ILFORD MULTIGRADE ART 300 Textured Darkroom Paper — 8x10 in, 50 Sheets

Choose ILFORD MULTIGRADE ART 300 when the surface of the photograph is part of the work. Its cotton rag support gives you a different presentation from smooth fibre or resin-coated papers. The texture remains a visible part of the finished print, making this a deliberate paper choice for an exhibition, a handmade portfolio or a photograph you want viewers to examine closely.

Surface, image tone and paper colour

ART 300 combines a textured matt finish with a slight eggshell sheen. Under angled light, that surface can become more noticeable; assess a dry sample in the light you intend to use for display. Image tone and paper colour describe different things: the developed image is slightly warm, while the unprinted base is neutral to cool white. That combination gives a useful starting point when you want warmth in the photograph without choosing a creamy paper base. See ILFORD's ART 300 product information.

When this paper makes sense

Consider ART 300 for landscapes, botanical studies, still lifes or portraits where a tactile surface supports your interpretation. For a photograph with broad, smooth skies or very delicate skin tones, make a small print first: decide whether you enjoy seeing paper texture in those quieter areas. These are aesthetic choices, rather than restrictions on subject matter. The surface is also worth exploring for hand-colouring, where the physical relationship between photograph and added colour is central to the result.

Controlling contrast at the enlarger

Its variable contrast emulsion works with MULTIGRADE filters or a compatible enlarger head. Lower filter numbers give softer contrast; higher numbers give harder contrast. Start with a test strip on ART 300 itself, then change filtration according to the relationship you want between highlights, midtones and shadows. If you have already proofed the negative on RC paper, use that print as a reference for your decisions and establish fresh exposure and filtration on the final paper. A different support or emulsion can change the result.

Processing, washing and finishing

This is light-sensitive silver gelatin enlarging paper for chemical darkroom processing. Open it under a suitable paper safelight and return unused sheets to their protective packaging. Its workflow resembles fibre-paper processing, with washing and drying that need planning beyond a quick RC session.

One particularly useful ART 300 detail: prints can float and gather together during washing. Keep sheets separated and ensure water reaches every surface, especially after toning. Allow drying and flattening time before judging the final presentation. ILFORD advises against photographic blotters and belt dryers because prints can stick; follow the ART 300 technical sheet for compatible processing and drying methods.

Toning and keeping the finished print

ART 300 is receptive to toning, but the colour change depends on your chosen chemistry and method. Test a spare print before committing an edition. The acid-free cotton base is one material characteristic; lasting print quality also depends on proper fixing, washing, finishing and storage. For important work, follow the manufacturer's permanence guidance and choose appropriate display materials.

Choosing between nearby options

Compare FB Classic Matt if you prefer a smoother matt presentation and neutral image tone. Choose FB Warmtone Semi-Matt to explore warmth on a creamier base. For shorter processing sessions and routine proofing, consider RC Deluxe Pearl.