Switch to English Language Passer en langue française Omschakelen naar Nederlandse Taal Wechseln Sie zu deutschen Sprache Passa alla lingua italiana
Members: 71,536   Posts: 1,572,735   Online: 774
      
Page 2 of 2 FirstFirst 12
Results 11 to 20 of 20
  1. #11
    naeroscatu's Avatar
    Join Date
    Oct 2004
    Location
    Newmarket Ontario
    Shooter
    Multi Format
    Posts
    855
    Images
    39
    I have a Saunders LPL enlarger and I went recently through the pain of trying to use the color head that came with it for printing B&W. If you print straight say you figure you need the equivalent of #3 filter for the entire film then you may get away with using the color head. If you need to do split printing or your negative was not evenly exposed and you have to change the filtration on each and every test through to the final print you will get fed up pretty fast with the waste of time using a color head for BW work.
    I was lucky to have close by the store that still sells enlargers parts and accessories and simply exchanged the color dichroic head with a VCCE Variable Contrast Module (I paid some extra because VCCE modules are more expensive). On the VCCE module you switch filtration from 00 or 0 to 3 or 5 turning one button - no waste of time at all. I hope this helps
    Mihai Costea

    "There's more to the picture
    Than meets the eye." - Neil Young

    Galleries:My PN & My APUG

  2. #12
    ic-racer's Avatar
    Join Date
    Feb 2007
    Location
    Midwest USA
    Shooter
    Multi Format
    Posts
    6,352
    Vs. turning two knobs?

  3. #13
    naeroscatu's Avatar
    Join Date
    Oct 2004
    Location
    Newmarket Ontario
    Shooter
    Multi Format
    Posts
    855
    Images
    39
    Ic-racer - have you worked with both modules in the dark? there is no comparison in terms of how fast you operate the VCCE vs the color head.
    Mihai Costea

    "There's more to the picture
    Than meets the eye." - Neil Young

    Galleries:My PN & My APUG

  4. #14

    Join Date
    Nov 2004
    Location
    Enroute
    Shooter
    Multi Format
    Posts
    2,004
    Quote Originally Posted by bdial View Post
    Here is the chart I have taped to the front of my enlarger. The numbers are transcribed from the Ilford data sheet.
    These are the two filter settings that will give you consistant exposures through the middle grades.

    If you test and compare, you probably will find that the multigrade #5 filter will get you a little more contrast than the color head. This is one reason I still have a multigrade filter set, but I can't remember the last time I actually used it, except for doing that test.

    For simplicity, I use the Ilford settings for all vc papers I work with.
    When I used a 45MX as my main enlarger, I had a 45S head on it and did the very same thing. After awhile, I started to remember my most often used settings and it was a breeze. Of course, more "breezy" still is the VCCE head on my LPL 4500 XLG..
    "I'm the freak that shoots film. God bless the freaks!" ~ Mainecoonmaniac ~

  5. #15
    ic-racer's Avatar
    Join Date
    Feb 2007
    Location
    Midwest USA
    Shooter
    Multi Format
    Posts
    6,352
    Quote Originally Posted by naeroscatu View Post
    Ic-racer - have you worked with both modules in the dark? there is no comparison in terms of how fast you operate the VCCE vs the color head.
    Agree, some color heads are not as easy to use for b&w.

  6. #16
    Tony Egan's Avatar
    Join Date
    Oct 2005
    Location
    Sydney, Australia
    Shooter
    Multi Format
    Posts
    1,137
    Images
    69
    Quote Originally Posted by ROL View Post
    Did you mean graded papers under white light?
    No, I meant multigrade filters with VC paper. I have found using Ilford multigrade filters much more consistent and reliable compared to knob twiddling on colour heads to try to achieve the same thing. No doubt others have persisted and found a way to make it work for them but didn't work for me.
    http://www.tonyeganphotography.com/index.html
    "Those are my principles, and if you don't like them... well, I have others." Groucho Marx

  7. #17

    Join Date
    Aug 2010
    Location
    northern england
    Shooter
    35mm
    Posts
    646
    The trick seems to be taking time to experiment with the filtration on our own enlarger, and match it against our expectations of contrast. I don't mind doing that, in the same way I prefer to standardise on film, exposure and development. I can't imagine varying any of those on a regular basis would help with consistency.

  8. #18

    Join Date
    Aug 2006
    Location
    Hamilton, Ont, Canada
    Shooter
    Large Format
    Posts
    1,069
    I expect the trick is not to compare systems, It matters little if your grade 2 is a Ilford grade 2, as long as the picture is printed at the grade you like.
    "There are a great many things I am in doubt about at the moment, and I should consider myself favoured if you would kindly enlighten me. Signed, Doubtful, off to Canada." (BJP 1914).

    Regards
    Bill

  9. #19
    ROL
    ROL is offline
    ROL's Avatar
    Join Date
    Oct 2005
    Location
    California
    Shooter
    Multi Format
    Posts
    794
    Quote Originally Posted by Tony Egan View Post
    No, I meant multigrade filters with VC paper. I have found using Ilford multigrade filters much more consistent and reliable compared to knob twiddling on colour heads to try to achieve the same thing. No doubt others have persisted and found a way to make it work for them but didn't work for me.
    Ok then, I guess your issue was knob twiddling of color heads, which may be used successfully by projecting white light onto graded papers (i.e., no adjustments of any kind being necessary), versus using separate filter gels for contrast under white light of virtually any head type for VC papers. Thanks for the clarification.

  10. #20
    Tony Egan's Avatar
    Join Date
    Oct 2005
    Location
    Sydney, Australia
    Shooter
    Multi Format
    Posts
    1,137
    Images
    69
    Quote Originally Posted by ROL View Post
    Ok then, I guess your issue was knob twiddling of color heads, which may be used successfully by projecting white light onto graded papers (i.e., no adjustments of any kind being necessary), versus using separate filter gels for contrast under white light of virtually any head type for VC papers. Thanks for the clarification.
    My main point was about exposure time for highlights when using colour heads for changing grades compared to filter gels. In my experience the colour heads can cause highlight times to vary significantly compared to using the gels. This meant more time to make a good print, more test strips and more wasted paper which is why I now stick with the multigrade gels.
    http://www.tonyeganphotography.com/index.html
    "Those are my principles, and if you don't like them... well, I have others." Groucho Marx

Page 2 of 2 FirstFirst 12


 

APUG PARTNERS EQUALLY FUNDING OUR COMMUNITY:



Contact Us  |  Support Us!  |  Advertise  |  Site Terms  |  Archive  —   Search  |  Mobile Device Access  |  RSS  |  Facebook  |  Linkedin