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

ILFORD MULTIGRADE FB Classic Matt is a useful choice when you want viewers to spend time with the photograph without a glossy surface competing for attention. It combines the material character of traditional fibre paper with a neutral image tone and a matt presentation. Consider it for a portfolio or display where the handling, lighting and surface of each print are carefully chosen.

Matt surface and neutral rendering

The smooth matt finish has less surface shine than Classic Glossy. This can be helpful when a photograph will be viewed from changing angles or in lighting that produces distracting reflections. Under glass, assess the whole presentation, since the glazing introduces its own reflections.

Classic's white base and neutral image tone are separate characteristics. The base sets the appearance of blank borders and the lightest print areas; image tone describes the colour of the developed photograph. This gives you a different starting point from Warmtone's warmer image and warm-white base, or ART 300's visibly textured cotton rag surface.

Which photographs to try first

Try a portrait with delicate transitions, an architectural study, a restrained landscape or a documentary sequence that you want to view at close range. The point is to judge whether this quiet surface supports your interpretation. Matt paper is not limited to soft or low-contrast subjects: the composition and your printing choices still determine the photograph's overall tonal structure.

When comparing matt and glossy, use the same negative and judge fully dried samples under the intended light. If you prefer the way glossy presents deep dark areas, changing the surface may be more useful than simply adding exposure to the matt print. Extra exposure also changes the rest of the image.

Contrast control at the enlarger

This is variable contrast paper. Compatible MULTIGRADE filters or an appropriate enlarger head let you work through grades 00 to 5, from softer to harder contrast. The matt finish is a surface choice, not a fixed contrast grade.

Begin with a test strip, select the overall highlight-to-shadow relationship you want and refine from there. Keep a note of the enlarger settings, filtration and processing routine so useful results can be repeated. If another paper was used for proofing, establish fresh settings on Classic Matt before making final prints. ILFORD's Classic Matt product information explains its place in the MULTIGRADE system.

Allow for fibre-paper finishing

Use a suitable paper safelight for unprocessed sheets and follow the recommended developer, stop, fixer and washing workflow. Compared with RC, the fibre support needs more attention to washing, drying and potential curl. Plan a suitable flattening or mounting method so you can judge the actual finished print.

Handle the image surface carefully during finishing and assess it only after it has dried. For a portfolio, try one complete print through your intended finishing and storage routine before making a full series. Refer to the FB Classic technical sheet for processing, drying and storage instructions.

Toning and keeping the print

Classic Matt can be toned, but ILFORD notes that Classic Glossy responds more favourably to toning. If toner colour is central to the project, compare actual tests on both surfaces before committing. For long-term care, use a documented processing routine and appropriate storage or display materials. ILFORD's fibre-paper permanence guidance provides a starting point; longevity depends on the complete process and subsequent conditions.

Choosing another finish or base

Compare FB Classic Glossy for a reflective finish, ART 300 when visible paper texture is part of the work, or RC Deluxe Satin for a smooth, low-sheen option with an easier processing and drying routine.