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#1
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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 |
#2
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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 |
#3
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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 |
#4
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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 |
#5
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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 |
#6
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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 |
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