ILFORD MULTIGRADE FB Classic Glossy Darkroom Paper — 8x10 in, 25 Sheets

ILFORD MULTIGRADE FB Classic Glossy is a versatile choice for a printer who wants a traditional fibre print with a neutral image tone. Its appeal is the combination of a white paper base, a glossy finish and adjustable contrast: you can develop a consistent presentation across quite different negatives while retaining control over each individual print.

Image tone, base colour and surface

Neutral image tone describes the colour of the developed photograph; white base tint describes the paper visible in borders and clear highlights. Classic provides this relatively neutral starting point, while Warmtone offers a warmer image and creamier base. Compare an unprinted border as well as the picture when deciding which family belongs in a series.

The glossy surface can make dark areas appear strong under favourable viewing light, but reflections also become part of the display decision. Consider it for architecture, documentary images, portraits or landscapes where tonal separation and dark shapes carry the composition. These are useful test subjects, not limits on the paper. A dry sample in the intended lighting is more informative than choosing a finish from a screen.

What the fibre base adds to the workflow

The baryta-coated fibre support gives the print a different physical character from RC paper. Choose it when you want to spend time on washing, drying, flattening and presentation as part of the finished work. RC remains a practical option for rapid proofs and regular sessions; selecting fibre is a choice about material and workflow rather than a guarantee that a photograph will improve.

For an edition or portfolio, decide early how the prints will be handled and mounted. Leave enough border for your intended presentation, and allow for finishing time before promising a delivery or exhibition date.

Using variable contrast effectively

MULTIGRADE filtration covers contrast grades 00 to 5. Lower numbers give softer contrast; higher numbers give harder contrast. Use that control to establish the overall relationship between light and dark, then refine individual areas with local exposure decisions. A midrange filter is a reasonable first experiment, followed by a test strip to establish the exposure for your negative and enlarger.

Keep the development routine consistent while evaluating exposure and contrast. If you move a print from RC to FB Classic, make fresh tests on Classic instead of treating the old time and filter as a finished recipe. For filter and enlarger-head guidance, see ILFORD's contrast-control information.

Processing, drying and mounting

Open and handle unprocessed sheets under a suitable paper safelight. Follow a fibre-paper developer, stop, fixer and wash sequence, with attention to chemistry capacity and the manufacturer's instructions. The support absorbs processing solutions, so the washing requirement differs from RC paper. Drying may produce curl; plan a compatible flattening or mounting method before evaluating the final presentation.

For display work where future removal matters, consider mounting corners or strips rather than committing immediately to a permanent adhesive. ILFORD's mounting guide explains that distinction.

Toning and print permanence

FB Classic Glossy responds well to toning; ILFORD identifies the glossy surface as more favourable for toning than the matt version. Use a spare print to establish the result with your chosen chemistry. Correct fixing, washing and suitable storage are central to lasting prints. Follow the FB Classic technical sheet, including its permanence guidance, for the complete workflow.

Choose the closest alternative

Compare FB Classic Matt when you want a less reflective presentation. Choose FB Warmtone Glossy for warmer rendering, or RC Deluxe Glossy when processing and drying convenience are the deciding factors.