Ilfochrome-A filters with Ilford Multigrade paper?

Hi All,

I have been using Ilford Multigrade Warmtone for some time now.
Since it will be a few months before I can find someone to carry (from
the US) the designated Ilford filters for contrast control, I am forced
to use Ilfochrome-A filters for adjusting the contrast.

However, I don't think they are working satisfactorily for me. I am
still figuring out the contrast I can get with the various Yellow and
Magenta filters from the Ilfochrome set.

Has anyine tried using these filters for Multigrade paper?

Specifically, what would the M50 filter of ilfochrome-A correspond to
in terms of Multigrade contrast? What could be the mapping?

I use a tungsten lamp in Vivitar enlarger.
thanks for any tips,
Sreenath

You might want to try this technique for which you will need only your
most contrasty (highest magenta) and least contrasty (highest yellow)
filters:

1. With your first sheet of paper, give incremental 3-second exposures
in strips across the whole sheet with the darkest (maximum contrast)
magenta filter you have. Look at the strips, especially at the shadows,
and pick the one that gives you the shadows you want---deep, but with
enough detail.

2. Repeat with second sheet, this time using the least contrasty
(maximum yellow) filter. Evaluate, particularly the highlights, and
choose the best strip.

3. Let's say, for instance, that at f/11, your best high-contrast
exposure was 9 seconds and your best low-contrast exposure was 6
seconds. On your third sheet of paper, give two exposures--- one at 9
seconds with your highest magenta filter and then, without changing
anything except the filter, give another exposure at 6 seconds at full
yellow.

4. After development, you should be very close to what you're looking
for. You'll be close enough to know where you ought to go from there.
If you need more density, but the contrast looks right, then increase
both magenta and yellow exposures proportionally equally. If you need
less density, give proportionally less to each exposure. If it needs to
be more contrasty, but the density is correct, increase the magenta time
by a few seconds; if it needs less contrast, increase the yellow a few
seconds.

If only a specific area needs more or less contrast, you can burn with
the appropriate filter. Alternatively, you can dodge with one or the
other filters during the original exposures. E.g. if 9 sec. Magenta
gives you washed out sky tones in one area, you can either increase
density in that area by burning with both yellow and magenta, or you can
dodge for a couple seconds during the magenta exposure, so that
proportionally, that area gets less magenta and more yellow.

Remember: density changes without contrast changes demands
proportionally equal amounts of both magenta and yellow; density and
contrast changes can be done with either filter using burning or dodging.

Once you experiment a bit with this method, which is called split filter
printing, you'll find that printing becomes almost absurdly easy. It's
one of the great joys of using variable contrast paper. I've been using
it for years, though using a color head to dial in the magenta and yellow.

Larry

sreenath wrote:

Hi All,

I have been using Ilford Multigrade Warmtone for some time now.
Since it will be a few months before I can find someone to carry (from
the US) the designated Ilford filters for contrast control, I am forced
to use Ilfochrome-A filters for adjusting the contrast.

However, I don't think they are working satisfactorily for me. I am
still figuring out the contrast I can get with the various Yellow and
Magenta filters from the Ilfochrome set.

Has anyine tried using these filters for Multigrade paper?

Specifically, what would the M50 filter of ilfochrome-A correspond to
in terms of Multigrade contrast? What could be the mapping?

I use a tungsten lamp in Vivitar enlarger.
thanks for any tips,
Sreenath

You might want to try this technique for which you will need only your
most contrasty (highest magenta) and least contrasty (highest yellow)
filters:

1. With your first sheet of paper, give incremental 3-second exposures
in strips across the whole sheet with the darkest (maximum contrast)
magenta filter you have. Look at the strips, especially at the shadows,
and pick the one that gives you the shadows you want---deep, but with
enough detail.

2. Repeat with second sheet, this time using the least contrasty
(maximum yellow) filter. Evaluate, particularly the highlights, and
choose the best strip.

3. Let's say, for instance, that at f/11, your best high-contrast
exposure was 9 seconds and your best low-contrast exposure was 6
seconds. On your third sheet of paper, give two exposures--- one at 9
seconds with your highest magenta filter and then, without changing
anything except the filter, give another exposure at 6 seconds at full
yellow.

4. After development, you should be very close to what you're looking
for. You'll be close enough to know where you ought to go from there.
If you need more density, but the contrast looks right, then increase
both magenta and yellow exposures proportionally equally. If you need
less density, give proportionally less to each exposure. If it needs to
be more contrasty, but the density is correct, increase the magenta time
by a few seconds; if it needs less contrast, increase the yellow a few
seconds.

If only a specific area needs more or less contrast, you can burn with
the appropriate filter. Alternatively, you can dodge with one or the
other filters during the original exposures. E.g. if 9 sec. Magenta
gives you washed out sky tones in one area, you can either increase
density in that area by burning with both yellow and magenta, or you can
dodge for a couple seconds during the magenta exposure, so that
proportionally, that area gets less magenta and more yellow.

Remember: density changes without contrast changes demands
proportionally equal amounts of both magenta and yellow; density and
contrast changes can be done with either filter using burning or dodging.

Once you experiment a bit with this method, which is called split filter
printing, you'll find that printing becomes almost absurdly easy. It's
one of the great joys of using variable contrast paper. I've been using
it for years, though using a color head to dial in the magenta and yellow.

Larry

sreenath wrote:

Hi All,

I have been using Ilford Multigrade Warmtone for some time now.
Since it will be a few months before I can find someone to carry (from
the US) the designated Ilford filters for contrast control, I am forced
to use Ilfochrome-A filters for adjusting the contrast.

However, I don't think they are working satisfactorily for me. I am
still figuring out the contrast I can get with the various Yellow and
Magenta filters from the Ilfochrome set.

Has anyine tried using these filters for Multigrade paper?

Specifically, what would the M50 filter of ilfochrome-A correspond to
in terms of Multigrade contrast? What could be the mapping?

I use a tungsten lamp in Vivitar enlarger.
thanks for any tips,
Sreenath

Thanks for the detailed message.

I did try similar technique, but by using blue and green filters under
the lens. However, I think the filters were not really steep cutoff in
nature(these are filters for use in front of camera "taking lens". I
bought the 58mm dia filters).

Even with only blue filter exposure, I did not get high contrast
results. I think I will carefully make test strips as you have
suggested and see if I get better results.

I can not use Ilfochrome filters for the split contrast printing
because the enlarger will definitely shake if I attempt to change the
filter in the drawrer above the negative.

thanks,
Sreenath


LR Kalajainen wrote:
You might want to try this technique for which you will need only
your
most contrasty (highest magenta) and least contrasty (highest yellow)

filters:

1. With your first sheet of paper, give incremental 3-second
exposures
in strips across the whole sheet with the darkest (maximum contrast)
magenta filter you have. Look at the strips, especially at the
shadows,
and pick the one that gives you the shadows you want---deep, but with

enough detail.

2. Repeat with second sheet, this time using the least contrasty
(maximum yellow) filter. Evaluate, particularly the highlights, and
choose the best strip.

3. Let's say, for instance, that at f/11, your best high-contrast
exposure was 9 seconds and your best low-contrast exposure was 6
seconds. On your third sheet of paper, give two exposures--- one at
9
seconds with your highest magenta filter and then, without changing
anything except the filter, give another exposure at 6 seconds at
full
yellow.

4. After development, you should be very close to what you're
looking
for. You'll be close enough to know where you ought to go from
there.
If you need more density, but the contrast looks right, then increase

both magenta and yellow exposures proportionally equally. If you
need
less density, give proportionally less to each exposure. If it needs
to
be more contrasty, but the density is correct, increase the magenta
time
by a few seconds; if it needs less contrast, increase the yellow a
few
seconds.

If only a specific area needs more or less contrast, you can burn
with
the appropriate filter. Alternatively, you can dodge with one or the

other filters during the original exposures. E.g. if 9 sec. Magenta
gives you washed out sky tones in one area, you can either increase
density in that area by burning with both yellow and magenta, or you
can
dodge for a couple seconds during the magenta exposure, so that
proportionally, that area gets less magenta and more yellow.

Remember: density changes without contrast changes demands
proportionally equal amounts of both magenta and yellow; density and
contrast changes can be done with either filter using burning or
dodging.

Once you experiment a bit with this method, which is called split
filter
printing, you'll find that printing becomes almost absurdly easy.
It's
one of the great joys of using variable contrast paper. I've been
using
it for years, though using a color head to dial in the magenta and
yellow.

Larry

sreenath wrote:

Hi All,

I have been using Ilford Multigrade Warmtone for some time now.
Since it will be a few months before I can find someone to carry
(from
the US) the designated Ilford filters for contrast control, I am
forced
to use Ilfochrome-A filters for adjusting the contrast.

However, I don't think they are working satisfactorily for me. I am
still figuring out the contrast I can get with the various Yellow
and
Magenta filters from the Ilfochrome set.

Has anyine tried using these filters for Multigrade paper?

Specifically, what would the M50 filter of ilfochrome-A correspond
to
in terms of Multigrade contrast? What could be the mapping?

I use a tungsten lamp in Vivitar enlarger.
thanks for any tips,
Sreenath

It's OK if the enlarger shakes during the filter change, as long as you
give it a few seconds to settle down and as long as you don't physically
move the negative carrier out of position. My enlarger shakes when I
turn the colorhead dials after each exposure, but it doesn't actually
move the negative.

The blue and green filters wouldn't work because they're filtering out
the colors of light that variable contrast paper is sensitive to.

Larry
sreenath wrote:

Thanks for the detailed message.

I did try similar technique, but by using blue and green filters under
the lens. However, I think the filters were not really steep cutoff in
nature(these are filters for use in front of camera "taking lens". I
bought the 58mm dia filters).

Even with only blue filter exposure, I did not get high contrast
results. I think I will carefully make test strips as you have
suggested and see if I get better results.

I can not use Ilfochrome filters for the split contrast printing
because the enlarger will definitely shake if I attempt to change the
filter in the drawrer above the negative.

thanks,
Sreenath


LR Kalajainen wrote:


You might want to try this technique for which you will need only


your


most contrasty (highest magenta) and least contrasty (highest yellow)





filters:

1. With your first sheet of paper, give incremental 3-second


exposures


in strips across the whole sheet with the darkest (maximum contrast)
magenta filter you have. Look at the strips, especially at the


shadows,


and pick the one that gives you the shadows you want---deep, but with





enough detail.

2. Repeat with second sheet, this time using the least contrasty
(maximum yellow) filter. Evaluate, particularly the highlights, and
choose the best strip.

3. Let's say, for instance, that at f/11, your best high-contrast
exposure was 9 seconds and your best low-contrast exposure was 6
seconds. On your third sheet of paper, give two exposures--- one at


9


seconds with your highest magenta filter and then, without changing
anything except the filter, give another exposure at 6 seconds at


full


yellow.

4. After development, you should be very close to what you're


looking


for. You'll be close enough to know where you ought to go from


there.


If you need more density, but the contrast looks right, then increase





both magenta and yellow exposures proportionally equally. If you


need


less density, give proportionally less to each exposure. If it needs


to


be more contrasty, but the density is correct, increase the magenta


time


by a few seconds; if it needs less contrast, increase the yellow a


few


seconds.

If only a specific area needs more or less contrast, you can burn


with


the appropriate filter. Alternatively, you can dodge with one or the





other filters during the original exposures. E.g. if 9 sec. Magenta
gives you washed out sky tones in one area, you can either increase
density in that area by burning with both yellow and magenta, or you


can


dodge for a couple seconds during the magenta exposure, so that
proportionally, that area gets less magenta and more yellow.

Remember: density changes without contrast changes demands
proportionally equal amounts of both magenta and yellow; density and
contrast changes can be done with either filter using burning or


dodging.


Once you experiment a bit with this method, which is called split


filter


printing, you'll find that printing becomes almost absurdly easy.


It's


one of the great joys of using variable contrast paper. I've been


using


it for years, though using a color head to dial in the magenta and


yellow.


Larry

sreenath wrote:



Hi All,

I have been using Ilford Multigrade Warmtone for some time now.
Since it will be a few months before I can find someone to carry


(from


the US) the designated Ilford filters for contrast control, I am


forced


to use Ilfochrome-A filters for adjusting the contrast.

However, I don't think they are working satisfactorily for me. I am
still figuring out the contrast I can get with the various Yellow


and


Magenta filters from the Ilfochrome set.

Has anyine tried using these filters for Multigrade paper?

Specifically, what would the M50 filter of ilfochrome-A correspond


to


in terms of Multigrade contrast? What could be the mapping?

I use a tungsten lamp in Vivitar enlarger.
thanks for any tips,
Sreenath

Hi,

I tried to make some prints yesterday using more blue filter papers in
filter drawer and I am now able to get contrast desired.

I made one very important observation that I had missed all these days.
In the evening, the electrical voltage is low and it takes more time to
print, as the bulb temperature is lower. Also, one reason for my
frustruation was that I was never able to repeat similar contrasts.

Now I am seeing why. When bulb temperature is low, there is lesser blue
light content. No wonder, even with a blue filter, a very small amount
of blue light was reaching the paper, thereby producing less contrast.

More into night, the supply voltage rises(here in my town), and the
printing times reduce along with an increase in contrast on VC/MC
papers.
With graded papers, the time alone varies, but the contrast is fixed by
the paper.

So I am glad I have now seen the exact reason why I was never getting
constistent results.

I am now planning to use a voltage regulator for my enlarger lamp.

Using blue and green filters for split contrast printing is well
documented.

thanks,
Sreenath

LR Kalajainen wrote:
It's OK if the enlarger shakes during the filter change, as long as
you
give it a few seconds to settle down and as long as you don't
physically
move the negative carrier out of position. My enlarger shakes when I

turn the colorhead dials after each exposure, but it doesn't actually

move the negative.

The blue and green filters wouldn't work because they're filtering
out
the colors of light that variable contrast paper is sensitive to.

Larry
sreenath wrote:

Thanks for the detailed message.

I did try similar technique, but by using blue and green filters
under
the lens. However, I think the filters were not really steep cutoff
in
nature(these are filters for use in front of camera "taking lens". I
bought the 58mm dia filters).

Even with only blue filter exposure, I did not get high contrast
results. I think I will carefully make test strips as you have
suggested and see if I get better results.

I can not use Ilfochrome filters for the split contrast printing
because the enlarger will definitely shake if I attempt to change
the
filter in the drawrer above the negative.

thanks,
Sreenath


LR Kalajainen wrote:


You might want to try this technique for which you will need only


your


most contrasty (highest magenta) and least contrasty (highest
yellow)





filters:

1. With your first sheet of paper, give incremental 3-second


exposures


in strips across the whole sheet with the darkest (maximum
contrast)
magenta filter you have. Look at the strips, especially at the


shadows,


and pick the one that gives you the shadows you want---deep, but
with





enough detail.

2. Repeat with second sheet, this time using the least contrasty
(maximum yellow) filter. Evaluate, particularly the highlights,
and
choose the best strip.

3. Let's say, for instance, that at f/11, your best high-contrast
exposure was 9 seconds and your best low-contrast exposure was 6
seconds. On your third sheet of paper, give two exposures--- one
at


9


seconds with your highest magenta filter and then, without changing
anything except the filter, give another exposure at 6 seconds at


full


yellow.

4. After development, you should be very close to what you're


looking


for. You'll be close enough to know where you ought to go from


there.


If you need more density, but the contrast looks right, then
increase





both magenta and yellow exposures proportionally equally. If you


need


less density, give proportionally less to each exposure. If it
needs


to


be more contrasty, but the density is correct, increase the magenta


time


by a few seconds; if it needs less contrast, increase the yellow a


few


seconds.

If only a specific area needs more or less contrast, you can burn


with


the appropriate filter. Alternatively, you can dodge with one or
the





other filters during the original exposures. E.g. if 9 sec.
Magenta
gives you washed out sky tones in one area, you can either increase
density in that area by burning with both yellow and magenta, or
you


can


dodge for a couple seconds during the magenta exposure, so that
proportionally, that area gets less magenta and more yellow.

Remember: density changes without contrast changes demands
proportionally equal amounts of both magenta and yellow; density
and
contrast changes can be done with either filter using burning or


dodging.


Once you experiment a bit with this method, which is called split


filter


printing, you'll find that printing becomes almost absurdly easy.


It's


one of the great joys of using variable contrast paper. I've been


using


it for years, though using a color head to dial in the magenta and


yellow.


Larry

sreenath wrote:



Hi All,

I have been using Ilford Multigrade Warmtone for some time now.
Since it will be a few months before I can find someone to carry


(from


the US) the designated Ilford filters for contrast control, I am


forced


to use Ilfochrome-A filters for adjusting the contrast.

However, I don't think they are working satisfactorily for me. I
am
still figuring out the contrast I can get with the various Yellow


and


Magenta filters from the Ilfochrome set.

Has anyine tried using these filters for Multigrade paper?

Specifically, what would the M50 filter of ilfochrome-A correspond


to


in terms of Multigrade contrast? What could be the mapping?

I use a tungsten lamp in Vivitar enlarger.
thanks for any tips,
Sreenath