSET 67 (6x7 conversion kit for colour) 95.00 111.63
M670 BW CONDENSERS / MIXING BOXES
Black & white enlarger which can be SIRIOCON 50 (single condenser for 50 - 80mm lenses) 50.00 58.75
adaped for all film formats up to 6x7cm. SIRIOCON 80 (double condenser for 60 - 80mm lenses) 100.00 117.50
Supplied with SIRIOCON 50 condenser VEGACON 100 (double condenser for 90 - 105mm lenses) 140.00 164.50
for 50mm lens, UNINEG universal film VEGABOX 35 (35mm mixing box) 35.00 41.12
carrier, SIVOPAR 35mm metal lens mask, VEGABOX 667 (6x6, 6x7 mixing box) 75.00 88.12
lens board SIRIOPLA 39 for 50mm lens, TRANSFORMERS

opal lamp, baseboard 46 x 50cm, and COLITRA 305 (replacement transformer) 135.00 158.62
square column with maximum height of COLISTA 305 (replacement stabilised transformer) 270.00 317.25
125cm.
M670/MF COLOR TRA

Colour enlarger for film formats up to 6x7cm, with colour head CLS 670
including colour filters up to density 170, mixing box VEGABOX for lenses
50 -105mm, UNINEG universal film carrier with SIVOPAR 35 metal 35mm
mask, SIVOPAR 45 mask for 6 x 4.5cm, SIXMA 66 mask for 6x6cm for-
mat, SIVOGLA anti-newton glass, lens board SERIOPLA 39 for lenses 50 -
90mm halogen lamp with unstabilised transformer COLITRA 305, base-
board 46 x 50cm, and square column with maximum height of 125cm.
DURST ENLARGERS 49
Modular 70 Lumo
DURST MODULAR 70 SYSTEM The M70 Modular Lumo TRA 240 is a
modular halogen light source with diffuse
lighting system, integrated interchange
able mixing box (35mm to 6x7cm) and
power supply for Modular 70 Vario and
modular 70 Colour. Two stop density aper
ture control. The M70 Modular Lumo EST
240 is the same specification but with a
stabilised transformer.
Modular 70 Vario
Black & white filter module for variable
contrast paper, used in combination with
Modular 70 Lumo, illuminated filter scales,
white light lever, incl. COLAMP 100v.
Modular 70 Colour
Filter module for colour negatives and
slides, with colour filters up to density
170, white light lever, illuminated filter
scales, incl. COLAMP 100S.
The professional film carrier is made od

diecast aluminium, and features
adjustable masking strips, register pins
and automatic centering. With the aid of
Module based enlarging system to a very high standard. Depending on interchangeable metal masks and glass
requirements the basic unit - the Modular Start Pro -p can be combined plates, the film carrier can be used for for
with VC or colour modules, and is based on the same chassis as the pro- mats up to 6x7cm.
fessional M805.
Modular 70 Start Pro

Basic unit includes professional column 10 x 4.5 x 110cm for fast height
BASIC UNIT
adjustment and baseboard 60 x 65cm, lens holder, SINONEG with masking
blades and SIVOPAR 35, 35mm format mask and SIRIOTUB 39. For wall M70 START PRO (professional column and large baseboard) 720.00 846.00
projection the head is pivoted 90°, with an indent so that it locks precisely in KITS
place. Full distortion control is possible. MODULAR 70 PRO COLOUR KIT 980.00 1151.60
MODULAR 70 START PRO VARIO KIT 980.00 1151.60
ILLUMINATION MODULE (to be used with COLOR or VARIO modules)
M70 LUMO TRA (transformer version) 440.00 517.00
M70 LUMO EST (stabilised transformer version) 510.00 599.25
M70 STAB (stabiliser module for LUMO TRA) 75.00 88.12
MODULES & ACCESSORIES
M70 BW, condenser head with Dulamp 150, 150w / 240v opal lamp 200.00 235.00
Modular 70 Start Pro basic unit + Modular 70 Lumo + Modular 70 Vario M70 COLOR (colour module, contains COLAMP 100S / LUMO req d) 345.00 405.37
M70 VARIO (VC module, contains COLAMP 100v / LUMO required) 345.00 405.37
FORMAT CONVERSION KITS
SINOSET 66 (6x6cm conversion kit for Modular 70 BW) 115.00 135.12
SINOSET 67 (6x6cm conversion kit for Modular 70 BW) 170.00 199.75
SINOCOLSET 66 (6x6cm conversion kit for Modular 70 Color & Vario) 20.00 23.50
SINOCOLSET 66 (6x6cm conversion kit for Modular 70 Color & Vario) 20.00 23.50
CONDENSERS FOR MODULAR 70 BW
SIRIOCON 80 double condenser for 60 -80mm lenses (6x6cm) 105.00 123.37
VEGACON 100 double condenser for 90 -105mm lenses (6x7cm) 140.00 164.50
Modular 70 Start Pro basic unit + Modular 70 Lumo + Modular 70 Color
ACCESSORIES
AC800 WALLMOUNT (wall bracket for M70 Start Pro) 105.00 123.37
AUTOCUF (dust cover) 30.00 35.25
DURST ENLARGERS 50
DURST M805 SYSTEM
The M805 is a professional enlarger for all film formats up to 6 x 9cm, and
in 3 basic configurations M805BW, M805 Color TR 240, and M805
Multigraph. The enlarger head can be pivoted through 90° to permit wall
projection.
Min. magnification; 1.5 x linear, (105mm lens)
Max. magnification; 7.3 x linear (105mm lens)
Baseboard size; 60 x 65cm (23.6 x 25.6”)
M805 B/W
Consists of basic unit complete with baseboard, column (height: 111mm /
43.1”) and enlarger head with manual focussing. LURIOKIT EU 240 con-
denser illumination system, BIMACON 75 - double condenser in mount for
6 x 6cm film sizes. FEMOCON 50 - single condenser in mount for 35mm
film sizes, DULAMP 150 opal lamp 150w / 240v., BIMANEG film carrier, 2
LURIOGLA glasses for BIMANEG, SIRIOPLA lens board with M39 thread
for 50 - 105mm lenses.
M805 Multigraph
The Durst Multigraph is a universal, micro-processor controlled enlarging
head for conventional B/W and variable contrast papers, for film sizes up to
6x9cm. The Multigraph system features motor controlled filters, integrated
exposure control and a motorised light shutter. The enlarger features a per-
manent closed loop light monitoring systemand and a measuring probe for
contrast and density measurement, operated through the micro-processor
control unit. Includes transformer, COLAMP 250S 250w 24v nhalogen lamp,
Multigraph Box 69/805, BIMANEG film carrier, 2 LURIOGLA glasses for
BIMANEG, SIRIOPLA lens board with M39 thread for 50 to 105mm lenses
M805 BW UK 230 (complete enlarger) 1155.00 1357.12
M805 MULTIGRAPH (VC enlarger with Closed Loop system) 3550.00 4171.25
MULTIGRAPH 805 Upgrade Kit (head, power supply, control unit) 2200.00 2585.00
M805 COLOR TRA (colour enlarger with transformer), UK 230 2085.00 2449.87
M805 COLOR EST (colour enlarger, stabilised transformer), UK230 2450.00 2878.75
ENLARGER, BASIC UNIT WITHOUT LIGHT SOURCE
M805 LURIO CHASSIS (Chassis only) 980.00 1151.50
BW / COLOUR CONVERSION KITS, HEADS
LURIOKIT BW (BW kit for converting M805 Color into M805 BW 380.00 446.50
M805 MULTIGRAPH HEAD (Head only) 2200.00 2585.00
COLIS 805 TRA (Colour kit for converting M805 BW into M805 Color) 1405.00 1650.87
COLIS 805 EST (Colour kit for converting M805 BW into M805 Color) 1800.00 2115.00
M805 Color TR240
CONDENSERS for 805 BW
Consists of basic unit complete with baseboard, column and enlarger head BIMACON 75 (for 75 - 90mm lenses) 4.5 x 6 and 6 x 6 cm) 245.00 287.87
with manual focussing. COLIS 805 colour head with stepless filtering sys- BIMACON 80 (for 100 & 105mm lenses) 6.5 x 9 cm) 320.00 376.00
tem up to 130 density units. Built in fan, one each UV and IR filters, addi- FEMOCON 50 (alternative condenser for 35mm to BIMACON 75) 90.00 105.75
tional yellow / magenta filters (approx. 40/20 densities), COLAMP 250S
MULTIGRAPH BOXES for M805 MULTIGRAPH
halogen lamp 250w / 24v, COLITRA 500 240v low voltage transformer.
BIMANEG film carrier, 2 LURIOGLA glasses for BIMANEG, SIRIOPLA lens MULTIGRAPH BOX 805/35 150.00 176.25
MULTIGRAPH BOX 805/66 150.00 176.25
board with M39 thread for 50 to 105mm lenses.
MULTIGRAPH BOX 805/69 150.00 176.25
TRANSFORMERS
COLITRA 500 (replacement) 275.00 323.12
COLISTA 500 (with replacement) 600.00 705.00
ACCESSORIES
AC800 WALLMOUNT (Wall bracket) 105.00 123.37
AUTOCUF (Dust cover) 30.00 35.25
ENLARGING EASELS 51
Dunco 4 Bladed Easels
These high quality German-made 4-blade easels combine excellent design

with robust construction, and as we are importing them directly are also Saunders Easels
very good value for money.
Saunders are the principal manufacturer of
Thr ‘Professional Deluxe’ has the same construction through the range of
masking easels in the USA, home of the 4-bladed
sizes. The frame is constructed of high precision rectangular steel tube sol-
easel, and as such can supply a full range of
dered for additional strength. The baseboard is 1” high, surfaced with steel
easels of all types to suit most budgets and
and covered with a chemical resistant powder coating. This has a matt grey
specifications.
(18%) coating to minimise reflections. Magnetic strips are available as an
Top of the range is the V-Track Easel, so called
accessory when using the easel for copying, or as a borderless easel. The
from the ‘V’ shaped groove within which the four
4 masking blades are made of spring steel and teflon coated underneath to
blade actuators glide. Each actuator, shaped to fit precisely into the track,
prevent friction with paper surfaces. These are adjusted by turning large
rides on two spring-loaded, Teflon-filled bearings which are captive inside
control knobs on the friction drive. The width of the required borders can be
the V-track groove. The result is a blade actuator with exact, automatically-
immediately read on the adjustable magnetic scale rulers. A built-in gas
maintained alignment. The extra width blades of the V-Track easel provide
spring mechanism makes the frame easy to open and close, ‘parking’ in a
razor-sharp borders anywhere from a hairs width to 2”. A counter-balanced
vertical position allowing both hands free for paper insertion and removal.
frame assembly with dual lift arms holds the easel open and frees the
Paper positioning is by slipping the leading edge of the paper into one of a
hands while loading paper. Other easels in the range include the Saunders
series of laser cut slots on the baseboard. These are fitted with stops for
‘Professional’ 4-Bladed easels, which uses a knob controlled clutch to lock
repeatable positioning. Four slots are available, and normally one will be
the blades in place on the arms. This range includes sizes 11x14”, 16x20”
selected that allows working under the central axis of the lens, minimising
and 20x24”. Paper is located using machined slots in the base.
re-siting the easel.
The 85/5 borderless easel uses plate glass as a cover for the paper, ensur- SAUNDERS 4-BLADED EASELS .
ing complete flatness as well as image right to the paper edge. It also dou-
12 512 14x17 Universal 4-bladed (U1417) 145.00 170.38
bles up as a useful copy easel.
11 564 12x16 V-Track 4-bladed (VT1400) 257.00 301.98
27 266 24/5 PROFESSIONAL 10x12 4-BLADE 140.00 164.50 29 810 16x20 V-Track 4-bladed 430.00 505.25
27 278 78/A BORDERLESS EASEL 8x10 30.00 35.25

10 903 11x14 Professional 4-bladed (UA1114) 227.00 266.73
27 280 80/A BORDERLESS EASEL 12x16 60.00 70.50
23 402 16x20 Professional 4-bladed (UA1620) 450.00 528.75
27 293 90/4 PROFESSIONAL. DELUXE 12x16 4-BLADE 245.00 287.87 12 524 20x24 Professional 4-bladed (UA2024) 556.00 653.30
27 300 85/5 BORDERLESS EASEL (glass) 16x20 115.00 135.13
27 313 90/5 PROFESSIONAL: DELUXE 16x20 4-BLADE 300.00 352.50 ISE Easels
27 325 20/6 PROFESSIONAL DELUXE 20x28 4-BLADE 350.00 411.25 ISE 2-BLADED EASELS
27 349 MAGNETIC STRIPS for metal surfaced easels 18.50 21.74 8 054 10x12 41.65 48.93
--- MAGNETIC SCALE for border adjustment 15.50 17.04 8 080 12x16 59.76 70.21
27 239 14x17 68.25 80.19
Beard Enlarging Easels 27 241 16x20 80.78 94.91
LPL Easels
Basic, but adequate quality, with top and left mar-
gin settings varying between 1/4” and 1/2”. A stop
allows the blade assembly to be left in the upright
position. The blades are held on the carriage with
a friction stop, requiring finger pressure for
release when moving the arms.
Beard have been making 2-bladed frames unchanged for decades - there is
nothing to compete, in terms of a 2-bladed easel, on the UK market. The 14 703 8x10 47.80 56.16
perfect choice when 4 bladed capability is not needed, but there is still plen- 68 619 14x17 75.20 88.36
ty of room for masking on the top and left borders, which is adjustable up to 76 734 16x20 102.50 120.44
2’’ in 1/4’’ increments, by easily located aluminium stops. The 2-bladed 8 027 18x22 124.30 146.05
easel has an adjustable spring loaded counterbalance to leave both hands 8 039 11X14 4-BLADED 170.21 200.00
free when inserting paper. Very heavy duty construction, will last a lifetime if
shown a bit of respect. Meopta Enlarging Easels
BEARD EASEL 2-BLADED Basic enlarging easels in two popular sizes. They
149 300 10x12 180.00 211.50
are both 2-bladed designs with internal border
62 602 12x16 195.30 229.47
stops on the top and left up to 20mm.
96 461 16x20 212.10 249.21
The 18x24cm model will accept 10x8” paper only
33 369 20x24 262.50 308.43
if printing with borders.
BEARD EASEL 4-BLADED
12 441 12x16 345.34 405.77
84 568 18x24cm (7x9.5 ) Meopta Easel 20.42 24.00
11 077 16x20 379.99 446.48
22 210 30x40cm (12x16 ) Meopta Easel 32.34 38.00
ARCHIVAL WASHING 52
Nova Washmaster Silverprint Archival Washer
There are many variations on the original concept of the archival washer, This is a new unit, resulting from taking useful features from a number of
which was first produced in the USA in the late ‘60s. The basic design is a designs and combining them in one unit. The water injection is from a man-
washer in which all prints are held in separate slots, and washed individual- ifold into separate slots, a smooth rotary action sweeping all areas of the
ly to a uniform wash quality, over the whole surface of the print. The Nova print. The guage of the materials used is heavy duty throughout; the walls
washer was designed as a result of looking at many different models and are 1/2” acrylic, while the dividers are textured 3mm, and fit into slots rout-
embodying the most desirable features without involving expensive details. ed into the base for extra rigidity and to prevent cross contamination
This has resulted in a simple and (relatively) cheap unit. They are made in between cells. The most innovative feature is a ‘total dump’ facility, whereby
the UK to a competitive price, and constructed throughout from clear the entire contents of the washer can be drained in a few seconds. This is
acrylic. by raising the internal end wall, a hand grip being provided,
The three different sizes are built to the same basic plan, with water being 32 188 12x16 6 slot 203.40 239.00
fed into each of 13 separate slots from an inlet manifold at the base. This 33 109 12x16 12 slot 293.62 345.00
induces a strong swirling action, and water exits over a weir into an outlet 32 211 16x20 6 slot 254.47 299.00
section above the inlet. As each slot is completely separate from those 33 112 16x20 12 slot 387.23 455.00
adjacent to it the problem of prints fresh from the fix re-contaminating wash
32 247 20x24 6 slot 382.13 449.00
water of prints that have been washing for some time is eliminated. The
33 124 20x24 12 slot 458.72 539.00
dividers, which are completely removable for cleaning, are ribbed to prevent
prints sticking to them. The inlet and outlet use normal plumbing fittings, the
inlet requiring a 1/2’’ hose. The outlet can be directly into a sink, or can be
led away using a 25mm 90° angle fitting, and a length of 25mm’ PVC waste Washmaster-Eco
pipe. A useful set-up could be to feed the waste water further up the line to
a pre-wash holding tray. One Nova Clip is supplied with each unit, useful if The most significant new
washing small prints or test strips. Three units are available; 12x16” print design feature in this
size, (unit size 46 x 25 x 35cm), 16x20” print size, (unit size 57 x 25 x Nova washer is a total
47cm), and 20x24” print size, (unit size 68 x 25 x 57cm). All are supplied water dumping facility.
packed in heavy duty boxes for transit. The Nova Washmaster Archival This is achieved by rais-
Washer is built to the same specifications, and with the same length and ing a single blade, effec-
height as the standard washers above. The difference is in the number of tively emptying the wash-
slots- five rather than thirteen, suiting a smaller throughput. The units are er of 90% of its volume
accordingly narrower, taking up very little space in the darkroom. Inlet is by within 1 minute ensuring
1/2” hose, outlet via 25mm fitting pipe. fast removal of the thio-
sulphate laden water that
NOVA WASHMASTER ARCHIVAL WASHER builds up in the first few
93 047 12x16 203.40 239.00 minutes of the print wash-
30 102 16x20 254.47 299.00 ing cycle.
Also incorporated is an
independent single slot
which can serve three dif-
ferent purposes depen-
A B dent upon your needs.Its main purpose is to accommodate Wash Aid in its
space-saving vertical construction and in turn, significantly reduce wash
time. This slot can be converted to run as an isolated rapid Pre-Wash Slot
or as the third option - a 6th washing slot! Fitted with independent flow con-
trol you may run the pre-wash at a different rate to that of your main washer
section adding greater flexibility.
Heavy weight 4.5mm textured inner divider panels are used to prevent print
adhesion, which are set into the base to ensure each slot maintains a high
The dramatic effect of the Ilford Galerie 60 second fix time in concentrated fixer,
degree of isolation. There is also a new pressurized inlet design further
Washaid sequence in action; graph A is followed by hypo clearing. The drop in
a normal curve for dissipation of hypo thiosulphate is dramatic, and within a
enhancing the vortex agitation system used in the other Nova washers.
from a fibre based print, after normal fix- few minutes is virtually unmeasurable. Washmaster-Eco has the ability to store and wash up to 6 prints to archival
ing for several minutes, and washing in a These graphs were derived from density standards using minimal water. Available in two sizes:
Nova archival washer. The second measurements made on stains on FB
16 x 12 (40 x30cm) 221.23 259.95
shows the residual hypo under the same paper using HT2 solution, (acidified sil-
washing conditions after employing the ver nitrate). 20 x 16 (50x40cm) 280.80 329.95
Nova FB Processors Plastic Developing Dishes
Nova Print Processors We normally have
Paterson and Kaiser
dishes in stock, which
are well made in
heavy-duty plastic.
Dishes are normally
supplied as white.
We can also obtain to
order a range of plastic
dishes up to 3 x 4 feet.
PATERSON
69 145 8x10 dish 3.19 3.75
67 049 10x12 dish 4.04 4.75
42 982 12x16 dish 7.23 8.50
72 985 16x20 dish 9.36 11.00
The Nova FB Processor is an innovative way of 26 326 20x24 dish 17.02 20.00
packaging fibre-based print processing into a KAISER
small temperature controlled unit. Developed --- 8x10 dish 2.04 2.40
from the RC processor, there are a number of --- 10x12 dish 3.28 3.85
features that set it apart; the unit is designed so --- 12x16 dish 4.77 5.60
By now the established classic in small-scale that the developing print can be easily inspected, --- 16x20 dish 14.72 17.30
colour print processing. The unit comprises two hence the transparent side-wall, and the angled --- 20x24 dish 17.02 20.00
or more ‘V’ topped solution slots, surrounding a slots. In addition a special paper holder is sup-
water filled core. The water bath is thermostati- plied, which supports the FB sheet throughout Film Developing Tanks
cally temperature controlled, and with the excel- the process, and can be used to hold it even Paterson offer the
lent heat conduction properties of the acrylic wall while washing. widest configuration,
material maintains processing chemistry within a
--- Nova FB Processor 12x16 382.13 449.00 of tanks, but Kaiser
stability range of 1/4° C. Each chemical slot is fit-
--- Nova FB Processor 16x20 CALL CALL offer a system using
ted with a drain tap and supplied with a ‘floating
compatible spirals, at
lid’ to protect against oxidation of chemicals Nova FP 5x4 Dip & Dunk Processor a competitive price.
when the processor is not in use. The unique
feature of the Nova system An efficient and com
pact processor for PATERSON
is the use of a special agita-
tion clip, which can be handling small to 79 756 35mm Tank + 1 reel 14.89 17.50
medium volumes of 79 878 Univ. Tank + 1 reel 15.53 18.25
attached to an RC print of
sheet film, and based 84 776 Multi Reel 3 Tank 15.53 18.25
any size. The paper is suffi- 96 529 Multi Reel 5 Tank 18.30 21.50
ciently rigid not to tear or on a line of 5
65 734 Multi Reed 8 Tank 25.53 30.00
fold when held by the clip, ‘CombiPlan’ tanks, fit
67 076 Autoload Reel 7.66 9.00
which then forms a handle ted into a thermostati
84 639 Autoload Reel / 6 pack 40.85 48.00
for conveying and agitating cally controlled water
jacket.. The temperature range can be main- KAISER
the print throught the baths.
Chemical carry-over is reduced to a minimum, tained over 20° to 45° C. with an accuracy of --- Standard Developing Tank (1 reel) 7.66 9.00
pre-heating of equipment is unnecessary, and in 0.2° C. The film rack is the standard CombiPlan --- Universal Developing Tank (2 reels) 11.06 13.00
many situations running a process without a unit, adjustable for 6x9cm and 9x12cm film as --- Kaiser Reel 5.74 6.75
stopbath is possible. Chemicals are not discard- well as 5x4”. All of the 5 tanks are supplied with
ed after each print, instead replenishment is colour coded outer lids, and floating lids to min- Measures
applied at the end of a print session, at a rate imise evaporation and oxidation of chemicals.
PATERSON
equal to 10ml per 8x10” print. This increases the 24 621 Nova FP Dip & Dunk Processor 251.06 295.00 34 317 Graduate 45ml 2.55 3.00
print/litre capacity to more than double that of 89 370 Graduate 150mlI 2.98 3.50
most other systems. Left powered up, the Nova Nova FPD 5x4 Daylight Processor 72 408 Graduate 300mlI 3.83 4.50
unit is ready for use at all times, using only 150 A smaller and less 50 072 Graduate 600ml 5.11 6.00
watts. A number of configurations are available, expensive alternative 58 951 Graduate 1200ml 5.96 7.00
with 2, 3, 4 or 5 slots, which can include washes. to the ‘Dip & Dunk’ 69 546 Mixing Jug 1l 5.11 6.00
5 214 Mixing Jug 2l 8.51 10.00
Tandem - 2 heated solution slots, for B/W or processor above,
based around a KAISER
RA4 with no stopbath stage.
Trimate - 3 heated solution slots, ideal for RA4 single ‘CombiPlan’ - Measuring Cylinder 50ml [4250] 1.96 2.30
with a stopbath. tank, with additional - Measuring Cylinder 100ml [4252] 2.13 2.50
Clubmate - 3 heated solution slots with an inte- space in the water - Measuring Cylinder 250ml [4253] 3.40 4.00
gral running water wash facility. jacket for 3 one litre - Measuring Cylinder 500ml [4254] 5.11 6.00
Quad - 4 heated solution slots, ideal for graduated bottles. Additionally, the CombiPlan - Measuring Cylinder 1000ml [4255] 7.66 9.00
tank can be removed and substituted with a - Measuring Jug 1000ml [4256] 3.62 4.25
Ilfochrome or any 4-bath process.
Paterson 2 or 3 tank unit. - Measuring Jug 2000ml [4257] 12.77 15.00
8x10 TRI-RAPID 310.64 365.00
8x10 TRIMATE 254.47 299.00 24 645 Nova Daylight Film Processor 211.91 249.00 Proofers
8x10 QUAD 297.02 349.00
The leading brand is
Combi-Plan 5x4 Film Tank
12x16 TRI-RAPID 404.26 475.00
Paterson, but we also
A clear plastic frame stock a universal
12x16 TRIMATE 339.57 399.00
with slots locates frame (ie without
12x16 QUAD 390.64 459.00
the films. There are masks) made by the
16x20 TRIMATE 509.79 599.00
slots for 6 sheets, manufacturers of
16x20 QUAD 552.34 649.00
although the user Printfile.
may find less prob
20x24 TRIMATE 680.00 799.00 lems with agitation if PATERSON
only 4 are processed 39 919 Contact Printer 35mm (on 8x10 ) 34.04 40.00
74 822 Agitation Clip 5.11 6.00 at a time. A close fit- 1 782 Contact Printer 35mm (on 9.5x12 ) 34.04 40.00
ting soft rubber lid allows inversion agitation, and 88 817 Contact Printer 120 34.04 40.00
a drainage outlet at the base allows daylight use. 23 368 Pro Proof Contact Printer 34.04 40.00
See also the Nova systems above based around 21 235 Test Strip Printer. 11.49 13.50
the Combi tanks. PRINTFILE
68 534 Combi-Plan Tank 55.00 64.63 --- Printfile Contact Printer 30.00 35.25
Washing & Drying Kodak Digital Thermometer Paterson Water Filter
Similar range of acces- An accurate, electronic, digital thermometer com- This is adequate if you
sories for the wet end - plete with clock. It comprises a stainless steel need a small inexpen-
see also Kodak Tray probe coupled by a flexible 3’ lead to the display sive unit which will
Siphon. unit, which gives temperatures to one decimal filter to 20 microns (ie
point in either Celsius or Fahrenheit. It has a tem- the bits of grit that
perature range of -10° to +110° C, with an accu- cause the most
racy of 0.3°C at 38°C. Additional features include trouble, including rust
a high or low temperature alarm setting with an particles). The unit
PATERSON audible warning, and a setting for a fast or slow push fits onto a tap, and unscrews for cleaning of
61 520 Force Film Washer 6.81 8.00 sensing speed (either 1 or 10 second response the filter element, which is itself replaceable. Fine
33 210 Water Filter. 10.21 12.00 time). for small scale use, for a permanent set-up with
6 399 Film Squeegee 7.02 8.25 high volume requirements a larger unit such as
25 047 Kodak Digital Thermometer 28.40 33.37
48 572 Print Squeegee 15.53 18.25 the ‘Amatek’ filter range is recommended.
28 713 Film Clip Set 5.11 6.00
15 267 High Speed Print Washer 810 17.02 20.00
Bamboo Tongs 33 210 Paterson Water Filter 10.21 12.00
16 021 High Speed Print Washer 1216. 29.79 35.00 Getting a bit scarcer
41 677 Print Drying Rack 22.13 26.00 and a bit more expen- Kaiser Dodging Kit
KAISER sive, but these are still It’s easy enough to
89 622 Plastic Film Clip Set [4117] 4.25 5.00
the first choice of knock up your own,
- Plastic Film Clip w/o Weight [4118] 2.94 3.45 many printers. As the but this a fairly inex-
- Plastic Film Clip with Weight [4119] 3.62 4.25 ends get corroded, pensive off-the-peg
- Stainless Steel Film Clips x 2 [4120] 6.38 7.50 break them down and put the rubber tips on option. Supplied as a
89 563 Pro. Film Squeegee 14.90 17.50 again. Supplied in packs of 3. thin robust wire mounted into a handle, and with
8 955 Pro. Squeege Spare Blades [4070] 6.17 7.25 a coiled tip which will easily accept any shape
75 845 Bamboo Tongs / Set of 3 8.47 9.95
8 967 Single Blade Squeegee, 13 [4074] 7.45 8.75 you choose to stick in it. Supplied with a range of
89 575 Film Squeegee 5.47 6.43
Kenro Stainless Steel Tongs standard shapes, inc. an adjustable one for odd
16 765 Roller Squeegee [4056] 13.19 15.50 angles.
- Thermometer [4080] 3.83 4.50 Supplied as a pair,
3 974 Thermometer [4086] 9.50 11.16 these are robust stain 89 590 Kaiser Dodging Kit 5.53 6.50
2 380 Wide-range Thermometer [4081] 6.00 7.05 less steel tongs with
- Wide-range Dish Thermometer [4083] 6.38 7.50 soft rubber tips, and Ilford EM10 Exposure Monitor
- Precision Dish Thermometer [4087] 20.43 24.00 with an 8” length are Simple darkroom expo-
- Electronic Thermometer [4089] 49.36 58.00 substantial enough not sure meter. Once cali
698 Print Tongs pair, stainless steel [4067] 7.66 9.00 to slide into a tray brated for the type of
- Print Tongs sgl, stainless steel [4063] 5.32 6.25 when ignored.
- Print Tongs pair, plastic [4062] 4.47 5.25
paper in use, it is used
89 587 Print Tongs pair, plastic [4059] 4.68 5.50 97 095 Kenro S/S Tongs, pair 7.66 9.00 to correctly determine
162 Safelight [4018] 23.82 27.90 the enlarging lens
89 607 Stirring Rod [4239] 3.97 4.66 Kaiser Stainless Steel Tongs aperture required for
- Plastic Darkroom Aprons x 2 [4066] 5.11 6.00 any negative or trans-
With spiral spring and parency, at varying
shaped handle for enlarger heights, by balancing the 3 LED’s on the
General Darkroom Accessories catching on edge of unit. Powered by batteries.
tray. Protective plastic
caps to protect emul- - EM10 Exposure Monitor 22.49 26.43
sion surface. Packed in pairs.
Bottles
698 Kaiser S/S Tongs, pair 7.66 9.00
Concertina bottles are
Amatek Water Filters black, and the size indi-
cates maximum capaci
Use a replaceable wound-fabric cartridge, avail-
ty; when squeezed they
PATERSON able in either 5, 10, or 20 micron gauges. The
will reduce to about 1/3
smaller guage filter will give slightly lower water
54 211 Micro Focus Finder 17.23 20.25 of that. Polyethylene
pressure. A clear acrylic bowl houses the filter
76 928 Major Focus Finder 34.04 40.00 bottles are rigid white
17 324 Safelight (orange) 17.02 20.00 cartridge, which screws up into the inlet & outlet
plastic. A tap kit is listed
22 966 Safelight Domes 6.81 8.00 unit. The filter housing is supplied with a 10
for the 5 and 10 l. sizes,
17 128 Spirit 9 Thermometer 7.87 9.25 micron cartridge. Both are suitable for higher vol-
useful for drawing off solution if the bottle is
80 492 Spirit 12 Thermometer 8.51 10.00 ume requirements than that provided by, say, the
placed on its sides on a shelf. The 2.5, 5 and 10l.
- Dial Thermometer. 13.62 16.00 Paterson unit. Model AM1 10’’ in-line filter is
sizes are moulded so they can stack on top of
90 455 Print Tongs (pair) 5.11 6.00 designed for a permanent installation feeding the
bottles the same size.
73 725 Chemical Mixing Paddle 2.98 3.50 entire darkroom supply. Supplied with brass 1/2’’
51 336 Funnel 4.25 2.55 3.00 compression fittings, and wall-mounting bracket. 47 160 Concertina Bottle 1l. 2.03 2.38
- Funnel 5.75 3.40 4.00 A built-in shut-off valve allows filter changing with- 96 226 Concertina Bottle 2l. 2.50 2.94
KAISER out shutting off incoming water supply. 27 922 Polyethylene Bottle 250ml .60 .71
35 878 Polyethylene Bottle 500ml .75 .88
47 794 Luminous Tape [4223] 6.38 7.50
Model AM2 is a 10’’ unit of similar design, taking 24 672 Polyethylene Bottle 1l. .90 1.06
89 590 Dodging Kit [4601] 5.53 6.50
the same filter cartridges, but supplied with a 14 865 Polyethylene Bottle 2.5l. 1.95 2.29
56 Grain/Tapestry Screens 6x6 [4377] 7.23 8.50
push-fit tap connector and hose, and a swivelling 14 840 Polyethylene Bottle 5l. 3.22 3.78
828 Grain/Tapestry Screens 35mm [4376] 5.96 7.00
493 Test Negative, 6x6/6x7cm [4379] 6.60 7.75
outlet spout. Drilled for a wall mounting bracket, 30 640 Polyethylene Bottle 10l. 3.95 4.64
548 Test Negative, 35mm [4378] 4.25 4.99

which is normally supplied with the unit. Model 36 546 Tap Kit for 5 & 10 l. bottles 2.45 2.88
2 452 Grain Focusser [4005] 25.20 29.62 AM4 also possesses a 10” unit, but this is a
heavy-duty in-line filter which uses a phosphate Syringes
GENERAL ACCESSORIES crystal cartridge, minimising limescale formation Useful whenever particularly accurate measure-
and iron staining. ment is necessary, such as measuring very con-
KAISER
85 822 Amatek Filter Model AM1 68.80 80.84 centrated developers like Rodinal.
524 Antimagnetic Scissors, 7 8.47 9.95
28 289 Amatek Filter Model AM2 44.80 52.64
44 Chamois Leathers, 5 pc 3.25x4.5 6.34 7.45 49 104 1ml Syringe 0.35 0.41
28 292 Amatek Filter Model AM4 100.10 117.62
89 493 Kaiser Print Inspection Light 26.11 30.68 37 923 2ml Syringe 0.35 0.41
21 844 5 Micron Filter Cartridge 4.00 4.70
40 201 5ml Syringe 0.35 0.41
26 169 10ml Syringe 0.42 0.49
70 507 20ml Syringe 0.48 0.56
63 579 50ml Syringe 2.04 2.40
HanHart Darkroom Timer Ilford Thermometer DT30 Meopta Copy Stand Equipment
After scouring the four A deluxe electronic ther We can testify to the
corners of the earth we mometer with a very quality and value of
have come up with this wide range from -50° C these stands - we have
new HanHart seconds to 150° C. Accurate to ± used one for all our in-
timer as being the best 0.3° C. The handle of house copying for
replacement for a num- the probe is shaped so it rests against the side of several years and have
ber of others which the dish when left in the solution. The display is a no complaints. The
have dropped off the large 4 digit red LED display. The unit uses a 9V robust columns and
perch in recent years. MN1604 battery, giving a life of 5 hours in contin- base boards of Meoptas
With a large xx cm face, ual use. enlarger range are also
sweep seconds hand, and both hands luminous, the basis of the ‘Reprovariant’ copy stand system.
21 286 Ilford DT30 Thermometer 111.83 131.40
it is ideal for most basic timing operations in the The OP6 system utilises the same chassis as the
darkroom. Only 2 controls, start/stop and reset, Opemus 6 enlarger with a 59x42cm baseboard
and the reset really does zero properly. Timing
Deep Tanks and maximum camera elevation of 80cm.The
duration runs up to 1 hour. Powered by xx x AA Originally ‘3 Gallon’, MG4 is derived from the Magnifax 4 enlarger with
battery. they were upgraded to a 23.5 x 23.5cm base board and maximum cam-
15 litres some time era elevation of 100cm. Both these copy stands
xxx HanHart Timer 50.00
back. Normally sup- are supplied with 4 ES lamp holders on two inde-
plied with a cover lid, pendently mounrted arms that are adjustable in
Dishwarmers and a floating lid is height and angle. The camera mounting platform
These are finished in required for use with is constructed from 3 heavy duty sections allow-
black enamelled steel developers. A wash tank is also available. ing comprehensive variation of positioning for
with no cut edges to any camera up to medium format. Owners of
15 120 3 Gallon Deep Tank 39.00 45.83
rust. Fitted with a ther- 15 144 Floating Lid for 3 Gallon Tank 11.00 12.93
Meopta enlargers can convert them by purchas-
mostat, they can be 15 132 3 Gallon Wash Tank 57.00 66.98
ing the lights and camera mounting platforms as
adjusted over a tempera accessories.A budget priced copy arm is avail-
ture range that will go Stainless Steel Equipment able as an alternative to the mounting platform for
sufficiently high to run a water bath holding solu- use with 35mm cameras only.
tions at 38º C for colour processes. Although they Stainless steel tanks
are fitted with high rubber base supports, we are not compatible Copy Stand equipment
advise using some sort of duckboard arrange- with plastic spirals of - Copy Stand OP6 + 2 lights 193.19 227.00
ment to rise them above sink level. If you want to the Paterson type, but - Copy Stand OP6 + 4 lights 212.77 250.00
prevent surface corrosion, ensure they are use a smaller diameter - Copy Stand MA4 + 2 lights 237.45 279.00
cleaned off and dried after use. stainless steel reel - Copy Stand MA4 + 4 lights 255.32 300.00
which is centre load - Copy Stand OP6 without lights 93.62 110.00
80 355 12x16 Dishwarmer 56.17 66.00 ing, of which the best - Copy Stand MA4 without lights 136.17 160.00
80 367 16x20 Dishwarmer 59.57 70.00 on the market are the - Copy light Universal inc 2 lights 93.62 110.00
44 564 12x36 Dishwarmer 68.08 80.00 British made Hewes - Copy light Universal inc 4 lights 119.15 140.00
variety. The 35mm spir - Camera Holder Axomat / Opemus 42.55 50.00
Black-out Material als use a system of - Copy Arm Axomat 5 / Opemus 6 & 7 16.17 19.00
two prongs to locate - Camera Holder Deluxe Magnifax 45.96 54.00
More correctly should be termed `dim-out’.
- Copy Arm for Magnifax 16.17 19.00
This is 100% cotton Bolton Twill fabric, treated for and centre the film,
light-proofing and flame-proofing. A single thick- which is quick and Copy Equipment Accessories
ness used as a blackout will let the odd pinhole positive in use. Hewes --- 35mm Film back for Axomat / Opemus 68.09 80.00
through, but be adequate for working with papers. also manufacture a --- 6x6cm Sheet Film Carrier Holder 20.43 24.00
If absolute blackout is needed, any form of lining range of stainless steel --- 6x9cm Sheet Film Carrier Holder 30.64 36.00
will ensure this, or the use of a double thickness. baskets for deep tank --- Plate Holder only 6.5x9cm 4.25 5.00
Velcro, which can be obtained in reels, is one processing, hangers for --- Cut Film Sheath only 6.5x9cm 4.25 5.00
suitable way of mounting the material into a win- deep tank sheet processing, and accessories
dow space. Supplied in a 48’’ width, by the metre such as stainless steel drying clips. The tanks are Kaiser Copy Stand Equipment
(3’3’’). the Japanese made ISE brand, with close fitting Very comprehensive
plastic lids. range of copying equip
1 185 Black-Out Cloth, 48 x 1m 4.55 5.35
89343 35mm Tank 13.80 16.22 ment based on the
88 804 120 Tank 17.25 20.27 Kaiser VP enlarger
Ilford Processing Drums
88 500 6 Tank (4 x 35mm / 2 x 120) 27.66 32.50 system.
Two processing drum sizes are available, one for 63 528 9 Tank 38.30 45.00
processing 8 x 10” material, the other for 12x16”. 41 213 12 Tank 45.85 53.87
3 597 Ilford Processing Drum 8 x 10 29.46 34.62 25 476 Hewes Stainless Steel 35mm Spiral 7.25 8.52
62 874 Ilford Processing Drum 12 x 16 69.84 82.06 84 103 Hewes Stainless Steel 120 Spiral 7.98 9.38
7 872 Hanger 5x4 , 4 sheets / frame 30.85 36.25 - Lighting Stand Heavy Duty 5025 77.45 91.00
Electronic Balance 7 884 Hanger 8x10 1 sheet / frame 22.35 26.26 - Copy Stand RS3 5310 99.57 117.00
- Hanger 5x7 , 2 sheets / frame 22.35 26.26 - Copy Arm RA3 5320 17.02 20.00
Simple electronic - Copy Lighting Set RB3 5350 85.11 100.00
machine weighing 1.5 Gallon Tank Series (7 litre)
- Copy Stand Reprokit 5360 102.13 120.00
from 1g to 2kg. A 7 897 Spiral Cage 7 litre 47.95 56.34 - Copy Stand RS2 5410 125.11 147.00
membrane covers the 7 904 Hanger Cage 7 litre 49.00 57.58 - Copy Arm RA2 5420 23.83 28.00
switches. Controls are 3 Gallon Tank Series (15 litres) - Copy Lighting Set RB3 5450 195.74 230.00
ON/ZERO, OFF, and - Copy Stand RS1 with RA1 5510 212.77 250.00
7 917 Spiral Cage 15 litre 49.71 58.41
KG/LB 7 929 Hanger Cage 15 litre 45.74 53.74
- Copy Stand RS1 with RT1 5511 238.30 280.00
- Copy Stand RSX+Arm RTX 5512 408.51 480.00
21 871 Salter 3010 Electronic Balance 25.00 29.38 2.5 litre Tank Series - Copy Arm RA1 5520 38.30 45.00
- S/Steel Tank, Lid & Floating Lid 62.95 73.97 - Copy & Title Arm RT1 5521 70.64 83.00
Lab Scissors - Rack for 10 Hangers 20.95 24.62 - Copy Arm RTX 5522 189.79 223.00
Made of fibreglass- - Spiral Cage to fit Hanger Rack 21.85 25.67 - Copy Arm RA101 5523 46.81 55.00
reinforced nylon, with - Hangers 5x4 , each 7.55 8.87 - Repro Arm RTP 5524 85.11 100.00
blades of special heat - Repro Arm RA102 5525 32.34 38.00
HEWES FILM CLIPS - Repro Arm RLR 5526 90.21 106.00
treated stainless steel.
Length 18cm 7.1”. 7 931 Weighted Clip 2.90 3.41 - Grad / Mechanical Stage 5530 122.55 144.00
7 943 Spring Clip 2.07 2.43 - Copy Lighting System RB 5550 327.66 385.00
52 347 S/Steel Film Clip, pair, one weighted 3.35 3.95 - Copy Lighting Halogen 5552 194.54 228.59
- Copy Lighting Fluorescent 5555 366.12 430.19
524 Lab Scissors 8.47 9.95
Encapsulite Safelights Safelight Boxes Ilfochrome A Filter Set
These fluorescent strip safelights are the best The Ilford DL10 box is designed for wall mounting The Ilford colour printing filter set is based on 6
option in cost-effective darkroom lighting. While or work-top location. It will accept either the Ilford filters measuring 8.9 x 8.9cm in each of the
running at a low temperature with small power or Kodak range of 8x10” glass safelight filters colours yellow, magenta and cyan, and graded in
consumption they also supply broad ‘direction- above. The DL20 safelight is designed to be sus- values 5, 10, 20, 30, 40 and 50, plus a colourless
less’ lighting which makes time in the darkroom pended from the ceiling. It requires one 8x10” and UV absorbing filter.
less fatiguing. Although are many permutations of one 10x12” filter, which again can be from Ilford
43 137 Colour Printing Filter Set (6Y,6M,6C,UV) 25.43 29.88
filter for different graphic arts materials, we nor- or Kodaks range.
mally stock the type suitable for most graded and
21 468 DL10 Darkroom Safelight 68.16 80.09
VC papers (A10/ND 0.3) and that for ortho materi- Schneider Enlarging Lenses
24 684 DL20 Darkroom Safelight 132.54 155.73
als (R10). A number of lengths are available, and
The Componar-S is a 4
the best value for money is in purchasing the
Vinyl Gloves element design with opti
tubes alone, and fitting them to your own battens.
Very useful when deal mum performance at 3
2 644 A10 / ND0.3 Tube 4 35.30 41.48
ing with toxic solutions, stops down, with screw-
2 657 A10 / ND0.3 Tube 5 38.98 45.80
but still let you retain off click stop diaphragm
2 840 A10 / ND0.3 Tube 6 42.60 50.06 and illuminated aperture
some sense of touch.
13 535 R10 Tube 4 29.75 34.96 scale. Available as
Lined with talc for easy
2 669 R10 Tube 5 33.50 39.36 80mm f/4.5 and 50mm f/2.8.
29 288 R10 Tube 6 37.10 43.59
fitting.
2 963 A10 / ND0,3 inc. batten 78.50 92.24 The Componon-S is a 6 element lens with very
high performance, working well through all magni-
Duka Safelights 22 576 Vinyl gloves / 50 pairs 9.50 11.16 fication ratios and apertures, with combined
17 214 Vinyl gloves / 1 pair 0.33 0.39 click/variable stop control, aperture pre-setting,
The DUKA 50 is a
darkroom safelight for and illuminated aperture scale. All have standard
Kaiser Pro Squeegee
all colour negative, Leica thread fitting.
Previously sold as a
colour positive and 14 464 Componar S 50mm f2.8 68.00 79.90
Kindermann product,
black & white process 22 332 Componar S 90mm f4.5 68.00 79.90
this is probably the best
es. The light released 5 240 Componar S 105mm f4.5 82.00 96.35
film squeegee on the
is in a tight spectral 15 389 Comparon 50mm f2.8 128.00 150.40
market, having sets of 4-ridged soft rubber blades
range of around 14 099 Comparon 80mm f4.5 135.00 158.63
that can be replaced as they become worn. For 23 162 Comparon 105mm f4.5 196.00 230.30
589nm, (sensitivity gap
film widths up to 4.7” 20 904 Componon S 50mm f2.8 174.00 204.45
for most colour papers). An extra filter can be
switched in for monochrome graded and VC 89 563 Professional Film Squeegee 14.90 17.50 10 262 Componon S 80mm f4.0 225.00 264.38
23 135 Componon S 100mm f5.6 247.00 290.23
materials. A 10 watt sodium lamp is used. 8 955 Replacement Bl;ades for Pro. Squeegee 5.95 6.99
The DUKA 5 is dimensionally the same and uses
a 5 watt fluorescent lamp to match all black and Single Blade Squeegee Anaret Enlarging Lenses
white graded & VC papers. For wiping excess It is not well known that the Meopta Anaret S
water off FB and RC lenses are optically identical to the Componar S
2 327 Duka 50 Safelight 168.51 198.00
papers. Contoured range, and indeed are made on the same produc-
21 274 Duka 5 Safelight 80.43 94.50
plastic handle with soft tion line, although sell at a lower price, substan-
rubber blade. tially lower in some cases. All standard M39
Ilford Safelight Filters screw, except for the 30mm which is a 23.5mm
If using a box type safelight with interchangeable --- Single Blade Squeegee 7.45 8.75 screw fitting.
rectangular filters, or a Kodak Beehive accepting
- Belar 50mm f4.5 25.53 30.00
5.5” diameter filters, the Ilford product is the best Saunders Print Squeegee
- Anaret 30mm f4.5 28.94 34.00
value. An import from the USA, a simple squeegee with - Anaret 50mm f4.5 27.23 32.00
89 329 902 Light Brown 5x7 29.41 34.56 handle, preferred by many professional printers. - Anaret S 50mm f2.8 59.57 70.00
65 093 904 Dark Brown 5x7 29.41 34.56 - Anaret S 50mm f4.5 42.55 50.00
6 807 Saunders Print Squeegee 10.00 11.75
37 007 906 Dark Red 5x7 29.41 34.56 - Anaret 80mm f4.5 34.04 40.00
- Anaret S 80mm f4.5 47.66 56.00
25 380 902 Light Brown 8x10 35.66 41.90 Multigrade Filters - Anaret 105mm f4.5 42.55 50.00
73 556 904 Dark Brown 8x10 35.66 41.90
74 458 906 Dark Red 8x10 35.66 41.90 Two types of filter sets - Anaret S 105mm f4.5 59.57 70.00
are produced for either - Meogon S 50mm f2.8 119.15 140.00
16 777 908 Dark Green 8x10 35.66 41.90
above or below lens - Meogon 50mm f5.6 85.11 100.00
32 844 902 Light Brown 10x12 48.96 57.53 - Meogon 80mm f2.8 153.19 180.00
38 934 904 Dark Brown 10x12 48.96 57.53
use. The above the
- Meogon S 80mm f4 136.17 160.00
66 674 906 Dark Red 10x12 48.96 57.53 lens system comes in
- Lens Mount for 30mm 7.66 9.00
two sizes (8.9 and
34 439 902 Light Brown 5.5 21.08 24.77 - Lens Mount Adapter 39mm to 23.5mm 7.66 9.00
15cm square). These
3 947 904 Dark Brown 5.5 21.08 24.77
will normally need trim
18 712 906 Dark Red 5.5 21.08 24.77
ming down to fit your
Paterson Enlarger Timers
902 Light Brown, for all standard photographic filter drawer. If a filter
papers, including Multigrade types drawer is not available, a below lens kit is pro-
904 Dark Brown, for fast blue-sensitive material, duced to fit under the prime lens. This is supplied
eg line film. with a collar which can be retained on the enlarg-
906 Dark Red, for Orthochromatic materials. er by screwing it into place with the lens - as long
907 Dark Green, very slow panchromatic materi- as it is a standard Lica (40.5mm) thread.
al. Changing filters is quicker with the below lens
908 Very Dark Green, all panchromatic materials, system, but the optical performance is more likely
& colour papers to suffer as the filters show their age, above lens Paterson 2000D Enlarger Timer
Other values available for specialist materials. sets are the best choice if you have the option. Basic timer but good value. Time selectable is 0.1
- 99 seconds. Red LED output, adjustable for
88 882 Below lens kit 37.61 44.19
Ilford SL1 Safelight brightness. Exposure can be interrupted. Suitable
10 372 Above lens kit 8.9cm sq 16.55 19.45
for loads up to 10 amps.
The SL1 is the economy model in Ilfords range. 97 374 Above lens kit 15.2cm sq 31.60 37.13
With a non-interchangeable orange filter, it is suit- 30x30cm MG Filters, available all values, each 22.58 26.53 25 657 Paterson 2000D Enlarger Timer 47.94 56.33
able for all graded & VC papers. It can be
attached to a wall or used freestanding on its
swivel bracket.
46 342 SL1 Safelight (fixed orange filter) 35.89 42.17
DARKROOM TIMERS 57
Gralab 300 RH Stopclock Professional Timer
The Gralab 300 timer is a multi-purpose instru-
ment, and can be used as process timer or enlarg-
er timer. Its large face makes it a useful process
timer in large darkrooms, and it can be wall-
mounted for convenience.
The design goes back a long way- its ancestors
can be seen in many photographic texts going
back to the 40’s and 50’s, although the design has
been continually updated.
An enlarger (or printer) and safelight are controlled through two separate
outlet ports marked Enlarger and Safelight. An optional buzzer is built in,
which triggers at zero time. The two hands permit selection of any time
interval from 1 second to 60 minutes, the inner hand with the hooked end
being the minute hand. The outer second hand is turned with the knob in
the centre of the dial. The hands are luminous, and can be seen for about
20-30 minutes before losing brightness, requiring further exposure to light.
Power handling is 750 watts at 240v.
Enlarger Timing;
The ‘time/focus’ switch is set to ‘FOCUS, which automatically switches off
the safelight., eliminating extraneous light while focussing. It remains off
during enlarger timing, avoiding shadows during dodging operations. On
switching to ‘TIME’ the preset time sequence is initiated., with the enlarger
switching off, and the safelight switching on at the end of the interval.
14 145 Gralab 300 99.00 116.33 The RH Designs StopClock Professional enlarger timer incorporates all the
best features of the original StopClock, adding some new ones. Most
Gralab 450 important of these is the Compensation feature, which adjusts the expo-
The Gralab 450 is a compact design of enlarging sure time +/- 20% at the touch of a button to compensate for drydown, or
timer, embodying enhanced features of the 300 in subsequent toning processes. Now includes 2 completely separate expo-
a compact unit. There are two dials controlling sure sequences, invaluable for split-grade printing on VC papers. The sec-
time interval which can be switched to cover the ond channel is also useful for programming flashing and fogging exposures
range 1/10 sec to 99 seconds. Safelight switching which are separate from the main exposure sequence, and can even be
during focussing and timing can be auto-matically used as a process timer if the enlarger is switched off. A special ‘split-
switched as with the 300. Time selection is with grade’ mode is incorporated which maintains constant print contrast if the
red LED’s, the brightness of which can be con- exposure time is changed, and displays the contrast as an equivalent paper
trolled, (necessary with colour work), or switched grade, tp within 1/10’th of a grade.
off altogether. The f-stop method of printing is fundamental to the StopClock’s ease of
A metronome tone can be switched on during the use; exposure time adjustments are made in terms of f-stops, as are
exposure, giving a bleep every second.duration, enlarging lens aperture and all camera exposure controls. Complex
and a tone can be selected to operate at the end sequences of dodging and burning can be programmed into StopClock’s
of exposure. memory. If you want to make the same print at a different size, or on a
All functions are controlled with touch sensitive paper with a different speed, the basic exposure time can be changed for
moisture-proof switches., and the ‘Start /Reset’ is the new size or speed and the StopClock’s microprocessor calculates all
a large easily located bar 3/4” x 4”. A socket for a the remaining steps automatically. Alterations to exposure time can be
footswitch is fitted, and the footswitch is available made in terms of f-stops, with a resolution up to 1/24’th of a stop, and a
as an accessory. The unit can be wall mounted. sequence of dodging and burning can be stored in StopClocks memory.
Making the print becomes simply a series of presses of the start key or
14 618 Gralab 450 128.00 150.40 footswitch.
14 620 Gralab 450 Footswitch 27.40 32.20
Features
l Basic exp. time 1.0 seconds to 240 seconds, in steps of 1/2 to 1/24’th f-stop. Time is controlled to
Viponel Electronic 0.01 seconds.
This is an enhanced version of the Viponel S15, l All exposure times are set in coarse and fine steps. The fine step size is 1/24’th f-stop (approx 1%)
the coarse step can be set to 1/2, 1/3, 1/4, 1/6 or 1/12 of an f-stop.
using all electronic circuitry. Time is displayed on a l Nine subsequent exposure times can be programmed, each calculated either relative to the basic
backlit liquid crystal display, and times are selected exposure or to the total exposure time thus far. Burn-in exposures are set in coarse steps of 1/2 to
by SET+ and SET- buttons. Switching allows selec- 1/12’th f-stop.
l Two completely independent channels, each having separate basic and burn-in exposure times.
tion of times from 0.1 second to 1000 seconds. A l Split-grade mode, in which each channel tracks the other to maintain print contrast. Contrast is dis-
‘focus’ button switches the light source on for played in steps of 0.1 grade.
focussing. An additional socket is fitted which allows l Automatic test strip mode, for quickly producing test strips with 1/12’th to 1/2 stop increments.
l Exposure Compensation of +/- 20% to allow for dry-down and/or toning with respect to a test print.
the safelight to be switched off during focussing and l The clear yellow LED display brightness can be set to one of 3 levels. The display colour has been
exposure. chosen to be safe for both colour and black and white printing.
l Audible beep at the end of each exposure, and optional seconds tick whilst the enlarger is
4 313 Viponel Electronic 59.53 69.95 switched on.
l lluminated control buttons.
l Can be connected to a RH Zonemaster for exposure metering.
Viponel S15
Stopclock Specification
These are excellent value for money basic mechanical-
ly actuated enlarging timers. l Timing accuracy: better than 1%
l Timing repeatability: better than 0.1%
Two timing ranges are covered, 0.1 to 6 secs. and 1 to
l Exposure setting accuracy accuracy: better than 1% resolution one 1/24’th stop.
60 seconds, with switching to change between the two. l Timing range: 1.0 to 240 seconds per step, up to ten steps per channel, 2 channels.
The selected time is set using a dial with central knob. l Timing resolution: 0.01 sec.
A ‘focus’ button switches the light source on for l Switching capacity: 750W per outlet, 750W total (230v only; 500w on 115v.
l Display type: Yellow LED, 3 levels of dimming, 590nm LEDS safe colour papers.
focussing. The timer automatically resets to the same l W H D 200mm x 65mm x 160mm. (7.8 x 2.5 x 6.3v)
selected time at the completion of exposure. The l Weight: 1800g approx. excluding accessories.
repeat accuracy of these timers is particularly good. l Input voltage: 200-250V AC 50Hz (120-250V AC to special order)
l Accessories supplied: Mains lead, footswitch, enlarger/safelight connectors, instructions.
l Guarantee: 2 years parts and labour.
14 755 Stopclock Timer 148.94 175.00

19 884 Viponel S15 34.04 40.00
RH Analyser Pro ZoneMaster 11 Enlarging Exposure Meter
The Zonemaster 11 enlarging expo-
sure meter is a new battery powered
version of the ‘Analyser’ without the
timer function, which is available at a
lower price. It is designed for use with
enlargers that have a built-in timer
function, such as Ilford Multigrade
heads. The Zonemaster 11 uses a
light measuring sensor to spot meter
the important areas of the image on the baseboard, and then displays the
measurements on a patented grey scale, indicating the tones that will
appear on the print. The contrast (paper grade) and brightness of the print
can be adjusted using the grey scale indicator. When you are satisfied with
the indicated readings, place a sheet of paper under the enlarger, set the
filters to the indicated grade and the timer to the indicated time. The print
will show the indicated range of tones. Ready calibrated for Ilford
Multigrade, a simple calibration procedure allows the ZoneMaster 11 to be
optimised for individual enlarger characteristics and preferences in materi-
als and processes.
Features
l All the metering, control and display functions of the Analyser Pro are included in the ZoneMaster
Black & White Enlarging Meter & Timer with Grey Scale Display and 11 with the exception of the enlarger / safelight switching.
built-in Densitometer function l Built in densitometer shows the log.D value of each spot reading relative to the brightest sample.
l Adjustable calibration caters for preferences of paper, processing, and enlarger characteristics.
The Analyser Pro enables a black and white print to be made quickly and l Quickly determines pre-flashing and fogging exposures for contrast control, plus contact-sheet
exposures.
easily from almost any negative. This is achieved simply by using a light l Can be connected to the RH StopClock LE and StopClock Professional Enlarger Timers for instant
measuring probe to spot meter the important areas of the image projected setting of required exposure time.
on the enlarger baseboard. The Analyser Pro then displays the measure- l Powered by a single PP3 type battery (included) or from an optional plug-in mains supply.
ments on a patented grey scale, indicating the tones that will appear on l Splash-proof case and tactile touch sensitive controls for reliability.
the print. You can adjust the contrast (paper grade) and brightness of the 22 305 Zonemaster Enlarging Exposure Meter 143.83 169.00
print using the grey scale indicator. When you are satisfied with the indicat-
ed readings, simply place a sheet of paper under the enlarger and press StopClock LE
the Print button. The Analyser will turn on your enlarger’s lamp for the cor-
rect time to produce a print with the indicated tones. The Analyser Pro is The StopClock LE is a fully featured but economical Dual Mode Enlarger
supplied ready calibrated for Ilford Multigrade lV paper; however a simple Timer, the StopClock LE (Light Edition) is a dual mode enlarger timer which
calibration procedure allows the Analyser to be optimised for your own can operate as a straightforward seconds timer, or in an f-stop mode, in
enlarger’s characteristics and your preference of materials and processes. which exposure time is set in equal density steps. In the f-stop mode,
The characteristics of up to 8 different papers can be stored, and the changing the time by a given number of steps will always produce the same
Analyser pro automatically compensates for paper reciprocity failure. The density change on the print, regardless of the original exposure. This
Analyser Pro is effectively a combination of the ZoneMaster and the makes dodging and burning-in easier and more predictable, and as a result
StopClock LE. It does not have the exposure memories of the StopClock can save time and money. Stopclock LE also has a built-in test strip mode
Pro. If you want the features of a StopClock Pro and also want the Analyser which can time seven exposures centred around the set time.
Pro’s metering capabilities, the best choice would be a StopClock Features
Professional and a ZoneMaster. l Timing range 1.0 to 240 seconds with unlimited ‘pause and resume’ interrupt facility. Controlled by
microprocessor
Features l Two modes, linear (seconds) and four f-stop settings (1/3, 1/4, 1/6 or 1/12 stop intervals).
l Up to eight spot readings of a negative can be taken and the corresponding tonal value of each on l Automatic test strip generation, +/- 3 steps from the set exposure (f-stop modes only)
the final print will be displayed on the 15 step grey scale. l Connects to the Zonemaster enlarging meter for exposure measurement and print previewing.
l Densitometer mode to help refine your film development. readings can also be displayed. l Resolution (linear mode) 0.1 seconds from 1.0 to 14.9 seconds, 1 second from 15 to 60 seconds, 2
l Simple controls (harder , softer, brighter, darker) allow print contrast and brightness to be pre- seconds from 60 to 240 seconds.
viewed without the use of test strips or prints - saves time and paper. Over and under exposure l Resolution (f-stop mode): user selectable intervals of 1/3, 1/4, 1/6 and 1/12 stops
warnings. 13 stopmeasurement range. l Unique (apart from the RH Analyser) burn in feature. To burn in an area by a quarter stop, for
l Exposure times of 1.0 to 240 seconds are calculated automatically by the Analyser using the example, make the basic exposure, increase the time setting by a quarter stop, press the print button
metering probe in conjunction with paper grade and built-in calibration settings. Exposure times can for one second. StopClock LE computes and times the quarter stop interval simply and precisely.
be adjusted manually. Basic and burn-in exposures are accurate to 0.1 stop maximum resolution and l Multiple burn-in exposures can be made - the base exposure will be stored until the next short
microprocessor controlled to within a hundredth of a second. press of the Print button updates the memory with the new value.
l Clever burn-in feature computes and times the difference between an increased exposure time and l Safelight switching facility.
the basic print exposure. l Socket for optional footswitch.
l Adjustable calibration caters for preference of paper, processing, and enlarger characteristics for l Clear LED display with 2 brightness settings.
every grade of paper from 00 to 5 including half grades. Eight individual calibration sets for different l Optional start delay to compensate for the bulb ‘soft-start’ inherent in some stabilised enlargers.
papers, surfaces, etc. l Switching capacity of 500W suits almost all enlargers, inc. cold cathode types.
l Automatic reciprocity failure compensation.
l Automatic test strip generation for fine tuning of print exposure; test strips can be genarated either - Stopclock LE 97.87 115.00
as incremental or full exposures.
l Switching capacity of 750W handles most enlargers, including cold-cathode types.
l Automatic safelight switching. RH Designs Paperflasher
l Industrial grade components throughout, including gold-contact switches and heavy duty relays.
The PaperFlasher makes it easy to
Analyser Specification flash and fog photographic materials
l Microprocessor controlled electronic densitometer and timeswitch based on a quartz timing ele- to control contrast and add tone to
ment. Analyser as standard switches the mains supply to the enlarger, low voltage switching is avail- otherwise blank areas. It comprises a
able to special order and may be required if you use a voltage stabiliser with your enlarger.
l Timing accuracy: better than 1%, Timing repeatability: better than 0.1%
tiny, lightweight, electronically sta-
l Internal measurement resolution: 1/60’th stop. bilised light source, and a battery
l Timing range: 1.0 to 240 seconds per exposure, Timing resolution: 0.01 sec. operated control box and timer. The
l Time setting intervals: 1/3, 1/4, 1/6 or 1/12’th stop; user selectable at any time. Test strips are
made using the currently set time interval.
light source can be mounted on the
l Optional delay to accomodate slow starting enlargers (eg some Durst & Kaiser stabilised trans- darkroom ceiling, on the enlarger lens-
formers. board, or in any other convenient posi-
l Optional audible seconds tick (“metronome”) tion using Blu-Tak, double sided tape,
l Measurement spot size: 5.0mm (0.2”)
l Measurement range: 13 stops, with over and under exposure indication. Up to 8 spot measure- Velcro or similar. The timer is easy to
ments per exposure. use, and incorporates a novel test strip generator for quick and accurate
l Calibration: built-in, user adjustable exposure and contrast settings for all grades from 00 to 5 in determination of the amount of exposure required. The exposure time can
half gd. steps. 8 individual calibration sets.
l Switching capacity: 750W per outlet, 750W total. (115v versions) 500w per outlet, 500w total. range from 1.0 seconds up to 84 seconds, and is microprocessor controlled
l Display type: Yellow LED, 4 digits for time & paper grade: 15 segment bar graph for grey scale. to 1/10’th of a second accuracy. Uses for the PaperFlasher are legion - pre
l Size: WHD 200mm x 65mm x 160mm, Weight: 1900g approx. excluding accessories. and post flashing exposures for contrast control, controlled fogging to add
l Input voltage: 200-250V AC 50Hz
l Footswitch included.
tone to blank areas of a print, fogging of print borders, etc.
- RH PaperFlasher 55.32 65.00
14 779 RH Analyser Pro Timer 200.00 235.00
DARKROOM EQUIPMENT, / DRYING 59
Durst Labometer Analyser Durst UT100 Film Drying Cabinet Durst RC Print Drier
Microprocessor The cheapest ‘cabinet’ The first option when a
controlled colour on the market, as it motor driven RC print
analyser. Features comprises a blower dryer is required.
integral reading base with a tent, and is Continuous drier for all
system for density & designed to be hung RC materials, including
colour. Incorporates from the darkroom Ilfochrome, maximum
exposure timer, 10 wall. It incorporates a feed width 32cm, power output 980W, with 2
channels for paper thermostat, and has heater levels of 65° and 85°. Hot air radial fan,
settings, low and high the capacity for up to continuously variable throughput speed from
colour correction set- 12 35mm 36 exposure 4cm to 80cm per minute.
tings adjustable zero to 150%. films. It uses a main
Durst RCD3200 RC Paper Dryer 638.30 750.00
tainance free axial fan,
- Durst Labometer Analyser 700.00 822.50
automatic overheat
protection, three step
Paterson Drying Rack
Paterson PT2000 Process Timer switch for hot and cold The lowest-tech RC
Can hold times for up to 10 steps for 10 different air, heating output of dryer around, prints
processes, that can be recalled instantaneously. 240 and 460W. The simply slot into this
Timings can range from 1 to 999 seconds. There basic unit includes bag rack and are left to dry,
is a visible countdown of the time left, with audi- for film drying. An although it can be
ble reminders at every 30 seconds and during accessory is; speeded up with a fan
the final seconds of each stage. The next time in UTP:Plastic drying bag (size 55 x 35 x 75cm / heater in the vicinity.
the sequence is shown at the end of the preced- 21.5 x 13.75 x 29.5”) for sheet film and RC
ing one, and commences when the ‘Start’ button paper (eg 6 sheets 20x24” paper). 41 677 Paterson Print Drying Rack 22.13 26.00
is pressed.
- Durst UT100 Dryer 187.00 219.73
- PT2000 Process Timer 64.63 55.00 Archival Blotter
Translyte RC Paper Dryer Wood & acid free,
Translyte Film Drying Cabinet Basic heating cabinet for speeding up dry heavy 300 gsm 17 x
All the essential fea ing RC prints. After washing, the wet print 24” sold in packs of 10
tures of a large (and is squeegeed and then placed onto one and 50 sheets. If prints
expensive) drying cabi- of the grids inside the dryer, which slide out for were dried from wet
net in a unit designed loading. A lateral fan blows heated air across the in the same blotters
for the smaller dark prints, dramatically reducing the drying time, and the two would bond
room. Rotary fan and giving the extra high gloss possible with heat fatally, so the idea of the method is is to put the
heater in the remov- drying. Two sizes are available, 12 x 16” or 16 x FB print through several stages of drying.
able base unit pass air 20”. Each model will take 4 prints of the dryers Several changes of the drying print into fresh dry
through an efficient and maximum dimensions or the equivalent surface blotters are required, so you need plenty of
easily changed filter. area (ie the 16 x 20” will take four 8 x 10” prints them. A suggested sequence is squeegee the
The cabinet is plastic per tray, totalling a maximum capacity of 16.) wet prints and then put them into the first set of
laminated sheet metal, Construction is welded steel finished in a black blotters. Place them under reasonable pressure.
and the door is fitted epoxy-polyester rust resistant coating. The units Leave them for 20 minutes, then take them out
with an inspection win- have 3 heat settings plus cold air blow, making and put them into new blotters for 2 hours.
dow. The height allows them suitable for all resin coated paper, includ- Finally, put the prints into more fresh blotter and
full 36 exposure film lengths to be dried. The ing Ilfochrome. Drying times vary from about 3-6 leave till dry, which is probably overnight. It
heating unit includes 3 preset heat settings, and minutes. sounds rather involved, but should result in
a film that has been squeegeed will be dry to prints that need no further flattening.
Translyte Dryer 12 x 16 136.17 160.00
handle in about 5 minutes. Slower drying is gen-
Translyte Dryer 16 x 20 153.19 180.00 37 891 Archival Blotter 300 gsm 17x24 / 10 3.36 3.95
erally preferable, and on settings 2 & 3 will take 38 679 Archival Blotter 300 gsm 17x24 / 50 13.46 15.82
up to about 20 minutes. The heat can also be
switched off altogether, and fan driven cold air Fibreglass Screen Mesh
used for slower drying. Fibreglass mesh drying
is one of only a few
The cabinet is supplied in two units, the methods of drying
heater/fan base in one, and the flat-packed cabi- prints to a good stan
net in the other, needing only a screw-driver for dard of archival perma
assembly. nence. The fibreglass
11 494 Pro 2001 Drying Cabinet 305.96 359.50 material is inert with
--- Pro 2001 Drying Cabinet (120) 289.36 340.00 high tensile strength,
which when plastic coated forms an inert air per-
Translyte FB Print Dryer meable surface that will not absorb moisture or
chemical contamination. Periodically the screen
The bane of the
can be rinsed to prevent any build-up of chemi-
archivally minded
cal residue. If you would prefer to make up your
printer, but they do
own screens, we have the plain fibreglass mesh
dry fibre-based prints
in 48” width, which we sell by the metre. The
quickly, and can pro
colour is mid-grey. One convenient form of ready
duce a high surface
made support is an artists canvas stretcher.
sheen with glossy
papers. This is a tra- 46 355 Drying Screen Mesh 1m 6.00 7.05
ditional design, using a heated chassis with a
curved top surface, around which a tensioned Fibreglass Drying Screens
fabric blanket is stretched, pressing the fibre-
Pre-fabricated drying
based print down onto it. Not now supplied with
screens using plastic-
glazing plate, which are a bit hard to come by.
coated fibreglass
The unit is thermostatically operated, and we
screen mesh as
recommend running it at a reasonably low tem-
described above. The
perature, which will tend to prevent the cockling
Zone IV screens come in packs of four, and rep-
which sometimes results from running it at full
resent excellent value. Not stacking, but it is sim-
blast.
ple to make a wooden supporting rack.
36 892 Translyte FB Paper Dryer 102.12 120.00
16 792 Zone IV Drying Screen (pack of 4) 63.83 75.00
LUPES, LINEN TESTERS, MAGNIFIERS 60
Peak Focus Finders Peak Lupes OHNAR Lupes
The Peak 35mm Lupe Beautifully made with multiple element optics,
is a classic design, these are on a par with the finest camera equip-
with high quality optics ment. The range consists of 3 Lupes;
covering the exact
35mm format and ideal OHNAR 4x LUPE
when viewing contact The choice if looking
sheets. The larger 4x at full frame 35mm
Lupe is similarly film,covering a field of
designed to cover a 6x6cm contact size image. 5cm diameter. Edge
to edge sharpness,
12 685 Peak 35mm Lupe 32.25 37.89
supplied with both
15 326 Peak 4x 43.95 51.64
black metal cone or
transparent diffuse
Linen Tester acrylic.
The traditional folding
51 069 OHNAR 4x LUPE 41.70 49.00
viewer with size cali-
brations visible in
use. Folds to small OHNAR 8x LUPE
A very high quality range of grain magnifiers, dimensions which The 8 X Ohnar has
available in three models, 1, 2, and 3. All are can be easily slipped similar construction to
good but Model 1 has no competition as the into a pocket.. Seen the 4X but is higher in
most superior focus finder on the market. Nos. 2 here in use on a battery powered ‘Petite’ box. magnification, cover-
& 3 use smaller mirrors, and the principal advan- ing a field of 3cm.
11 760 Kaiser 5x Lupe 12.71 14.93 Also supplied with
tage of the Model 1 is that the lens system piv- 12 705 Linen Tester 8x 17.86 20.99
ots on its axis to cover the negative field right both black or clear
into the corners of the masking easel. The lens cones.
Paterson Micro Focus Finder
system consists of three coated lens elements in 15 171 OHNAR 8x LUPE 67.23 79.00
two groups. The eyepiece is adjustable for indi- Well designed budget
vidual eyesight. The Model 1 is supplied with a priced focus finder,
OHNAR 3.5x LUPE for 6x6cm
blue filter, which assists in achieving the point of with easily adjusted
focussing to ones A mighty lupe for
accurate focus, and is available as an accessory
individual eyesight, medium format film,
for the other models.
(using cross-hairs), It covering 6x6cm virtu-
The eyepiece features a 10x achromatic Kellner will operate over quite ally edge to edge with
optical system, consisting of 3 coated lens ele- a wide circle around no distortion.
ments in 2 groups with an engraved double- the lens axis. One Supplied with both
framed oblong rectangle at the focal point. The easily added acces black and clear
eyepiece is adjustable for the individual user. On sory is a small piece cones. Focussing
the Model 1 the lens system itself pivots on its of blue filter gel, on all the Ohnar
axis, providing an approximate range of 30° which can be inserted into the eyepiece tube. lupes is with rubber
formed by the optical axis of both the enlarger The result is that by viewing primarily blue light, shrouded knurled
lens and focuser lens system. This enables the one is cutting out chromatic aberration due to ring.
image of the negative grain to be viewed from the lens of the finder, enabling critical focus to 40 226 OHNAR 3.5x LUPE 95.36 112.05
the edges of the field, by adjustment of the view- be seen more easily.
ing angle. The mirror is surface coated to elimi-
nate the distortions found with cheaper grain The “Major” focus finder is designed for larger
magnifiers using rear-surfaced mirrors. The 6 format enlargers, where the greater operating
square inch base, and heavy weight make it a height cuts down on the contortions involved
stable unit, less likely to be knocked to the floor when viewing at the same time as adjusting.
(although there is a lot more to be damaged if it 54 211 Paterson Micro Focus Finder 17.23 20.25
were!) 76 928 Paterson Major Focus Finder 34.04 40.00
94 519 Peak Enlarging Focuser Model 1 151.49 178.00
18 350 Peak Enlarging Focuser Model 2 67.23 79.00 Kaiser Range of Lupes
53 747 Peak Enlarging Focuser Model 3 38.30 45.00 Good range of rea-
78 901 Peak Blue Glass Filter 13.05 15.33 sonable quality mag
nifiers, from lupe to
Light Gathering Lupe linen-tester
An unusual design of
lupe, moulded from
cast acrylic- viewing
is not by viewing an
eyepiece, and it can
be used at a distance 26 597 Folding Pocket Magnifier X 5 12.77 15.00
of up to several feet. 7 126 Lupe 8 X 2334 5.53 6.50
- Folding Linen Tester 20mm x 20mm 25.53 30.00
855 Magnabrite Magnifier 64mm 19.95 23.44 28 504 Folding Linen Tester 30mm x 30mm 42.55 50.00
22 895 Magnabrite Magnifier 51mm 13.50 15.86 11 760 Base Magnifier 4 X 14.47 17.00
22 915 Magnabrite Magnifier 90mm 43.50 51.11 - Precision Magnifier 7 X 59.57 70.00
8X Lupe Kenro Focussing Lupe 10 X

Basic and very cheap A high magnification lupe with a wider than nor-
lupe with plastic optics, mal diameter ‘footprint’. The optics are good
not the highest quality, quality and fitted into a metal barrel which
but less painful when it focusses by rotating in the mount. A plastic base
gets lost. shroud is supplied which when attached can be
used for viewing 35mm film in strips, or mounted
slides.
28 823 Lupe 8x Magnifier 3.48 4.09
3 171 Kenro Focussing Lupe Magnifier 10x 18.25 21.44
LUPES, LINEN TESTERS, MAGNIFIERS 60
Peak Focus Finders Peak Lupes OHNAR Lupes
The Peak 35mm Lupe Beautifully made with multiple element optics,
is a classic design, these are on a par with the finest camera equip-
with high quality optics ment. The range consists of 3 Lupes;
covering the exact
35mm format and ideal OHNAR 4x LUPE
when viewing contact The choice if looking
sheets. The larger 4x at full frame 35mm
Lupe is similarly film,covering a field of
designed to cover a 6x6cm contact size image. 5cm diameter. Edge
to edge sharpness,
12 685 Peak 35mm Lupe 32.25 37.89
supplied with both
15 326 Peak 4x 43.95 51.64
black metal cone or
transparent diffuse
Linen Tester acrylic.
The traditional folding
51 069 OHNAR 4x LUPE 41.70 49.00
viewer with size cali-
brations visible in
use. Folds to small OHNAR 8x LUPE
A very high quality range of grain magnifiers, dimensions which The 8 X Ohnar has
available in three models, 1, 2, and 3. All are can be easily slipped similar construction to
good but Model 1 has no competition as the into a pocket.. Seen the 4X but is higher in
most superior focus finder on the market. Nos. 2 here in use on a battery powered ‘Petite’ box. magnification, cover-
& 3 use smaller mirrors, and the principal advan- ing a field of 3cm.
11 760 Kaiser 5x Lupe 12.71 14.93 Also supplied with
tage of the Model 1 is that the lens system piv- 12 705 Linen Tester 8x 17.86 20.99
ots on its axis to cover the negative field right both black or clear
into the corners of the masking easel. The lens cones.
Paterson Micro Focus Finder
system consists of three coated lens elements in 15 171 OHNAR 8x LUPE 67.23 79.00
two groups. The eyepiece is adjustable for indi- Well designed budget
vidual eyesight. The Model 1 is supplied with a priced focus finder,
OHNAR 3.5x LUPE for 6x6cm
blue filter, which assists in achieving the point of with easily adjusted
focussing to ones A mighty lupe for
accurate focus, and is available as an accessory
individual eyesight, medium format film,
for the other models.
(using cross-hairs), It covering 6x6cm virtu-
The eyepiece features a 10x achromatic Kellner will operate over quite ally edge to edge with
optical system, consisting of 3 coated lens ele- a wide circle around no distortion.
ments in 2 groups with an engraved double- the lens axis. One Supplied with both
framed oblong rectangle at the focal point. The easily added acces black and clear
eyepiece is adjustable for the individual user. On sory is a small piece cones. Focussing
the Model 1 the lens system itself pivots on its of blue filter gel, on all the Ohnar
axis, providing an approximate range of 30° which can be inserted into the eyepiece tube. lupes is with rubber
formed by the optical axis of both the enlarger The result is that by viewing primarily blue light, shrouded knurled
lens and focuser lens system. This enables the one is cutting out chromatic aberration due to ring.
image of the negative grain to be viewed from the lens of the finder, enabling critical focus to 40 226 OHNAR 3.5x LUPE 95.36 112.05
the edges of the field, by adjustment of the view- be seen more easily.
ing angle. The mirror is surface coated to elimi-
nate the distortions found with cheaper grain The “Major” focus finder is designed for larger
magnifiers using rear-surfaced mirrors. The 6 format enlargers, where the greater operating
square inch base, and heavy weight make it a height cuts down on the contortions involved
stable unit, less likely to be knocked to the floor when viewing at the same time as adjusting.
(although there is a lot more to be damaged if it 54 211 Paterson Micro Focus Finder 17.23 20.25
were!) 76 928 Paterson Major Focus Finder 34.04 40.00
94 519 Peak Enlarging Focuser Model 1 151.49 178.00
18 350 Peak Enlarging Focuser Model 2 67.23 79.00 Kaiser Range of Lupes
53 747 Peak Enlarging Focuser Model 3 38.30 45.00 Good range of rea-
78 901 Peak Blue Glass Filter 13.05 15.33 sonable quality mag
nifiers, from lupe to
Light Gathering Lupe linen-tester
An unusual design of
lupe, moulded from
cast acrylic- viewing
is not by viewing an
eyepiece, and it can
be used at a distance 26 597 Folding Pocket Magnifier X 5 12.77 15.00
of up to several feet. 7 126 Lupe 8 X 2334 5.53 6.50
- Folding Linen Tester 20mm x 20mm 25.53 30.00
855 Magnabrite Magnifier 64mm 19.95 23.44 28 504 Folding Linen Tester 30mm x 30mm 42.55 50.00
22 895 Magnabrite Magnifier 51mm 13.50 15.86 11 760 Base Magnifier 4 X 14.47 17.00
22 915 Magnabrite Magnifier 90mm 43.50 51.11 - Precision Magnifier 7 X 59.57 70.00
8X Lupe Kenro Focussing Lupe 10 X

Basic and very cheap A high magnification lupe with a wider than nor-
lupe with plastic optics, mal diameter ‘footprint’. The optics are good
not the highest quality, quality and fitted into a metal barrel which
but less painful when it focusses by rotating in the mount. A plastic base
gets lost. shroud is supplied which when attached can be
used for viewing 35mm film in strips, or mounted
slides.
28 823 Lupe 8x Magnifier 3.48 4.09
3 171 Kenro Focussing Lupe Magnifier 10x 18.25 21.44
MATERIAL TESTING 61
Macbeth Colour Checker A Kodak product, a Abbey Paper & Board pH Test Pen
rough substitute for a
The Macbeth Colour reflection densitometer. An easy, convenient
Checker is familiar to A 24 step grey scale on method for disting-
anyone who has ever a 8x10’’ card, with holes uishing between safe
read a photographic punched on every step, papers and boards,
magazine. Comprising a allowing one to match and unsafe acidic mate
grey scale and a set of the density of a print rial. Easy to use; simply
primary and secondary beneath to the calibrated card. The densities cov- draw a line and read it as
colour patches, this is an industry standard test ered are from zero to 2.00 soon as it dries. The chloro-phenol red indicator
target for evaluating colour film and print materi- solution turns a definite purple colour on any
als. 74 542 Kodak Reflection Density Guide Q16 7.55 8.87 paper with a pH of 6.5 and above. Any other
colour would indicate a material most probably
15 715 Macbeth Colour Checker 47.19 55.45 Projection Print Scale unsuitable for conservation purposes. Please
This is not the sort of thing that serious dealers note: This testing method may produce unreliable
Kodak Gray Card Set R-27 should be selling. However, as it has been around results on coloured materials.
For use with an exposure meter in making pic- for decades historical merit makes it deserve a
60 813 Abbey pH Testing Pen 3.19 3.75
tures by daylight or artificial light, determining place. It consists of a piece of film about 4x5” car-
exposure, adjusting lighting ratios and checking rying a pie-shaped series of density steps. Place
lighting distribution. Two density levels are provid- on a piece of photo-graphic paper on the base- Tetenal Fixing Bath Test Kit
ed, the white surface having a reflectance level of board, expose for 60 seconds, process the paper, Comprises 100 test
90%, and the grey surface a reflectance level of find the best exposed sector and read off the time strips for checking silver
18%. The pack contains 2 8x10’’ cards and one needed in seconds from it. It is not exactly infalli- level in a fixing bath,
5x4’’ card in a protective plastic envelope. We ble, but very handy as a way of doing a quick and also checks pH
also have the ‘Delta 1 grey card, which is in check before getting down to serious test-strip- level to ensure the bath
tough, cleanable plastic, 18% reflectance, and ping. Useful in school darkrooms particularly, sav- is sufficiently acidic. A
also 8x10”in size. ing much paper. colour chart is supplied
so that silver level can
16 278 Kodak Grey Card set. 10.84 12.74 75 943 Projection Print Scale 7.80 9.17
be read accurately.
11 109 Delta 1 Grey Card 9.14 10.74
HT-2 Hypo Test Solution 27 848 Fixing Bath Test Kit 11.80 13.87
Kodak Guide Q13 & Q14
For use with the Kodak
The colour patches are Tri-Test Paper Testing Kit
Hypo Estimator, this
useful for inclusion in
solution is made to the ‘Tri-Test’ is a spot-testing kit for papers which
the original scene when
recommended formula. does not require special training to use. The kit
photographing in colour. Invaluable aid when
A drop is placed on the will test for acidity, alum and ground wood, and
copying colour photographs, paintings, works of
margin of the print, left contains all the necessary chemicals along with a
art, etc, in colour. The grey scale is useful for
for 2 minutes, and then complete detailed instruction book. Please note
inclusion in the scene when making internega-
blotted off. The colour that care must be taken when handling the chem-
tives etc. The colour wedge has 17 colour patch-
can then be compared icals and interpreting the results. Store away from
es, the grey scale 20 steps covering densities
with the Hypo Estimator high temperatures.
from 0 to approximately 1.9.
patches, and the level of
residual thiosulphate determined. 45 607 Tri-Test Paper Testing Kit. 44.38 52.15
67 796 Kodak Colour Sep. Guide Q13 18.65 21.91
16 280 Kodak Colour Sep. Guide Q14 25.85 30.37
49 824 HT-2 Solution 4.25 5.00
Wratten 90 Monochrome ViewingFilter

Useful pre-visualisation tool, has the effect of flat-
tening colour values to give a reasonable impres- Heiland TRD 2 B&W Densitometer
sion of the tones of a scene as they will be ulti-
mately recorded on panchromatic film. Supplied In ‘O’ position, only the measuring light and the
as unmounted Wratten gelatine filter, 75mm density display are switched off. In positions ‘T’
square, which for protection should be mounted. and ‘R’ the corresponding measuring light and
575 Wratten 90 Monochrome Viewing Filter 13.94 16.38
density display are automatically activated when-
ever the measuring head is lowered.
Agfa Transmission Step Tablet The measuring head is connected to the body of
the unit by a precise bearing, thereby assuring
Similar specification to the Kodak no. 2 wedge,
the long term accuracy of the measuring geome-
but a fraction of the price.
try. Density values are shown on a 3 digit LED
Consists of exposed and processed acetate pho-
display on the front of the measuring head. The
tographic step wedge, carrying 11 linear steps
display shows readings as low as log 0.01, and,
covering densities from film base to approximately
in the case of measuring extremely dense areas,
2.00. Colour patches Yellow, Magenta Cyan, Red,
a low level warning signal (‘8.88’) will flash.
Green and Blue are included at one end, if need-
ed for densitometer calibration. Overall dimen- A reset button for the density display is located
sions are 25mm x 125mm, and the area covered on top of the measuring head. To prevent acci-
by the steps is 25mm x 95mm. dental erasure of previously taken readings, this
button is designed to work only when the measur-
69 393 Agfa Transmission Step Tablet 10.31 12.11 The TRD 2 is an instrument for measuring
ing head is operated. Different zero points
reflected and transmitted densities of neutral
Kodak No. 2 & 3 Step Tablets (nulling) are defined for transmission and reflec-
colour materials in the fields of photography,
tion measuring.
Wider range of steps than the Agfa wedge, which printing and graphics, micro-film and x-ray pro
may be necessary for some requirements. They cessing. Electronically, the measuring system mainly con-
have a density range of 0.05 to 3.05. The no. 2 sists of the lamp, the photocell, the microproces-
Construction:
tablet has a step width of 5mm, and has 20 steps sor and the density display. Also, due to the
Powered by mains AC voltage.
in 0.15 density increments, overall size 25.4 x sophisticated method of voltage regulation and
The body of the unit, made of a plastic material,
140mm. The area covered by the steps is 25.4 x high quality components, the measuring lamp life
also serves as a platform on which the original
105mm. The no. 3 tablet has a step width of is long and constant. The latest technology, first
rests during measurement. The mode selection
10.16mm, also carries 20 steps in 0.15 density class materials and detailed workmanship assure
switch has the following positions:
increments. precise and reliable measuring over a long peri-
‘T’ (transmission measuring)
od. Additionally, you can be sure of high stability
44 332 Kodak no. 2 Step Tablet 67.78 79.64 ‘O’ (off)
in view of temperature and humidity changes.
--- Kodak no. 3 Step Tablet 85.50 100.46 ‘R’ ( reflection measuring)
Reflection Density Guide Q16 14 909 Heiland Densitometer 361.70 425.00
CAMERA ACCESSORIES 62
Reloadable Cassettes Pinhole Camera Flash Connectors
Plastic cassettes with a screw-on end, and Although pinhole cam-
tongue location slot. Sold in 10’s, and we normal- eras can easily be con-
ly have bulk packs of 100. Can be a tight fit in structed using all sorts
some bulk loaders. of everyday materials,
this is the first high qual-
Metal cassettes are the type now phased out by ity ‘production’ model in
all the manufacturers, with ends which clip on, living memory.
which are relatively easy to spring on and off. The Robert Rigby
Sold in packs of 5’s or 100’s Pinhole Camera is made from varnished natural 10 759 Bowens Flash Lead 5m 11.50 13.51
18 971 Plastic Cassette x 10 2.17 2.55 wood, and accepts a variety of 5x4” holders, 10 722 Bowens Flash Lead 10m 14.50 17.04
72 364 Metal Cassette x 5 2.13 2.50 including standard 5x4” double dark slides such
- Metal Cassette / 100DX / 100 units 25.00 29.38 as Fidelity, as well as Polaroid 545 single shot 11 829 Kaiser Flash Slave Unit 9425 8.91 10.47
- Metal Cassete / 400DX / 100 units 25.00 29.38 film backs, and 405 pack film backs. Adjustable 11 804 Flash Shoe Adapter 1300 5.91 6.94
- Metal Cassette / Non DX / 100 units 25.00 29.38 pressure to cope with the different thicknesses of 11 843 Flash Shoe Adapter 1301 8.24 9.68
9 758 Watson Bulk Loader 17.22 20.23 film holder is provided by a cam setup with a vari- 965 Triple PC Flash Outlet 1322 7.87 9.25
able profile. Tripod mounts are provided for using 3 314 Right Angle Female Plug 3 314 7.57 8.89
Ilford Film Retriever the camera in both landscape and portrait orienta- 12 329 Right Angle Male Plug 1326 5.91 6.94
tions. A swing cap is provided over the pinhole, --- Extension Cable 0.5m 1420 4.00 4.70
For open heart surgery on cassettes when the
which is working at an aperture of f/166. The 12 331 Extension Cable 1m 1421 4.71 5.53
tongue has been inadvertently wound in, and you
879 Extension Cable 2m 1423 6.57 7.72
want it out again. A system of blades is inserted angle of view of the wide-angle model using 5x4”
894 Extension Cable 3m 1424 8.88 10.43
through the light trap, certain devious operations in horizontal mode is 100°, and when used for
14 256 Extension Cable 5m 1425 9.50 11.16
performed, and out drags the leader. The amaz- portrait is 80°.
17 434 Extension Cable 10m 1426 14.97 17.59
ing thing is it works! 15 105 RR Pinhole Camera ( Wideangle ) 120.00 141.00
87 609 Ilford Film Retriever 12.38 14.55 27 679 RR Pinhole Camera ( Telephoto ) 140.00 164.50 Cable Releases
Fidelity Dark Slides Changing Bags 73 348 Kaiser 25cm side lock / fabric 6104 4.59 5.39
The Harrison Darkroom 68 547 Kaiser 50cm side lock / fabric 6105 5.56 6.53
The standard equip 26 604 Kaiser 25cm side lock / metal 6113 6.51 7.65
ment, these have been Tent is the ultimate
2 184 Kaiser 50cm side lock / metal 6119 8.81 10.35
basically unchanged changing bag, and is
for decades, but grad- erected like an igloo 30 638 Pneumatic Release 10m 10.64 12.50
tent, by passing poles 12 370 Kaiser Pneumatic Release 6144 25.11 29.50
ually refined to make
them simpler in load through seams in the
walls, and then tension Batteries
ing and during expo
sure. Soundly made ing to raise the walls. DISPOSABLE
with an aluminium This produces a clear floor space of about 1m.
core, panel for square, free from contact with the walls. Although
notation, and locks for over-elaborate for use with small formats, this is
both sides. the only satisfactory way of dealing with large
sheet formats 10x8” and 11x14” in the field.
17 069 Harrison Film Changing Tent 149.00 175.08
58 488 ISE Small Changing Bag 16x18 10.00 11.75
58 476 ISE Large Changing Bag 26x30 15.00 17.63
6 421 Fidelity 5x4 Double Darkslide 17.70 20.80 757 Kaiser Changing Bag 17x17 12.00 14.10 85 846 MN1400 / 2 1.5v 3.49 4.10
30 308 Half-Plate Double Darkslide 27.60 32.43 94 702 AA (MN1500) / 4 1.5v 2.54 2.99
61 019 Fidelity 5x7 Double Darkslide 27.60 32.43 22 467 AA Lithium / 2 1.5v 4.11 4.83
43 663 Fidelity 8x10 Double Darkslide 58.80 69.09
Lightboxes
37 986 AAA (MN2400) / 4 1.5v 2.54 2.99
MEDALIGHT LIGHT PANEL BOXES 48 279 MN1604 9v 2.54 2.99
Ilford Cassette Opener Slim boxes, the range 34 221 PX625 1.5v alkaline 1.27 1.49
now including two new 78 439 PX675 1.35v 2.12 2.49
The passing of the reloadable cassette has been 2 158 PX640 1.3v 2.54 2.99
mourned by many, and this is what we are large sizes. The two
95 836 PX400 1.35v 2.54 2.99
reduced to. Also handy for opening bottles of smallest boxes (5x4” is
4 474 PX76 (10L14) 1.5v silver. 1.21 1.42
Pilsner Urquelle in the darkroom. illustrated here) are
59 267 K58L (DL1/3N) 3v lithium 3.12 3.67
battery powered, but
8 417 PX28 6v silver.. 4.86 5.71
50 060 Ilford Cassette Opener 3.11 3.65 can be used with 13 729 PX28L 6v lithium 6.34 7.45
a mains adaptor (not 15 183 CRP2N 6v lithium 9.72 11.42
Antreflex Spray supplied). The two large boxes can only be used 35 218 2CR5M 6v lithium 9.72 11.42
Aerosol spray, Tetenal make, for minimising with a mains adaptor, which is supplied. 1 547 CR123AS 3v lithium 5.91 6.95
reflections in subjects being photographed, such 27 765 Medalight Panel 5x4 25.00 29.38
- CR2032 coin cell 1.19 1.39
as glass or silverware. Rubs off easily after dry- - CR2025 coin cell 1.19 1.39
75 833 Medalight Panel 8x12 84.25 99.00
ing. 15 169 PX19 6.00 7.05
--- Tetenal Antireflex Spray 5.35 6.29
RECHARGEABLE SYSTEMS
Chinagraph Pencils SANROY LIGHTBOX

Make a lot of sense
A colour corrected A3
In a range of colours when using digital
box at a very keen price,
Red, Yellow, Black and cameras with LED dis
only available at this
White. Very useful for plays which can flatten
price while present
marking up negative batteries in minutes.
stocks last.With mains
sleeves, indeed any switch, carrying handle
thing where you want to and plug tidy. 2 x 15 watt
be able to change your tubes, curly hard-wired 37 061 UNIROSS Charger + 6 AA NiMH 29.70 34.89
mind and rub it off. 10% discount for outer packs mains lead. 37 085 UNIROSS 1700mAh NiMH AA x 4 8.08 9.49
(10 pencils).
37 230 ANSMANN PHOTO-CAM
- Chinagraph Pencil [Red] 0.80 0.94
Power Set+ inc 4 x AA NiMH 13.57 15.94
- Chinagraph Pencil [Yellow] 0.80 0.94 --- Dormport Lightbox 80.00 94.00
37 228 ANSMANN 1800 mAh NiMH AA x 4 8.47 9.95
- Chinagraph Pencil [Black] 0.80 0.94
- Chinagraph Pencil [White] 0.80 0.94
COLORAMA BACKGROUND ROLLS, CLEANING, ADHESIVES 63
Sea Mist 36 39.70 46.65
Colorama Rolls Silver Birch 87 39.70 46.65 Adhesives
Buttercup 70 39.70 46.65
Maize 31 39.70 46.65
HALF ROLLS (1.35 x 11metres Spray Adhesives
Sulphur 89 39.70 46.65
Peach 93 39.70 46.65
11 978 Arctic White 65 25.75 30.26 Sunflower 94 39.70 46.65 75 003 3M Spraymount large, 378g 8.86 10.41
11 993 Polar White 82 25.75 30.26 Chromagreen 33 39.70 46.65 76 041 3M Spraymount small, 189g 4.95 5.82
12 025 Smoke Grey 39 25.75 30.26 Apple Green 64 39.70 46.65 32 397 3M Photomount large, 260g 8.80 10.34
12 013 Black 68 25.75 30.26 Spruce Green 37 39.70 46.65 49 714 3M Photomount small, 189g 4.55 5.35
15 572 Charcoal 49 25.75 30.26 Summer Green 59 39.70 46.65
19 691 Battleship Grey 67 25.75 30.26 Mandarin 95 39.70 46.65 Opaque Tape
19 708 Cloud Grey 23 25.75 30.26 Banana 66 39.70 46.65
19 711 Storm Grey 05 25.75 30.26
Resembling masking tape in composition, but
Oyster 34 39.70 46.65
19 723 Lagoon 27 25.75 30.26 completely opaque, useful in blocking all sorts of
Barley 14 39.70 46.65
19 735 Lobelia 77 25.75 30.26 extraneous light, as from enlargers, or masking
Champagne 48 39.70 46.65
19 747 Chroma Blue 91 25.75 30.26 transparencies.
Marble 41 39.70 46.65
19 750 Platinum 81 25.75 30.26 Hazlenut 26 39.70 46.65 65 429 Black Photo Tape 8.43 9.90
19 762 Sky Blue 01 25.75 30.26 Copper 96 39.70 46.65
19 774 Oyster 34 25.75 30.26 Chestnut 06 39.70 46.65
Royal Purple 92 25.75 30.26
Litho Tape
Cedar 22 39.70 46.65
Crocus 74 25.75 30.26 Peat Brown 80 39.70 46.65 A ruby-red transparent ‘Sellotape’, used for mask-
Oxford Blue 79 25.75 30.26 Carnation 21 39.70 46.65 ing purposes, inc. sealing light leaks in equip-
Sea Blue 85 25.75 30.26 Rose Pink 84 39.70 46.65 ment, bellows etc, or masking line negatives.
Ceramic Blue 71 25.75 30.26 Damson 44 39.70 46.65
Riviera 03 25.75 30.26 3 754 Litho Tape 1/2 2.52 2.96
Crimson 73 39.70 46.65
Porcelain Blue 83 25.75 30.26 3 766 Litho Tape 1 4.76 5.59
Cherry 04 39.70 46.65
Aqua 02 25.75 30.26
EXTRA WIDTH (3.55 x 30metres / 107 x 164 )
Larkspur 28 25.75 30.26 Gaffa Tape
Blue Haze 69 25.75 30.26 Polar White 82 - - -
Heavy duty highly adhesive fabric tape for all
Sea Mist 36 25.75 30.26 Black 68 - - -
Banana 66 - - -
sorts of everyday applications. Tears easily
Silver Birch 87 25.75 30.26
Buttercup 70 25.75 30.26 Lagoon 27 - - - across. Normally stocked in black, silver and
Maize 31 25.75 30.26 Smoke Grey 39 - - - white - the white is especially useful for
Sulphur 89 25.75 30.26 Charcoal 49 - - - overwriting with felt-tip pen.
Peach 93 25.75 30.26
48 864 Gaffa Tape (black) 4.40 5.17
Sunflower 94 25.75 30.26
Chromagreen 33 25.75 30.26 Cleaning 48 876
---
Gaffa Tape (white)
Gaffa Tape (silver)
4.40
4.40
5.17
5.17
Apple Green 64 25.75 30.26
Spruce Green 37 25.75 30.26
Summer Green 59 25.75 30.26
Hermafix
Mandarin 95 25.75 30.26
Banana 66 25.75 30.26
Oyster 34 25.75 30.26
Barley 14 25.75 30.26
Champagne 48 25.75 30.26
94 010 Pro-Phot Tissues (anti-staticI) 1.39 1.63
Marble 41 25.75 30.26
52 017 Kaiser Lens Tissue pack. I.43 1.68
Hazlenut 26 25.75 30.26
63 898 Medium Blower Brush 3.83 4.50
Copper 96 25.75 30.26
46 051 Large Blower Brush 4.25 4.99
Chestnut 06 25.75 30.26
12 221 Cleaning Brush 3.40 3.99
Cedar 22 25.75 30.26
3 876 Kaiser Cleaning set 6697 5.93 6.97
Peat Brown 0 25.75 30.26
37 Pentax Cleaning Cloth 2.54 2.98
Carnation 21 25.75 30.26
4 423 Kaiser Cleaning Cloth 4.17 4.90
Rose Pink 84 25.75 30.26 Handy, inexpensive adhesive dispensers. The
Damson 44 25.75 30.26 Hermafix ‘Transfer’ applies a line of tacky glue
95 726 Antistatic Polishing Cloth [Blue] 1.30 1.53
Crimson 73 25.75 30.26 spots to any surface. While providing a good grip,
95 812 Antistatic Velvet Cloth [Red] 1.75 2.06
Cherry 04 25.75 30.26
95 824 Antistatic Lab. Cloth [Orange] 2.15 2.53
the adhesive can be easily rubbed away subse-
95 753 Optic Cloth [Grey] 2.45 2.88 quently, and should not damage any material.
FULL ROLLS (2.72 x 11metres 85 567 Cleaning Cloth [Yellow] 1.95 2.29 Very useful for sealing black transparency display
mounts, loosely tacking prints onto backing
11 549 Arctic White 65 39.70 46.65 sheets. Choice of 5 colours, for those who need
11 623 Polar White 82 39.70 46.65 to match it to their i-MAC.
11 966 Smoke Grey 39 39.70 46.65
14 573 Black 68 39.70 46.65
13 621 Charcoal 49 39.70 46.65
14 160 Battleship Grey 67 39.70 46.65
13 619 Cloud Grey 23 39.70 46.65
14 598 Storm Grey 05 39.70 46.65
14 243 Lagoon 27 39.70 46.65
14 231 Lobelia 77 39.70 46.65
14 172 Chroma Blue 91 39.70 46.65
14 217 Platinum 81 39.70 46.65
14 204 Sky Blue 01 39.70 46.65
14 229 Oyster 34 39.70 46.65
17 387 Summer Green 59 39.70 46.65 The new Hermafix Vario dispenses adhesive tabs
20 691 Ceramic Blue 71 39.70 46.65 1cm square, either singly or in continual rows,
20 676 Maize 31 39.70 46.65 selected by the setting of a wheel on the dis-
Crocus 74 39.70 46.65 32 223 PANODIA Master Kit 10.71 12.58 penser.
Oxford Blue 79 39.70 46.65 58 730 PANODIA AIR DUSTER Valve 4.82 5.66
68 453 PANODIA AIR DUSTER Refill 6.55 7.70 4 642 Hermafix Transfer 5.10 5.99
Sea Blue 85 39.70 46.65
--- PANODIA Disposable Air Duster 6.29 7.39 25 Hermafix Transfer Refill 2.55 3.00
Ceramic Blue 71 39.70 46.65
24 330 KENAIR Disposable 3.12 3.67 22 882 Hermafix Vario 5.96 7.00
Riviera 03 39.70 46.65
98 067 KENAIR DUSTOFF Master Kit 10.75 12.63 24 827 Hermafix Vario Refill 3.06 3.60
Porcelain Blue 83 39.70 46.65
Aqua 02 39.70 46.65 57 854 KENAIR Refill Canister 400g 5.98 7.03
Larkspur 28 39.70 46.65 49 058 KENAIR Heavy Duty Valve 19.50 22.91
Blue Haze 69 39.70 46.65 13 198 KENAIR HANDY Master Kit 7.45 8.75
14 522 KENAIR HANDY Refill 3.99 4.69
LIGHTING GELS, BATTERIES, LAMPS 64
Lee Lighting Gels Lamps
Abbreviations: ES = screw fit BC = bayonet

CODE 1 CODE 2 Voltage/Wattage
Lee Colour Magic Kits - Original (12 filters) contains Mauve, Chrome
HALOGEN RELELECTORS
Orange, Medium Blue-Green, Dark Lavender, Bright Pink, Yellow, Light Blue,
79 815 EFN 64615 A1/230 12v 75w 8.99 10.56
Flesh Pink, Fern Green, No-colour Blue, Heavy Frost & Brushed Silk diffu-
76 250 EFP 6834 A1/231 12v 100w 8.99 10.56
sion materials.All filters 10 x 12”
16 202 EFR 64634 A1/232 15v 150w 10.57 12.42
Lee Colour Magic - Original 7 236 12.00 14.10 34135 DDM 54737 19v 80w 12.50 14.69
Lee Colour Magic - Saturates - 12.00 14.10 233 ELC 13163 A1/259 24v 250w 12.95 15.22
Lee Colour Magic - Tints - 12.00 14.10 34123 ELH 13096 120v 300w 14.00 16.45
Lee Colour Magic - Light Tints - 12.00 14.10 65 358 LEITZ 13139 GZ6 12v 75w 14.00 16.45
Lee Colour Magic - Complimentary - 12.00 14.10 16 364 FHS GX5.3 82v 300w 12.00 14.10
Lee Colour Magic - Studio - 12.00 14.10 16 423 EXR 82v 300w 12.00 14.10
Lee Colour Magic - Studio Plus - 12.00 14.10 --- EXY 82v 250w 12.00 14.10
Lee Colour Magic - Fluorescent Correction - 12.00 14.10 --- ENX 82v 360w 12.00 14.10
16 349 ELB 30v 80w 18.60 21.86
Lee Pro-Pack (24 filters); contains Yellow, Straw, Deep Amber, Orange,
MINI HALOGEN REFLECTORS
Primary Red, Dark Pink, Magenta, Peacock Blue, Light Blue, Dark Blue,
Fern Green, Dark Green, Mauve, Medium Blue, Flame Red, Deep Lavender, 10 707 TRI-ONE 13165 GZ4 14v 35w 15.80 18.57
Full CT Blue, Half CT Blue, Full CT Orange, Half CT Orange, 0.3 Neutral HALOGEN BULBS
Density. 0.6 Neutral Density, White Diffusion. 89 439 A1/244 240v 500w 18.00 21.15
40 240 31950 A1/233 240v 650w 14.80 17.39
LEE Filter Pro Pack, 21x24 , 24 filters - 59.00 69.33
84 568 64480 E27 240v 250w 14.00 16.45
8 262 YELLOW 101 21x24 2.75 3.23
HALOGEN MINI BULBS
8 274 STRAW 103 21x24 2.75 3.23
20 708 DEEP AMBER 104 21x24 2.75 3.23 17 336 BRL 64610 A1/220 12v 50w 3.10 3.64
20 845 ORANGE 105 21x24 2.75 3.23 16 740 FCR 64625 A1/215 12v 100w 3.17 3.72
8 482 PRIMARY RED 106 21x24 2.75 3.23 3 046 FCS 64640 A1/216 24v 150w 3.76 4.42
20 711 DARK PINK 111 21x24 2.75 3.23 80 009 EHJ 64655 A1/223 24v 250w 4.70 5.52
8 495 MAGENTA 113 21x24 2.75 3.23 HALOGEN SUPERPHOT
8 286 PEACOCK BLUE 115 21x24 2.75 3.23 89 536 DXX 64571 P2/13 240v 800w 16.61 19.52
8 306 LIGHT BLUE 118 21x24 2.75 3.23 15754 6358-R P2/12 1250w 240v 20.53 24.12
22 455 DARK BLUE 119 21x24 2.75 3.23 30 555 64540 P1/13 240v 650w 9.74 11.44
8 319 FERN GREEN 122 21x24 2.75 3.23 19 483 64575 P1/15 240v 1000w 15.98 18.78
13 633 DARK GREEN 124 21x24 2.75 3.23 35 949 7786-R P2/20 240v 1000w 19.63 16.45
20 735 MAUVE 126 21x24 2.75 3.23 92 717 64515 P1/23 240v 300w 8.60 10.10
8 443 HEAVY FROST 129 21x24 2.75 3.23
20 762 MEDIUM BLUE 132 21x24 2.75 3.23
FOR ENLARGERS
8 345 FLAME RED 164 21x24 2.75 3.23 30 115 P3/3 ES 75w 240v 1.78 2.09
2 620 DEEP LAVENDER 170 21x24 2.75 3.23 67 343 P3/3 BC 75w 240v 1.78 2.09
8 501 FULL CT BLUE 201 21x24 2.75 3.23 18 288 P3/4 ES 150w 240v 2.62 3.08
8 372 HALF CT BLUE 202 21x24 2.75 3.23 23 953 P3/4 BC 150w 240v. 2.62 3.08
13 645 QTR CT BLUE 203 21x24 2.75 3.23 72 391 P3/6 ES 250w 240v 3.90 4.58
8 384 FULL CT ORANGE 204 21x24 2.75 3.23 54 384 E27 (Durst Labr.) 6v 48w 10.50 12.34
14 730 HALF CT ORANGE 205 21x24 2.75 3.23 FOR SAFELIGHTS
15 727 QTR CT ORANGE 206 21x24 2.75 3.23
37 935 PYGMY ES 15w 1.41 1.66
8 397 N.D. 0.3 209 21x24 2.75 3.23
42 418 PYGMY BC 15w 1.41 1.66
8 404 N.D. 0.6 210 21x24 2.75 3.23
76 002 B22PF710B YELLOW / GREEN SAFE-BULB 4.75 5.58
8 429 N.D. 0.9 211 21x24 2.75 3.23
58 510 B22PF712B RED SAFE-BULB 4.75 5.58
8 431 WHITE DIFFUSION 216 21x24 2.00 3.23
--- POLARISER 239 21x24 65.70 77.20 PHOTOFLOODS & STUDIO
8 468 PLUS GREEN 244 21x24 2.75 3.23 14 605 P1/1 ES 275w 240v 1.45 1.70
8 470 MINUS GREEN 247 21x24 2.75 3.23 25 826 P1/1 BC 275w 240v 1.45 1.70
--- HALF WHT.DIFF. 250 21x24 2.75 3.23 48 073 P1/2 ES 500w 240v 4.60 5.41
12 914 QTR WHT.DIFF 251 21x24 2.75 3.23 9 175 P1/2 BC 500w 240v 4.60 5.41
--- T. SPUN FR- FULL 261 21x24 2.75 3.23 69 644 Argaphoto P2/1 ES 500w 240v 8.40 9.87
--- T. SPUN FR- 1/2 263 21x24 2.75 3.23 15 490 FEX 2000w 240v 45.00 52.88
--- SCRIM 270 21x24 2.75 3.23 15 506 FKK 64789 2000w 240v 65.98 77.53
--- MIRROR SILVER 271 21x24 2.75 3.23 22 870 T26 650w 240v 30.27 35.57
--- SOFT GOLD reflector272 21x24 2.75 3.23 --- A1/175 150w 240v CALL CALL
--- SOFT SILVER reflector273 21x24 2.75 3.23 --- A1/178 300w 240v CALL CALL
DAYLIGHT BULBS
5 336 Tungstram ES 100w 240v 4.21 4.95
67 037 Tungstram BC 100w 240v 4.21 4.95
CAMERA FILTERS 65
NEUTRAL DENSITY 0.6 HARD 34.41 40.43
Lee Polyester Camera Filters . NEUTRAL DENSITY 0.6 SOFT 34.41 40.43
NEUTRAL DENSITY 0.75 SOFT 34.41 40.43
NEUTRAL DENSITY 0.3 STANDARD 34.41 40.43
SKY BLUE 2 SOFT 27.79 32.65
SKY BLUE 2 HARD 27.79 32.65
BSKY BLUE 3 SOFT 27.79 32.65
SKY BLUE 3 HARD 27.79 32.65
SUNSET 1 34.41 40.43
SUNSET 2 34.41 40.43
SUNSET 3 34.41 40.43
SUNSET STRIPS 40.45 47.53
4 Points 27.79 32.65
Lee filters are produced in coated polyester film, enabling them to be pro- BLACK NET 1 - moderate diffusion 27.79 32.65
duced more cheaply than the traditional dyed gelatin ‘Wratten’ filters. Apart BLACK NET 2 - heavier diffusion, reduces detail 27.79 32.65
from those listed here we stock a full range of of colour compensating (CC) 80A 27.79 32.65
filters in 75 and 100mm, plus colour temperature adjustment (CT) and fluo- 80B 27.79 32.65
rescent correction. 81 27.79 32.65
81A 27.79 32.65
ULTRA VIOLET ABSORBING FILTERS 81B 27.79 32.65
1C 27.79 32.65
8 514 Pale Pink 1A 75x75 5.90 6.93
81D 27.79 32.65
60 560 100x100 8.68 10.20
81EF 27.79 32.65
70 585 1B 75x75 5.90 6.93
85 27.79 32.65
22 902 100x100 8.68 10.20
85B 27.79 32.65
43 526 Pale Yellow 2B 75x75 5.90 6.93
85C 27.79 32.65
40 032 100x100 8.68 10.20
FL4300-D 34.41 40.43
16 616 2C 75x75 5.90 6.93
ENHANCER (glass) Enhances red only 115.56 135.78
77 305 100x100 8.68 10.20
POLARISER (glass) Linear type 75.00 88.13
FILTERS FOR BLACK & WHITE PHOTOGRAPHY
63 503 Light Yellow 3 75x75 5.90 6.93
38 278 100x100 8.68 10.20
Lee Filter Holder System .
84 226 Yellow 8 75x75 5.90 6.93
28 044 100x100 8.68 10.20
5 570 Yellowish-Green 11 75x75 5.90 6.93
82 950 100x100 8.68 10.20
25 963 Deep Yellow 12 75x75 5.90 6.93
33 797 100x100 8.68 10.20
24 729 Deep Yellow 15 75x75 5.90 6.93
90 014 100x100 8.68 10.20
51 461 Yellow-Orange 16 75x75 5.90 6.93 FOUNDATION KIT - 37.60 44.18
54 773 100x100 8.68 10.20 UPGRADE KIT - 48.51 57.00
46 489 Orange 21 75x75 5.90 6.93 PROFESSIONAL KIT - 73.68 86.57
10 651 100x100 8.68 10.20
ADAPTOR RINGS
37 196 Light Red 23A 75x75 5.90 6.93
49 532 100x100 8.68 10.20 49mm Adaptor Ring - 13.35 15.69
91 590 Tricolour Red 25 75x75 5.90 6.93 52mm Adaptor Ring - 13.35 15.69
49 642 100x100 8.68 10.20 55mm Adaptor Ring - 13.35 15.69
5 324 Tricolour Blue 47B 75x75 5.90 6.93 58mm Adaptor Ring - 13.35 15.69
65 690 100x100 8.68 10.20 62mm Adaptor Ring - 13.35 15.69
12 174 Tricolour Green 58 75x75 5.90 6.93 67mm Adaptor Ring - 13.35 15.69
21 501 100x100 8.68 10.20 72mm Adaptor Ring - 13.35 15.69
49 435 Infra Red 87 75x75 5.90 6.93 77mm Adaptor Ring - 13.35 15.69
79 122 100x100 8.68 10.20 82mm Adaptor Ring - 28.67 33.69
86mm Adaptor Ring - 28.67 33.69
NEUTRAL DENSITY FILTERS (ND)
93mm Adaptor Ring - 40.79 47.93
8 759 0.3ND 75X75 9.03 10.61 95mm Adaptor Ring - 40.79 47.93
10 538 100X100 15.21 17.87 105mm Adaptor Ring - 40.79 47.93
8 761 0.6ND 75X75 9.03 10.61 50mm Hasselblad Adaptor Ring - 28.67 33.69
10 540 100X100 15.21 17.87 60mm Hasselblad Adaptor Ring - 28.67 33.69
8 785 0.9ND 75X75 9.03 10.61 Rollei 6000 Series Adaptor Ring - 28.67 33.69
10 553 100X100 15.21 17.87
WIDE ANGLE ADAPTOR RINGS
49mm Wide Angle Adaptor Ring - 26.36 30.97
Lee Resin Camera Filters . 52mm Wide Angle Adaptor Ring - 26.36 30.97
SKY set- Sunset, sky blue grad, coral stripe 59.55 69.97
COLOUR GRADUATION - cyan, yellow, magenta 59.55 69.97
MIST set - mist graduation, mist stripe, clear spot 59.55 69.97
SELECTIVE set - star grad, star segment, star spot 59.55 69.97
AUTUMN set - coral grad, sepia grad, chocolate grad. 59.55 69.97
CORAL set - coral 2 soft grad, coral 4 soft grad, coral 6 soft grad. 59.55 69.77
SKY BLUE set - sky blue 1 grad, sky blue 2 grad,sky blue 3 grad 59.55 69.77 ACCESSORIES
PALE TINT set - green grad 1, pink grad 1,cyan grad 1 59.55 69.77
BELLOWS LENS HOOD 58.36 68.57
NET set - black net 1, double net, white net, flesh net 59.55 69.77
BELLOWS LENS HOOD with INTEGRAL FILTER SLOT 64.00 75.20
STRIPE set - blue stripe, pink stripe, yellow stripe 59.55 69.77
TANDEM Adaptor 13.23 15.55
POP set - pop blue, pop green, pop red 59.55 69.77
75mm Card Mount / 10 9.39 11.03
100mm Card Mount / 10 9.39 11.03
COKIN P Graduated Filter Card Mount / 3 4.69 5.51
COKIN P Square Filter Card Mount / 3 4.69 5.51
HI-TECH 100 System Filter Extension Slides / 3 4.69 5.51
BOOKS 1 66
KODAK TITLES The Life of a Photograph Keefe / Inch - 454 45.00
Care & Identification of 19 th C. Photogs. Kodak 329 24.95 Lighting for Imaging- Studio, Electronic, etc - 19 373 19.99
Conservation of Photographs ; 331I 29.95 Lighting for People Photography Crain Amhurst 19 359 15.99
Copying/Duping B/W & Colour ; 343 24.95 Making Digital Negatives Burkholder Bladed Iris 15 412 25.00
Photo Retouching ; 356 24.95 Making Kallitypes Dick Stevens Focal 45 673 35.00
Advanced B/W Photography ; 368 10.9B The Manual of Photography Jacobson Focal 17 764 25.00
Building a Home Darkroom ; 19 566 11.95 The Master Photog s Lith Printing Course Tim Rudman Argentum 27 143 19.99
B/W Darkroom Techniques ; 382 10.95 The Master Photographers Printing Course Tim Rudman Argentum 10 675 19.99
Existing Light Photography ; 395 10.95 Mechanisms of Image Deterioration Mike Ware Science Mus. - 14.75
Electronic Flash ; 4 033 10.95 Medium Format Advantage Wildi Focal 18 834 22.50
Using Filters ; 4 058 10.95 Medium Format Photography Eriksenn Amphoto 19 527 17.99
Large Format Photography ; 43 577 15.95 Multigrade Manual Ilford 622 5.71
Handbook Of Kodak Filters ; 35 743 14.95
New Dimensions in Photo Images Laura Blacklow Focal 67 454 25.00
Photography Through the Microscope ; 19 126 14.95
Night Photography Sanderson Aurum - 19.99
The Portrait- Professional Techniques ; 19 322 17.95
Kodak Professional Dataguide ; 19 307 6.95 The Perfect Portfolio Brackman Amphoto 26 506 15.99
Permanence & Care of Colour Photos. Wilhelm PP 8 456 40.00
FOCAL TECHNICAL POCKET BOOKS Photographic Colour Printing Current Focal 18 724 35.00
The Photographic Lens Sydney Ray Focal 18 905 17.50
Printing & Enlarging Sidney Ray Focal 18 873 9.99
Photography & the Performing Arts Kopelowx Focal 18 736 25.00
Lenses & Optics ; ; 18 885 9.99
Pinhole Photography Renner Focal 18 918 22.50
Technology & Imaging Science ; ; 17 602 9.99
Post Exposure Ctein Focal 26 487 22.50
Chemistry & Processing ; ; 18 861 9.99
Practical Zone System C. Johnson Focal 439 25.00
Data ; ; 18 846 9.99
Pro Lighting, Interiors 27 910 22.50
Imaging & Electronic Photography ; ; 19 248 9.99
Pro Lighting, Portraits 27 907 22.50
Publishing Photography Dewi Lewis CH 78 454 9.95
SPECIAL IMPORTS
The Reproduction of Colour Hunt Fountain 23 147 60.00
Making Digital Negatives Dan Burkholder - 25.00 Retouching Your Photographs Jan Miller Amhurst 816 16.95
The Art of Bromoil & Transfer David Lewis - 25.00
Scanning & Printing Kammemeier Focal 26 487 22.50
Secrets of Lighting on Location Krist Amphoto 19 502 18.99
ANSEL ADAMS / LITTLE BROWN PUBLISHERS
Silver Gelatin Reed & Jones Working Books 2 121 20.00
An Autobiography Ansel Adams Little&Brown Silver Pixels Tom Ang Aurum - 19.99
The Camera (hardback) Ansel Adams ; 260 26.99 Spirits of Salts Webb & Reed Aurum 29 472 16.00
The Camera (softback) Ansel Adams ; 19 189 14.99 Starting Photography Langford Focal 18 775 12.95
The Negative (hardback) Ansel Adams ; 272 26.99 The Story of Photography Langford Focal 3 412 15.95
The Negative (softback) Ansel Adams ; 19 177 14.99
Understanding Exposure Bryan Peterson Amphoto 17 776 17.99
The Print (hardback) Ansel Adams ; 297 26.99
Using the View Camera Simmons Amphoto 21 981 18.99
The Print (softback) Ansel Adams ; 19 165 14.99
Basic Techniques of Photography 1 Adams/Shaeffer ; 3 389 29.95 The Variable Contrast Printing Manual Steve Anchell Focal Press 26 451 14.99
Basic Techniques of Photography 2 (hard) Adams/Shaeffer ; ; - 40.00 View Camera Basics Leslie Stroebel Focal 17 788 18.50
Ansel Adams Portfolios Ansel Adams ; 19 600 27.50 View Camera Technique Leslie Stroebel Focal 18 807 35.00
Adobe Photoshop 6.0 for Photographers Evening Focal 26 436 34.99 What s Missing Ephraums Aurum - 19.99
The Art of Infrared Photography Paduano Amhurst 34 867 14.99 Wide Angle Lens Photography Paduano Amhurst 19 361 12.99
The Art of Black & White Photography Garrett Beazley 19 444 12.99
The Zone System for 35mm Photogs. Graves Focal 18 810 25.00
Advanced Photography Langford Focal 17 752 25.00
Zone V1 Workshop Fred Picker Amphoto 803 16.95
Applied Photo Optics Sidney Ray Focal 1 535 65.00
Zone System for Fine Art Photography Schaefer Morgan 87 624 14.95
Architectural Photography Harris Focal 18 920 22.50
Larry Bartlett s Black & White Workshop Tarrant Fountain 10 981 24.95 MAGAZINES
Basic Digital Photography Breslow Focal 1 550 37.50
Current Issues Stocked
Basic Photo Materials & Processes Stroebl etc Focal 17 749 40.00
Ag+ Photographic per issue Ephraums (ed.) 4 280 10.00
Basic Photography Langford Focal 18 166 19.99
Photo Art International Roger Maile (ed.) 1 621 5.00
Beyond Monochrome Worobiec & Spence Fountain 29 127 24.95
Beyond the Zone System Phil Davis Focal 17 725 30.00
Build your own Home Darkroom Duren/McDonald Amhurst 19 346 14.99
Classroom Photography Ilford 610 10.60

Color Photography - 18 180 14.99
Concept to Print Stu Williamson Aurum - 16.99
The Complete Book of Photo Lenses Meehan Amphoto 19 496 16.99
Creative Elements Eddie Ephraums Aurum - 24.95
Darkroom Cookbook Anchell Focal 3 392 19.95

Darkroom Dynamics Stone Focal 3 409 27.50
Dictionary of Photography & Digital Imaging Tom Ang Aurum - 16.99
Digital Darkroom 29 237 22.95
Digital Imaging for Photographers Davies/Fenn. Focal --- 25.00
Edge of Darkness Barry Thornton Aurum - 19.99

Elements Barry Thornton 1 574 25.00
Elements Eddie Ephraums Fountain - 20.00
Elements of Black & White Printing Carson Graves Focal 64 872 27.50
The Essential Darkroom Book Grill & Scanlow Amphoto 19 469 13.99
Film Developing Cookbook Focal 29 200 19.99

Focal Encyclopaedia (hardback) Focal 478 75.00
Focal Encyclopaedia (softback) Focal 18 822 35.00
A packed 140 pages, dealing practically and comprehensively with all the
processes, from silver through Cyanotype to Platinum, even featuring
The Gum Bichromate Book David Scopick Focal 402 22.50 chapters on getting started with Photogravure. Written by Randall Webb
Gumoil Printing Koenig Focal 15 463 29.95
and put together here at Silverprint, this is aimed as an essential text for
Historic Photographic Processes Farber Allworth 27 117 22.50 anyone who is venturing into alternative processes for the first time.
Ilford Colour Print Manual Ilford 56 233 5.10
Chapters include; Salt Printing, Printing-Out-Paper, Kallitype, Platinum &
Ilford Monochrome Darkroom Practice Jack Coote Focal 18 653 30.00
Palladium, Cyanotype, Gum Printing, Bromoil, Oil Printing. Separate sec-
Infrared Photography Handbook Laurie White Amhurst 19 554 18.99 tions cover general information, including exposure, making large format
Into Your Darkroom Step by Step Duren Amhurst 19 385 14.99 negatives, selection of paper etc. A resource section lists virtually all other
reference books, and related websites and e-mail bulletin boards.
The Keepers of Light William Crawford M&M 14 951 27.50
Spirits of Salts Webb & Reed 29 472 16.00
BOOKS 2 67
Examples - The Making of 40 Photographs The Photographers Master Printing
Ansel Adams Course
Completed before his death, this book wraps Tim Rudman
up the 3 ‘Photography Series’ books (below),
All embracing guide, written by a well known
with an in-depth series of essays as to how
British expert, which ranges from setting up a
many of his best images were produced.
darkroom to printing techniques inc. local
Printed to a very high standard.
control, lith printing, bleaching and toning.
1983 Little, Brown, Softback, 170 pages
Including chapters on presentation and
preservation, plus reference data
The New Ansel Adams Photography 1994 Mitchell Beazley Hardback 160 pages
Series - three related volumes
The Camera. Ansel Adams The Illustrated History of Colour

Photography
Perhaps surprisingly for an author so commit-
Jack Coote
ted to large-format work, Adams also deals
comprehensively with 35mm and medium-for- Something of a surprise, a highly technical
mat cameras, as well as light-meters and book on this subject which is at the same time
accessories. He provides a reliable and thor- immaculately designed and profusely illustrat-
ough guide to the equipment and its best use. ed in colour. The last project fully completed
As with the other two books he emphasises by Jack Coote, one of Ilford Ltd’s principal
the tools employed, not as ends in themselves, experts, and a book both entertaining and illu-
but as means to achieve what the photo-gra- minating.
pher visualises. 1993 Focal Press, Hardback, 248 pages
1994 Little Brown & Co. Hardback, 203 pages
The Negative. Ansel Adams The Variable Contrast Printing Manual

Steve Anchell
Adams discusses extensively all the factors
that govern the tonal values of the image. In some ways a similar reference to ‘Film Dev.
He offers a clear step by step guide to the Cookbook’, a lot of bits and pieces relating to
Zone System, which provides the photograph- the topic in hand gathered together. It puts
er with a systematic means of controlling together all that most people would want to
tonality and contrast. Also included is a dis- know about VC papers, albeit written from the
cussion of processing equipment. American point of view. Particularly useful are
contrast comparison charts, showing the
1994 Little Brown & Co. Hardback 272 pages range and grade spacing of all the papers.
1997 Focal Press, Softback, 194 pages
The Print. Ansel Adams The Elements of Black and White Printing
For many years Ansel Adams’ prints have Carson Graves
been the standard against which others have
A good general guide in the darkroom.by the
been compared. The third book in this series
writer of ‘The Zone System For 35mm
completes Adams statement on the theory
Photographers’ Effectively illustrated, with all
and craft of black and white image making.
the essentials discussed in a readable style.
It offers a detailed but coherent guide to print-
ing practice, from darkroom organisation to 1993 Focal Press, Softback, 163 pages
toning and bleaching.
1994 Little Brown & Co. Hardback 210 pages
Larry Bartlett’s Black & White Making Digital Negatives

Photographic Printing Workshop Dan Burkholder
Written from the photographer’s perspective,
Written as a joint project with Jon Tarrant, and about how to get images successfully into dig-
published before his untimely death, this is a ital form. The book is not merely an aid, as
book on photographic printing from the point the title might suggest, in producing nega-
of view of the best of the traditional Fleet tives, but also provides very useful tips for
Street darkroom men. Now that news imagery producing good scans for repro. Includes ref-
is ‘printed’ via electronic systems, this book erence images to calibrate monitor/scanner
will come to be seen as the record of a pass- set up as well as software, on floppy discs, for
ing skill and art form. either Mac or Windows.
1995 Fountain Press, Softback 160 pages 1995 Focal Press, Softback, 72 pages
Creative Elements Adobe Photoshop 7 for Photographers

Eddie Ephraums Martin Evening
An enduring book, which explores deeply into Now updated for version 6, extremely compe-
the visualisation, camera-work and printing of tent manual on Photoshop written from the
Eddie’s admittedly romantic style. A number photographers point of view. Well illustrated,
of images are taken from conception to final designed, full of colour. excellent examples
print, and later chapters investigate areas from well known professional photographers.
such as print materials, archival processing Also includes a tutorial CD-ROM covering the
and presentation. It has been out of print for techniques described in the book.
some years, and is due (finall) to be re-pub-
lished in early 2001. 2001 , Focal Press, Softback,
Fountain Press
BOOKS 3 68
The Art of Bromoil & transfer Keepers of Light
David W. Lewis William Crawford
A classic text, more out of print than in. A his-
Written by the Canadian Bromoil expert, this tory and working guide to early photographic
is a beautifully illustrated self-published book processes- dating back to Daguerrotypes &
delving into all aspects of this resurging medi- the first paper prints. As well as an in depth
um. As well as extensive details of working examination of image making theory it pro-
methods, contains many portfolio examples vides up-to-date working details for salted
reproduced by full colour printing. paper, Ambrotype, carbon, 3 colour carbro,
platinum, kallitype, bromoil, as well as conser-
1994 David W. Lewis, Hardback, 120 pages
vation issues.
1979 Morgan & Morgan, Softback, 320 pages
Zone System Craftbook Post Exposure

Ctein
John Charles Woods
Wide ranging book, addressing many issues
A comprehensive guide to the Zone system of that other texts never touch on. It could be
exposure & development.. considered complementary to Richard J.
Henry’s ‘Controls in B&W Photography’, (now
1993 Brown & Benchmark, Softback, 150 out of print), and offers up a distillation of 30
pages years working and teaching photography.
Particularly good on specialist colour printing
techniques.
The Practical Zone System, The Film Developing Cookbook

Chris Johnson Stephen G. Anchell & Bill Troop
Now in a second edition. Provides an easy to A complementary volume to the ‘Darkroom
read, well-illustrated practical guide. Teaches Cookbook’, but concentrating on issues con-
you how to recognise the zones on the print nected with film and its development, particu-
or in the field or studio, to previsualise the larly TMax films. The layout leaves a bit to be
photograph and expose accordingly, to desired, as does the total lack of any images,
assess prints and negatives for contrast and even line drawings, but the book contains
to test equipment for reliable results. Johnson much valuable information, and could be con-
is Professor at the California College of Arts sidered an up-to-date replacement for
and Crafts and studied with Ansel Adams, Jacobsons classic ‘Developing’.
Wyn Bullock and Imogen Cunningham. 1998 Focal Press, Softback, 163 pages
Making Kallitypes; a definitive guide, Dick The Darkroom Cookbook.

Stevens Stephen G. Anchell
The most comprehensive book covering the 150 photographic formulas in one indespens-
subject. Offers in depth coverage of Kallitype able handbook for darkroom practitioners.
formulas and techniques. Very good technical- Film-developing, paper-developing and toning
ly, with excellent references/bibliography. are all covered. Including classic old formulas
no longer in general use.
1994 Focal Press, Spiral softback, 206 pp
Beyond the Zone System. Phil Davis Darkroom Dynamics; A guide to creative
darkroom techniques
A thorough explanation of photographic mate-
rial characteristics with a view to going A useful guide to how to carry out a wide
beyond trial and error in practice. Includes a range of experimental photographic process-
guide to how to make, read and interpret es. Sixteen chapters, each written by an
characteristic curves, and a wealth of hard-to- expert in a particular technique, provide illus-
find information on scientifically accepted test trated guides to a wide range of different
methods. methods. These include high-contrast,
Sabattier, infra-red film and photograms.
1985 Focal Press, Softback, 199 pages.
New Dimensions In Photo Imaging. Pinhole Photography

A step by step manual. Laura Blacklow
Eric Renner
An extensive guide to non-silver imaging tech-
Both an entertaining history and a practical
niques. Including historical information, health
handbook for this unique photographic tech-
and safety tips and detailed descriptions of
nique. More than 170 photographs and illus-
materials and methods needed to make sol-
trations show the many types of pinhole cam-
vent transfers, cyanotypes, Van Dyke prints,
era, and examples of images that can be
gum bichromates, and platinum and palladium
made from them.
prints, as well as others.
1995, Focal Press, Spiral softback, 164 pp
BOOKS 4 69
Basic Photographic Materials & Processes Silver Gelatin
Stroebl, Compton, Current, Zakia
Martin Reed & Sarah Jones
Conceived as a basic textbook for students,
The only book totally geared around the use
but appropriate for anyone needing a compre-
of liquid emulsion, out of print for a couple of
hensive reference work covering all technical
years, and being reprinted for Autumn 2001
aspects of the photographic process.
by Aurum Press. Contains extensive colour
portfolio section, interviews with practitioners
1990 Focal Press, Softback, 378 pages and very detailed technical chapters.
2001 Aurum Press, Softback, 144 pages
An Ansel Adams Guide Spirits of Salts

Basic Techniques of Photography
Randall Webb & Martin Reed
John P, Schaefer
Comprehensive users guide to all the impor-
An unfinished Ansel Adams project brought to tant alternative processes, including salt, kalli-
completion by John P Schaefer, this distils the type, cyanotype, platinum etc, about 20
essential Adams series down into a single vol- processes are covered. Profusely illustrated,
ume suitable for the novice. The style and and written in an
reproduction is similar to the well known ‘Ansel
Adams Photography Series’ of books. 1999 Aurum Press, Spiralbound, 160 pages
1992 Little Brown & Co. Softback, 390 pages
Beyond Monochrome Making Kallitypes

Tony Worobiec & Ray Spence David Scopick
Superbly printed in Italy, a working guide to The most comprehensive resource available
the practices of these two well known UK on this technique. Illustration is mainly line,
photographers & teachers, inc. fine convntion- with only one small block of colour plates, but
al printing as well as many alternative the breadth of information contained makes it
processes, inc, salt, cyanotype, kallitype, plat- essential reading if aiming to become an
inum, gum. expert at gum.
1999 Fountain Press, Softback 192 pages 1991 Focal Press, Softback, 150 pages
Night Photography The Photographers Lith Printing Course

Something of a first, rather than a picture Tim Rudman
book using night photography, of which there
have been many, this addresses the techni- Everything you wanted to know about lith
calities of working in very low available light. printing, this expands fully into the territory of
A greater range of subject matter would have lith printing, and is to date the only compre-
benefited the book - although profusely illus- hensive resource on the technique. Many
trated, the majority of pictures are rural or examples from Tim Rudmans own images.
edge of town subjects. Some excerpts from the book on the
Silverprint web site.
2001 Aurum Press, Softback 128 pages
1998 Aurum Press Softback 128 pages
Dictionary of Photography & Silver Pixels

Digital Imaging
Tom Ang
Tom Ang
A useful book for the wet darkroom photogra-
Could be classed as an attempt to get a fix on
pher looking to approach the digital domain.
two fusing technologies. Useful supplemental
Those in need of a systematic explanation of
information to have around.
Photoshop are probably better off with the
2001 Aurum Press, Softback 384 pages Martin Evening ‘Photoshop for
Photographers’ - this is aimed as a bridge
between the old and new disciplines.
1995 Aurum, Softback, 128 pages
Gumoil Photographic Printing View Camera Technique

Karl P Koenig
Leslie Stroebl
Gumoil is a process derived by Koenig from
other bichromate processes, particularly gum Now in the 7’th edition. there is not much
bichromate and bromoil. Equipment and tech- connection with the original, but it is still an
niques are similar to those used in other con- excellent and readable round-up of all topics
tact printed alternative processes, and the connected with large format work, even up
results can be very striking. to the integration of digital backs.
1999 , Focal Press, Hardback, 376 pages
INDEX 1
Films, Technical page 18 Polaroid Film page 22
Papers Equipment A Film Retriever page 62 Polyester Corners page 36
Adaptol Developer page 23 Filmoplast Tapes page 36 Polyester Print Sleeves page 38
Aditan page 24 Fixers page 25 Polyester Storage pages 38
Agfa b&w 6 Archival washers 52 Agfa Films, Black & White page 6 Fixing Bath Test Strips page 61 Polymax Paper page 6
Agfa Films, Colour pages 19, 21
Agfa colour 8 Beard easels 51 Agfa Papers Black & White page 6
Focus Finders, page 60 Polywarmtone Paper page 1
Forte Films page 17 Portfolio Boxes page 39
Bergger 7 Bromoil brushes 32 Agfa Papers Colour page 8 Forte Papers B&W page 1 Portfolios page 41
Agfa Papers Inkjet page 9 Forte Papers Inkjet page 9 Portra Films page 21
Centennial 7 Coating rods 32 Alternative Processes page 32 Fotospeed Papers page 6 Potassium Ferricyanide page 33
Aluminium case page 41
Forte 1 Combi-plan tanks 53 Amatek Water Filters page 54
FSA Toner page 28 PQ Print Developer page 23
Fuji Colour Papers page 8 Prestige Fine Art paper page 7
Fotospeed 6 Contact printing frames 32, 53 Analyser Timer page 58 Fuji Films, B&W page 17 Printibooks page 41
Archival Board page 37 Fuji Films, colour negative page 21 Printfile page 42
Fuji 8 Cutting matts 34 Archival Paper Envelopes page 38 Fuji Films, colour positive page 20 Print Drying pages 59
Archival Print Washers page 52
Ilford 4-5 Deep tanks 55 Print Developers page 23
Densitometer 61
Archival Storage pages 37-43 G Print Storage pages 38-42
Ink-jet 9-13 Argyrotype Kit page 32 Galerie Inkjet Paper page 12 Print Tongs page 54
Art Classic Paper page 2 Galerie Paper page 5 Printing-Out-Paper page 7
Ink-jet inks 13, 15 Developing dishes 53 Glanzol page 24
Kentmere 2-3 Dishwarmers 55 B Glassine Neg Bags page 43
Profila Rulers page 34
ProPhot Tissues page 63
Balance 55 Glazing Solution page 24 Proslide boxes page 41
Kodak b&w 6 Drying 59 Batteries page 62 Glue, PVA page 36 Proslide display page 44
Beard Masking Easels page 51 Gold Toners page 28 Protectan page 24
Kodak colour 8 Dunco easels 51 Bergger Paper page 7 Gralab Timers page 57 Pyro Developer page 30
Black & White Films pages 16-19
MACO 7 Durst enlargers 47-50 Black & White Papers pages 1-7
Green Toners page 27 PVA Glue page 36
Grey Cards page 61
Oriental 3 Encapsulite safelights 56 Black-out Material page 55
Black Opaque Tape page 63 H Q
Enlargers 45-51 Quadro Wall Mtg. Brackets page 47
Films Enlarging lenses 56
Bleach-Etch Chemistry page 28
Blue Toners page 27
Hahnemuhle Inkjet Papers page 13
HC110 Developer page 29 R
Books pages 66-69 Hardeners page 24 Raw Chemicals page 33
Forte 17 Enlarging timers 56-58 Bottles page 54 Heiland Densitometer page 61 Reducers page 26
Bromofort Paper page 1 Hermafix page 63 Reflection Densty Guide Q16 page 61
Fuji 17 Filters 64-65 Bromophen Developer page 23 Hewes Equipment page 55 Register Frame page 32
Bromoil Brushes page 32
Ilford 16, 18 Focus finders 60 Bromoil Kit page 32
High Contrast Developers page 30 Register Pins page 32
Hypo Clearing Agents page 25 Reloadable Cassettes page 62
Kodak 17-21 ISE easels 51 Bromoil Video page 32 Retouching Brushes page 35
Konica 18, 21 Ilford eqpt. 56, 62
Brown Toners page 28
Brushes pages 32, 35
I Retouching Dyes page 35
ICI Olmec Inkjet papers page 11 Reversal Chemicals, B&W page 30
MACO 18-19 Kaiser darkroom eqpt. 53-54 C llfochrome Paper page 7 RH Products pages 57-58
Ilfocolor Papers page 7 Rice & Wheat Starch page 36
Polaroid 22 Kaiser enlargers 45 C41 Processing page 31 Ilford Films pages 16, 18 Rodinal page 29
Cable Releases page 62 Ilford Papers B&W pages 4-5
Magnifiers 60 Rotatrim Cutters page 34
Chemistry Meopta enlargers 46
Cassettes, empty page 62
Cassette Opener page 62
Ilford Papers Inkjet page 9
Infra-Red Films 18 S
CD Archival insert page 43 Inkjet Inks page 13-15 Safelights page 56
Alternative processes 32 Nova equipment 52-53 CD Archiving page 43 Inkjet Papers pages 9-13 Saunders Easels page 51
CD s Blank page 43 Intensifiers page 26 Scalpel page 35
Cleaners 24 Paterson eqpt. 53-54 Celer Mono Developer page 29 Screen Drying page 59
Colour neg chemistry 31 Peak focus finders 60 Celer-Stellar Developer page 29
Centennial Printing Out Paper page 7
J SE1 Emulsion page 32
Jiaban Brushes page 32 Secol AS Pages page 38
Emulsions 32 Pin register frames 32 Centrabrom Developer page 23 Journal Storage page 43 Secol Materials pages 38-42
Changing Bags pages 62 Selenium Toner page 26
Film developers 29-30 RH Designs eqpt. 57-58 Chemicals, raw page 33 K Sepia Toners page 27
Chemical Balance page 55
Fixers 25 Quadro brackets 47 Chinagraph Pencils page 62
Kaiser Enlargers page 45 Sheet films pages 16-21
Kentmere Papers B&W pages 2-3 Signum Colour Paper page 8
Jiaban brushes 32 Rotatrim cutters 34 Chromogenic Toners page 28 Kentmere Papers Inkjet page 9 Silicon Release Paper page 34
Clear Faced Bags page 43 Kentona page 2 Silver Nitrate page 33
Lith developers 23 Safelights 56 Coating Rods page 32 Kodak papers page 6 SilverSafe Paper page 37
Collector box page 37
Print developers 23 Saunders easels 51 Sistan page 26
Sheet film processing 53
Colour Films, (Negative) page 21 L Slide Mounts page 43
Raw chemicals 33 Colour Films, (Positive) pages 19-20 Lamps page 64 Somerset Inkjet Papers page 9
Colour Papers (Negative) page 7-8 Lee Filters pages 65 Spectra Jet Papers page 10
Specialist film devs. 30 Stainless steel eqpt. 55 Colour Papers (Positive) page 7 Lightboxes page 62 Speedibrews Products pages 24-31
Colour Sep. Guide Q13 & 14 page 61
Stop baths, hardeners 24 Translyte eqpt. 55, 59 Colourview Sleeves page 42
Lighting Gels 64 Spotone & Spotoff Kits page 35
Line Films page 18 Spotpens page 35
Wetting agents, reducers, Washing 25, 52 CombiPlan 5x4 Tank page 53 Linen Tape page 36 Spraymount page 63
Conservation board page 37 Lith Developers page 23 Stainless Steel Equipment page 55
intensifiers 26 Water filters 54 Cordura Cases page 40 Lith Film page 18 Step Tablet page 61
Cotton Gloves page 35
Toners 26-28 Miscellaneous Cutting Matts page 34
Litho Tape page 63 Stopbaths page 24
Lith Paper page 6 Stopclock Timer page 57
Finishing Adhesives 63
CXD Boxes page 39
Cyanotype Printing page 32
Lupe Magnifiers page 60
Lyson Inkjet Inks page 15
Structuralux Photo Linen page 7
Studional Developer page 29
Cyan Toner page 27 Lyson Inkjet Papers page 11 Supra Paper page 8
Dry mounting 34 Batteries 62 D Syringes page 54
M
Hand colouring 35 Books 66-69 Dark Slides page 62
Deckle Edge Scissors page 35
Macbeth Colour Checker page 61
MACO Films page 18-19
T
Camera accessories 62 Tapes pages 36, 63
Matt cutting 34 Deep Tanks page 55 MACO Papers page 7 Tacking Iron page 34
Camera filters 65 Dektol Developer page 23 Maped Mattcutters page 34
Retouching 35 Delta Films page 16 Masking Easels page 51
Testing Materials page 61
Tetenal Colour Paper page 8
Changing bags 56
Storage Chinagraph pencils 62
Densitometer page 61
Developers B&W Neg. pages 29-30
Masking Film page 35
Masking solution page 35
Tetenal Paper Inkjet page 10
Thiocarbamide Toners page 27
Developers B&W Paper page 23 Matt-cutting Tools page 34 Timecare Boxes page 37
Clear-face bags 43 Developers B&W Spec. Applications
Archival papers 37 page 30
Meopta Enlargers page 46
Monobath Developer page 30
TMax Developer page 29
TMax Films page 17
Archival materials 37 Cleaning aids 63 Developing Dishes page 53 Mounting Corners page 36 TMax Fixer page 25
Developing Tanks page 53, 55 Mounting Board page 37 Transit Cases page 40
Archival storage 36-40 Coating rods 32 Dish Cleaners page 24 Multicontrast Paper page 6 Transleeve page 42
Colorama backgrounds 63 Dishwarmers page 55
Conservation board 37 Document Art Paper page 3
Multigrade Filters page 56
Multigrade Papers pages 4-5
Transparency Films pages 19-20
Toners pages 26-28
CXD boxes 39 Computer discs 43 Dodging Kit page 54 Museum Board page 37 Trays page 53
Dokumol Developer page 23 Museum Paper page 1 Two Bath Developers page 30
Museum board 37 Dark slides 62 Draft Cleaning Pad page 35 Mylar Strips page 36
Panodia products 43 Exposure control 61 Dry Mounting Materials page 34
Drying Cabinet page 59 N U
Ultra Colour Paper page 8
Polyester storage 38-42 Gaffa tape 63 Dryer / Glazer page 59 Neofin Developers page 29 Ultrafin Developer page 29
Drying Mesh page 59 Neofin Docu page 30
Printfile sleeves 42 Glassine neg.bags 43 Drying Screens page 59 Neutol Developers page 23 V
Ringbinder files 37 Inkjet Printers 14 Nova Processors page 53 Vinyl Gloves page 56
E Nova Washers page 52 Viponel Timers page 57
Slide storage 37, 41 Lamps 64 E6 Chemicals page 31 Novolith Developer page 23 Viradon page 28
Eukobrom Developer page 23
Portfolio Light boxes 62 Emulsions page 32 O W
Encapsulite Safelights page 56 Washing pages 25, 52
Lee filter system 65 Enlargers pages 45-51
Ohnar Lupes page 60
Wetting Agents page 26
Opaque, liquid, page 35
Cordura cases 40 Lighting gels 64 Enlarger Timers pages 56-58 Oriental Papers page 3
X
Enlarging Lenses page 56
Panodia Printibooks 41 Litho tape 63 Envelopes page 38 P XTOL Developer page 29
Polyester sleeves 38 Lupes 60 Epson Inkjet Inks page 13

Epson Inkjet Papers page 11
Pallette Toner page 28
Panodia Products page 44
Y
Yellow Toner page 27
Portfolio boxes 39 Magnifiers 60 Paper Developers page 23
Portfolio bags 40 Material testing 61
F Paperflasher page 58 Z
Falcon Print Positioner page 34 Paper Photo Corners page 36 Zonemaster Meter page 58
Pinhole camera 62 Farmers Reducer page 26
Portfolio books 41 Fibreglass Screens page 59
Paper Tape page 36
Paterson Equipment pages 53-54
Zone V1 Drying Screens page 59
Secol products 38, 42 Scalpels 35 Filing Bars page 43 Peak Finders & Lupes page 60
Film Developers page 29-30 Permajet Inkjet Papers page 12
Retouching 35 Slide mounts 43 Films, Black & White pages 16-18 pH pen page 61
Films, Colour Negative page 21
Transit cases 40 Films, Colour Transp. pages 19-20
Photolinen page 7
Pinhole Camera page 62

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SILVERPRINT CATALOGUE

www.silverprint.co.uk 2002 LATE EXTRA FINANCIAL TIMES ISSUE

CAN SILVER HALIDE TIME TO PUT THE PROTECT & SURVIVE

You’ve never had Dat ol’ Black Magic Ultra Colour

monochrome at last? ued a year ago. Ultra is aimed

● If coming by tube, Waterloo is

A warm-toned graded paper comparable to the old (blue label,

40 x 10m g2 95 863 77.19 90.70

Grade 2 Grade 3 Net +VAT

16x20 10 19 845 19 858 17.99 21.14 Code Net +VAT

6.5x8.5 100 2 68 508 22.29 26.19 KENTMERE FINEPRINT FBVC

6.5x8.5 100 - - - 17.55 20.62 12x16 10 22 733 42 420 9.81 11.53

Grade 1 Grade 2 Grade 3 Net +VAT

8x10 20sh 71 727 66 109 63 692 15.95 18.74

ART BROMOIL 8x10 100sh 69 295 62 387 98 708 52.95 62.22

White double weight matt surface, coated with neutral bromide

9.5x12 50sh 28 972 28 997 29 004 36.95 45.77

emulsion. Non-supercoated, making it suitable for bromoil

16x20 50sh 72 349 42 637 29 689 109.95 129.19

20x24 10sh 93 559 94 715 39 504 43.95 51.64

8x10 20sh 73 543 15.95 18.74

12x16 10 16 851 13.57 15.94 8x10 100sh 93 023 51.95 61.04

9.5x12 50sh 28 615 37.95 44.59

16x20 10 23 536 21.48 25.24

11x14 25sh 77 804 25.95 30.49

20 inch x 10m 23 673 40.72 47.85

16x20 50sh 11 706 102.95 120.97

KENTMERE PROJECTION DOCUMENT 20x24 10sh 63 252 36.95 43.42

RC orthochromatic paper, matt surface and lightweight base.

Code Net +VAT

11x14 50 7 209 219 ✖ 27.11 31.85 12x16 10 - - 10.63 12.49

ROLL 42 x 30 metres - - - 170.42 200.24

ROLL 50 x 10 metres ✖ - ✖ 71.66 84.20

ROLL 56 x 10 metres ✖ ✖ 7 263 79.90 93.88

6.5x8.5 100 24 866 25 074 25.97 30.51

A4 100 25 197 25 217 44.67 52.49

12x16 10 24 949 25 133 11.42 13.42

16x20 10 24 964 25 158 18.16 21.34

4 x 500 (10.2 x 152m) -- ✖ 88.67 104.19

6.5x8.5 100 1,2,3,4,5 29.58 34.76 4x6 100 - ✖ 12.01 14.11

8x10 25 1,2,3,4,5 12.45 14.63 5x7 25 - ✖ 5.38 6.32

Glossy S/Matt Net +VAT

11x14 10 20 138 22 647 9.71 11.41

16x20 10 ✖ 95 254 6 542 18 484 20.19 23.72

20x24 10 ✖ 685 ✖ ✖ 31.31 36.79

9.5x12 50 ✖ ✖ 2 767 ✖ 30.61 35.97

12x16 10 ✖ 2 826 2 865 ✖ 13.34 15.67

20x24 10 ✖ ✖ 2 975 ✖ 31.31 36.79

16 x 20 50 41 530 45 548 45 480 38.67 45.44 AGFA MULTICONTRAST PREMIUM

4x6 100 26 825 ✖ 10.91 12.81

5x7 100 65 319 95 168 14.75 17.33

Code Net +VAT ILFOCOLOR RA4 PAPER

MACO AG ILFOCOLOR RESIN COATED GLOSSY RA4 PAPER (IPRA.1M-S)

ILFOCOLOR RESIN COATED SEMI-MATT RA4 PAPER (IPRA.24M-S)

AGFA INKJET PAPERS

28 886 A4 20sh 7.65 8.99

--- Panoramic 14.85 x35.55cm 24 + 3sh 11.06 13.00

--- Panoramic 21 x 59.4cm 10 + 2sh 12.76 14.99

37 947 A4 10sh 10.00 11.75

37 950 A3 10sh 20.00 23.50

HIGH GLOSS PAPER DC 210g FERRANIA OPTIJET INKJET PAPERS

Net +VAT 37 392 PREMIUM PHOTO PAPER A6 25sh 3.82 4.49

37 409 PROF. GLOSSY PHOTO A4 15sh 8.08 9.50

EPSON PREMIUM SEMIGLOSS PHOTO PAPER LUSTRE 265 gsm